published in 1789; the other forty-three plates, issued in 1816, with descriptions by T. Hartwell Horne. He published also ‘Views of Cities and Towns in England and Wales’ (W. Byrne, 1790, folio); also seventy-six plates illustrating a ‘History of the River Thames,’ 1794; several plates in ‘Britannia Depicta,’ 1806; besides other book illustrations. He wrote a memoir of Sir Joshua Reynolds for the fifth edition of that master's ‘Literary Works,’ 1819. This memoir was compiled, according to Leslie and Taylor (Life of Reynolds, 1865), with the object of showing that Sir Joshua was not ‘driven from the Academy.’
He married Susan, daughter of Prebendary Hamond of York, but left no issue. He died at his brother's house, Parr's Wood, Didsbury, near Manchester, on 30 Dec. 1821, in consequence of a fall. There is a portrait of him in Dance's ‘Collection of Portraits,’ 1809–14, and another by Meyer after Sir T. Lawrence.
[Redgrave's Dict. of Artists, 1878, p. 149; Sandby's Hist. of the Royal Academy, 1862, i. 194; Knowles's Fuseli, i. 239; Foster's Lancashire Pedigrees; Gent. Mag. 1822, i. 92; Jupp's Society of Artists of Great Britain, 1871, p. 19.]
FARISH, WILLIAM (1759–1837), Jacksonian professor at Cambridge, born in 1759, was the son of a clergyman at Carlisle. He was educated in the Carlisle grammar school, and entered as a sizar of Magdalene College, Cambridge. He graduated B.A. in 1778, being senior wrangler and first Smith's prizeman; was elected fellow and appointed tutor of his college, and commenced M.A. in 1781. He was taxer in 1783 and proctor in 1792. In 1794 he was chosen professor of chemistry, and first sought to apply that science to the arts and manufactures, and to combine with its study the practical adjuncts of mechanics and engineering. In 1800 he was collated to the church of St. Giles, Cambridge. He became Jacksonian professor of natural and experimental philosophy in 1813, in succession to the Rev. Francis John Hyde Wollaston. In 1820 he took the degree of B.D., and in 1836 he was instituted to the rectory of Little Stonham, Suffolk, where he died on 12 Jan. 1837.
His only publications are: 1. ‘A Plan of a Course of Lectures on Arts and Manufactures, more particularly such as relate to Chemistry,’ Cambridge, 1796, 8vo, and again 1803 and 1821. 2. ‘Report of the Formation of the Cambridge Auxiliary Bible Society,’ 1812.
[Addit. MS. 19167, f. 242 b; Gent. Mag. new ser. vii. 433; Watt's Bibl. Brit.; Cat. of Printed Books in Brit. Mus.; Graduati Cantabr. (1873), pp. 136, 490, 493; Biog. Dict. of Living Authors, p. 112.]
FARLEY, CHARLES (1771–1859), actor and dramatist, was born in London in 1771 and entered the theatrical profession at an early age, making his appearance as a page at Covent Garden, London, in 1782. He soon was entrusted with characters of greater prominence, and by his impersonation of Osric in ‘Hamlet,’ Trip in the ‘School for Scandal,’ and similar parts rose to notice in the legitimate drama, but was better known as a melodramatic performer and as an efficient stage-manager. He was the instructor of Joseph Grimaldi, to whose Orson, when he made his first appearance in the character, 10 Oct. 1806, he played Valentine. He assisted Thomas Dibdin in the composition of ‘Harlequin and Mother Goose,’ produced at Covent Garden on 26 Dec. 1806, in which piece, played ninety-two nights, Grimaldi made his name famous. From 1806 to 1834 the Covent Garden pantomimes owed much of their success to his inventive mind and diligent superintendence. As a theatrical machinist he was in his time without a rival, and he was the originator of the incidents and tricks introduced into the dramas and pantomimes at this house. His Sanguinback in ‘Cherry and Fair Star,’ his Grindoff in ‘The Miller and his Men,’ a piece for which Sir H. R. Bishop wrote charming music, his Robinson Crusoe, and his Timour the Tartar were masterpieces of melodramatic acting. Jeremy, a fop, in ‘Love for Love,’ and Lord Trinket in the ‘Jealous Wife’ were also in his list of characters. His acting was in the old-fashioned noisy manner, with much gesture, a style which, however, then suited the taste of the patrons of the stage. He retired from public life in 1834, and died at his residence, 42 Ampthill Square, Hampstead Road, London, on 28 Jan. 1859.
He was the writer of: 1. Air, glees, and choruses in the pantomime called ‘Raymond and Agnes, or the Castle of Lindenburgh,’ 1797. 2. ‘The Magic Oak, a Christmas Pantomime,’ 1799. 3. ‘Aggression, or the Heroine of Yucatan,’ 1805. 4. ‘Harlequin and Mother Shipton. Arranged and produced by Mr. Farley,’ 1826. 5. ‘Henry IV, Part II. Arranged by Mr. Farley, with four additional scenes representing the Coronation in the Abbey,’ 1821. He also wrote many other pieces which were not printed.
[Kenrick's British Stage, July 1818, p. 145, with portrait; Era, 6 Feb. 1859, p. 11; Times, 8 Feb. 1859, p. 5; Memoirs of Grimaldi (1846), i. 218, ii. 42; Gilliland's Dramatic Mirror (1808),
