known works, of which the chronological order is for the first time properly ascertained, will doubtless remain the standard one. Select ‘Plays’ (including the ‘Relapse,’ ‘Provok'd Wife,’ ‘Confederacy,’ and part of the ‘Provok'd Husband’), with introduction and notes by A. E. H. Swaen, and a reprint of Leigh Hunt's ‘Essay,’ was issued in the ‘Mermaid Series’ in 1896. Selections from Vanbrugh, with an interesting critical note, appear in ‘English Comic Dramatists’ (ed. Crauford, 1884). The more popular plays, such as the ‘Relapse,’ ‘Provok'd Wife,’ and ‘Confederacy,’ have been printed in Oxberry, Inchbald, Dibdin, Bell, and similar collections of plays. A German translation of select plays appeared at Basle and Frankfort in 1764.
A considerable number of Vanbrugh's letters, many of them models of sprightliness and good humour, are scattered through the ‘Gentleman's Magazine’ during 1836, 1837, and 1839 (those to Jacob Tonson being the most important). Of his letters to the Earl of Manchester, preserved at Kimbolton, examples are given in the ‘Athenæum’ (1861, i. 84–6) and in the Duke of Manchester's ‘Court and Society from Elizabeth to Anne,’ and of those to the Earl of Carlisle extracts are given in the ‘Carlisle Papers’ (Hist. MSS. Comm. 15th Rep. App. vi. passim). Others of his letters are in the British Museum, to the Duchess of Marlborough (Addit. MS. 32670), to the Duke of Newcastle (ib. 32687 and 33064), and to P. Mauduit (Egerton MS. 2721). A selection of these letters was printed in the ‘Athenæum’ (1890, ii. 289–91, 321–2). For a letter to Sir Robert Walpole respecting the building of a summerhouse at Chelsea, see Beaver's ‘Memorials of Old Chelsea’ (p. 285; cf. Martin, Old Chelsea, 1889, p. 83).
[In spite of the interest of the materials, no exhaustive ‘life’ of Vanbrugh has yet been attempted. Short accounts were prefixed to the early editions, and these were summarised in Baker's ‘Biographia Dramatica’ (1812, i. 724) and elsewhere. Noble in his ‘College of Arms’ (1804, pp. 355–6) supplied some new materials, and these were reproduced with a fresh criticism by Allan Cunningham in his ‘Lives of British Painters, Sculptors, and Architects’ (1829–33). Leigh Hunt furnished a good biographical account in his Introduction of 1840, embodying the materials collected by D'Israeli in his ‘Curiosities of Literature’ relative to the building of Blenheim. This edition was favourably noticed by Macaulay in his well-known ‘Essay on the Comic Dramatists,’ in which he deals at length with Congreve and Wycherley to the exclusion of Vanbrugh and Farquhar. All these accounts were superseded by the memoir by Arthur Ashpitel [q. v.] in the ‘Encyclopædia Britannica’ (8th edition, 1860), which is based upon the most careful research. Wyatt Papworth added much as to Vanbrugh's architectural career in the ‘Dictionary of Architecture,’ and in 1893 appeared the valuable ‘life’ prefixed to the standard edition of Vanbrugh by W. C. Ward. Max Dametz's Vanbrughs Leben und Werke appeared at Vienna in 1898. Other authorities are: Dalton's English Army Lists, iii. 409; Carlisle Papers in Hist. MSS. Comm. 15th Rep. App. vi.; Le Neve's Knights, 1873; Genealogist, ii. 237; Herald and Genealogist (1873), vii. 112–114; Ravaisson's Archives de la Bastille, vol. ix.; St. Nicholas Acons Reg., ed. Brigg, 1890, pp. 31–3; Athenæum, 1890 ii. 289, 321, 1894 ii. 234, 299; Gent. Mag. 1802 ii. 1065, 1804 i. 411, ii. 737, 1815 ii. 494, 1816 i. 37, 135, 1829 i. 42, 1831 i. 330, 1836 i. 13, ii. 27, 374, 1837 i. 243, 479, 1839 i. 149, 1857 ii. 420. See also Luttrell's Brief Relation, Oxford, 1857; Coxe's Life of Marlborough, passim; Thomson's Memoirs of the Duchess of Marlborough, vol. ii. passim; Cibber's Lives, iv. 99–111; Walpole's Anecdotes of Painting, ed. Wornum, iii. 297, and Correspondence, ed. Cunningham, passim; Genest's Hist. of the Stage; Gildon's Comparison between the Two Stages, 1702, p. 32; Knight's Garrick, 1894, p. 321; Pope's Works, ed. Elwin and Courthope, iii. 173–6, 366, vi. 112, x. 106, 187; Dryden's Works, ed. Scott, viii. 440; Swift's Works, ed. Scott, ii. 71, xiii. 6, xiv. 80; Nichols's Lit. Anecd. i. 299, 341, viii. 594; Bingham's The Bastille, i. 444; Ward's English Dramat. Lit. ii. 589; Lowe's Bibl. Account of English Theatr. Lit. and Life of Betterton; Gosse's Congreve, 1888, pp. 117 sq.; Aitken's Steele, i. 61, 70, 99, 146, ii. 58 n. 274; Boswell's Johnson, ed. Hill, iv. 48, 55, 284–6; Hazlitt's Lectures on English Comic Writers, vol. iv.; Hallam's Lit. Hist. of Europe, 1854, iii. 514, 528; Beljame's Hommes de Lettres en Angleterre, pp. 249, 499; Lemaître's Théâtre de Dancourt, 1882; De Grisy's La Comédie Anglaise, 1672–1707, pp. 260–345 (where the plots are lucidly abridged); Lenient's La Comédie au xviiime Siècle, 1888, i. ch. v; Moland's Molière et la Comédie Italienne, 1867, p. 112; Gaetschenberger's Geschichte der engl. Lit. iii. 209 sq.; Zinck's Congreve, Vanbrugh og Sheridan, 1869, 8vo; Quérard's France Littéraire, x. 35; Roget's ‘Old Watercolour’ Society, i. 9; Leigh Hunt's The Town, p. 377; Marshall's Woodstock, 1873, p. 263; Davis's Memorials of Knightsbridge, 1859, p. 83; Times, 8 March 1888; Builder, 1860, p. 460; Saturday Review, 11 March 1893; Architect. Journal, 1850, ii. 430; Boase and Courtney's Biblioth. Cornub. ii. 820; Allibone's Dict. of Engl. Lit.; Smith's Mezzotinto Portraits, p. 435; Evans's Cat. of Engr. Portr. i. 356, ii. 396; Notes and Queries, 4th ser. ix. 499, 7th ser. iv. 28, 113, 8th ser. vii. 166, 258, 509.]
VANCE, ALFRED GLENVILLE (1838?–1888), actor, pantomimist, and comic singer, was born in London about 1838, and