Page:A Dictionary of Music and Musicians vol 1.djvu/338

326 mother a washerwoman. Endowed with great personal beauty, a charming voice, and a natural talent for singing, she gained her living at the early age of 10 years by singing in the public houses in the neighbourhood, and also for the diversion of the officers quartered in the Tower. When about 15 years of age she was apprenticed by her father to William Bates for the purpose of receiving regular instruction in the art of singing, Catley binding himself in the penalty of £200 for her due fulfilment of the covenants in the indenture. She made rapid progress, and in the summer of 1762 made her first appearance in public at Vauxhall Gardens. On Oct. 8 in the same year she appeared at Covent Garden Theatre as the Pastoral Nymph in Dr. Dalton's alteration of Milton's 'Comus.' Early in 1763 she became acquainted with Sir Francis Blake Delaval, a young baronet, who prevailed on her to quit the house of Bates and reside with him. Desirous of obtaining a legal control over her, Delaval, in April 1763, induced Bates to consent to an arrangement for his pupil doing some act which would put an end to the apprenticeship, Delaval paying him the £200 penalty, and also the amount of an engagement he had entered into for her singing during the summer season at Marylebone Gardens. She was then colourably apprenticed to Delaval to be taught singing by him. Application being made to her father, who was then coachman to Barclay, the quaker, of Cheapside, for his concurrence, he consulted his master, who, shocked at the iniquity of the transaction, at once sent Catley to his attorney. A habeas corpus was obtained for Delaval to produce Anne Catley before the Court of King's Bench, where the affair being inquired into, the Court ordered that Delaval, Bates, and John Frayne, an attorney employed by Delaval, should be prosecuted for conspiracy, the Chief Justice, Lord Mansfield, denouncing their conduct in strongly indignant language. They were accordingly tried, convicted, and fined. In the summer of 1763 Anne Catley fulfilled her engagement at Marylebone Gardens, and shortly afterwards became a pupil of Macklin, the actor, who procured her an engagement at Dublin, where she became a great favourite. O'Keeffe, the dramatist, who became acquainted with her there, says, in his amusing 'Reminiscences,' 'She wore her hair plain over her forehead in an even line almost to her eyebrows. This set the fashion in Dublin, and the word was with all the ladies to have their hair Catley-fied.' He elsewhere observes, 'She was one of the most beautiful women I ever saw; the expression of her eyes and the smiles and dimples that played round her lips and cheeks enchanting. She was eccentric, but had an excellent heart.' In 1770 she returned to England, and reappeared at Covent Garden Theatre on Oct. 1 as Rosetta in 'Love in a Village.' After the season she was again engaged at Marylebone Gardens, where she appeared on July 30, 1771, and sang until the close of the season. On Feb. 6, 1773, O'Hara's burletta, 'The Golden Pippin,' was produced at Covent Garden Theatre. Miss Catley performed the part of Juno with a spirit and humour that excited the utmost applause, and was particularly admired for her singing of two of the songs, viz. 'Push about the jorum,'—the tune of which has been used for an almost endless number of comic songs,—and 'Where's the mortal can resist me?'—the tune of which, slightly varied, has long been associated with the Advent Hymn. Having amassed an independence Miss Catley retired from public life in 1784. She died Oct. 14, 1789, at the house of General Lascelles (to whom she was married), near Brentford. The public prints of the day eulogised her as a good mother, a chaste wife, and an accomplished woman. [ W. H. H. ]

CAURROY,, Sieur de St. Frémin, born at Gerberoy near Beauvais 1549, died in Paris 1609; canon of the Ste. Chapelle and prior of St. Aïoul de Provins; a composer of great merit in his day. He was appointed director of the King's band in 1569, and continued in office during the reigns of Charles IX, Henry III, and Henry IV. In 1599 the post of Surintendant de la Musique du Roi was created for him. He was buried in the Church des Grands Augustins. A monument (destroyed in the Revolution) was erected to his memory by his successor Nicolas Formé, with an epitaph by his friend Cardinal du Perron. Du Caurroy was called by his contemporaries 'Prince des professeurs de musique,' a title he shared with Orlando Lasso and Palestrina. His compositions include 'Missa pro defunctis,' performed at the funerals of the kings of France until the 18th century; one copy only exists at the Bibliothèque Nationale in Paris; 'Preces ecclesiasticæ' (Paris 1609), 'Precum ecclesiasticarum lib. 2' (Paris 1609), and, published by his grandnephew André Pitart, 'Fantaisies' in 3, 4, 5, and 6 parts (Paris 1610) and 'Mélanges de musique' (Paris 1610) from which Burney prints in his 3rd volume a Noël in four parts. Du Caurroy has been credited with the airs 'Charmante Gabrielle' and 'Vive Henri IV.' [ M. C. C. ]

CAUSTON,, was a gentleman of the Chapel Royal in the reigns of Edward VI, Mary, and Elizabeth. He contributed to the curious collection published by John Day, the eminent printer, in 1560, in separate parts, under the title of 'Certain Notes, set forth in four and three parts, to be sung at the Morning, Communion, and Evening Prayer'; he was also a contributor to the collection of psalm tunes published by Day in 1563 under the title of 'The whole Psalmes in foure parts, which may be sung to all musical instruments.' Some of his compositions are still extant. 'They are remarkable for purity of part writing and flowing melody, closely resembling the style of Orlando Gibbons, the great church composer of a later period.' Causton died Oct. 28, 1569. A 'Venite exultemus,' and a Communion service by him were reprinted by the Rev. Dr. Jebb some years since. [ W. H. H. ]

CAUVINI, an Italian singer, described by