Page:Dictionary of National Biography volume 03.djvu/323

 The following is a list of Barry's works from the ‘Builder;’ references are added to volumes in which illustrations of the works appear: 1855–6, St. Saviour's Church, Haverstock Hill; 1856–7, Birmingham and Midland Institute (Builder, 1855); 1857–9, Leeds Grammar School; 1857–8, Royal Italian Opera House, Covent Garden (Builder, 1857, 1858, 1859); 1858–9, Floral Hall, Covent Garden; 1858–68, Henham Hall, Suffolk, tomb for Mr. Berens, Norwood Cemetery (Builder, 1858, p. 779); 1859, Duxbury Hall, Lancashire; 1859–60, St. Giles's Schools, Endell Street (Builder, 1861, pp. 818–9); 1860, Burnley Grammar School; 1860–3, Halifax Town Hall (Builder, 1863, p. 791) (design by Sir C. Barry); 1861, Birmingham Free Public Library; 1861–4, New Opera House, Malta (Builder, 1863, pp. 314–5); 1861, Gawthorpe Hall, Lancashire (additions); 1862, Pyrgo Park, Romford (additions); 1862–3, Barbon Park Lodge, Westmoreland; 1862, Stabling at Millbank for the Speaker; 1863–5, Charing Cross Hotel and Eleanor Cross; 1864–5, Star and Garter Hotel, Richmond (alterations and additions); 1864–6, Cannon Street Hotel (Builder, 1866, pp. 760–1); 1865, Schools, Canford, Dorsetshire; 1866–8, New Palace, Westminster, Arcade and Enclosure, New Palace Yard (Builder, 1868, p. 29), St. Margaret's Square, Restoration of St. Stephen's Crypt (Builder, 1864, p. 513); 1866–71, Crewe Hall, Cheshire (Builder, 1869, pp. 486–7; 1878, p. 486); 1866–9, New Palace, Westminster, Queen's Robing Room, Royal Staircase, Decoration of Central Octagon Hall; 1867, Bridgwater House, completion of Picture Gallery; 1867–8, Bakeham House, Egham; 1868–9, New Palace, Westminster, Design for New House of Commons, Subway; 1869–71, Thorpe Abbotts, Norfolk (additions); 1869–72, Sudbury Hall, Derbyshire (additions); 1870, Esher Lodge (additions); 1870–3, Shabden, Surrey (Builder, 1873, pp. 626–7); 1870–3, Cobham Park, Surrey; 1871–2, Corn Exchange, Bristol (new roof); 1871–4, Fitzwilliam Museum, Cambridge (completion of grand staircase); 1871–4, Wykehurst, Sussex; 1871–5, New Picture Galleries, National Gallery; 1871–6, Sick Children's Hospital, Ormond Street (Builder, 1872, pp. 66–7; 1876, pp. 1073–5); 1872–4, Clifton Church, Manchester; 1873, London and Westminster Bank, Temple Bar (additions and alterations); 1873–5, Downing College, Cambridge (additions and alterations); 1874, Peterborough Cathedral, pulpit (Builder, 1874, p. 352); 1875, Royal Infirmary, Waterloo Road (alterations); 1875–9, Inner Temple Buildings, Thames Embankment (Builder, 1879, pp. 654–6, 1344); 1878–9, Peakirk Church, Hermitage (restored); 1879, Stancliffe Hall, Derbyshire (additions, &c.); 1879, House for Art Union, Strand (Builder, 1879, pp. 19, 21). For Mr. Barry's designs for the New Law Courts and National Gallery, see also the ‘Builder,’ 1867, pp. 112, 191, and 370–1; and 1876, pp. 737–9.

[Builder, 1880; Lectures on Architecture, with Introductory Memoir, 1881.]  BARRY, ELIZABETH (1658–1713), actress, is said to have been the daughter of Edward Barry, a barrister, who, during the civil wars, raised a regiment for Charles I, and was subsequently known as Colonel Barry. This assertion, though resting on evidence no more trustworthy than a ‘History of the Stage’ compiled for the notorious Edward Curll, has won general acceptance. After the loss of her father's fortune Elizabeth Barry, it is said, passed under the charge of Lady Davenant, rather oddly described by Davies (Dramatic Miscellanies, iii. 197) as ‘an acquaintance’ of Sir William Davenant, who through friendship gave her a good education, and introduced her into society. The mention of Davenant seems to have misled some subsequent writers on the stage. Thus Dr. Doran states that ‘Davenant took the fatherless girl into his house and trained her for the stage;’ and continues, ‘Davenant was in despair at her dulness’ (Their Majesties' Servants, i. 139). Since Davenant died in 1668, when his supposed pupil could only have been ten years old, his despair was, to say the least, premature. That Mrs. Barry owed her entrance on the stage to the patronage of the Earl of Rochester is all that can safely be assumed. Tony Aston (A Brief Supplement to Colley Cibber his Lives of the late Famous Actors and Actresses) says that when Lord Rochester took her on the stage ‘she was woman to Lady Shelton of Norfolk.’ To those familiar with the anxiety of actresses of the stamp of Mrs. Barry to furnish themselves with respectable antecedents the story of Aston will commend itself. The statements of Curll and Aston are, however, not irreconcilable. On one point all testimony is concurrent. The would-be actress showed at first little promise. Aston says: ‘For some time they could make nothing of her; she could neither sing nor dance, no, not even in a country dance.’ Colley Cibber states: ‘There was, it seems, so little hopes of Mrs. Barry at her first setting out that she was, at the end of the first year, discharg'd the company, among others, that were thought to be a useless expense to it;’ and Davies (Dramatic Miscellanies) explains that ‘she had an excellent understanding, but not a