Crack in ‘Sir Courtly Nice,’ Antonio in the ‘Chances,’ Daniel in ‘Oroonoko,’ Old Brag in ‘Love for Money,’ Antonio in ‘Venice Preserved,’ Gentleman Usher in ‘Lear,’ Abel Drugger, Costar Pearmain, Snap in ‘Love's Last Shift,’ Scrub, Old Bellair in ‘Man of the Mode,’ Calianax in the ‘Maid's Tragedy,’ Ruffian and Apothecary in ‘Caius Marius,’ Thomas Appletree in the ‘Recruiting Officer,’ and Jerry Blackacre in the ‘Plain Dealer.’
Pinkethman, also known as Penkethman, Pinkeman, occasionally even Pinkerman, &c., and, by a familiar abridgment, Pinkey, was a droll rather than a comedian, and an imitator of Anthony Leigh [q. v.], of whom, according to Colley Cibber, he came far short. In the prologue to the ‘Conscious Lovers’ it is said—
Some fix all wit and humour in grimace,
And make a livelihood of Pinkey's face.
As Lacy in the ‘Relapse’ he succeeded Doggett, and, though much inferior, eclipsed him in the part. He made a success as Geta in the ‘Prophetess,’ and Crack in ‘Sir Courtly Nice,’ parts which lent themselves to one who always ‘delighted more in the whimsical than the natural.’ Cibber, who calls him ‘honest Pinkey,’ and owns to an attachment to him, denies him judgment. The matter he inserted in the characters assigned him was not always palatable even to his patrons in the gallery. When he encountered what Cibber called a disgracia, he was in the habit of saying ‘Odso! I believe I am a little wrong here,’ a confession which once turned the reproof of the audience into applause. Playing Harlequin in Mrs. Behn's ‘Emperor of the Moon,’ he was induced by his admirers to doff his mask. The result was disaster, his humour was disconcerted, and his performance failed to please. The nature of his gags may be judged from the following story. Playing Thomas Appletree, a recruit, in the ‘Recruiting Officer,’ he was asked his name by Wilks, as Captain Plume; he replied, ‘Why, don't you know my name, Bob? I thought every fool had known that.’ ‘Thomas Appletree,’ whispered Wilks, in a rage. ‘Thomas Appletree! Thomas Devil!’ said he; ‘my name is Will Pinkethman,’ and, addressing the gallery, asked if that were not the case. The mob at first enjoyed Wilks's discomfiture, but ultimately showed by hisses their disapproval of the ‘clown.’ Pinkethman is praised in the ‘Tatler’ and the ‘Spectator.’ Steele, in answer to an imaginary challenge from Bullock and Pinkethman to establish a parallel between them such as he had instituted between Wilks and Cibber, said: ‘They both distinguish themselves in a very particular manner under the discipline of the crabtree, with the only difference that Mr. Bullock has the more agreeable squall, and Mr. Pinkethman the more graceful shrug; Pinkethman devours a cold chick with great applause, Bullock's talent lies chiefly in sparrow grass; Pinkethman is very dexterous at conveying himself under a table, Bullock is no less active at jumping over a stick; Mr. Pinkethman has a great deal of money, but Mr. Bullock is the taller man’ (Tatler, vol. iv. No. 188; cf. vol. i. No. 4).
A portrait of Pinkethman, engraved by R. B. Parkes, from a painting by Schmutz, an imitator of Sir Godfrey Kneller, is in Mr. Lowe's edition of Cibber's ‘Apology.’ It shows him with a long and rather handsome face and full periwig.
Pinkethman, described as a bachelor of St. Paul's, Covent Garden, married, on 22 Nov. 1714, at Bow Church, Middlesex, Elizabeth Hill, maiden, of St. Paul's, Shadwell (Notes and Queries, 3rd ser. vi. 40). Pinkethman's booth descended to his son, who, at the opening of Covent Garden Theatre, 7 Dec. 1732, played Waitwell in the ‘Way of the World,’ was Antonio in ‘Chances’ at Drury Lane, 23 Nov. 1739, and died 15 May 1740 (Gent. Mag. 1740, p. 262).
[Books cited; Genest's English Stage; Downes's Roscius Anglicanus; Colley Cibber's Apology, ed. Lowe; Morley's Bartholomew Fair; Gildon's Comparison between Two Stages; Davies's Dramatic Miscellanies.]
PINKNEY, MILES (1599–1674), catholic divine. [See Carre, Thomas.]
PINNEY, CHARLES (1793–1867), mayor of Bristol, born on 29 April 1793, was son of John Preter (1740–1818), who assumed, on succeeding to the Pinney estates in 1762, the surname and arms of Pinney by royal license. Charles was a merchant and slaveowner, in partnership with E. Case at Bristol, a firm which in 1833 received 3,572l. as compensation for the emancipation of their slaves. On 16 Sept. 1831 Pinney was sworn in mayor of Bristol, and held that office during the riots caused by the rejection of the Reform Bill. These riots commenced on Saturday, 29 Oct. 1831, on the entrance into the city of Sir Charles Wetherell, the recorder, who was very unpopular, owing to the part he had taken in opposing the Reform Bill in the House of Commons, and was immediately mobbed. After taking refuge in the mansion house, he left Bristol during the night. Conflicts between the mob on one side and special constables and soldiers on the other continued through the evening, and thrice the
