the court of Rome into the king's favour (ib. ix. 730). On 20 Nov. of that year he was postulated to the see of Exeter. But before the translation could be completed he died, on 28 Dec. 1419, at Florence, where the papal court had been since the previous February. In accordance with his will he was buried in the church of Santa Croce, where a marble slab still marks his tomb in the centre of the nave near the choir. His name is variously spelt Catrik, Catryk, Catterich, or Ketterich; the first is the form that appears on his tomb, and is probably the best.
[Le Neve's Fasti Eccl. Angl. i. 296, 373, 552, ii. 89, 117, 140, 214, iii. 29, 207, ed. Hardy; Rymer's Fœdera, orig. edit.; Wharton's Anglia Sacra, i. 452; Godwin, De Præsulibus, pp. 321, 412, 582, ed. Richardson; H. von der Hardt's Concilium Constantiense; Labbé's Concilia, vol. xxvii.]
KETTLE or KYTELER, Dame ALICE (fl. 1324), reputed witch, lived in Kilkenny in the fourteenth century. Her relatives were wealthy. Robert le Kyteler was a trader with Flanders towards the close of the thirteenth century. She is frequently referred to in the history of the English Pale. According to Holinshed she was accused in 1324, by Richard de Lederede, bishop of Ossory, with two accomplices, Petronilla of Meath and Bassilla her daughter, of holding ‘nightlie conference with a spirit called Robert Artisson, to whome she sacrificed in the high waie nine red cocks and nine peacocks' eies.’ The accused persons abjured and did penance, but were afterwards found to have relapsed. One of the accomplices was burnt at Kilkenny, and at her death declared that Lady Kettle's son was an accomplice. He was imprisoned by the bishop for nine weeks, but delivered by Arnold le Powre, seneschal of Kilkenny (a relative of Lady Kettle's fourth husband). Lady Kettle's son then bribed le Powre to imprison the bishop. Lady Kettle was again cited to appear at Dublin before the Dean of St. Patrick's, but some of the nobility supported her, and got her over to England, where no more was heard of her. In her closet was found a sacramental wafer, with a print of the devil, and some ointment which converted a staff into a practicable steed. Wright gives Lady Kettle four husbands: 1. William Outlaw of Kilkenny, ‘banker.’ 2. Adam le Blound of Callan, whom she married about 1302. 3. Richard de Valle, whom she married about 1311; and 4. John le Poer or Powre, to whom she was married in 1324. She bore a son to William Outlaw, also called William. A ‘Narrative of the Proceedings against Dame Alice Kyteler, prosecuted for sorcery in 1324 by Richard de Lederede, bishop of Ossory,’ in Latin, was edited by Thomas Wright for the Camden Society in 1843, from Harl. MS. 641, f. 187; a transcript is in Sloane MS. 4800.
[Wright's edit. of the Proceedings; Cal. of Carew MSS., Book of Howth (Rolls Ser.), pp. 147–148; Chartularies of St. Mary's Abbey Dublin (Rolls Ser.), ii. cxxxiii–v, 362–4; Holinshed's Chron. of Ireland, p. 69; Irish Eccles. Journ. (October 1843), ii. 261, where is another letter by James Heathorn Todd, D.D.]
KETTLE, TILLY (1740?–1786), portrait-painter, born in London about 1740, was the son of a house-painter, apparently Henry Kettle, sen., who in 1772 was residing in Silver Street, Wood Street, and exhibited at the Society of Arts a cylindrical painting. Kettle learnt first from his father, then studied in the Duke of Richmond's gallery of casts, and later at the academy in St. Martin's Lane. He practised as a portrait-painter, and in 1761 exhibited a portrait at the Free Society of Artists. In 1762 he was employed to repair Streater's painting on the ceiling of the theatre at Oxford. In 1765 he exhibited at the Society of Artists, of which he afterwards became a fellow, a full-length portrait of Mrs. Yates as ‘Mandane,’ and a kit-cat portrait of Mrs. Powell, wife of the actor, in Turkish dress. In 1767 he exhibited a portrait of Miss Eliot as ‘Juno,’ and in 1768 ‘Dead Game.’ He continued to exhibit portraits and conversation-pieces until 1770, when he went to India. He remained there seven years, and acquired a considerable fortune. He sent home many pictures for exhibition. One contained full-length portraits of Mahomed Ali Caun, nabob of Arcot, and his five sons in 1771; another in 1772 depicted native dancing girls. In 1775 he exhibited a painting representing Sujah Dowlah, vizier of the Mogul Empire, and his four sons meeting Sir Robert Barker, his two aides-de-camp and interpreter at Fyzabad, in order to conclude a treaty with the East India Company in 1772. This group, painted for Sir Robert Barker [q. v.], was afterwards placed at Bushbridge Park, near Godalming, Surrey. In 1776 Kettle forwarded to the Academy ‘The Ceremony of a Gentoo woman taking leave of her relations, and distributing her jewels prior to ascending the funeral pile of her deceased husband.’ Kettle returned to England about 1777, settled in London, and married the younger daughter of James Paine, senior [q. v.], the architect. In 1779 he exhibited a portrait at the Royal Academy, and in 1781, with other portraits, ‘The Great Mogul, Shah Allum, reviewing the third Brigade of the