land, and he was elected surgeon to Guy's Hospital, in succession to Pierce, on 22 Feb. 1745–6, an office he resigned on 30 June 1780. He was elected a fellow of the Royal Society on 6 Dec. 1750, and on 5 April 1764 he was chosen a member of the court of assistants of the Corporation of Surgeons. He became a member of its court of examiners on 6 Aug. 1771, and he served as its master in 1780 and in 1784. When the present College of Surgeons was created in 1800 Warner became its first member, so that he was one of the very few surgeons who belonged to the three corporate bodies of surgeons which have existed in England.
Warner died at his house in Hatton Street on 24 July 1801. He shared with William Bromfield [q. v.], Sir Cæsar Hawkins [q. v.], and Sharpe the civil surgical practice of London, and it was the success of these surgeons which prevented John Hunter sooner coming to the front. A life-size half-length portrait, by Samuel Medley, is in the council-room of the Royal College of Surgeons of England.
Warner contributed little to the literature of surgery, but what he wrote is of interest as expressive of the opinions of contemporary surgeons. He was the first surgeon to tie the common carotid artery, an operation he performed in 1775. His works were: 1. ‘Cases on Surgery … to which is added an Account of the Preparation and Effects of the Agaric of the Oak in Stopping of Bleedings after some of the most capital Operations,’ London, 1754, 8vo; 2nd edit. 1754, 3rd edit. 1760, 4th edit. 1784; translated into French, Paris, 1757, 8vo. This is the work upon which Warner's reputation as a surgeon mainly rests. The cases extend over the whole domain of surgery, and are related with brevity, skill, and judgment. 2. ‘A Description of the Human Eye and its adjacent parts, together with their Principal Diseases,’ London, 1773, 8vo; 2nd edit. 1775. 3. ‘An Account of the Testicles … and the Diseases to which they are liable,’ London, 1774, 8vo; 2nd edit. 1775; translated into German, Gotha, 1775, 16mo.
[Wilks and Bettany's History of Guy's Hospital; Wadd's Nugæ Chirurgicæ; Hallett's Catalogue of Portraits and Busts in the Royal College of Surgeons of England; Gent. Mag. 1801, ii. 956. Additional information from the manuscript records of the Barber-Surgeons' Company, by the kind permission of the master, Sidney Young, esq., F.S.A., and from C. H. Wells, esq., of Guy's Hospital.]
WARNER, MARY AMELIA (1804–1854), actress, the daughter of a Dublin chemist named Huddart, who, with his wife, Ann Gough of Limerick, took late in life to the stage, was born in Manchester in 1804. Huddart acted thrice at Crow Street Theatre, Dublin, and then, as ‘a gentleman from Dublin,’ made at Covent Garden as Othello his first appearance in London and fourth on any stage. After playing at Greenwich for her father's benefit, Mary Huddart became at the reputed age of fifteen a member of Brunton's company at Plymouth, Exeter, Bristol, and Birmingham. In 1829 she was acting in Dublin, and on 22 Nov. 1830, as Miss Huddart from Dublin, appeared at Drury Lane, playing Belvidera in ‘Venice Preserved’ to the Pierre of Macready, to whose recommendation she owed her engagement by Polhill and Lee. She had previously been seen in London at the Surrey and Tottenham Street theatres. Among the parts played in her first season were Emma in Knowles's ‘William Tell,’ Alicia in ‘Jane Shore,’ and Constance in ‘King John.’ She was also the original Queen Elswith in Knowles's ‘Alfred the Great.’ She then returned to Dublin, and played leading business under Calcraft. In 1836, under Bunn's management, she was again at Drury Lane, where she supported Edwin Forrest in ‘Lady Macbeth,’ Emilia, and other characters, and was the original Marian in Knowles's ‘Daughter,’ then called ‘The Wrecker's Daughter.’ Her success in the character last named led to her engagement at the Haymarket for the first production in London of the ‘Bridal,’ an adaptation by Knowles of the ‘Maid's Tragedy.’ In this she played, 26 June 1837, Evadne, Macready himself assuming Melantius. She also played Portia to Phelps's Shylock, and Helen McGregor to his Rob Roy. Near this period she married Robert William Warner, the landlord of the Wrekin Tavern, Broad Court, Bow Street, a place of resort for actors and literary men.
In the autumn of 1837 Mrs. Warner joined Macready at Covent Garden, where she stayed two years, supporting him in many Shakespearean parts and gaining in reputation. She was the original Joan of Arc in Serle's play of that name. She had been prevented by illness from playing at Covent Garden the heroine of Talfourd's ‘Athenian Captive,’ but took the part at the Haymarket on 4 Aug. 1838. Mrs. Warner accompanied Macready to Drury Lane, and was on 29 April 1842 Queen in ‘Hamlet,’ and on 10 Dec. the original Lady Lydia Lynterne in Westland Marston's ‘Patrician's Daughter.’ In 1843 she acted with Samuel Phelps [q. v.] in Bath, and on 27 May 1844, with him and T. L. Greenwood, began the memorable management of Sadler's Wells, opening as Lady Macbeth, and speaking an address by T. J. Serle. In the course of
