Lyceum, between 1809 and 1811 she played Juliana, Up all Night; 'Adelnai, 'Russian Impostor;' Annette, Safe and Sound;' Lauretta, Bishop's Maniac; 'Emily, 'Beehive;' Lodina, Americans;' Miss Selwyn, M.P.' She reappeared at the new Drury Lane house in 1813 as Cecilia in 'Who's to have her?' but was greatly hampered by ill-health. For a few nights subsequently she appeared at the Surrey Theatre.

Mrs. Mountain took her farewell of the stage at the King's Theatre on 4 May 1815, when the 'Cabinet' (Mrs. Mountain as Orlando), the 'Review,' and a ballet, &c., were given, before a house crowded to excess. She died at Hammersmith on 3 July 1841, aged about 73. Her husband survived her.

Among portraits of Mrs. Mountain are: 1. A half-length, engraved by Ridley, published by T. Bellamy at the Monthly Mirror' office, September 1797. 2. As Fidelia, after De Wilde, by Trotter. 3. As Matilda, after De Wilde, by Schiavonetti, published August 1806 by J. Cawthorn. 4. Bust engraved by E. Makenzie, from original drawing by Deighton. 5. Half-length, with guitar, by Buck, engraved in tinted chalk and stipple by T. Cheesman, published by W. Holland, October 1804. 6. Half-length by Masquerier, mezzotint by C. Turner, published January 1804 by C. Turner.

[Percival's Collection in British Museum relating to Sadler's Wells, vols. i. iii.; Thespian Dict.; Public Advertiser, 1782-6, passim; Dibdin's Professional Life, p. 113; Miles's Life of Grimaldi, p. 16; Tate Wilkinson's Wandering Patentee, ii. 174 et seq.; Gent. Mag. 1841, pt. ii. | p. 325; Morning Chron. 5 Oct. 1786; Kelly's Reminiscences, i. ff. 8, 179; Pohl's Haydn in London, passim; O'Keeffe's Recollections, ii. 234; P. C. C. Administration Grant, 1841.]

L. M. M.

MOUNTAIN, THOMAS (d. 1561 ?), divine, son of Richard Mountain, servant to Henry VIII and Edward VI, proceeded M.A. at Cambridge, was admitted on 29 Oct. 1545 to the rectory of Milton-next-Gravesend, and on 29 Dec. 1550 to that of St. Michael Tower Royal, or Whittington College, in Rio Lane. He was at Cambridge with Northumberland in 1553, an active partisan of the duke, and on 11 Oct. was summoned before Gardiner for celebrating communion in two kinds; he was also charged with treason as having been 'in the field with Northumberland against the queen' (Harl. MS. 425, ff. 106117). The following March he was cited to appear at Bow Church before the vicar-general for being married. He was imprisoned in the Marshalsea, and removed thence to stand his trial for treason at Cambridge; but

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no one appeared against him, and Mountain returned to London. He subsequently fled to Colchester, and thence to Antwerp, where he taught a school, removing to Duisburg near the Rhine after a year and a half. On the accession of Elizabeth he returned to England, and died apparently in 1561, possessed of the rectory of St. Pancras, Soper Lane, London.

Mountain left a circumstantial account of his troubles extant in Harl. MS. 425, ff. 106117; copious extracts from it are incorporated in Strype's Ecclesiastical Memorials' and Froude's History of England,' v. 277–8.

[Harl. MS. 425, ff. 106-17; Strype's Eccles. Memorials, and Cranmer, passim; Foxe's Acts and Monuments; Newcourt's Repertorium, i. 494, 519 Cooper's Athenæ Cantabr. i. 213, 553; Froude's Hist. of England, v. 277–8.] A. F. P.

MOUNT ALEXANDER, EARL Of. [See MONTGOMERY, HUGH, 1623?-1663.] MACCARTHY, JUSTIN, d. 1694.] MOUNTCASHEL, VISCOUNT.

[See

MOUNT-EDGCUMBE, EARLS OF. [See EDGCUMBE, GEORGE, first EARL, 1721-1795; EDGCUMBE, RICHARD, second EARL, 1764– 1839.]

