question, which had been produced at the Camden Theatre in 1903, and later by the Stage Society. At the same theatre was produced (20th of November 1906) The Doctor's Dilemma, a satire on the medical profession, and How He lied to Her Husband (Feb. 1905), which had been previously played in New York. Later plays were: Getting Married (1908), The Showing-up of Blanco Posnet (1909) and Press-cuttings (1909). Among Mr Shaw’s later writings on economics are: Socialism for Millionaires (1901), The Common Sense of Municipal Trading (1904), and Fabianism and the Fiscal Question (1904). Although an energetic member of the South St Pancras borough council, he failed to secure election to the London County Council when he stood as a candidate in 1904. Mr Shaw married in 1898 Miss Charlotte Frances Payne-Townshend.
There are essays on his work by H. L. Mencken (Boston and London, 1905), by E. E. Hale (Dramatists of To-Day. London, 1906), &c.; “ The Plays of Mr Bernard Shaw,” in the Edinburgh Review (April 1905); “ Mr Bernard Shaw's Counterfeit Presentment of Women,” in the Fortnightly Review (March 1906); “ Bernard Shaw as Critic,” in the Fortnightly Review (June 1907); and an appreciation by Holbrook Jackson, Bernard Shaw (1907).
SHAW, HENRY WHEELER (1818-1885), American humorist,
known by the pen-name of “ josh Billings, ” was born of Puritan
stock at Lanesborough, Massachusetts, on the 21st of April
1818, the son of Henry Shaw (1788-1857), who was a representative
in Congress in 1817-1821. The son left Hamilton College
to go West. In 1858 he settled in Poughkeepsie, N.Y., as a
land-agent and auctioneer, and began writing newspaper
articles, especially for the Poughkeepsie Daily Press. His
“ Essa on the Muel bi josh Billings” (1860) in a New York
paper was followed by many similar articles, chiefly in the New
York Weekly and the New York Saturday Press, and by several
popular volumes, among which are Josh Billings: His Sayings
(1866), Josh Billings on Ice (1868), Everybody's Friend (1876),
Josh Billings: His Works, Complete (1876), Trump Kards (1877),
Old Probabilities (1879), Josh Billings' Spice-Box (1881), and
Josh Billings' Farmers'Allminax, burlesquing the Old Farmers
Almanac, issued annually between 1870 and 1880, and collected
into a volume in 1902 under the title Josh Billings' Old Farmers
Allminax. He died in Monterey, California, on the 14th of
October 1885. His platform lectures, such as “ Milk, ” “ Hobby
Horse, ” “The Pensive Cockr0ach, ” and “ What I kno about
Hotels, ” his mannerisms and apparently unstudied witticisms
made him conspicuous.
See Life and dentures of Josh Billings (New York, 1883), by Francis S. Smith.
SHAW, LEMUEL (1781-1861), American jurist, was born
at Barnstable, Massachusetts, son of the minister of the West
Parish there, on the 9th of January 1781. He graduated from
Harvard College in 1800, and was admitted to the bar (of New
Hampshire and of Massachusetts) in 1804. In 1805 he began
to practise law in Boston. He was a prominent Federalist
and was a member of the Massachusetts House of Representatives
in 181 I-1814, in 1820, and in 1829, and of the state Senate in
1821-1822, a delegate to the state constitutional convention of
1820-1821, and chief justice of the Supreme Court of the state
from 183O to 186O. He died in Boston on the 30th of March 1861.
As chief justice Shaw maintained the high standard of excellence
set by Theophilus Parsons. He presided over the trial in 18 50
of Professor John White Webster (1793-1850) for the murder
of Dr George Parkman. His work in extending the equity,
jurisdiction and powers of the court was especially notable.
He was also largely instrumental in defeating an attempt (1843)
to make a reduction of salary apply to judges already in ofbce,
and an attempt (1853) to abolish the life term of judges. His
opinion in Cary v., Daniels (8 Metcalf) is the basis of the present
law in Massachusetts as to the regulation of water power rights
of riparian proprietors.
See the address by B. F. Thomas in Proceedings of the Massachusetts Historical Society, x. 50-79 (Boston, 1869); and the sketches b Samuel S. Shaw and P. Emory Aldrich in vol. iv. p 200-247, oi, Memorial Biographies of the New England Historic éienealogical Society (Boston, 1885).
SHAW, RICHARD NORMAN (183I-), British architect,
was born in Edinburgh on the 7th of May 1831. At the age of
sixteen he went to London and became a pupil of William Burn.
