Archer John Porter Martin

Archer John Porter Martin 1910-2002, English biochemist, educated at Cambridge. From 1938 to 1946 he carried on chemical research in the laboratories of the Wool Industries Association at Leeds, Yorkshire. In 1948 he joined the staff of the National Institute for Medical Research, London, where from 1953 to 1956 he was head of the physical chemistry division. After 1956 he was chemical consultant to the institute. A specialist in the development of chromatographic and other methods of chemical analysis, he was awarded jointly with R. L. M. Synge the 1952 Nobel Prize in Chemistry for his contributions to paper partition chromatography, a method for separating and identifying chemical substances in a mixture.

Tempest, The. Play by Shakespeare (his last, 1612–13) for which various composers have written songs and incidental mus. Among works connected with the play are:  (1) The Tempest, incidental mus. Op.109, by Sibelius, comp. 1925, in 34 parts for soloists, ch., harmonium, and orch. F.p. Copenhagen 1926. 2 orch. suites, with Prelude, No.1 of 9 items, No.2 of 9; f. Eng. p. of Prelude, Hastings 1930, of Suite 1, Leeds 1934.  (2) Symphonic-fantasy for orch., Op.18 by Tchaikovsky, 1873.  (3) Opera in 3 acts, Der Sturm (1952–5) by Frank Martin, prod. Vienna 1956.  (4) Opera in 2 acts by Sutermeister Die Zauberinsel (The Magic Island), prod. Dresden 1942.  (5) Incidental mus. by John Weldon for Restoration version of play, c.1712.  (6) Symphonic prelude The Magic Island by Alwyn, 1953.  (7) Opera in 3 acts by John C. Eaton, The Tempest, to lib. by Andrew Porter, prod. Santa Fe 1985.

Dilettanti, Society of. Society of British connoisseurs founded in London in 1732; it was originally a dining club for young noblemen and gentlemen who had been on the Grand Tour, but it came to play a prominent role in matters of taste, and particularly in the study of antique art. The original members met on the first Sunday of the month in a tavern (drinking a toast to ‘Grecian taste and Roman spirit’), so provoking the sneer of Horace Walpole, never one of them, that ‘the nominal qualification for membership is having been in Italy and the real one being drunk’. One of them at least, Sir Francis Dashwood (1708–81), was a member of the notorious Hell Fire Club. The serious interests of the group prevailed, however, and after an unsuccessful attempt to sponsor Italian opera in England, the Dilettanti turned to the study of the architectural and archaeological remains of Italy and Greece, which had stirred their interest and imagination on their travels. They financed a succession of expeditions and published the results in various magnificently illustrated books that helped lay the foundations of the serious and systematic study of classical antiquities and contributed to the growth of Neoclassicism. Many of the finest treasures of the Department of Classical Antiquities of the British Museum were acquired by purchase or bequest from members of the Society—among them Sir William Hamilton (1730–1803), Richard Payne Knight, and Charles Townley (1737–1805). One serious lapse, however, was the failure of the Dilettanti, through the misjudgement of Payne Knight, to recognize the importance of the Elgin Marbles.

From the earliest meetings the Society appointed a painter, one of whose duties was to provide a portrait of each member on election at his own expense. The first holder of the title was George Knapton, and his successors have included Sir Joshua Reynolds, Sir Thomas Lawrence, Sir Martin Archer Shee, Sir Charles Eastlake, Frederic Lord Leighton, Sir Edward Poynter, John Singer Sargent, and Sir William Coldstream. Many portraits so commissioned are still among the treasured possessions of the Society. It has never owned its own premises, meeting at various places in the St James's area of London. Since 1976 it has been based at Brooks's Club.