MOUNTENEY or MOUNTNEY, RICHARD (1707-1768), Irish judge and classical scholar, son of Richard Mounteney, an officer in the customs house, by Maria, daughter of John Carey, esq., was born at Putney, Surrey, in 1707, and educated at Eton School. He was elected in 1725 to King's College, Cambridge, proved himself a good classical scholar, and became a fellow. He graduated B.A. in 1729, and M.A. in 1735 (Graduati Cantabr. 1823, p. 333). Among his intimate friends at the university were Sneyd Davies [q. v.] and Sir Edward Walpole. He was called to the bar at the Inner Temple, and by the influence of Sir Robert Walpole, to whom he had dedicated his edition of some of the orations of Demosthenes, he was appointed in 1737 one of the barons of the exchequer in Ireland. He was one of the judges who presided at the famous trial between James Annesley [q. v.] and Richard, earl of Anglesey, in 1743, and 'made a most respectable figure.' He died on 3 March 1768 at Belturbet, co. Cavan, while on circuit.

His first wife Margaret was buried at Donnybrook, near Dublin, on 8 April 1756, and his second marriage with the Dowagercountess of Mount Alexander (i.e. Manoah, widow of Thomas Montgomery, fifth earl and daughter of one Delacherois of Lisburn) was announced in Sleater's 'Public Gazetteer' on 6 Oct. 1759.

His works are: 1. 'Demosthenis selectæ Orationes (Philippica I) et tres Olynthiacæ orationes. Ad codices MSS. recensuit, textum, scholiasten, et versionem plurimis in locis castigavit, notis insuper illustravit Ricardus Mounteney,' Cambridge (University Press), 1731, 8vo; 2nd edit. London, 1748, 8vo; 3rd edit. Eton, 1755, 8vo (very incorrectly printed); other editions, London and Eton, 1764 and 1771, London, 1778, 1785, 1791, 1806, 1811, 1826, 1827. With reference to the second edition there appeared 'Baron Mountenay's celebrated Dedication of the select Orations of Demosthenes to the late Sir Robert Walpole, Bart. of Ministerial Memory, done into plain English, and illustrated with Notes and Comments, and dedicated to Trinity College, Dublin. By Eschines the third, Dublin printed, London reprinted 1748, 8vo. 2. Observations on the probable Issue of the Congress' [i. e. of Aix-la-Chapelle], London, 1748, 8vo.

A fine portrait of Mounteney by Hogarth was in 1864 in the possession of the Rev. John Mounteney Jephson, who was maternally descended from him.

[Addit. MS. 5876, f. 2266; Brüggemann's View of English Editions of Greek and Latin Authors, p. 161; Gent. Mag. 1768 p. 198, 1781 p. 404; Harwood's Alumni Eton. p. 315; Lowndes's Bibl. Man. (Bohn), p. 627; Nichols's Illustr. Lit. i. 514, 558; Nichols's Lit. Anecd. ii. 192. iii. 106, vii. 279, x. 633; Notes and Queries, 2nd ser. xii. 170, 254, 526. 3rd ser. vi. 89, 235; Scots Mag. 1768, p. 223; Watt's Bibl. Brit.] T. C. MOUNTFORT, MRS. SUSANNA (d. 1703), actress. [See VERBRUGGEN.]

MOUNTFORT, WILLIAM (1664 ? 1692), actor and dramatist, the son of Captain Mountfort, a gentleman of good family in Staffordshire, joined while a youth the Dorset Garden company, carrying out as the boy an original character in Leonard's 'Counterfeits,' licensed 29 Aug. 1678. His name then and for some time subsequently appears as young Mumford. He is next heard of in 1680 as the original Jock the Barber's Boy in the Revenge, or a Match at Newgate,' an alteration of Marston's 'Dutch Courtezan,' ascribed to Mrs. Behn. After the union of the two companies in 1682, Mountfort, now, according to Downes, 'grown up to the maturity' of a good actor, was at the Theatre Royal the first Alphonso Corso in the Duke of Guise' of Dryden and Lee. In 1684 he played Nonsense in a revival of Brome's 'Northern Lass,' and Metellus Cimber in Julius Caesar, and was, at Dorset Garden, both houses being under the same management, Heartwell in the

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first production of Ravenscroft's Dame Dobson, or the Cunning Woman.' In 1685 he greatly augmented his reputation by his 'creation' of the part of Sir Courtly Nice in Crowne's play of the same name, and in 1686 seems to have played with much success Tallboy in Brome's 'Jovial Crew. By license dated 2 July 1686, he married at St. Giles-in-the-Fields, at the age of twentytwo, Mrs. Susanna Peircivall or Perceval [see VERBRUGGEN, MRS.], the daughter of an actor who joined the company in 1673 (cf. CHESTER, Marriage Licenses, ed. Foster, p. 950).