In Burn's office he formed that friendship with William Eden
Nesield which so profoundly influenced the careers of both,
and was thoroughly grounded in the science of planning and in
the classical vernacular of the period. He also attended the
architectural schools of the Royal Academy, and devoted
careful study both to ancient and to the best contemporary
buildings. In 1854, having finished his term of apprenticeship
with Burn, he gained the gold medal and travelling studentship
of the Royal Academy, and until 1856 travelled on the continent,
studying and drawing old work. On his return in 1856 he was
requested by the Council of the Royal Academy to publish his
drawings. This work, entitled Architectural Sketches from the
Continent, was issued in 1858. In the meantime Neslield was
continuing his studies with Anthony Salvin; Mr Shaw also
entered his office, and remained there until 1857, when he
widened his experience by working for three years under George
Edmund Street. In 1863, after sixteen years of severe training,
he began to practise. For a short time he and'Nesfield joined
forces, but their lines soon diverged. Mr Shaw's first work of
importance was Leyes Wood, in Surrey, a building of much
originality, followed shortly afterwards by Cragside, for Lord
Armstrong, which was begun in 1869. From that time until he
retired from active practice his works followed one another in
quick succession. In 1872 Mr Shaw was elected an Associate
of the Royal Academy, and a full member in 1877; he joined
the “retired ” list towards the end of 1901. ..
Other. characteristic examples of Shaw's work are Preen Manor,
Shropshire; New Zealand Chambers, Leadenhall Street; Pierrepont,
Wispers, and Merrist Wood, in Surrey; Lowther Lodge,
Kensington; Adcote, in Shropshire; his houses at Kensington,
Chelsea, and at Hampstead; Flete House, Devonshire; Greenham
Lodge, Berkshire; Dawpool, in Cheshire; Bryanstone, in Dorsetshire;
Chesters, Northumberland; New Scotland Yard, on the
the neighbourhood. He also built and restored several churches,
the best known of which are St John's Church, Leeds; St Margaret's,
Ilkley, and All Saints', Leek. His early buildings were most
picturesque, and contrasted completely with the current work of the
time. The use of “ half timber " and hangin tiles, the rojectin
gables and massive chimneys, and the cunningly contrived bays and
recessed fireplaces, together with the complete freedom from the conventions
and trammels of “ style, ” not only appealed to the artist,
but gained at once a place in public estimation. judged in the light
of his later work, some of those early buildings appear almost too
full of feature and design; they show, however, very clearly that
Mr Shaw, in discarding “ academic style, " was not driftin rudderless
on a sea of fancy. His buildings, although entirely gee from
archaeological pedantry, were the outcome of much enthusiastic and
intelligent study of old examples, and were based directl 'on old
methods and traditions. As his powers developed, his buildin s
gained in dignity, and had an air of serenity and a quiethomei
charm which were less conspicuous in his earlier works; the .“ bali
timber " was more sparingly used, and finally disappeared entirely.
His work throughout is especially distinguished by treatment of
scheme. There is nothing tentative or hesitating. His planning is
invariably line and full of ingenuity. Adcote (a beautiful drawing
of which hangs in the Diploma Gallery at Burlington House) is
perhaps the best example of the series of his country houses built
between 1870 and 1880. The elements are few but perfectly portioned
and combined, and the scale throughout is consistent.
The Great Hall is the keynote of the plan, and is properly but not
unduly emphasized. The grouping of the rooms round the Hall
is very ably managed-each room is in its right position, and has
its proper aspect. New Zealand Chambers, in Leadenhall Street,
another work of about the same period (1870-1880), is a valuable
example of Mr Shaw's versatility. Here he employed a completely
different method of expression from any of his preceding works,
in all of which there is a trace of “ Gothic ” feeling. This is a facade
only of two Storeys, divided by piers of brickwork into three equal
spaces, filled by shaped bays rich with modelled plaster; above,
drawing the whole composition together, is a linely enriched plaster
cove. An attic storey, roofed with three gables, completes- the
building, which is the antithesis of the accepted type of cit offices;
it is yet perfectly adapted to modern uses. » New Scotlandy Yard is
undoubtedly Mr Shaw's finest and most complete work. The plain
ranite base is not only subtly suggestive of the purposes o the
Building, but by dividing the height with a strongly marked line
gives a greater apparent width to the structure; itisuggests also a
division of de artments. By its mass, too, it revents the eye from
dwelling on the necessary irregularity of the ihwer windows, which
are not only different in character from those of the upper storeys,
but more numerous and quite irregularly spaced. The projecting
Thames Embankment; besides several fine works in Liverpool and.
