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 reverence, undisturbed by their differences. In defensive repartee he was as ready, though not so pungent, as his brother. He had no faculty for government. Though he had plenty of courage, he was swayed by conflicting feelings, with the result that his half-measures conveyed an impression of timidity.

He married (8 April 1749) Sarah (b. 12 Oct. 1726; d. 28 Dec. 1822), third daughter of Marmaduke Gwynne (d. 1769) of Garth, Breconshire; the marriage, celebrated by his brother John, was a most happy one. His widow had an annuity of 100l. from John Wesley, on whose death it was commuted, at her request, for a capital sum. After the expenditure of this she was relieved from straits by an annuity provided by William Wilberforce in conjunction with two friends. The methodist body followed with an annuity, which was continued to the surviving children. Of Wesley's eight children, five died in infancy. Charles (1757–1834) [q. v.] and Samuel (1766–1837) [q. v.] are separately noticed. The surviving daughter, Sarah, a woman of great culture, who mixed in the best literary society of her day, died at Bristol, unmarried, on 19 Sept. 1828, aged 68.

John Wesley writes of his brother: ‘His least praise was his talent for poetry; although Dr. Watts did not scruple to say that that single poem, “Wrestling Jacob,” was worth all the verses he himself had written’ (Minutes of Conference, 1788). Yet among the many services rendered by Charles Wesley to the cause of religion, his work as a hymn-writer stands pre-eminent. Exercising an hereditary gift, he had early written verses both in Latin and English, but the opening of the vein of his spiritual genius was a consequence of the inward crisis of Whit-Sunday 1738. Two days later his hymn upon his conversion was written. He doubted at first whether he had done right in even showing it to a friend. The first collection of hymns issued by John Wesley (1737) contains nothing by Charles. From 1739 to 1746 the brothers issued eight collections in their joint names. Some difficulty has been felt in assigning to each his respective compositions. To John are usually given all translations from German originals, as it is doubtful whether Charles could read that language; and if this is not conclusive (as the originals might have been interpreted for him), a strong argument may be found in his constant inability to write on subjects proposed to him, and not spontaneously suggested by his own mind. All original hymns, not expressly claimed by John in his journals and other writings, are usually given to Charles. But it must be remembered that these were edited by John, who adapted his brother's pieces for public use, both by omission and by combination. Charles Wesley's untouched work is to be seen in publications issued in his sole name, and in posthumous prints from his manuscript. He is said to have written 6,500 hymns (Overton in Hymnology, 1892, p. 1258); about five hundred are in constant use. Dealing with every topic from the point of view of spiritual experience, they rarely subside into the meditative mood. Rich in melody, they invite to singing, and in the best of them there is a lyrical swing and an undertone of mystical fervour which both vitalise and mellow the substratum of doctrine. Much attention has been directed to his sacramental hymns (1745), in which the ‘real presence’ is expressly taught. Other points are noted in Warington's ‘Echoes of the Prayer-book in Wesley's Hymns’ [1876], 8vo. The following collections appear to contain exclusively his own hymns: 1. ‘Hymns on God's Everlasting Love,’ 2 parts, 1741, 12mo. 2. ‘For the Nativity,’ 1744, 12mo. 3. ‘For the Watchnight,’ 1744, 12mo. 4. ‘Funeral Hymns,’ 1744, 12mo; enlarged, 1759, 12mo. 5. ‘For Times of Trouble,’ 1745, 12mo; revised edition, same year; additional, 1746, 12mo. 6. ‘On the Lord's Supper,’ 1745, 12mo. 7. ‘Gloria Patri … to the Trinity,’ 1746, 12mo. 8. ‘On the great Festivals,’ 1746, 4to. 9. ‘For Ascension Day,’ 1746, 12mo. 10. ‘For Our Lord's Resurrection,’ 1746, 12mo. 11. ‘Graces before and after Meat,’ 1746, 12mo. 12. ‘For the Public Thanksgiving,’ 1746, 12mo. 13. ‘For those that seek and those that have Redemption,’ 1747, 12mo. 14. ‘On his Marriage,’ 1749. 15. ‘On Occasion of his being prosecuted in Ireland,’ 1749. 16. ‘Hymns and Sacred Poems,’ Bristol, 1749, 2 vols. 12mo. 17. ‘For New Year's Day,’ 1750, 12mo. 18. ‘For the Year 1756,’ 1756, 12mo. 19. ‘Of Intercession,’ 1758, 12mo. 20. ‘For the Use of Methodist Preachers,’ 1758, 12mo. 21. ‘On the expected Invasion,’ 1759, 12mo. 22. ‘On the Thanksgiving Day,’ 1759, 12mo. 23. ‘For those to whom Christ is all,’ 1761, 12mo. 24. ‘Short Hymns on … Passages of … Scripture,’ 1762, 2 vols. 12mo. 25. ‘For Children,’ 1763, 12mo. 26. ‘For the Use of Families,’ 1767, 12mo. 27. ‘On the Trinity,’ 1767, 12mo. 28. ‘Preparation for Death,’ 1772, 12mo. 29. ‘In the Time of the Tumults,’ 1780, 12mo. 30. ‘For the Nation,’ 1782, 12mo. 31. ‘For Condemned Malefactors,’ 1785, 12mo. A few hymns were first printed separately. Other poetical publications were an ‘Elegy,’ Bristol, 1742,


text: 1911 Encyclopædia Britannica/Innocent/Innocent XII

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Author:Harry Norman Gardiner

Works

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title: Author:Harry Norman Gardiner


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The New International Encyclopædia/Öls

ÖLS, or OELS, ẽls. The capital of a circle in the Province of Silesia, Prussia, and formerly capital of a principality on the Oelsbach, 17 miles northeast of Breslau (Map: Prussia, G 3). Its castle, built in 1558, is the property of the Prussian Crown Prince, Among its churches are the Schlosskirche, from the twelfth century, and the Gothic Propstkirche, from the fourteenth century. There are manufactures of agricultural machinery, cloth, wagons, and shoes. Population, in 1900, 10,580. Oels was founded in the tenth century.

title: The New International Encyclopædia/Öls


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 4to, on Robert Jones of Fonmon Castle; an ‘Epistle,’ 1755, 16mo, to John Wesley; and an ‘Epistle,’ 1771, 8vo, to George Whitefield (written 1755). His poetical works, including many not before published, are contained in the ‘Poetical Works of John and Charles Wesley,’ 1868–72, 13 vols. 16mo, edited by George Osborn. A large number of his hymns, still unpublished, were discovered in the Wesleyan archives in 1895. In prose Wesley published a few sermons, and ‘A Short Account of the Death of Mrs. H. Richardson’ [1741], 8vo; 5th edit. Newcastle-on-Tyne, 1743, 12mo. His university sermon on 4 April 1742 ran through sixteen editions in seven years, and was translated into Welsh. A volume of ‘Sermons,’ 1816, 16mo, issued by his widow, contains twelve (mostly early) sermons (with an additional one by John Wesley) and a ‘Memoir,’ probably by his daughter Sarah.

[Biographies of Charles Wesley are included in most of the biographies of John Wesley; of special value are those by Whitehead, 1793 (also issued separately), and by Moore, 1824–5. An independent Life, with much use of unpublished correspondence, was produced, 1841, 2 vols. (abridged as ‘Memoirs,’ 1848, 1 vol.), by Thomas Jackson, who also edited Charles Wesley's Journal (1736–56), 1849, 2 vols. with selections from his correspondence. Additional particulars are in the Life by John Telford [1886]. See also Forshall's Westminster School, 1884; Foster's Alumni Oxon. 1715–1886, iv. 1526; Julian's Dict. of Hymnology, 1892, which has been followed for the bibliography (articles ‘Methodist Hymnody’ and ‘Wesley Family’); Green's Bibliography of the Works of John and Charles Wesley, 1896; authorities cited above, and references to art. .]  WESLEY, CHARLES (1757–1834), musician, the eldest son of Charles Wesley (1707–1788) [q. v.], was born at Bristol on 11 Dec. 1757. His musical talent was inherited from both parents; his brother Samuel relates that their father was ‘extremely fond of music,’ and, when young, ‘I believe, performed a little on the flute.’ Their mother ‘had very considerable vocal talent; played prettily upon the harpsichord, and sang sweetly. In Handel's oratorio songs she much excelled, being blessed with a voice of delightful quality, though not of very strong power or extensive compass.’ Charles displayed a musical precocity almost without parallel. At the age of two years and three-quarters he could play ‘a tune on the harpsichord readily and in just time,’ and even ‘always put a true bass to it.’ While he was playing his mother tied him in the chair with a back-string. At the age of four his father took him to London. John Stanley [q. v.] and John Worgan [q. v.] heard him play, and were much impressed by his performances; John Beard [q. v.] offered to get him placed as a chorister of the Chapel Royal, but his father refused, not intending the child should become a musician. For two years more he was without guidance; then he had lessons from Rooke, a Bristol organist, who did not strictly control him, and his progress was owing only to his natural talent. He became specially distinguished as a performer of Scarlatti's sonatas. Afterwards deciding to adopt the musical profession, he settled in London, and took lessons from Joseph Kelway [q. v.], and in composition from William Boyce [q. v.] He dedicated a set of string quartets to Dr. Boyce, upon whose death he composed an elegy, the words contributed by his father. At this time Wesley was living in Chesterfield Street, Marylebone. He published a set of ‘Six Concertos for the Organ or Harpsichord, Op. 1,’ a set of eight songs, and a Concerto Grosso, which is favourably criticised in the ‘European Magazine,’ November 1784. He was organist of Surrey Chapel before 1794, then of South Street Chapel, Welbeck Chapel, and Chelsea Hospital, and finally of Marylebone Parish Church. The promise of his youth had not been fulfilled, and he became only a sound practical musician, a solid composer and performer without any special distinction. He remained unmarried, living with his parents, and afterwards with his sister Sarah. Late in life the brother and sister revisited Bristol, where Charles played on all the organs. Sarah was buried there with the five brothers and sisters who had died young, one of whom had shown musical talent when but twelve months old. Charles died on 23 May 1834. Among his works were a set of variations for the pianoforte, dedicated to the Princess Charlotte; music to ‘Caractacus;’ glees, songs, and anthems. The anthem, ‘My soul has patiently waited,’ was printed by Page in ‘Harmonia Sacra,’ 1800; and two others, arranged as organ solos, in Novello's ‘Cathedral Voluntaries,’ 1831. At the Royal College of Music (Sacred Harmonic Society's Library, No. 1945) is a volume of music in Charles Wesley's autograph, including a complete score of Tye's ‘Actes of the Apostles.’ His own compositions made little impression, even in their own day; and they have long since been completely forgotten. Charles Wesley is perhaps the most singular instance on record of altogether exceptional musical precocity leading to no great results in after life; beyond doubt he


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 would have been a more distinguished musician had his father accepted the offer to educate him in the Chapel Royal, where he would have grown up in a musical atmosphere unattainable at Bristol.

