fended his conduct in a pamphlet called ‘A Voice in Rhama, or the Cry of the Women and Children, echoed forth in the compassions of Peter Chamberlen’ (London, 1647). It is an abusive production, resembling in style some of the vernacular writings of the Elizabethan surgeons, and shows that Chamberlen was not at home in the College of Physicians. He can find no better excuse for keeping secret knowledge, capable of saving hundreds of lives if widely known, than that ‘the draper is not bound to find cloth for all the naked because he hath enough in his shop, nor yet to afford it at the buyer's price.’ His next scheme, for his life was one long succession of schemes, was to institute a system of hydro-therapeutics, and he petitioned parliament (1648) to consider the question, especially as a preventive of plague. The College of Physicians, to whom the matter was referred, replied that all baths were useful in treatment, but that if public baths, as proposed by Chamberlen, were erected, the house would have to draw up stringent regulations for their use. Chamberlen, in reply, wrote ‘A Vindication of Public Artificial Baths’ (London, 1648), and, amidst other abuse, suggested that the college was made up of men opposed to puritan ideas. The breach grew wider and wider between Chamberlen and the other fellows, he ceased to attend, and in 1649 was dismissed from his fellowship. He now published a scheme of politics, a scheme for propelling carriages by wind, and several theological schemes, and became prominent at a conventicle in Lothbury. He was first an independent and next an anabaptist, but in 1660 joined in the general acclamation at the restoration of monarchy, and became physician to the king. He lived near St. Stephen's Church in Coleman Street, and from time to time published theological pamphlets. A list of them may be found in Dr. Aveling's ‘The Chamberlens’ (p. 81); their ideas are confused, and they are full of phrases like those of his famous neighbour, Cowley's ‘Cutter.’ Chamberlen frequently visited Holland, and in England petitioned for monopolies of inventions, of which he had learnt the beginnings from the Dutch. He obtained in 1672 a patent for all benefits arising from a new way of writing and printing true English; and somewhat later wrote to defend himself from charges of insanity and of Judaism. He so constantly put forward his seniority as a doctor and his age as claims to respect, that it is clear that even these just reasons failed to obtain him the veneration which nothing else in his way of life could claim. He died, 22 Dec. 1683, at Woodham Mortimer Hall in Essex, and has an altar tomb in the churchyard of the parish. He was twice married, and had in all fourteen sons, of whom Hugh the elder and Paul are separately noticed, and four daughters, sixty-five grandchildren, and fourteen great-grandchildren. His monument, which states the number of his descendants and his dignities, followed by a long epitaph in English verse, was erected by Hope, the only surviving child of his second wife. In 1818 several forceps and other midwifery instruments were discovered in Woodham Mortimer Hall, in an old chest, concealed beneath the floor. The instruments are to be seen at 53 Berners Street, London, and are fully described in the Medico-Chirurgical Society's ‘Transactions,’ vol. xxvii. They show that the Chamberlens tried to improve their instruments, as there are four varieties of the short forceps.
[Dr. J. H. Aveling's The Chamberlens, London, 1882; Munk's Coll. of Phys. 1878, i.; Original Minute Book of Barbers' Company, MS.]
CHAMBERLIN, MASON (d. 1787), portrait painter, began life as a clerk in a counting-house. Afterwards showing a disposition towards art, he became the pupil of Frank Hayman, R.A. In spite of this circumstance he seems to have prospered, gaining in 1764 the Society of Arts second premium of fifty guineas for an historical painting. He lived in the neighbourhood of Spitalfields, and there practised as a portrait painter. 'His likenesses were faithful, very carefully drawn and painted, but his colouring was thin, monotonous, and unpleasant' (Redgrave). He was a member of the Incorporated Society of Artists, and an original member of the Royal Academy. He was honoured by the attention of Peter Pindar (Dr. Wolcot) in the first of his Academy Odes. He was a frequent exhibitor in London galleries from 1760 to 1787. Twenty-two of his portraits were seen at the rooms of the Society of Artists, fifty at the Royal Academy, and two at the 'Free Society.' He painted portraits exclusively. One of Dr. Hunter, his presentation picture, is in the 'diploma gallery' of the Royal Academy ; another, a portrait of Dr. Chandler, is in the rooms of the Royal Society. Both of these have been engraved. In later life he moved from Spitalfields to Bartlett's Buildings, Holborn, and there died 20 Jan. 1787. His son, Mason Chamberlin, was a prolific painter, and exhibited sixty-eight landscapes in London from 1780 to 1827, of which fifty-eight were exhibited at the Royal Academy.
[Redgrave's Dict. of Eng. School; Graves's Dict. of Artists.]
