John Warburton (1682–1759) was an antiquarian, cartographer, and Somerset Herald of Arms in Ordinary at the College of Arms in the early 18th century.
John Warburton (1682–1759) was an antiquarian, cartographer, and Somerset Herald of Arms in Ordinary at the College of Arms in the early 18th century.
He was the son of Benjamin and Mary Warburton. In early life John was an exciseman and then a supervisor, being stationed in 1718–19 at Bedale in Yorkshire. He was admitted F.R.S. in March 1719, but was ejected on 9 June 1757 for nonpayment of his subscription. His election as F.S.A. took place on 13 January 1720, but he ceased to be a member before January 1754. On 18 June 1720 he was appointed to the office of Somerset Herald in the College of Arms. [1]
Warburton's first wife was Dorothy, but they separated in 1716. He later married a widow with children, and is said to have married her son, when a minor, to one of his daughters. By his second wife he had a son called John. Warburton died at his apartments in the College of Arms, London, his usual place of residence, on 11 May 1759, and was buried in the south aisle of St Benet Paul's Wharf, London. [1]
In his Will, he mentions his only son, John, who was an Attorney at Law, b 1732- about 1798. He married Ann Catherine Mores in 1756, she died in 1787. His only daughter Amelia, 1735-1786 married John Elphinstone, RN. [2]
Warburton published in 1716 from actual survey a map of Northumberland in four sheets, and during the next few years brought out similar maps of Yorkshire, Middlesex, Essex, and Hertfordshire. [1]
He brought out in 1749 a "Map of Middlesex" in two sheets of imperial atlas, which came under the censure of John Anstis the Younger. Warburton had given on the border of this map five hundred engraved arms, and the earl marshal, supposing many of them to be fictitious, ordered that no copies should be sold until the right to wear them had been proved. Warburton endeavoured to vindicate himself in London and Middlesex illustrated by Names, Residence, Genealogy, and Coat-armour of the Nobility, Merchants, &c. (1749). [1]
In 1753 he published Vallum Romanum, or the History and Antiquities of the Roman Wall in Cumberland and Northumberland, the survey and plan of which were made by him in 1715. William Hutton applauded him as "the judicious Warburton, whom I regard for his veracity". [3]
John Nichols printed in 1779 in two volumes from the collections of Warburton and Ducarel Some Account of the Alien Priories, but the compilers' names were not mentioned. This omission was rectified in many copies issued in 1786 with a new title-page. [1]
He was an avid collector of old books and manuscripts, but often careless. After much drinking and attempting to "muddle" Humfrey Wanley, he sold in July 1720 to the Earl of Oxford many valuable manuscripts on Wanley's own terms. [1] On another occasion, he left a pile of drama manuscripts in the kitchen. When he came looking for them a year later, nearly all were gone. His cook, Betsy Baker, had used over fifty manuscripts as scrap paper while cooking—either for lighting fires or for lining the bottoms of pie pans while baking pies.
Notwithstanding his carelessness, he left behind him a huge collection of books, manuscripts, and prints, which were sold by auction in 1766. Many of his topographical manuscripts are in the Lansdowne collection at the British Museum. [1]
In addition, "A Play by William Shakespeare" (with no elaboration given) was also lost, as well as a copy of Sir John Suckling's "Works," possibly a printed edition.
Warburton listed only three plays which escaped destruction: The Second Maiden's Tragedy (which he assigned to George Chapman, but now usually considered by scholars to be the work of Thomas Middleton), The Queen of Corsica (a tragedy by Francis Jaques), and The Bugbears (a comedy by John Jeffere).
Not every play destroyed by Warburton's cook was irretrievably lost. Five of them have been preserved through separate sources. These include Believe as You List, The Fair Favorite, The Governor, The Inconstant Lady, and The Parliament of Love. The prologue and epilogue to Thomas Jordan's Love Hath Found His Eyes are also still extant, published in Jordan's poetry collection Royal Arbor of Loyal Poesy (1663). It is possible that a few of the remaining plays have also been preserved, under different titles; Shakespeare's Duke Humphrey, for example, may have been a version of Henry VI, part 2, in which Humphrey plays a major part.