WESLEY, JOHN (1703–1791), evangelist and leader of methodism, fifteenth child and second surviving son of (1662–1735) [q. v.], was born at Epworth Rectory, Lincolnshire, on 17 June 1703. The day and month rest on his own testimony (Westminster Mag. 1774, p. 181), the year is deduced from his father's certificate of his baptism (, Memorials of the Wesley Family, 1876, p. 329). Through his father he was descended from (1533?–1605) [q. v.], primate of Ireland; his more immediate ancestry, on both sides of the house, was nonconformist. Though baptised John Benjamin (his parents having lost infant sons of those names), his second name was never in use. His early education from the age of five was under his mother, whose methods were exacting; a single day was allowed for learning the alphabet. His rescue from the fire (9 Feb. 1708–9) at Epworth Rectory fixed itself in his mind as a work of divine providence. He was early noted for firmness of character and for his reflective turn, his father remarking that ‘our Jack’ would do nothing (non etiam crepitare) ‘unless he could give a reason for it.’ At eight years old he was admitted to the communion. On the nomination of his father's patron,, first duke of Buckingham and Normanby [q. v.], one of the governors, he was admitted (28 Jan. 1713–14) on the foundation of the Charterhouse school, London. At this time he wrote his surname ‘Westley.’ His morning run (by his father's order) thrice round the Charterhouse green strengthened his constitution. For some years he fared ill; the younger boys, robbed of rations by the seniors, had to make shift with bread. The story is told in a pamphlet of 1792 that the usher [q. v.] of the ‘Pantheon’ remonstrated with him for associating with his juniors whom he harangued, and got the answer ‘Better to rule in hell than serve in heaven.’ To his absence at school during the mysterious disturbances (1716–1717) at Epworth rectory we owe the minute accounts of this affair, supplied by members of the family in satisfaction of his curiosity; in the ‘Arminian Magazine’ (October–December 1784) he maintained the supernatural character of the occurrences. His brother Samuel, then head-usher at Westminster school, writes of him (1719) as a good scholar and ‘learning Hebrew’ (, i. 381).

On 24 June 1720 (, i. 19) he was elected scholar of Christ Church, Oxford; he matriculated on 18 July, when his age is given as 16. Just before going up, he was introduced to [q. v.], whom he found ‘as tall as a maypole and as fine as an archbishop.’ He relates, with great contempt, Sacheverell's advice to him, being ‘a very little fellow,’ to ‘go back to school’ (, Anecdotes of the Wesleys, 1870, p. 82). He was a diligent and sprightly student, much pinched for money. In a letter (17 June 1724) to his brother Samuel he gives a specimen of his English versifying, a trifle from the Latin on Cloe's ‘favourite flea’ (Westminster Mag. ut sup.). The perusal of the ‘Essay of Health and Long Life,’ 1724, by George Cheyne [q. v.], about which he writes to his mother (1 Nov. 1724), fixed his lifelong principle of spare and temperate diet, to the improving of his health. He graduated B.A. in 1724. Till the following year he had apparently no thought of taking orders. He writes (Journal, May 1738) that his father pressed him to do so. When he had decided for this vocation his mother warmly approved, though ‘your father and I seldom think alike’ (letter of 23 Feb. 1724–5), and advised his applying himself to ‘practical divinity’ as ‘the best study for candidates for orders.’ He was much influenced by writers who inculcated ‘the religion of the heart,’ but he used them with discrimination. He read the ‘Imitatio Christi’ in Stanhope's version, and was ‘very angry at Kempis for being too strict’ (in 1735 he published a revised edition of this version). Taylor's ‘Holy Living and Dying’ struck him as inculcating a false humility. He found difficulties in the Anglican article on predestination and in the excluding clauses of the Athanasian creed. His home correspondence on these topics is interesting as showing his resort to his mother's counsel, and her abhorrence of rigid Calvinism. On 19 Sept. 1725 he was ordained deacon by (1674?–1747) [q. v.], then bishop of Oxford. His first sermon was preached (16 Oct.) at South Leigh, near Witney, Oxfordshire. John Morley (d. 1731), rector of Lincoln College, used influence for his election (17 March 1726) as fellow; this was a tribute to his high character, his facility in argument, and his classical taste. His father writes with pride,


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 the process of trepanning, and for seven years suffered from despondency and nervous irritability; even his favourite pursuit of music had to be abandoned.

The great event of Wesley's life was his vigorous propaganda of the works of John Sebastian Bach in this country, with which his name will ever be associated. It was about 1800 that Wesley began his enthusiastic crusade in favour of the great Leipzig cantor. During 1808 and 1809 he addressed a series of characteristic letters on the subject to Benjamin Jacob [q. v.], then organist of Surrey Chapel. These letters, edited by his daughter, Eliza Wesley, were published in 1875. The originals, bound up with programmes of organ performances at Surrey Chapel, are preserved in the library of the Royal College of Music. Wesley also played Bach's violin sonatas at some of Jacob's organ performances at Surrey Chapel, and threw himself into the cause of ‘The Man,’ as he styled Bach, with extraordinary enthusiasm. In 1810–12 he issued, in conjunction with Karl Friedrich Horn [see under ], the first English edition of Bach's ‘Das wohltemperirte Clavier’ (see a series of articles on ‘Bach's Music in England’ by F. G. Edwards, Musical Times, September–December 1896).

In regard to the practical part of his professional life Wesley frequently lectured on music at the Royal Institution and elsewhere. The earliest known date of these lectures is 1811 (Addit. MSS. 35014–5). He was also a teacher of music, and gave frequent concerts, at one of which (Hanover Square Rooms, 19 May 1810) his fine motet ‘In Exitu Israel’ was performed for the first time. In 1811 he conducted the Birmingham musical festival, and was in great request for organ performances in different parts of the country. He became an associate of the Philharmonic Society in 1813, and was a member from 1815 to 1817. In 1816 Wesley suffered a relapse of his old malady, and was compelled to abandon the exercise of his profession until 1823, when he resumed his ordinary pursuits until 1830.

In 1824 he was appointed organist of Camden Chapel (now St. Stephen's parish church), Camden Town; but he was an unsuccessful candidate for the posts of organist of the Foundling in 1798 and of St. George's, Hanover Square, in 1824. At the Foundling John Immyns, an amateur, was elected through the interest of Joah Bates [q. v.], which caused Wesley to compose his humorous song (published anonymously) ‘The Organ laid open, or the true stop discovered.’ One of his latest public appearances was at a concert of the Sacred Harmonic Society, Exeter Hall, 7 Aug. 1834, when he accompanied the anthem, ‘All go unto one place,’ which he had composed upon the death of his brother Charles. The last time he ever left his house was on 12 Sept. 1837, when to his great delight he heard Mendelssohn (then aged 28) perform upon the organ in Christ Church, Newgate Street, and when he (Wesley) was also prevailed upon to perform. He died a month afterwards, 11 Oct. 1837, at Islington, and is buried in the churchyard of Old St. Marylebone church, in the same grave in which the remains of his father, mother, and other near relatives had been deposited.

On 5 April 1793 he married Charlotte Louisa, daughter of Captain Martin of Kensington, who survived him: she died 5 Feb. 1845, and is buried in Highgate cemetery. Of their three children Charles Wesley, D.D., was subdean of the Chapel Royal. Samuel Wesley subsequently (about 1809) formed a liaison with one Sarah Suter, by whom he had several children, of whom Samuel Sebastian Wesley [q. v.] was the eldest son, and a daughter Eliza Wesley, organist of St. Margaret Pattens, died unmarried in 1895.

Wesley was not only a very distinguished musician. Before he was twenty-one he had become a good classical scholar, and he successfully cultivated a taste for literature. He had remarkable conversational powers; he was a man of keen and brilliant wit, and an entertaining letter-writer. His character has been somewhat caustically summarised by Mrs. Vincent Novello, the wife of one of his most intimate friends, in the following words: ‘I knew him [Wesley] unfortunately too well. Pious catholic, raving atheist; mad, reasonable; drunk and sober. The dread of all wives and regular families. A warm friend, a bitter foe; a satirical talker; a flatterer at times of those he cynically traduced at others; a blasphemer at times, a purling methodist at others’ (Addit. MS. 31764, f. 33).

Wesley was the greatest organist of his day, and unrivalled as an extemporaneous performer on the instrument. De Quincey designated him ‘the great foudroyant performer on the organ.’ He was also a prolific composer, though much of his music is now out of date. His fine Latin motets, ‘Dixit Dominus,’ ‘Exultate Deo,’ and especially ‘In Exitu Israel,’ possess a strong vitality, and these works alone are sufficient to place him on the roll of illustrious English composers.

A full-length oil painting of Wesley at the


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 age of eleven, by John Russell, R.A., is in the possession of his son, Mr. Erasmus Wesley. Another portrait in oils, painted by John Jackson, R.A., in 1826, is in the possession of the artist's nephew, the Rev. John Jackson, of Higher Broughton.

His published works, besides anthems, glees, songs, and organ and pianoforte music, include: The large quantity of music in manuscript includes several motets, masses, four complete symphonies, three overtures, eleven organ concertos, and music for strings.
 * 1) Missa solemnis (Gregorian), for voices only.
 * 2) Six Latin motets.
 * 3) Morning and Evening Service in F, for the Church of England.

A large collection of Wesley's music, letters, and various other matter relating to him is preserved in the British Museum in Addit. MSS. 11729 (letters to Vincent Novello); 14339–344 (compositions); 17731 (pedigree list of compositions, &c.); 27593 (his reminiscences and autobiography); 31217, 31222 (antiphons); 31239 (chants, &c.); 31763 (tunes); 31764 (letters, portrait, &c.); 34007 (psalm and five letters); 34089 (organ voluntaries); 34996–35027 (many volumes of letters, compositions, documents, &c., bequeathed by Miss Eliza Wesley). Egerton MSS. 2159 (letters); 2512 (psalm-tunes); 2571 (motets and madrigals).

WESLEY, SAMUEL SEBASTIAN (1810–1876), composer and organist, natural son of (1766–1837) [q. v.], the musician, by Sarah Suter, was born in London on 14 Aug. 1810. He was named Sebastian after John Sebastian Bach, his father's idol. At the age of nine he became one of the children of the Chapel Royal, St. James's. In that capacity he was one of two or three specially selected boys who went to Brighton every week during the sojourn there of George IV to sing at the Sunday services in the private chapel of the royal pavilion. ‘The soprano of Master Wesley [in the anthem ‘O Lord, our Governor’] was remarkably clear; his shake was open, his every intonation distinct and correct. The king's band, with Mr. Attwood at the organ, were on duty’ (Morning Post, 30 Dec. 1823). The king presented the boy with a gold watch. Wesley was appointed organist of St. James's Chapel, Hampstead Road, in March 1826 at the age of fifteen (Addit. MS. 35019, f. xx). On 12 Jan. 1829 he became organist of St. Giles's Church, Camberwell. In the same year, probably on the death of Benjamin Jacob [q. v.], he was appointed to St. John's Church, Waterloo Road, Lambeth; and in 1830, attracted by the opportunities for fishing which the place afforded, he became evening organist of Hampton parish church. The duties at St. John's were discharged deputywise by his father; but as there was complaint made about S. S. Wesley's holding three posts at the same time, he resigned that of St. John's.