In Mrs. Behn's 'Emperor of the Moon,' acted in 1687, Mountfort was the original Don Charmante, and he also played Pymero in a new adaptation by Tate of Fletcher's Island Princess.' To the same year may presumably be assigned the production of Mountfort's tragedy, 'The Injur'd Lovers, or the Ambitious Father,' 4to, 1688. Genest assigns it to 1688, and puts Mountfort's version of Faustus before it. The opening lines of the prologue, spoken by Mountfort, are: Jo Haynes's Fate is now become my Share, For I'm a Poet, Marry'd, and a Player, and subsequently speaks of this play as his first-begotten. His marriage and his appearance as poet may accordingly be supposed to be equally recent. In this he took the part of Dorenalus, a son of the ambitious father, Ghinotto, and in love with the Princess Oryala. It is a turgid piece, in one or two scenes of which the author imitates Marlowe, and, in spite of Mountfort's protestation in his prologue, appears to have been damned. The Life and Death of Dr. Faustus, with the Humours of Harlequin and Scaramouch,' London, 1697, was given at Dorset Garden Theatre and Lincoln's Inn Fields Theatre by Lee and Jevon. The actor first named died in 1688, so that the time of production is 1688 or before, while the words contained in it, 'My ears are as deaf to good counsel as French dragoons are to mercy,' are held to prove it later than the revocation of the edict of Nantes. Two-thirds of the play are from Marlowe, the poetry and much of the tragedy disappear, while songs and dances are introduced, together with much broadly comic business between Scaramouch, who is a servant of Faust, and Harlequin. In 1688 Mountfort created the part of Young Belfond in Shadwell's 'Squire of Alsatia,' and Lyonel, described as a mad part with songs, in D'Urfey's 'Fool's Preferment, or the Three Dukes of Dunstable.' In 1689 he was the first Wildish in Shadwell's Bury Fair,' and Young Wealthy in Carlile's 'Fortune

Hunters,' in 1690 King Charles IX in Lee's 'Massacre of Paris,' Don Antonio in Dryden's Don Sebastian, King of Portugal,' Ricardo in Joseph Harris's Mistakes, or the False Report,' and Silvio in his own 'Successful Strangers,' announced as a tragicomedy, but in fact a comedy with serious interest, 4to, 1690, founded on a novel by Scarron. It is an improvement on his previous plays, and was well received. The preface to this is quasi-autobiographical, Mountfort saying that he is no scholar, and consequently incapable of stealing from Greek and Latin authors. He complained that the town was as unwilling to encourage a young author as the playhouse a young

actor.

The year 1691, the busiest apparently of Mountfort's life, saw him as the original Menaphon in Powell's 'Treacherous Brothers,' Hormidas in Settle's 'Distressed Innocence,' Valentine in Southerne's 'Sir Anthony Love,' Sir William Rant in Shadwell's 'Scowrers,' Bussy d'Ambois in 'Bussy d'Ambois,' altered from Chapman by D'Urfey, Cesario in Powell's 'Alphonso, King of Naples,' and Jack Amorous in D'Urfey's Love for Money, or the Boarding School.' He was also the first Lord Montacute in his own 'King Edward the Third, with the Fall of Mortimer,' 4to, 1691, and Young Reveller in his 'Greenwich Park,' 4to, 1691. Both plays are included in his collected works. The latter, a clever and passably licentious comedy, obtained a great success. The former, revived in 1731, and republished by Wilkes in 1763, with a sarcastic dedication to Bute, is in part historical. Coxeter says that it was written by John Bancroft [q. v.]. and given by him to Mountfort. Of this piece, and of 'Henry the Second, King of England, with the Death of Rosamond,' which also, though the dedication is signed William Mountfort, is assigned to Bancroft, the editor or publisher of Six Plays written by Mr. Mountfort,' London, 8vo, 1720, says that though not wholly composed by him, it is presumed he had at least a share in fitting them for the stage.' In 1692 Mountfort was the original Sir Philip Freewit in D'Urfey's Marriage-maker Hatcht,' Asdrubal in Crowne's 'Regulus,' Friendall in Southerne's 'Wives Excuse,' Cleanthes in Dryden's 'Cleomenes.' Mountfort was also seen as Raymond Mountchensey in the Merry Devil of Edmonton,' Macduff, Alexander, Castalio, Sparkish, and was excellent in Mrs. Behn's Rover.'