Tragicomedy is a literary genre that blends aspects of both tragic and comic forms. Most often seen in dramatic literature, the term can describe either a tragic play which contains enough comic elements to lighten the overall mood or a serious play with a happy ending. Tragicomedy, as its name implies, invokes the intended response of both the tragedy and the comedy in the audience, the former being a genre based on human suffering that invokes an accompanying catharsis and the latter being a genre intended to be humorous or amusing by inducing laughter.
Sir William Davenant, also spelled D'Avenant, was an English poet and playwright. Along with Thomas Killigrew, Davenant was one of the rare figures in English Renaissance theatre whose career spanned both the Caroline and Restoration eras and who was active both before and after the English Civil War and during the Interregnum.
Philip Massinger was an English dramatist. His finely plotted plays, including A New Way to Pay Old Debts, The City Madam, and The Roman Actor, are noted for their satire and realism, and their political and social themes.
Francis Beaumont was a dramatist in the English Renaissance theatre, most famous for his collaborations with John Fletcher.
Beaumont and Fletcher were the English dramatists Francis Beaumont and John Fletcher, who collaborated in their writing during the reign of James I (1603–25).
Nathan Field was an English dramatist and actor.
Henry Glapthorne was an English dramatist and poet, baptized in Cambridgeshire, the son of Thomas Glapthorne and Faith née Hatcliff. His father was a bailiff of Lady Hatton, the wife of Sir Edward Coke. Before turning 14, Henry Glapthorne had matriculated as a pensioner at Corpus Christi College, Cambridge, but there is no record of him ever taking a degree. From then until he emerges as a playwright in the mid-1630s, little is known of him. There is evidence that he may have been employed as a groom-porter in a nobleman's household for some of that time – a later document refers to him as "Glapthorne the Porter" – but there is nothing conclusive.
John Fletcher was an English playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the Stuart Restoration, his fame rivalled Shakespeare's. Fletcher collaborated in writing plays, chiefly with Francis Beaumont or Philip Massinger, but also with Shakespeare and others.
Believe as You List is a Caroline era tragedy by Philip Massinger, famous as a case of theatrical censorship.
Humphrey Moseley was a prominent London publisher and bookseller in the middle seventeenth century.
The Beaumont and Fletcher folios are two large folio collections of the stage plays of John Fletcher and his collaborators. The first was issued in 1647, and the second in 1679. The two collections were important in preserving many works of English Renaissance drama.
The Emperor of the East is a Caroline era stage play, a tragicomedy written by Philip Massinger and first published in 1632. The play provides an interesting example of the treatment of the Roman Catholic sacrament of confession in English Renaissance theatre.
A Very Woman, or The Prince of Tarent is an early seventeenth-century stage play, a tragicomedy written by Philip Massinger and John Fletcher. It was first published in 1655, fifteen and thirty years after the deaths of its authors.
The Bondman is a later Jacobean-era stage play, a tragicomedy written by Philip Massinger, first published in 1624. The play has been called "the finest of the more serious tragicomedies" of Massinger.
The Parliament of Love is a late Jacobean era stage play, a comedy written by Philip Massinger. The play was never printed in the seventeenth century, and survived only in a defective manuscript – making it arguably the most problematical work in the Massinger canon.
The Lovers' Progress is an early seventeenth-century stage play, a tragicomedy written by John Fletcher and Philip Massinger. As its multiple titles indicate, the play has a complex history and has been a focus of controversy among scholars and critics.
The Faithful Friends is an early seventeenth-century stage play, a tragicomedy associated with the canon of John Fletcher and his collaborators. Never printed in its own century, the play is one of the most disputed works in English Renaissance drama.
Beggars' Bush is a Jacobean era stage play, a comedy in the canon of John Fletcher and his collaborators that is a focus of dispute among scholars and critics.
The Lady Mother is a Caroline era stage play, a tragicomedy generally attributed to Henry Glapthorne, and dating from the middle 1630s. Never printed in its own era, the play survived in a manuscript marked as a theatre prompt-book, revealing significant details about the stage practice of its time.
The Spanish Viceroy is a problem play of English Renaissance drama. Originally a work by Philip Massinger dating from 1624, it was controversial in its own era, and may or may not exist today in altered form.
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