On 10 July 1832 Wesley was appointed organist of Hereford Cathedral in succession to John Clarke-Whitfeld [see ]. He began duty on 6 Nov., when he reopened the organ after its renovation by Bishop; his masterly anthem, ‘The Wilderness,’ was in all probability first performed on that occasion (a foot-note on the current folio edition of the work states that it was ‘composed for the reopening of a cathedral organ, 1831,’ but this is doubtless a lapsus calami for ‘1832’). In the following month (15 Dec. 1832, Addit. MS. 35019, f. xv) he sent in his ‘Wilderness’ in competition for the Gresham prize (London)—a gold medal value five guineas, given annually by Miss Hackett for the best composition in church music—but without success. ‘It is a clever thing,’ wrote [q. v.], one of the adjudicators, ‘but not cathedral music.’ ‘The Wilderness’ was performed with orchestral accompaniment at the Birmingham Musical Festival of 1852 under the composer's conductorship. Another of Wesley's famous anthems, ‘Blessed be the God and Father,’ was composed while he was at Hereford. The state of the choir at that time may be estimated by the following note printed on the folio edition: ‘This anthem was written for an occasion (Easter day) when only trebles and a single bass voice were available.’ By virtue of his office Wesley conducted the festival of the three choirs, held at Hereford 9–11 Sept. 1834, when a manuscript overture of his, ‘which evinced great talent,’ was performed. In 1835 he resigned Hereford and became organist and


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 sub-chanter of Exeter Cathedral. This post he held for six years, during which period his fame as a composer of church music and as an organist became established. On 21 June 1839 he accumulated, by special dispensation of the congregation, the degrees of bachelor and doctor in music at the university of Oxford. His ‘exercise’—the fine eight-part anthem, ‘O Lord, Thou art my God’—was performed in Magdalen College chapel (20 June), on which occasion the composer presided at the organ. He sought the degree of ‘doctor’ solely because he thought it would be useful to him in any candidature for a university professorship of music. Three opportunities of this nature presented themselves to Wesley, in all of which, however, he was either unsuccessful or he withdrew his candidature—at Edinburgh in 1841 and 1844, and Oxford in 1848, on the death of [q. v.]

Early in 1842, attracted by a liberal offer made to him by Walter Farquhar Hook, afterwards dean of Chichester, but then vicar of Leeds, Wesley became organist of Leeds parish church. During this period (1842–9) he gave a course of illustrated lectures on church music at the Liverpool Collegiate Institution, March to May 1844, and again in 1846. At Leeds he wrote his fine service in E, the copyright of which he sold on 5 Feb. 1845 to Martin Cawood, an ironmaster, for fifty guineas. The musical heterodoxy of this service was assailed by the critics, who at all times roused Wesley's susceptibilities and became his deadly enemies. He opened Walker's new organ at Tavistock parish church on 25 June 1846, and it was stated that he had accepted the appointment of organist; but in any case it must have been only of a temporary nature, as he did not quit Leeds until 1849 (cf. Plymouth Weekly Journal, 2 April, 25 June, 2 July 1846; Plymouth Herald, 11 April 1846; and Times (London), report of action Burton v. Wesley, 16 July 1852). In order to secure special educational advantages for his sons, Wesley accepted the organistship of Winchester Cathedral in the latter part of 1849, and remained there for the next fourteen years. Previous to his departure from Leeds the gentlemen of the choir presented him with his portrait painted in oils by W. K. Briggs, which is now in possession of his eldest son, F. G. Wesley, vicar of Hamsteels, Durham. On 10 Aug. 1850 he was appointed a professor of the organ at the Royal Academy of Music.

In 1865 Wesley was consulted by the dean and chapter of Gloucester in regard to filling up the appointment of organist at that cathedral, with the result that he offered himself for the post. His offer was accepted, and he retained this appointment until his death. After an interval of thirty-one years he again, in his official capacity as organist, conducted the festival of the three choirs in 1865, and subsequently in 1868, 1871, and 1874, all at Gloucester. On the recommendation of Mr. Gladstone a civil list pension of 100l. per annum was conferred upon him on 14 Jan. 1873, ‘in recognition of his musical talents.’ He accompanied a service for the last time in the cathedral on Christmas day, 1875. At its conclusion he played Handel's ‘Hallelujah’ chorus. He died at his residence, Palace Yard, Gloucester, on 19 April 1876, his last words, addressed to his sister, Miss Eliza Wesley, being, ‘Let me see the sky.’ He was buried at his own request in the old cemetery, Exeter, beside his only daughter. On 4 May 1835 at Ewyas Harold church, near Hereford, he was married to Mary Anne, sister of [q. v.], dean of Hereford. By her he had four sons and one daughter. Wesley's civil list pension was continued to his widow until her death in London on 28 Feb. 1888.

Wesley had a very remarkable personality, and many extraordinary tales are related of his eccentricity. All his life long he waged war with cathedral dignitaries and music publishers. The cathedral precentor was perhaps his pet aversion. His views on the subject of cathedral music and deans and chapters may be found in his pamphlets, ‘A Few Words on Cathedral Music and the Musical System of the Church, with a Plan of Reform’ (London, 1849); ‘Reply to the Inquiries of the Cathedral Commissioners relative to Improvement in the Music of Divine Worship in Cathedrals’ (London, 1854); the caustic preface to his service in E (original edition), 1845; and the ‘Lute’ (May 1885, p. 97).

He showed his antipathy to music publishers by publishing most of his compositions on his own account. In 1868, however, he sold the copyrights of his anthems, organ and pianoforte pieces, &c., to the firm of Novello & Co. for the sum of 750l.

As a composer of English church music, Wesley stands in the front rank. His daring modulations and unconventionalities staggered the dryasdusts of his time, who, blinded by their own contrapuntal orthodoxy, could not discern the deep poetic feeling, the devotional utterance, united to the highest musicianship, which eminently characterise Wesley's compositions for the church. He was an excellent performer on the organ; his extempore playing was in the highest degree masterly. Although so pronounced an innovator in regard to compositions for the


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The New International Encyclopædia/Olshausen, Hermann

OLSHAUSEN,, (1796-1839). A German theologian. He was born at Oldesloe, in Holstein, entered the University of Kiel in 1814, and two years later went to the University of Berlin, where the teaching of Schleiermacher and Neander gave direction to his life studies and writings. In 1817 he was awarded the prize at the festival of the Reformation for an essay, Melanchthons Charakteristik aus seinen Briefen dargestellt (1818). This essay brought him to the notice of the Prussian Minister of Public Worship, and he was made privat-docent at Berlin in 1820, passing the next year to Königsberg as professor extraordinary, and in 1827 was elected full professor. He removed from Königsberg to Erlangen in 1834. His most notable work is his Kommentar über sämmtliche Schriften des Neuen Testaments (4 vols., 1830; completed and revised by Ebrard and Wiesinger; Eng. trans., 1847-49). An earlier work adducing from the writings of the first two centuries historical proofs of the genuineness of the Gospels is Die Echtheit der vier kanonischen Evangelien, aus der Geschichte der zwei ersten Jahrhunderte erwiesen (1823). His method of exegesis is presented in Ein Wort über tieferen Schriftsinn (1824), and Die biblische Schriftauslegung. In these latter works he rejects the doctrine of verbal inspiration.


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 church, Wesley was in other respects very conservative. He advocated the G compass for the organ; and when in 1855 the huge instrument in St. George's Hall, Liverpool (in the construction of which he was the chief musical adviser to the corporation), was built, he wanted both manuals and pedals to begin at G; but a compromise was insisted upon by ‘Father’ Willis, the builder, whereby the manuals began at G and the pedals at C! His views on ‘equal temperament’ were diametrically opposite to those held in the present day. He wrote: ‘The practice of tuning organs by equal temperament is, in my humble opinion, most erroneous’ (Musical Standard, 1 April 1863 p. 242, 15 June 1863 p. 321, 1 July 1863 p. 337).

In addition to those already mentioned, Wesley's compositions include: His familiar hymn-tune ‘Aurelia’ first appeared in ‘A Selection of Psalms and Hymns, arranged for the Services of the Church of England,’ by Rev. C. Kemble of Bath, 1864.
 * 1) Eleven other anthems and three collects.
 * 2) Services in E, F; chant services in F (two), G, &c.
 * 3) ‘The European Psalmist: a Collection of Hymn Tunes’ (dedicated to the queen), 1872.
 * 4) An Ode, composed for the opening of an exhibition, Agricultural Hall, Islington, 17 Oct. 1864.
 * 5) The Hundreth Psalm, arranged for performance at the laying of the foundation-stone of Netley Hospital, 19 May 1856.
 * 6) The Psalter, pointed for chanting, 1843.
 * 7) Words of anthems, 1869.
 * 8) Organ music.
 * 9) Pianoforte music, including a set of classical quadrilles.
 * 10) Glees and songs.
 * 11) Many hymn-tunes and chants.

WESSINGTON, JOHN (d. 1451), prior of Durham, was possibly born at, and took his name from, a village in the county of Durham, now known as Washington. He entered the Benedictine order, and was one of the students regularly sent by the Benedictines of Durham to be educated at their house at Oxford, then known as Durham College and now merged in Trinity. In 1398 he became bursar of Durham College, in which he took great interest, obtaining books for its use from the chapter at Durham, and writing in 1422 a treatise to prove that it should be exempt from the jurisdiction of the general ‘prior studentium’ at Oxford because the college existed before the appointment of the prior. This treatise, extant among the manuscripts of Durham cathedral library, is printed in vol. iii. of the Oxford Historical Society's ‘Collectanea,’ 1896. About 1400 Wessington appears as chancellor of Durham Cathedral, and in the autumn of 1416 he was made prior. He retained this office for twenty-nine and a half years, during which he was very active in extending and repairing the buildings of the cathedral and its dependent houses (Hist. Dunelm. Scriptt. Tres, pp. cclxxi–vii). In 1426 he presided over a general chapter of Benedictines in England held at Northampton. He resigned his priory in May 1446, the bishop of Durham, [q. v.], issuing letters for the election of his successor on the 26th. The chapter of Durham, in gratitude for Wessington's services, made liberal provision for his old age. He was assigned a pension of 40l., a private room ‘vocata Coldingham’ in the monastery, and five attendants—a chaplain, an esquire, a clerk, a valet, and a ‘garcio.’ If he wished to leave Durham for his health's sake, he was to be allowed the principal room in the cell at Finchale, and another apartment there called ‘Douglas Tower.’ He died on 9 April 1451.

Bernard gives a list of Wessington's works extant among the manuscripts at Durham Cathedral; they include treatises (1) ‘De Origine Ordinis monachalis’; (2) ‘De Constitutione Monasteriorum Wermuthensis et Girwicensis [Wearmouth and Jervaulx] et Abbatibus eorum;’ (3) ‘De sanctis Monachis Lindisfarnensibus;’ (4) ‘De Fundatione Athenarum et Universitatum Parisiensis et Oxoniensis,’ and (5) ‘Vita S. Pauli primi Eremitæ et S. Antonii.’ His ‘Defensio Jurium, Libertatum, et Possessionum Ecclesiæ Dunelmensis adversus Malitias et Machinationes ipsa molentium impugnare’ extant in Cottonian MS. Vitellius A xix, was badly damaged by fire, but has been partially restored. A volume of his sermons entitled ‘Sermones de Festis principalibus tam de Sanctis quam de Tempore,’ is in the Bodleian Library (Laud MSS. Miscellanea 262), and the same manuscript contains ‘Materiæ pro Sermonibus eodem forsan Auctore.’

[Bernard's Cat. MSS. Angliæ; Cat. Bodleian MSS.; Tanner's Bibliotheca, p. 758; Raine's North Durham, p. 120; Surtees Soc. Publ. vol. ix. pp. clxvi–viii, cclxxi–vii, vol. xxxi. pp. 72–3;


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 Wharton's Anglia Sacra, i. 789; Blakiston's Some Durham Rolls in Oxford Hist. Soc. Collectanea, vol. iii. and Hist. of Trinity College, 1896, p. 12.]