Mountfort was on intimate terms with Judge Jeffreys, with whom he was in the habit of staying. At an entertainment of

the lord mayor and court of aldermen in 1685 Jeffreys called for Mountfort, an excellent mimic, to plead a feigned cause, in which he imitated well-known lawyers. Mountfort is said in the year previous to the fall of Jefreys to have abandoned the stage for a while to live with the judge. There is only one year, however, 1686, subsequent to 1684, in which he did not take some original character in London. On 9 Dec. 1692 Mountfort was stabbed in Howard Street, Strand, before his own door, in the back by Captain Richard Hill, a known ruffler and cutthroat, and died on the following day. Hill had pestered Mrs. Bracegirdle [q. v.], and had attributed her coldness to her affection for Mountfort. Attended by his friend Lord Mohun [see MOHUN, CHARLES, fifth BARON], he accordingly laid wait for the actor. A warning sent from Mrs. Bracegirdle through Mrs. Mountfort failed to reach Mountfort, who returning home was held in conversation by Mohun, while Hill, coming behind, struck him a heavy blow on the head with his left hand and, before time was given him to draw, ran him through with the right. Hill escaped, and Lord Mohun was tried, 31 Jan. 1692-3, and acquitted, fourteen lords finding him guilty and sixty-nine innocent. Mountfort was buried in St. Clement Danes. Bellchambers, in his edition of Colley Cibber's Apology,' maintains that Mountfort was slain in a fair duel with Hill.

Cibber bestows on Mountfort warm praise, says that he was tall, well-made, fair, and of agreeable aspect; that his voice was clear, full, and melodious, adding that in tragedy he was the most affecting lover within his (Cibber's) memory. Mountfort filled the stage by surpassing those near him in true masterly touches, had particular talent in the delivery of repartee, and was credited with remarkable variety, being, it is said, especially distinguished in fine gentlemen. Among the parts singled out for highest praise are Alexander, in which we saw the great, the tender, the penitent, the despairing, the transported, and the amiable in the highest perfection,' Sparkish, and Sir Courtly Nice. Of the last two parts, which descended to him, Cibber says: "If I myself had any success in either of these characters, I must pay the debt I owe to his memory in confessing the advantages I received . . . from his acting them. Wilks also owned to Chetwood that Mountfort was the only actor on whom he modelled himself. Mountfort wrote many prologues and epilogues (cf. Poems on Affairs of State, 1703, i. 238).

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By his wife, subsequently Mrs. Verbruggen, he had two daughters, one of whom, Susanna, is first heard of, though she had acted before, at Lincoln's Inn Fields, 26 June 1704, playing, as Miss Mountfort, Damaris in Betterton's Amorous Widow.' On 16 Oct. 1704 Mrs. Mountfort, which name she subsequently bore, played Betty Frisque in Crowne's 'Country Wit,' and, 14 June 1705, made, as Betty in Sir Solomon Single,' her first appearance at Drury Lane, where she remained, playing, among other characters, Estifania, Ophelia, Aspatia in the 'Maid's Tragedy, Florimel in Marriage à la Mode,' and Elvira in the 'Spanish Fryar.' She was the original Rose in Farquhar's 'Recruiting Officer,' and Flora in Johnson's Country Lasses.' She is not heard of subsequently to 1718, and is said, in the edition of her father's plays, to have lately quitted the stage. She lived with Barton Booth [q. v.], who quitted her on account, it is said, of her misconduct. After this, misfortune, including loss of intellect, befell her. She is said to have once eluded her attendants, gone to Drury Lane dressed as Ophelia on a night for which Hamlet' was announced, to have hidden herself until the mad scene, and then, rushing on the stage before the official representative of Ophelia, to have performed the scene to the amazement of performers and audience.

