Page:Dictionary of National Biography, Second Supplement, volume 3.djvu/564

 1895 both anonymously in 'The Tablet' and over his own name in 'The Times' (30 Sept. 1895) he repudiated the term 'voluntary school' and declared for the cessation of voluntary subscriptions for the support of the public elementary schools. Dr. E. W. Benson, archbishop of Canterbury, inclined to more temporising courses (29 November). But Vaughan was resolute, and his steadfastness was rewarded by the education bill of 1902, which recognised his fundamental principle that all the schools are the common care of the state. In spite of illness he followed the debates of 1902 with unfailing interest. He discussed every clause and amendment with the special emergency committee of the catholic education council which had been appointed to watch the bill.

During his last five years the cardinal's health gradually failed. Periods of rest became necessary and frequent. In June 1902 he was ordered to Bad Nauheim. On 25 March 1903 he left Archbishop's House, Westminster, for St. Joseph's College, Mill Hill, where he died on 19 June 1903. He was buried in the garden there. There is a recumbent figure of him in a chantry chapel in Westminster Cathedral.

The leading notes of the cardinal's character were its directness, impulsiveness, and perfect candour. His mind was not subtle or speculative ; he loved plain dealing and plain speech. His sympathies were wide and generous ; there was an element of romance in his nature to which large and bold enterprises easily appealed. On the other hand he was apt to be impatient of details. His life was coloured and governed by an internal faith. It was his custom to spend an hour every night in prayer before the blessed sacrament. His manner in public was sometimes thought to be haughty and unsympathetic, and notes in his diary show a consciousness of hardness which he tried hard to dispel. An iron bracelet with sharp points made of piano wire was cut off his arm after death.

Tall in stature, he was strikingly handsome. He was never painted by any artist of repute. A caricature portrait by 'Spy' appeared in 'Vanity Fair' in 1893.

Vaughan published many popular manuals of devotion and religious instruction which owed their success to his simplicity of style and directness of thought.  VAUGHAN, KATE (1852?–1903), actress and dancer, whose real name was, born in London, was elder daughter of a musician who played in the orchestra of the Grecian Theatre, City Road. After receiving some preliminary training in the dancing academy conducted by old Mrs. Conquest of that theatre, she took finishing lessons from John D'Auban, and, in association with her sister Susie, made her debut of dancer as one of the Sisters Vaughan at the Metropolitan music-hall in 1870. Early in 1872 she sustained a small part at the Royal Court Theatre in 'In Re Becca,' a travesty of Andrew Halliday's recent Drury Lane drama. In Dec. 1874 she danced the bolero delightfully at Drury Lane in Matthison's opera bouffe, 'Ten of 'em.' At the same house, in the Christmas of 1875, she sustained the leading character of Zemira in Blanchard's pantomime of 'Beauty' and the Beast,' displaying abilities as a burlesque actress of an arch and refined type.

A notable seven years' association with the Gaiety began on 26 Aug. 1876, when she appeared as Maritana in Byron's extravaganza 'Little Don Caesar.' Thenceforth she formed, with Nellie Farren [q. v. Suppl. II], Edward Terry, and E. W. Royce, one of a quartette which delighted the town in a long succession of merry burlesques by Byron, Burnand and Reece. Her last performance at the Gaiety was as Lili in Burnand's burlesque drama, 'Blue Beard' (12 March 1883). In the summer of 1885 she danced at Her Majesty's in the spectacular ballet 'Excelsior,' and, although only appearing for two minutes nightly, proved a great attraction. Subsequently from reasons of health she abandoned dancing for old comedy, in which she showed unsuspected capacity. At the Gaiety on John Parry's farewell benefit (7 Feb. 1877) she had already appeared as First Niece in 'The Critic' In 1886 she organised the Vaughan-Conway comedy company in conjunction with H. B. Conway, and made a successful tour of the provinces. Dissolving the partnership in 1887, she began a season of management at the Opera Comique on 5 Feb., appearing there as Lydia Languish in 'The Rivals,' and subsequently as Miss Hardcastle to the Young Marlow of Mr. Forbes Robertson, and as Peg Woffington in 'Masks and Faces' to the Triplet of James Fernandez. The chief success of the season (which terminated on 29 April) was the revival of 'The School for Scandal,’ in which she made an 