WEST, (1790–1876), actress, the daughter of Mr. Cooke of Bath, was born in Bath on 22 March 1790. Influenced by the example of her cousin and playmate, Mrs. [q. v.], she appeared at the Bath Theatre on 22 May 1810 for the benefit of her uncle, an actor, as Miss Hardcastle in ‘She stoops to Conquer,’ and in 1811, at the same house, played Emily Tempest in the ‘Wheel of Fortune.’ In the summer of 1812 she played at Cheltenham and Gloucester. Recommended by Mr. and Mrs. Charles Kemble, she made, as Miss Cooke, her first appearance at Covent Garden on 28 Sept. 1812 as Desdemona. On 3 Oct. she played Lady Percy in ‘Henry IV,’ and on the 16th had a part in an unprinted play called ‘Schniederkins.’ Miranda in Dryden's ‘Tempest,’ Julia in the ‘Rivals,’ and Angelica, an original part in Jameson's ‘Students of Salamanca,’ on 23 Jan. 1813 followed, but attracted little attention. Next season she was Fanny Sterling in the ‘Clandestine Marriage,’ Charmian in ‘Antony and Cleopatra,’ was the first Georgiana in ‘Folly as it Flies’ on 27 Nov., and the first Eliza Arundel in Pocock's ‘For England Ho!’ on 15 Dec. On 10 Nov. 1814 she played Juliet at Edinburgh. Thither she was followed by West, whom in March 1815 she married.

On 30 Sept. 1815, as Mrs. W. West (late Miss Cooke) from Edinburgh, she reappeared in Bath, playing Statira in ‘Alexander the Great,’ Violante in the ‘Wonder,’ Queen Mary in ‘Albion Queens,’ Julia in ‘Italian Lover,’ Cherry in the ‘Beaux' Stratagem,’ Dame Kitely in ‘Every Man in his Humour,’ Lydia Languish to her husband's Fag, and Eugenia in the ‘Duke of Milan.’ Here she remained during the two following seasons, playing Imogene in ‘Bertram,’ Mrs. Belmour in ‘Is he Jealous,’ Aspasia in ‘Tamerlane,’ Calista in the ‘Fair Penitent,’ Leonora in the ‘Revenge’ to Kean's Zanga, Millwood in ‘George Barnwell,’ Ellen in ‘Lady of the Lake,’ Octavia in ‘All for Love,’ Elvira in ‘Pizarro,’ Tilburina in the ‘Critic,’ Helen McGregor in ‘Rob Roy,’ Alicia in ‘Jane Shore,’ and other parts.

On 17 Sept. 1818 she made as Desdemona her first appearance at Drury Lane. Leading business, principally tragic, was now assigned her, and she was seen during the first season as Belvidera in ‘Venice Preserved,’ Lady Townley, Lady Macbeth, Hermione, Mrs. Beverley, Jane Shore, Julia in the ‘Rivals,’ Mrs. Haller, and in very many original rôles, among which may be named Tarquinia in Howard Payne's ‘Brutus’ on 3 Dec., Clare St. Clare in ‘Flodden Field’ (‘Marmion’) on 31 Dec., Imma in Soane's ‘Dwarf of Naples’ on 13 March 1819, Angelina in Buck's ‘Italians’ on 3 April, Rosa in Milner's ‘Jew of Lubeck’ on 11 May, and Claudina in Twiss's ‘Carib Chief’ on 13 May. Among parts played in subsequent seasons were Lady Amaranth in ‘Wild Oats,’ Lady Anne in ‘Richard III,’ Cordelia, Adelgitha in a piece so named, Cora in ‘Pizarro,’ Portia in ‘Julius Cæsar’ and in the ‘Merchant of Venice,’ Ella Rosenberg, Queen Katharine in ‘Henry VIII,’ Zorayda in the ‘Roman Actor,’ Yarico, Juliet, Perdita, Alcmena in ‘Amphitryon,’ Zaphira in ‘Barbarossa,’ and the Queen in ‘Hamlet.’ Most important among her many original parts were Rebecca in the ‘Hebrew’ (Soane's adaptation of ‘Ivanhoe’) on 2 March 1820, Virginia in ‘Virginius’ (put up at Drury Lane to rival Knowles's play at Covent Garden) on 29 May, Mary Queen of Scots in Hamilton's ‘David Rizzio’ on 12 June, Pocahontas in the piece so named on 15 Dec., Julia in ‘Montalto’ on 8 Jan. 1821, Angiolina in ‘Marino Faliero’ on 25 April, and Norna in the ‘Pirate’ on 15 Jan. 1822. She had hitherto constantly supported Kean. On 13 Oct. 1823 she played Virginia in Knowles's tragedy to Macready's Virginius, and on 18 Nov. was the first Licinia in Knowles's ‘Licinius.’ She was the first Amy Robsart in a version of ‘Kenilworth,’ 5 Jan. 1824. On 13 Oct. at the Haymarket she played Sophia in the ‘Road to Ruin.’ She was at Drury Lane the first Beaumelle in an alteration of the ‘Fatal Dowry’ on 5 Jan. 1824, Lorina in Soane's ‘Massaniello’ on 17 Feb., Berengaria in ‘Knights of the Cross’ (‘The Talisman’) on 29 May 1826, Emerance in Grattan's ‘Ben Nazir the Saracen’ on 21 May 1827, Julia in the ‘Gambler's Fate’ (adapted from the French by Thompson) on 15 Oct., and Maria de Padilla in Lord Porchester's ‘Don Pedro’ on 10 March 1828. When the record of Genest stops, information concerning her becomes scanty. In 1835 she was at Covent Garden under Osbaldiston, but played chiefly secondary parts, and she then lapsed into performing at the minor theatres, and subsequently disappeared in the country. Her last London engagement was at the Marylebone about 1847. She died at Glasgow on 30 Dec. 1876 at the house of her nephew, Mr. Henry Courte Cooke, and was buried at Sighthill cemetery on 2 Jan. 1877.

Mrs. West was a capable actress at the outset, and was classed next to Miss O'Neill.


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United States Code/Title 11/Chapter 7/Section 723

§ 723. Rights of partnership trustee against general partners

 * (a) If there is a deficiency of property of the estate to pay in full all claims which are allowed in a case under this chapter concerning a partnership and with respect to which a general partner of the partnership is personally liable, the trustee shall have a claim against such general partner to the extent that under applicable nonbankruptcy law such general partner is personally liable for such deficiency.

 * (b) To the extent practicable, the trustee shall first seek recovery of such deficiency from any general partner in such partnership that is not a debtor in a case under this title. Pending determination of such deficiency, the court may order any such partner to provide the estate with indemnity for, or assurance of payment of, any deficiency recoverable from such partner, or not to dispose of property.

 * (c) Notwithstanding section 728 (c) of this title, the trustee has a claim against the estate of each general partner in such partnership that is a debtor in a case under this title for the full amount of all claims of creditors allowed in the case concerning such partnership. Notwithstanding section 502 of this title, there shall not be allowed in such partner’s case a claim against such partner on which both such partner and such partnership are liable, except to any extent that such claim is secured only by property of such partner and not by property of such partnership. The claim of the trustee under this subsection is entitled to distribution in such partner’s case under section 726 (a) of this title the same as any other claim of a kind specified in such section.

 * (d) If the aggregate that the trustee recovers from the estates of general partners under subsection (c) of this section is greater than any deficiency not recovered under subsection (b) of this section, the court, after notice and a hearing, shall determine an equitable distribution of the surplus so recovered, and the trustee shall distribute such surplus to the estates of the general partners in such partnership according to such determination.


text: Travels with a Donkey in the Cevennes/Upper Gévaudan


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The New International Encyclopædia/Olshausen, Justus

OLSHAUSEN, (1800-82). A German Orientalist, brother of the preceding, who made contributions to Semitic and Iranian philology. He was born at Hohenfelde; studied at Kiel, Berlin, and Paris (under De Sacy); and from 1830 to 1852 was professor at Kiel. Removed in the latter year by the Danish Government, which he had energetically opposed, he became professor at Königsberg (1853-58), then councilor in the Ministry of Education, and retired in 1874. Olshausen's more important works are: Emendationen zum Alten Testament (1826); Fragments relatifs à la religion de Zoroastre (1829), written in collaboration with Julius von Mohl (q.v.); Die Pehlewi-Legenden auf den Münzen der letzten Sassaniden (1843); Lehrbuch der hebräischen Sprache (1864); Prüfung des Charakters der in den assyrischen Keilinschriften enthaltenen semitischen Sprache (1864). Consult Schrader, Gedächtnisrede auf Justus Olshausen (Berlin, 1883).


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United States Code/Title 11/Chapter 7/Section 724

§ 724. Treatment of certain liens

 * (a) The trustee may avoid a lien that secures a claim of a kind specified in section 726 (a)(4) of this title.

 * (b) Property in which the estate has an interest and that is subject to a lien that is not avoidable under this title (other than to the extent that there is a properly perfected unavoidable tax lien arising in connection with an ad valorem tax on real or personal property of the estate) and that secures an allowed claim for a tax, or proceeds of such property, shall be distributed—
 * (1) first, to any holder of an allowed claim secured by a lien on such property that is not avoidable under this title and that is senior to such tax lien;
 * (2) second, to any holder of a claim of a kind specified in section 507 (a)(1) (except that such expenses, other than claims for wages, salaries, or commissions that arise after the date of the filing of the petition, shall be limited to expenses incurred under chapter 7 of this title and shall not include expenses incurred under chapter 11 of this title), 507(a)(2), 507(a)(3), 507(a)(4), 507(a)(5), 507(a)(6), or 507(a)(7) of this title, to the extent of the amount of such allowed tax claim that is secured by such tax lien;
 * (3) third, to the holder of such tax lien, to any extent that such holder’s allowed tax claim that is secured by such tax lien exceeds any amount distributed under paragraph (2) of this subsection;
 * (4) fourth, to any holder of an allowed claim secured by a lien on such property that is not avoidable under this title and that is junior to such tax lien;
 * (5) fifth, to the holder of such tax lien, to the extent that such holder’s allowed claim secured by such tax lien is not paid under paragraph (3) of this subsection; and
 * (6) sixth, to the estate.

 * (c) If more than one holder of a claim is entitled to distribution under a particular paragraph of subsection (b) of this section, distribution to such holders under such paragraph shall be in the same order as distribution to such holders would have been other than under this section.

 * (d) A statutory lien the priority of which is determined in the same manner as the priority of a tax lien under section 6323 of the Internal Revenue Code of 1986 shall be treated under subsection (b) of this section the same as if such lien were a tax lien.

 * (e) Before subordinating a tax lien on real or personal property of the estate, the trustee shall—
 * (1) exhaust the unencumbered assets of the estate; and
 * (2) in a manner consistent with section 506 (c), recover from property securing an allowed secured claim the reasonable, necessary costs and expenses of preserving or disposing of such property.

 * (f) Notwithstanding the exclusion of ad valorem tax liens under this section and subject to the requirements of subsection (e), the following may be paid from property of the estate which secures a tax lien, or the proceeds of such property:
 * (1) Claims for wages, salaries, and commissions that are entitled to priority under section 507 (a)(4).
 * (2) Claims for contributions to an employee benefit plan entitled to priority under section 507 (a)(5).


