considerable pecuniary loss. Chatfield was among the number, but was fortunately able to provide the amount due, and, though impoverished and stranded on the world by Haydon's improvidence, did not grudge it, as he felt how great a debt he was under to his master, whose instruction had always been given gratis. From this point Chatfield was thrown on his own resources, and was compelled to supplement his slender income by portrait-painting. Among his sitters were several members of the Russell family, and he painted a large family group of the Campbells of Islay at an otter hunt, which he exhibited at the Royal Academy in 1834. He did not, however, neglect historical painting, the branch of art to which his education and all his energies had been directed. He exhibited at the Royal Academy, in 1833, 'The Death of Locke,' a picture of great pathos, and very favourably criticised. In 1836 he attempted an ambitious subject, 'The Battle of Killiecrankie.' This picture represents a fight between mounted dragoons and two highlanders. The latter are stripped to the waist, and of extreme muscular development; one has fallen, but the other with a tremendous grip is dragging down a dragoon from his saddle, and raises his right arm in the act of dealing a deathblow. This picture, which excited much attention at the time, was subsequently sold at Liverpool for 45l. In 1837 he exhibited 'Ophelia,' but his health, which had never been strong, had then begun to fail him. After a lingering illness he died, on 22 Jan. 1839, at 66 Judd Street, Brunswick Square, the house of his friend, Mr. Orrin Smith, the wood engraver, with whom he had resided for some years, and whose family he had frequently portrayed. He was buried in Norwood cemetery. Chatfield was possessed of considerable literary powers, and contributed articles to 'Blackwood's Magazine,' the 'New Monthly Magazine,' Elmes's 'Annals of the Fine Arts,' &c., usually under the signature of 'Echion.' At the time of his death he was engaged on a large picture of 'Soldiers' Wives drawing Lots for Embarkation with their Husbands.' This picture, now in the possession of Mr. C. H. Compton at Clapham, shows great skill of composition, and gives much promise of what he might have attained to had he lived long enough to do justice to the powers which he undoubtedly possessed. Among other pictures from his hand were 'Penelope's Grief over the Bow of Ulysses' (exhibited 1824), 'La Petite Espiègle' (1825), and 'Deep thought oft seemed to fix his youthful eye' (1838).
[Redgrave's Dictionary of Artists; Graves's Dictionary of Artists, 1760-1880; Elmes's Annals of the Fine Arts; Arnold's Magazine of the Fine Arts; Gent. Mag. (new ser.), xi. 438; Taylor's Life of Haydon; Examiner, 27 Jan. 1839; Courier, 23 Jan. 1839; Morning Advertiser, 2 May 1820; Royal Academy, &c., Catalogues; manuscript diary and other information communicated by C. H. Compton.]
CHATHAM, Earls of. [See Pitt.]
CHATTERLEY, WILLIAM SIMMONDS (1787–1822), actor, was born in London on 21 March 1787. His father, originally a surgical instrument maker in Cannon Street, filled subsequently a post in connection with Drury Lane Theatre, at which house Chatterley made his appearance in infantine parts. He is said to have played in his third year the King of the Fairies in the 'Jubilee,' and Cupid in 'Arthur and Emmeline,' a piece which records show to have been played at Drury Lane on 5 Nov. 1789. When, in 1791, the Drury Lane company migrated to the King's Theatre (Opera House) in the Haymarket, Chatterley accompanied it, but played no character sufficiently important to have his name mentioned. On 1 Feb. 1795, after the return of the company, he is first publicly heard of playing Carlos in an ill-starred tragedy by Bertie Greatheed, entitled the 'Regent.' On 24 Sept. 1796 he played the Child in 'Isabella,' a version by Garrick of Southerne's 'Fatal Marriage,' to the Isabella of Mrs. Siddons. Through the recommendation of Bannister he assumed youthful characters in Birmingham, and took part in private theatricals. His connection with Drury Lane was maintained until 1804, when he accepted a country engagement. At Cheltenham he made a success in what is technically called leading business. Palmer and Dimond secured him in 1810 for the Bath theatre, of which they were managers. Here he married, 11 Aug. 1813, Miss Louisa Simeon, an actress, whose reputation remained at least on a level with his own. He reappeared in 1816 in London at the Lyceum. Irregularity of life interfered with his success, and after accepting temporary engagements at the Adelphi, the Olympic, the Surrey, and other theatres, he died at Lynn in Norfolk in 1822, a victim of most forms of excess. In Bath he played such characters as Sir Anthony Absolute, Launcelot Gobbo, Foresight in 'Love for Love,' Sir Solomon Sadlips in the 'Double Gallant.' In London his great character was Justice Woodcock, in which he came only behind Munden and Dowton. He 'created,' 24 May 1799, the rôle of the boy in 'Pizarro.' Mrs. Chatterley, who was an agreeable actress in comedy, had the reputation of being the GooBoo link to pg 142 for verification
