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 under the impression that she gazed upon him from her pew with admiring looks, which, however, was by no means the case, for her principal charm was a squint, and she was really glancing in another direction. Notwithstanding, her figure was so admirably formed that she had posed for the model of Roubilliac's figure of Eloquence on the Argyll tomb in the south transept of Westminster Abbey. On Henry Angelo this devoted couple showered kindness, not even modified by seasons of hypochondria induced by too generous feeding, when M. Liviez would fancy himself Apollo, and fiddle to the nine muses typified by a circle of chairs. At the Revolution M. Liviez and his wife appear to have sought refuge in England and were sponsors to Anthony Tremamondo's first child.

Henry Angelo returned to London in 1775, and at once took his place in his father's academy in Carlisle Street as a finished maître d'éscrisne. In 1778, in his twenty-third year, he married a beautiful north-country girl, Mary Bowman Swindon, who hailed from West Auckland, in the county of Durhain. They were married by licence on October 23rd at St. Anne's, and one of the witnesses was Isaac Taylor of the famous family of artists and engravers. In 1785 he took over his father's fencing-academy, but I think there must have been friction and trouble, and so he took himself off in the nineties to the Opera-House-buildings at the corner of the Haymarket, almost facing the Orange Coffee-house, then a favourite resort of young bloods, as well as of foreigners of every description. His skill was unrivalled, he had public and scholastic appointments, and the list of his "Own Boastings," of his pupils that is to say of noble and professional rank, is a most imposing one. In 1813 he was appointed naval