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West She had a pleasing face and figure, and, until in her later days she spoilt it by ranting, a very musical voice. The ‘London Magazine and Theatrical Inquisitor’ (iii. 517) says she was ‘the most plaintive and the most tenderly susceptible of all our modern actresses. In the affectionate endearments of a wife, in the soothing caresses of a daughter, as in the instances of Belvidera and Cordelia, we can imagine nothing finer … She is the sweetest yet the saddest of the daughters of Thespis; her conception is delicacy itself.’ She had intelligence also. After the death of Alexander Rae [q. v.], the Edgar to her Cordelia and the Lear of Kean, she spoke for the benefit of his family on 31 Oct. 1820 an occasional address, the last line of which was ‘pardon Cordelia's tears, they're shed for Rae.’ Conscious of the bathos and impropriety of this line, spoken in an assumed character of a man but recently alive, she substituted for it with overwhelming effect the line, ‘Pardon Cordelia's tears. Poor Tom's a cold.’ A portrait of her as Portia accompanies her life in Oxberry's ‘Dramatic Biography’ (vol. ii.). Oxberry calls her features exquisitely charming but incapable of strong expression; with a figure of middle size beautifully moulded, and with brown and abundant hair, one of the most beautiful women on the stage. In declamation and passions other than love she was not at her best; her Lady Macbeth was tame and unreal. More refined in comedy than Mrs. Davison and Mrs. Glover, she had less humour than either. She recited admirably poems such as Collins's ‘Ode to the Passions.’ Through jealousy she separated early from her husband, by whom she had two children, and never rejoined him.

Her husband, (1796?–1888), comedian and musical composer, lived to be called ‘The Father of the Stage.’ His father was connected with Drury Lane. After studying music under Thomas Welsh and subsequently under C. E. Horn, he appeared at the Haymarket in 1805 as Tom Thumb. He then at Drury Lane played parts such as Juba in the ‘Prize’ and Boy in ‘Children in the Wood.’ In 1814 he followed Miss Cooke to Edinburgh, and next year married her in the teeth of much competition. His first appearance in Edinburgh was on 10 Nov. 1814 as Don Carlos in the ‘Duenna.’ After playing in Bath and Bristol he appeared in London at the East London Theatre, and on 9 May 1822 played at Drury Lane Lord Ogleby in the ‘Clandestine Marriage.’ He also acted at the Olympic and other theatres. He gave in 1842 an entertainment illustrative of the clowns of Shakespeare, and died late in January or early in February 1888. His most popular songs were ‘When Love was fresh from her Cradle-bed,’ ‘Alice of Fyfe,’ and ‘Love and the Sensitive Plant.’ His glees include ‘The Ocean King,’ ‘Up Rosalie,’ ‘Oh, Bold Robin Hood,’ and ‘The Haaf Fishers.’ He is also responsible for a sonata, entitled ‘Maid Marian,’ and ‘An Ancient English Morris Dance with Variations.’ A woodcut portrait of West as Mungo in the ‘Padlock,’ in which he was excellent, is in the ‘Theatrical Biography’ for 1824.

[Books cited; Genest's Account of the English Stage; Theatrical Inquisitor; Dramatic and Musical Review; Scott and Howard's Blanchard; Clark Russell's Representative Actors; Mrs. Baron Wilson's Our Actresses; Georgian Era; Era newspaper, 7 Jan. 1877; Era almanack.]  WEST, BENJAMIN (1738–1820), historical painter, was descended from an old family of Long Crendon, Buckinghamshire, members of which went over to America with Penn in 1681. His father, John West, settled at Springfield in Chester County, Pennsylvania, in 1714; he married Sarah, daughter of Thomas Pearson, a quaker, and had a family of ten children, the youngest of whom was Benjamin, born on 10 Oct. 1738. The farmhouse in which he was born is still standing near Swarthmore, in what is now called Delaware County, Pennsylvania. According to the life by John Galt, which was written from information supplied by West himself, his early life was marked by many remarkable and prophetic circumstances. At seven years old he drew his baby niece in her cradle in red and black chalk. He received his first instructions in art from a Cherokee, and obtained from him his first colours, which were the red and yellow used by the Indians. To these his mother added a stick of indigo, and so completed the chord of what were then called the three primary colours. He shaved a cat to make his brushes, and his early artistic efforts so astonished a merchant named Pennington that he gave him a box of colours. He also gave West some brushes and a piece of canvas on which the boy painted a composition from three engravings by Guercino, also given to him by his admirer. This picture was still in existence, and was exhibited by the side of his large picture of ‘Christ Rejected’ sixty-seven years after it was painted.

At nine years old he burst into tears at the sight of a landscape by an artist of Philadelphia named Williams, and declared his intention of being a painter. His father and mother were quakers, but they and the So-


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 ciety of Friends at Springfield were so convinced of the greatness of the lad's gifts that after solemn deliberations they allowed him to adopt art as a profession. When eighteen years old his mother died, and he set up as a portrait-painter at Philadelphia, and afterwards at Lancaster and New York. Then, with the assistance of 50l. from a merchant named Kelly, he went to Italy. The ship in which he sailed was protected from Gibraltar to Leghorn by a convoy under the command of Captain Charles Meadows (afterwards Earl Manvers), who remained his friend in after life. From Leghorn he proceeded to Rome, where he arrived on 10 July 1760, and obtained introductions to Cardinal Albani and other persons of note. The young American attracted much curiosity on account of the semi-savage life he was supposed to have led, but he soon distinguished himself by a portrait of Thomas Robinson (afterwards Lord Grantham), and was introduced to Raffaelle Mengs and Pompeo Battoni. The fame of the portrait reached his friends in America, and Chief-justice Allen and Governor Hamilton determined to supply him with funds. He remained in Italy three years, making friends and reputation wherever he went. He visited many of the principal cities of Italy, and was made a member of the academies at Parma, Florence, and Bologna.

In 1763, preceded by a reputation, he came to England with two pictures painted in Rome. Here he was received by three of his American friends, Dr. William Smith (provost of the college at Philadelphia), Chief-justice Allen, and Governor Hamilton. He took lodgings in Bedford Street, Covent Garden, and afterwards in Castle Street, Leicester Fields, and was introduced to Dr. Johnson, Burke, and Sir Joshua Reynolds, who received him kindly, and recommended him to exhibit his pictures. ‘Cymon and Iphigenia,’ ‘Angelica and Medoro,’ and a portrait of General Monckton appeared at the exhibition of the Society of Artists in Spring Garden in 1764. He became a member of the Incorporated Society in 1765, when he exhibited ‘Jupiter and Europa,’ ‘Venus and Cupid,’ and two portraits in fancy dress. In the same year he married Elizabeth Shewell, to whom he was engaged before he left America, and who (accompanied by West's father) came over to marry him. West dropped his quaker habit and manner of speech soon after he settled in England, and, although both he and his wife had been brought up as quakers, they were married at the church of St. Martin-in-the-Fields (2 Sept. 1765).

In 1766 he exhibited ‘Pylades and Orestes,’ ‘The Continence of Scipio,’ and other works which greatly increased his reputation; but it was a picture of ‘Agrippina landing at Brundusium with the ashes of Germanicus’ which is said to have made his fortune. This was a commission from Robert Hay Drummond [q. v.], archbishop of York, who tried to raise 3,000l., to enable West to give up portrait-painting and devote himself to historical art; but this failing, he introduced West (in 1767 or 1768) to the king, who admired ‘Agrippina,’ and suggested ‘The Departure of Regulus from Rome’ as a subject for another historical picture, for which his majesty gave him a commission. From this time till the king became permanently insane the royal favour never left him. He was one of the four chosen to draw up the plan of the Royal Academy, and was one of the original members nominated by the king. West exhibited ‘Regulus’ at its first exhibition in 1769. In 1772 he was appointed historical painter to the king, and in 1790 surveyor of the royal pictures. He was employed to decorate St. George's Hall, Windsor, with eight pictures from the life of Edward III, and the royal oratory with a series of thirty-six on the progress of revealed religion, twenty-eight of which were executed. He also painted a number of royal portraits, singly or in groups, and received other commissions, including one for a copy of his celebrated picture of the ‘Death of Wolfe.’ This picture was the first in which a modern battle was represented in modern costume instead of that of Greeks and Romans. The feeling against such a daring innovation was very strong, and when West's intention was understood, Sir Joshua Reynolds called upon West, with the archbishop of York, and tried to dissuade him from his project; but West was firm, and said: ‘The event to be commemorated happened in the year 1759, in a region of the world unknown to the Greeks and Romans, and at a period of time when no warriors who wore such costume existed. The subject I have to represent is a great battle fought and won, and the same truth which gives law to the historian should rule the painter.’ They came again when the picture was finished, when Reynolds said to Drummond: ‘West has conquered; he has treated the subject as it ought to be treated. I retract my objections. I foresee that this picture will not only become one of the most popular, but will occasion a revolution in art.’ All, however, were not convinced, and James Barry (1741–1806) [q. v.], in protest against such an indignity to historical art, painted the same subject with all the figures nude. Reynolds's prophecies


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United States Code/Title 11/Chapter 7/Section 725

§ 725. Disposition of certain property

After the commencement of a case under this chapter, but before final distribution of property of the estate under section 726 of this title, the trustee, after notice and a hearing, shall dispose of any property in which an entity other than the estate has an interest, such as a lien, and that has not been disposed of under another section of this title.