[Genest's Account of the English Stage; Colley Cibber's Apology, ed. Lowe; Biog. Dram.; Memoir prefixed to edition of Mountfort's plays; Life of Barton Booth by Theophilus Cibber. In Cibber's Lives of the Poets, iii. 40-7, appears the account generally received of Mountfort's death. Galt's Lives of the Players, Doran's Their Majesties' Servants, and Notes and Queries, 1st ser. ii. 516, 5th ser. viii. 231, have also been consulted.] J. K.

MOUNTGARRET, third VISCOUNT. [See BUTLER, RICHARD, 1578-1651.]

MOUNTIER, THOMAS (f. 17191733), vocalist, whose name may be of French origin, or a corruption of the English name Mouncher, was lay vicar, and from 1719 to 1732 preceptor of the choristers, of Chichester Cathedral (Chapter Books). Before finally exchanging the cathedral for the theatre Mountier was in correspondence with the dean and chapter of Chichester, who on 12 May 1732 declared Mountier's place as lay vicar vacant. It was not until August that he resigned the preceptorship of the choristers. It appears that Mountier sang for the first time in London at J. C. Smith's concert in Lincoln's Inn Fields Theatre on 2 April 1731. An advertisement of a later date runs: 'At

the request of great numbers of gentlemen and ladies, for the benefit of Thomas Mountier, the Chichester boy (who sang at Mr. Smith's concert at the theatre in L. I.F.), at the New Theatre in the Haymarket, on 6 May 1731, a concert. . . . To prevent the house being crowded, no persons will be admitted without tickets' (Daily Journal). Mountier was also announced to sing in Geminiani's winter series of weekly concerts at Hickford's (Daily Post, 15 Nov. 1731), and Smith's and Lowe's benefit concerts, on 22 and 27 March 1732, songs in Italian and English (Daily Journal).

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On 17 May 1732, under Dr. Arne at the New Theatre in the Haymarket, Handel's Acis and Galatea' was first' performed with all the grand choruses, machines, and other decorations. . . in a theatrical way' (Daily Post, 6 May), Mountier in the part of Acis, and Miss Arne as Galatea. The choruses had taken more than a year's practice (FITZBALL). A second performance was announced for 19 May. Mountier was cast for the part of Phoebus, but sang that of Neptune, in Lampe's 'Britannia.' In 1733 he joined the Italian opera troupe, and sang as Adelberto in the revival of Handel's 'Ottone' (GROVE).

[Information kindly supplied by Prebendary Bennett, Chichester; Fitzball's Thirty-five Years of a Dramatic Author's Life; Grove's Dict. ii. 377.] L. M. M.

WALTER, first BARON, d. 1474; BLOUNT, MOUNTJOY, BARONS. [See BLOUNT, WILLIAM, fourth BARON, d. 1534; BLOUNT, CHARLES, fifth BARON, d. 1545; BLOUNT, CHARLES, eighth BARON and EARL OF DEVONSHIRE, 1563-1606; BLOUNT, MOUNTJOY, ninth BARON and EARL OF NEWPORT, 1597 ?1665.]

MOUNTJOY, VISCOUNT. [See STEWART, WILLIAM, d. 1692.]

HERVEY DE

MOUNT-MAURICE, (f. 1169), invader of Ireland, whose name appears variously as MONTE MAURICII, MONTE MARISCO, MONTE MARECY, MONTMARREIS, MONTMORENCI, MUMORECI, and MOMORCI, may not unreasonably be held to have belonged to the same line as the Montmorencies of France (of this there is no conclusive proof, but see DU CHESNE, Histoire Généalogique de la Maison de Montmorency, pp. 9, 53, 87,92; MONTMORENCY-MORRÈS, Genealogical Memoir, passim ; L'Art de Vérifier, xii. 9, and other French genealogists; the forms of the name borne by Hervey and the French Montmorencies suggest a common stock, and Hervé was a christian name much used by the French house; in connection with this see