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 were nevertheless verified, and the ‘Death of Wolfe’ was the most successful and the best of all West's pictures. Woollett's plate after this picture had the largest sale of any modern engraving [see ]. The ‘Death of Wolfe’ was exhibited at the Royal Academy in 1771, and was purchased by Lord Grosvenor. A copy of it is at Hampton Court. In the same exhibition West had seven other pictures of classical and biblical subjects, including ‘Hector and Andromache,’ painted for Dr. Newton, and the ‘Prodigal Son’ for the bishop of Worcester. The next year he produced another scene from modern American history, ‘William Penn's Treaty with the Indians’ (now at Philadelphia). In 1780 he exhibited two modern battle pieces, the ‘Battle of the Boyne’ and the ‘Destruction of the French Fleet at La Hogue.’ These pictures, all of which were engraved, greatly increased his popularity. He afterwards painted the ‘Death of Chevalier Bayard,’ the ‘Death of Nelson,’ ‘Treaty between Lord Cornwallis and Tippoo Sahib,’ ‘Oliver Cromwell dissolving Parliament,’ a few scenes from Spenser and Tasso, two for Boydell's ‘Shakespeare,’ and others from modern history and poetry. But such pictures were very few in comparison with his sacred and classical works. In 1774 he exhibited ‘The Angels appear to the Shepherds’ for the altar of a cathedral, and ‘Moses receiving the Tables’ (intended for St. Paul's Cathedral). He also painted altar-pieces for St. Stephen's, Walbrook, Trinity College Chapel, Cambridge, Greenwich Hospital Chapel, and other churches, and was regarded as the greatest historical painter of the English school. In 1792, at the death of Sir Joshua Reynolds, he was elected president of the Royal Academy, a position he held till his death, with the exception of the short interregnum of James Wyatt [q. v.] The king offered him knighthood on his appointment, but he refused it on the ground that it would not add to the eminence he had gained by his pencil, but at the same time he gave a hint that he would accept a baronetcy. The hint was not taken, but the king's favour continued, and he went on painting his pictures for the chapel at Windsor till their progress was interrupted by the king's illness in 1801. Ill-natured attacks on account of the royal patronage now made him produce an account which showed that from 1768 to 1801 he had executed sixty-four pictures and other designs for the king, and had received for them 34,187l. On his recovery George III took him again under his protection, and allowed him 1,000l. a year. In 1803 or 1804 West went to Paris, and saw the great collection of works of art gathered in the Louvre by Bonaparte, of whom he was a great admirer. In 1804 he had a disagreement with the academy and resigned the presidency in December, but was re-elected early in 1805. About this time he endeavoured to form a national association for the encouragement of great works of art. He wrote an address to the king upon the subject, and received some assurance of ministerial assistance, which was never given. West had to abandon his scheme, but it was partly owing to his efforts that the British Institution was founded in 1805. In 1811 George III became permanently insane, and West's pension of 1,000l. a year was stopped without notice. He bore the loss without complaint, and went on painting with his usual regularity. He was now growing old, but his ambition and his belief in his own powers increased rather than diminished. He began to paint a series of scriptural subjects upon a large scale. The first of these was a picture of ‘Christ healing the Sick in the Temple,’ which was painted for the quakers of Philadelphia in aid of an hospital to be erected there. When exhibited in London it had a great success, and the British Institution offered West three thousand guineas for it. He accepted this offer on condition that he should make a copy of it for Philadelphia. The original was presented to the National Gallery by the British Institution in 1826, and has been engraved on a large scale by Charles Heath, and on a small scale for Jones's ‘National Gallery.’ The copy was exhibited in America, and a wing was added to the hospital out of the profits of the exhibition. To show his gratitude to the British Institution, West in 1815 had a medal struck, and presented one to each of the forty directors, of whom the prince regent was the president (see Annals of the Fine Arts, 1816 p. 259, and 1817 p. 281). These large pictures included the ‘Descent of the Holy Ghost on Christ at the Jordan’ (ten feet by fourteen); ‘The Crucifixion’ (sixteen feet by twenty-eight); and ‘The Ascension’ (twelve feet by eighteen). Perhaps the most ambitious and least successful of all was ‘Death on the Pale Horse’ (now in the Pennsylvanian Academy). The picture was exhibited at his own gallery in 1817. In this year, on 6 Dec., he lost his wife. His own strength now began gradually to fail. He suffered from gout and rheumatism, but it was of no specified complaint that he expired on 11 March 1820 at his house, 14 Newman Street, where he had lived for forty-five years. His body lay in state at the Royal Academy, and was buried with great honour in St. Paul's Cathedral. For some years


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Author:John Starkie Gardner

Works

 * A Monograph of the British Eocene Flora with Constantin Freiherr von Ettingshausen, in two volumes (1879–1886)
 * Armour in England from the earliest times to the reign of James the First (1897)
 * (Modern Art)

title: Author:John Starkie Gardner


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 after his death his gallery in Newman Street was open to the public, but it attracted few visitors. His remaining works were sold by Robins in May 1829, when 181 pictures realised 19,137 guineas, ‘Death on the Pale Horse’ fetching two thousand guineas, and ‘Christ Rejected’ three thousand guineas. This shows that, though his gallery was deserted, his reputation outlived him for many years; but in 1840 a picture of the ‘Annunciation,’ for which he had received eight hundred guineas from the vestry of St. Marylebone, London, was sold for 10l.

West's private life was irreproachable. He was extremely industrious, and produced over four hundred works. He bore successes and reverses with equanimity. He was kind to young artists, free from jealousy, and generous beyond his means. Of good presence and gentle manners, he held his own in distinguished society, and filled with dignity the office of president of the Royal Academy. His serenity was sustained by his profound belief in his own genius—a belief which increased with his years. Leigh Hunt has left a charming picture of the kind, vain old man in his stately house, surrounded by his own large pictures.

West delivered a few addresses to the students of the Royal Academy, and published a few letters on public subjects, but they were of little merit. This was partly due to want of education, for he could scarcely write a sentence without faults of spelling and grammar. It is somewhat difficult to understand the great reputation achieved by West in his lifetime, for the tameness of his ‘historical’ and ‘biblical’ pictures is unredeemed by any beauty of colour or execution; but it must be remembered that he was regarded as the founder of historical painting in England, and he had no serious rival (except Benjamin Robert Haydon [q. v.]) in this class of art. The patronage of the king certainly gave him position, but the artists and connoisseurs of the day, and the critics also, with few exceptions, like ‘Peter Pindar’ and ‘Antony Pasquin,’ were loud in his praise. Sir Thomas Lawrence, in an address to the students of the Royal Academy in 1823, spoke of his compositions ‘as far surpassing contemporary merit on the continent, and as unequalled at any period below the schools of the Caracci.’ His chief claim to remembrance is nevertheless his ‘Death of Wolfe,’ by which he effected a much-needed revolution in modern art.

A full-length portrait by Lawrence of West in his painting-room was painted for the Prince of Wales in 1811, and was presented to the National Gallery by William IV in 1836; a copy by C. R. Leslie is in the Boston Athenæum. Another portrait by Lawrence was engraved for the first edition of Cunningham's ‘Lives.’ A portrait by Gainsborough was engraved by Watson in 1785, and one by Falconet was engraved by D. Pariset. His bust was made in 1819 by Chantrey, and the medal already mentioned by George Mills. The Chantrey bust is in the National Portrait Gallery, which also possesses two portraits of West by Gilbert Stuart.

Belonging to the National Gallery are the following pictures by West: ‘Cleombrotus ordered into Banishment by Leonidas II, King of Sparta,’ ‘Pylades and Orestes brought as Victims before Iphigenia,’ ‘Christ healing the Sick in the Temple,’ the ‘Last Supper,’ and the ‘Installation of the Order of the Garter.’ They are not exhibited in Trafalgar Square, but are ‘on loan’ to museums in the provinces. At Hampton Court are ‘The Death of Bayard,’ ‘The Oath of Hannibal,’ ‘Germanicus and the Wife of Arminius,’ ‘St. Peter denying Christ,’ ‘Cyrus liberating the Family of Astyages,’ ‘St. George and the Dragon,’ ‘Romulus leaving Rome,’ and eight royal portraits.

The elder of West's two sons, (1769–1850), followed his father's profession with some success. He painted ‘Orlando and Oliver’ for Boydell's ‘Shakespeare Gallery,’ and designed a frontispiece for Leigh Hunt's ‘Juvenilia.’ According to Leslie he had more talent than industry. He died at Bushey Heath on 22 May 1850.

WEST, CHARLES (1816–1898), physician, son of a baptist minister, was born in London on 8 Aug. 1816. His father kept a school, in which he was educated, and in 1833 he entered as a medical student at St. Bartholomew's Hospital. After two years he went for a year to Bonn, and


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  his medical studies at Paris and Berlin, graduating M.D. at the latter university in September 1837. He then began general practice in London, and wrote a paper on typhus fever in the ‘Edinburgh Medical and Surgical Journal’ for April 1838. But, wishing to enlarge his knowledge, he went to study midwifery in Dublin, and on his return became a member of the Royal College of Physicians, and was elected physician to the Infirmary for Children near Waterloo Bridge, London. He practised midwifery and wrote numerous papers, chiefly on diseases of children. In 1845 he became lecturer on midwifery to the Middlesex Hospital, and in 1847 gave a course of ‘Lectures on Diseases of Infancy and Childhood,’ published in 1848. The volume went through seven editions, and was translated into several European languages; it was the most elaborate work which had appeared on the subject in English, though less full than the famous French treatise of Rilliet and Barthez, on which it was based. It did much service in exciting general interest in the subject. He was appointed lecturer on midwifery at St. Bartholomew's Hospital in 1848, and held office for twelve years. His lectures were good, and their substance is contained in ‘Lectures on Diseases of Women,’ published in 1856 and in three later editions. In 1852, largely owing to his exertions, the Hospital for Sick Children was opened in Richard Mead's house in Great Ormond Street, London [see ], and he became its senior physician, an office which he held for twenty-three years. He was much consulted on the diseases of women and children till 1880, when his health obliged him to go to Nice for the winter. In the College of Physicians he was elected a fellow in 1848, became censor in 1870 and 1882, delivered the Croomian lectures ‘On Ulceration of the Os Uteri,’ the Lumleian lectures ‘On Some Disorders of the Nervous System in Childhood’ in 1871, and the Harveian oration in 1874. He died in Paris, on his way back from Nice, on 19 March 1898. He knew several languages, and was a man of ability; but the conduct of other men so rarely satisfied him that he was not a happy colleague, and left both St. Bartholomew's and the Children's Hospital in a state of feud with the other members of the staff. About twenty years before his death he became a Roman catholic.

West was twice married: first, to Miss Cartwright, and secondly to Miss Flon, who survived him. By his first wife he left one son and one daughter.

 WEST, CHARLES RICHARD SACKVILLE-, sixth, sixth , and twelfth  (1815–1873), born on 13 Nov. 1815, in Upper Grosvenor Street, London, was the eldest surviving son of George John West, fifth earl De La Warr (1791–1869), by his wife Elizabeth, first baroness Buckhurst (d. 1870), daughter of John Frederick Sackville, third duke of Dorset [q. v.] The fifth earl and his sons took the additional name of Sackville before West on 30 Nov. 1843 by royal license. Charles Richard obtained the commission of ensign in the 43rd foot on 26 July 1833, and was promoted to a second lieutenancy on 30 Aug. On 5 June 1835 he became lieutenant in the 15th foot, and on 15 April 1842 captain in the 21st foot. In 1845 and 1846 he served as aide-de-camp and acting military secretary to Sir Hugh Gough (afterwards Viscount Gough) [q. v.] during the first Sikh war, and was several times mentioned in the despatches. On 3 April 1846 he obtained the brevet rank of major, and in the following year he received the Indian medal with three clasps. On 2 Aug. 1850 he attained the brevet rank of lieutenant-colonel, and on 23 April 1852 the regimental rank of major.

West was sent to the Crimea in 1854, was present at the battle of Inkerman in command of a wing of the 21st fusiliers, and initiated the attack on the battery on Shelf Hill which is believed to have led to General Dannenberg's retreat. On 28 Nov. 1854 he received the army rank of colonel. On 18 June 1855 he commanded the reserve in the unsuccessful assault made against the west flank of the Redan, and after the death of Sir John Campbell (1816–1855) [q. v.] he assumed the command of the attack. In the same year he received the Crimean medal with four clasps, and on 27 July was made C.B. On 24 July 1856 he obtained the local rank of major-general. On 2 Aug. 1856 he was made an officer of the Legion of Honour. He also received the military medal of Sardinia, and was made a knight of the third class of the Medjidie on 2 March 1858. On 29 Oct. 1864 he became a major-general; on 24 Feb. 1869 he succeeded his father as sixth Earl De La Warr; and on 20 May 1871 he was created K.C.B. On 30 Sept. 1871 he was appointed a commissioner to carry out the abolition of purchase


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United States Code/Title 11/Chapter 7/Section 726

§ 726. Distribution of property of the estate

 * (a) Except as provided in section 510 of this title, property of the estate shall be distributed—
 * (1) first, in payment of claims of the kind specified in, and in the order specified in, section 507 of this title, proof of which is timely filed under section 501 of this title or tardily filed on or before the earlier of—
 * (A) the date that is 10 days after the mailing to creditors of the summary of the trustee’s final report; or
 * (B) the date on which the trustee commences final distribution under this section;
 * (2) second, in payment of any allowed unsecured claim, other than a claim of a kind specified in paragraph (1), (3), or (4) of this subsection, proof of which is—
 * (A) timely filed under section 501 (a) of this title;
 * (B) timely filed under section 501 (b) or 501 (c) of this title; or
 * (C) tardily filed under section 501 (a) of this title, if—
 * (i) the creditor that holds such claim did not have notice or actual knowledge of the case in time for timely filing of a proof of such claim under section 501 (a) of this title; and
 * (ii) proof of such claim is filed in time to permit payment of such claim;
 * (3) third, in payment of any allowed unsecured claim proof of which is tardily filed under section 501 (a) of this title, other than a claim of the kind specified in paragraph (2)(C) of this subsection;
 * (4) fourth, in payment of any allowed claim, whether secured or unsecured, for any fine, penalty, or forfeiture, or for multiple, exemplary, or punitive damages, arising before the earlier of the order for relief or the appointment of a trustee, to the extent that such fine, penalty, forfeiture, or damages are not compensation for actual pecuniary loss suffered by the holder of such claim;
 * (5) fifth, in payment of interest at the legal rate from the date of the filing of the petition, on any claim paid under paragraph (1), (2), (3), or (4) of this subsection; and
 * (6) sixth, to the debtor.

 * (b) Payment on claims of a kind specified in paragraph (1), (2), (3), (4), (5), (6), (7), or (8) of section 507 (a) of this title, or in paragraph (2), (3), (4), or (5) of subsection (a) of this section, shall be made pro rata among claims of the kind specified in each such particular paragraph, except that in a case that has been converted to this chapter under section 1112, 1208, or 1307 of this title, a claim allowed under section 503 (b) of this title incurred under this chapter after such conversion has priority over a claim allowed under section 503 (b) of this title incurred under any other chapter of this title or under this chapter before such conversion and over any expenses of a custodian superseded under section 543 of this title.

 * (c) Notwithstanding subsections (a) and (b) of this section, if there is property of the kind specified in section 541 (a)(2) of this title, or proceeds of such property, in the estate, such property or proceeds shall be segregated from other property of the estate, and such property or proceeds and other property of the estate shall be distributed as follows:
 * (1) Claims allowed under section 503 of this title shall be paid either from property of the kind specified in section 541 (a)(2) of this title, or from other property of the estate, as the interest of justice requires.
 * (2) Allowed claims, other than claims allowed under section 503 of this title, shall be paid in the order specified in subsection (a) of this section, and, with respect to claims of a kind specified in a particular paragraph of section 507 of this title or subsection (a) of this section, in the following order and manner:
 * (A) First, community claims against the debtor or the debtor’s spouse shall be paid from property of the kind specified in section 541 (a)(2) of this title, except to the extent that such property is solely liable for debts of the debtor.
 * (B) Second, to the extent that community claims against the debtor are not paid under subparagraph (A) of this paragraph, such community claims shall be paid from property of the kind specified in section 541 (a)(2) of this title that is solely liable for debts of the debtor.
 * (C) Third, to the extent that all claims against the debtor including community claims against the debtor are not paid under subparagraph (A) or (B) of this paragraph such claims shall be paid from property of the estate other than property of the kind specified in section 541 (a)(2) of this title.
 * (D) Fourth, to the extent that community claims against the debtor or the debtor’s spouse are not paid under subparagraph (A), (B), or (C) of this paragraph, such claims shall be paid from all remaining property of the estate.


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The New International Encyclopædia/Olshausen, Robert

OLSHAUSEN, (1835— ). A German gynecologist, son of the Orientalist Justus Olshausen. He was born in Kiel, studied medicine there and at Königsberg, and taught at Halle (1862-77) and at Berlin. He is especially famed as an able operator; as the author of Diseases of the Ovaries (Eng. trans., 1887), and of Klinische Beiträge zur Gynäkologie (1884); and as the editor of the Zeitschrift für Geburtshilfe und Gynäkologie.


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 in the army. He committed suicide at Cambridge on 22 April 1873. He was unmarried, and was succeeded by his brother Reginald Windsor Sackville, seventh earl.

WEST, EDWARD (1782–1828), economist, the son of Balchen West of St. Marylebone, Middlesex, was born there in 1782. Matriculating from University College, Oxford, on 9 May 1800, he graduated B.A. in 1804, proceeded M.A. in 1807, and was elected fellow of his college. Called to the bar at the Inner Temple in 1814, he was appointed recorder of Bombay, and promoted to the office of chief justice on 8 Dec. 1823. He was knighted on 5 July 1822, and died at Bombay in August 1828. ‘Bombay in the Days of George IV: Memoirs of Sir Edward West,’ was edited by Dr. Dawtrey Drewitt in 1908.

In 1815 West published ‘An Essay on the Application of Capital to Land,’ with observations showing the impolicy of any great restriction of the importation of corn, and that the bounty of 1688 did not lower the price of it (London, 8vo), in which he clearly stated the law of diminishing returns and anticipated Ricardo's theory of rent. The law of diminishing returns was suggested to him by the evidence given before the corn committees of 1813–14, and it is probable that ‘the form in which’ that doctrine ‘was subsequently taught and the phraseology in which it was expressed’ are largely due to him. When Ricardo published his ‘Principles’ in 1817 he stated that Malthus and West had ‘presented to the world nearly at the same moment the true doctrine of rent’ (Principles of Political Economy, Preface). West also published ‘The Price of Corn and Wages of Labour, with Observations upon Dr. Smith's, Mr. Ricardo's, and Mr. Malthus's Doctrines upon those Subjects, and an Attempt at an Exposition of the Causes of the Fluctuations of the Price of Corn during the last thirty years,’ London, 1826, 8vo.

WEST, FRANCIS (1586–1633?), colonist, born on 28 Oct. 1586, was the fourth but second surviving son of Thomas West, second or eleventh baron De La Warr, and his wife Anne, daughter of Sir [q. v.], third or twelfth baron De La Warr [q. v.], was his elder brother. Francis preceded his elder brother to Virginia, accompanying [q. v.] on his voyage thither about July 1609. He was elected a member of the council in August 1609 (Cal. State Papers, Amer. and West Indies, 1574–1660, p. 8), and was soon involved in a quarrel with Captain (1580–1631) [q. v.], who is said to have conspired with Powhattan to kill West. Smith was, however, apprehended and sent to England to answer for his misdemeanours. Early in 1610 West paid a visit to England, but he returned to Virginia in the same year, and in 1612 succeeded [q. v.] as commander at Jamestown. He was probably also a member of the council, and was one of those who in 1619 petitioned that a nobleman should be appointed governor ‘such as had been the late Lord De La Warr’ (Hist. MSS. Comm. 8th Rep. ii. 33).

On 22 March 1621–2 the Indians killed two men on his plantation at Westover; he had another plantation at Sherley, so named from his connection with the Shirley family; both are on the James River. In November 1622 West was appointed admiral of New England by the New England council, and his instructions were drawn up by Sir [q. v.] Henceforth he divided his time between Virginia and New England, and it is improbable that he was the Captain West who in July 1623 convoyed a Spanish ship from Leith to the Downs and was attacked by the Dutch (ib. 4th Rep. p. 282). On 22 March 1627–8 he received a commission as governor of Virginia (Cal. State Papers, Dom. Addenda, 1625–49, p. 272), an office which he held until 5 March 1628–9, when John Pott was chosen his successor. In that year West visited England, and opposed Lord Baltimore's project of founding a colony within the limits of Virginia. He had returned to Virginia before December 1631, and attended council there until 1633, the date of the last undoubted reference to him. There is a tradition in the family that he was drowned.

In any case there is little ground for the identification, suggested by Mr. Alexander Brown, of the colonist with the Colonel Francis West (d. 1652) who was captain of the blue regiment of trained bands raised by the ward of Bread Street, All Hallows, commanded them on the expedition to Gloucester and Newbury in 1644, received a commission as colonel from Essex, and on 5 Aug. was recommended for promotion to some post worthy of his merit. He was afterwards employed by the committee for compounding, and on 2 May 1645 was made lieutenant of the Tower of London. He died early in August 1652, and on the 5th the officers of the blue regiment were granted leave to at-


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  his funeral (Cal. Comm. for Compounding, pp. 35 sqq.; Cal. State Papers, Dom. 1644 p. 404, 1651–2 pp. 370, 373, 1652–3 p. 484). Both the colonist and the colonel were married and had issue (cf. ib. 1636–7, p. 322).

WEST, GILBERT (1703–1756), author, born in 1703, was the son of Richard West by his wife Maria, daughter of Sir (1634–1697) [q. v.], and sister of Sir, viscount Cobham [q. v.] Vice-admiral [q. v.] was his younger brother. The father, (1671–1716), was prebendary of Winchester, 1706, and archdeacon of Berkshire from 1710 until his death on 2 Dec. 1716. He published an edition of Pindar in 1697, and an edition of Theocritus in 1699 (, Athenæ Oxon. iv. 602;, Alumni Oxon.)

Gilbert West was educated at Eton and Christ Church, Oxford. He matriculated on 11 March 1721, and graduated B.A. 1725. He served for some time in the army, and was afterwards employed under Lord Townshend, secretary of state. About 1729 he married Miss Catherine Bartlett, and retired to a pleasant house at Wickham in Kent, where (says Johnson) ‘he devoted himself to learning and to piety.’ Here he was often visited by Pitt (Earl of Chatham) and George Lyttelton [see, first ]. He is said to have influenced their religious views, and Lyttelton addressed to him (1747) his work on St. Paul. West was a correspondent of [q. v.], and was somewhat intimate with Pope, who left him in his will 5l. for a ring and a reversionary legacy of 200l. (, Works, ed. Elwin, viii. 347).

In 1747 West published at Dublin his ‘Observations on the Resurrection,’ a work which became well known and procured for him the Oxford degree of D.C.L. (30 March 1748). Mr. Leslie Stephen (English Thought in the Eighteenth Century, i. 61) describes the book as ‘a naïve recapitulation of the ordinary argument’ in which the various narratives, after being harmonised, are treated as the agreeing testimony of eye-witnesses whose good faith is proved by their sufferings. The book reached a fourth edition in 1749. Later editions were dated 1767, 1785, 1807, 1841. There was a German translation in 1748 as well as a French translation.

In 1749 West published his verse translation of the ‘Odes of Pindar, with several other pieces translated,’ which was often reprinted (1751, 1753, 1810, 1824). Horace Walpole (Letters, ii. 163) justly remarks that ‘the poetry is very stiff,’ and Johnson points out that it is ‘too paraphrastical’. The introductory dissertation on the Olympic games was praised by Gibbon.

West's miscellaneous poetry is printed in the collections of Johnson, Bell, Anderson, and Chalmers. His imitations of Spenser (‘A Canto of the Faery Queen,’ 1739, fol.; ‘Education, a Poem,’ 1751, 4to) and his ‘Institution of the Order of the Garter, a Dramatick Poem,’ 1742, 4to (also London, 1771, 8vo, as altered by Garrick), deserve mention.

On 20 May 1736 an annual pension of 250l. had been granted to West, and in 1752 he was given a clerkship of the privy council. On 16 April 1754 he was made paymaster to Chelsea Hospital. He died on 26 March 1756. His widow was allowed a pension of 200l. a year from 5 July 1756. Their only son died in 1755.

WEST, JAMES (1704?–1772), politician and antiquary, born about 1704, was the son of Richard West of St. Swithin's, London, gentleman, and of Prior's Marston in Warwickshire, who married Mary Russell, of the Russells of Strensham, Worcestershire. He matriculated from Balliol College, Oxford, on 11 March 1719–20, aged 15, and proceeded B.A. in 1723, M.A. in 1726. In 1721 he was admitted as a student at the Inner Temple, and was called to the bar in 1728. For some years he lived in that inn, and through a fire in his chambers on 4 Jan. 1736–7 he lost many curiosities valued at close on 3,000l. On 23 Jan. 1737–8 he was admitted at Lincoln's Inn, and took up his residence there. Much later in his career he was officially connected with the Inner Temple, being elected a bencher in 1761, reader in 1767, and treasurer in 1768.

West in early life found solace from law in the study of antiquities and science. He was elected F.R.S. on 23 Nov. 1726, acted as the treasurer of the society from 30 Nov. 1736 to 30 Nov. 1768, and as its president from the latter date until his death. He became F.S.A. on 9 March 1726–7, and on 19 Feb. 1728–9 was elected a member of the Spalding Society.

At the general election in 1741 West was


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 BRADY, NICHOLAS (1659–1726), divine and poet, son of Major Nicholas Brady, who served in the king's army in the rebellion, and Martha, daughter of Luke Gernon, a judge, was born at Bandon, county Cork, on 28 Oct. 1659. After he had for some time attended a school called St. Finberry's, kept by Dr. Tindall, he was sent to England at the age of twelve, and admitted into the college of Westminster in 1673. Thence he was elected to Christ Church, Oxford, where he matriculated 4 Feb. 1678-9, proceeding B.A. in Michaelmas term 1682. He then returned to Ireland, lived with his father at Dublin, and took his B.A. degree at the university there in 1685, proceeding M.A. the next year. Entering orders he was instituted prebendary of Kinaglarchy in the church of Cork in July 1688, and a few months later was presented to the livings of Killmyne and Drinagh in Cork diocese. He was also chaplain to Bishop Wetenhall. During the revolution he warmly upheld the cause of the Prince of Orange, and suffered some loss in consequence. His interest with James's general, MacCarthy, enabled him to save the town of Bandon, though James thrice commanded that it should be burnt. The people of the town having suffered considerable loss sent him with a petition to the English parliament praying for compensation. During his visit to London his preaching was much admired; he was chosen lecturer at St. Michael's, Wood Street, and, on 10 July 1691, was appointed to the church of St. Catherine Cree, where he remained until 1696. The sermon he preached on his resignation was printed, London, 1696, 4to. On his resignation he received the living of Richmond, Surrey, which he held until his death. From 1702 to 1705 he also held the rectory of Stratford-on-Avon, which he resigned on his appointment to the rectory of Clapham on 21 Feb. 1705-6. Although his ecclesiastical preferments brought him in an income of 600l. a year, his expensive habits, and especially his love of hospitality, obliged him to keep a school at Richmond. This school is mentioned in terms of praise in a paper of Steele's in the 'Spectator' (No. 168). On 15 Nov. 1699 the university of Dublin conferred on him the degrees of B.D. and D.D. in recognition of his abilities, and sent him the diploma of doctor by the senior travelling fellow of the society. Brady was chaplain to William III, to Mary, to Anne both as princess of Wales and as queen, and to the Duke of Ormonde's regiment of horse. In 1690 he married Letitia, daughter of Dr. Synge, archdeacon of Cork, and had by her four sons and four daughters. He died at Richmond 20 May 1726, and was buried in that church. His funeral sermon, preached by the Rev., vicar of Beenham [q. v.], was published under the title of 'The Honour and Dignity of True Ministers of Christ,' London, 1726.

Brady's best known work is (1) the metrical version of the Psalms, which he undertook while minister of St. Catherine Cree in conjunction with [q. v.] When their work was complete and had been submitted to and revised by the archbishop of Canterbury and the bishops, the authors petitioned the king that he would allow it to be used in the public services of the church, and accordingly William, on 3 Dec. 1696, made an order in council that it might 'be used in all churches … as shall think fit to receive the same.' The 'New Version,' as the work of Brady and Tate is called to distinguish it from the version of T. Sternhold and J. Hopkins, was well received by the whigs. Some of the stiffer tories among the clergy, however, objected to it, and their objections, which seem to have been that the new version was too poetical, that there was no need of change, and, as was hinted, that they were offended at the recommendation of the whig bishops and at the 'William R.' on the order allowing its use, were answered by 'A brief and full Account of Mr. Tate's and Mr. Brady's New Version, by a True Son of the Church of England,' London, 1698. The use of the 'New Version' was condemned by [q. v.] in his 'Defence of the Book of Psalms … by T. Sternhold, J. Hopkins, and others, with critical observations on the New Version compared with the Old,' London, 1710, and Brady's share in the work was sneered at by Swift in his 'Remarks on Dr. Gibbs's Psalms.' Brady also wrote (2) a tragedy entitled 'The Rape, or the Innocent Impostors,' acted at the Theatre Royal in 1692, the prologue being spoken by Betterton, and the epilogue, the work of Shadwell, by Mrs. Bracegirdle. It was published in 4to the some year, with a dedication to the Earl of Dorset, but without the author's name. The plot is concerned with the history of the Goths and Vandals. It was slightly recast for representation in 1729, the Goths and Vandals being turned into Portuguese and Spaniards. In 1692 (3) an 'Ode for St. Cecilia's Day,' which will be found in Nichols's 'Select Collection of Poems,' v. 302. (4) 'Proposals for the publication of a translation of Virgil's Æneids in blank verse, together with a specimen of the performance.' This translation was published by


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 returned to parliament for the venal borough of St. Albans in Hertfordshire, and sat for it until the dissolution in 1768. From that year until his death he represented the constituency of Boroughbridge in Yorkshire. He was appointed joint secretary to the treasury in 1741, and held that office until 1762, when his patron the Duke of Newcastle obtained for him a pension of 2,000l. per annum. Many of his letters are among the Newcastle manuscripts at the British Museum. From 1746 to 1772 he was recorder of Poole (, Poole, p. 242). On 5 April 1758 he became recorder of St. Albans, and from 23 Nov. 1759 he was high steward of that borough. The country seat of West was at Alscott, Preston-on-Stour, Gloucestershire, and his town house was at the west end of the Piazza in King Street, Covent Garden. There he gathered around him a marvellous library and curiosities of all kinds. He died on 2 July 1772. In 1738 he married Sarah (d. 1799), daughter and, on the death of her only brother, heiress of Sir Thomas Stevens, timber merchant at Southwark and of Eltham in Kent; with her he had a large fortune in houses at Rotherhithe. They had issue a son, James (d. 1795), and two daughters: Sarah (d. 1801), the wife of Andrew, second and last lord Archer; and Henrietta (d. 1815).

West revived, says Dibdin, the ‘love of black-letter lore and of Caxtonian typography’ (Bibliomania, 1876, pp. 376–84, where a summary of his library is given). His manuscripts, including many which had previously belonged to Bishop Kennett, were sold to Lord Shelburne, and now form part of the Lansdowne manuscripts at the British Museum. The total realised by the sale of his books, which occupied Langford twenty-four days in March and April 1773, was 2,927l. 1s., and the prices appear at the present time very low; but Horace Walpole thought that the books were ‘selling outrageously’ (Letters, ed. Cunningham, v. 455). Gough bought many of the items, particularly those with Kennett's annotations, and they afterwards went to the Bodleian Library (Sale Cat. by Samuel Paterson). The sale of the prints and drawings lasted thirteen days, the coins and medals seven days, both beginning on 19 Jan. 1773. The plate and curiosities took seven days from 27 Feb. 1773, and the pictures, with other collections, four days from 31 March. Horace Walpole records that the prints sold for a ‘frantic sum’ (ib. v. 439).

West greatly assisted James Granger [q. v.] in his biographical work on portraits (cf., Letters, 1805, pp. 33–6). He subscribed for Hearne's books, gave him a plate for Domerham's ‘Glastonbury’ (1727), and assisted in Walter Hemingford's ‘History of Edward I, II, and III,’ 1731 (cf., Restituta, i. 65–91).

[Gent. Mag. 1772 p. 343, 1799 i. 438; Foster's Alumni Oxon. 1715–1886; Cooke's Benchers of Inner Temple, p. 76; Admissions at Lincoln's Inn, i. 145; Nichols's Lit. Anecdotes, ii. 160, 468–9, iii. 619, v. 263–8, 350–1, 429, vi. 119, 344–5, 642–3, ix. 657; Nichols's Lit. Illustrations, iii. 701–2, iv. 152, 166, 789–94, vi. 701; Weld's Royal Soc. ii. 49, &c., 559–60; Blore's Rutland, p. 101; Burke's Landed Gentry, 4th ed.; Notes and Queries, 2nd ser. xi. 101–2, 162.]  WEST, JANE (1758–1852), author, was born on 30 April 1758 in the building which afterwards became St. Paul's Coffee-house, London. When she was eleven years old her father removed to Desborough in Northamptonshire. She was entirely self-educated, and began to write verse at thirteen. In a letter to Bishop Percy, dated 1800, she said, ‘The catalogue of my compositions previous to my attaining twenty would be formidable. Thousands of lines flowed in very easy measure. I scorned correction, and never blotted’ (, Literary Illustrations, viii. 329–31). She married Thomas West, a yeoman farmer of Northamptonshire. He was related to Vice-admiral Temple West [q. v.] and to Gilbert West [q. v.] His maternal ancestors had been rectors of Little Bowden in an unbroken chain for 150 years (cf. Gent. Mag. 1823, i. 183). Mrs. West attended to the household and dairy, but was by no means in the lowly position sometimes attributed to her (cf., Literary Illustrations, vii. 88–9). Before 1800 she had published a half-dozen volumes of poems, two tragedies, a comedy, and two novels, ‘The Advantages of Education; or the History of Maria Williams’ (1793; 2nd edit. 1803), and ‘A Tale of the Times’ (1799). In 1800 she wrote to Percy, asking him to recommend her works to readers, in order to enable her to make better provision for her children (ib. viii. 326–7). He responded with a warm commendatory review in the ‘British Critic’ (1801). Percy told how her novels were greatly in demand at the three circulating libraries of Brighton (cf. Gent. Mag. 1852, ii. 100). In 1801 she published in three volumes some edifying ‘Letters to a Young Man.’ They were really addressed to her son, and were dedicated to her friend, the bishop of Dromore. A second edition appeared the next year, and by 1818 the book was in a sixth. It was also in 1801 that she began a correspondence with Mrs.


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Talk:Queen Elizabeth II's Remarks to the people of the United States

Contributor's disclosure: This speech has generated a debate on possible copyright violation: http://en.wikisource.org/wiki/Wikisource:Possible_copyright_violations#Queen_Elizabeth_II.27s_Remarks_to_the_people_of_the_United_States Hanteng (talk) 17:01, 10 November 2010 (UTC)