Page:Dictionary of National Biography volume 22.djvu/121

 his portrait to the College of Physicians in 1713. His combat as Stentor, champion of the College of Physicians, with a champion of the Apothecaries, is one of the incidents of the fifth canto of Garth's ‘Dispensary.’

, the younger (1671–1689), poet, son of the foregoing, was educated at Eton, and Merton College, Oxford, where he became post-master in 1688. He died 11 May 1689, and was buried in Merton College chapel. He was, says Wood, ‘a most ingenious young man.’ He is author of an easily written volume of poems, entitled ‘Poems and translations written upon several occasions and to several persons by a late scholar of Eaton,’ London, 1689. There are two dedications, one to the Countess of Clarendon, and the other to ‘Mr. Roderick, Upper Master of Eaton School’ (, Athenæ, ed. Bliss, iv. 256).

[Munk's Coll. of Phys. i. 403; Garth's Dispensary, 6th ed. 1706, p. 91; Works; Sloane MSS. in British Museum.] 

GOODALL, CHARLOTTE (fl. 1784–1813), actress, was the daughter of Stanton, manager of what was called a ‘sharing company’ in Staffordshire. From an early age she played in her father's company. She made so successful a début at Bath as Rosalind, 17 April 1784, that John Palmer [q. v.] engaged her for his theatre. In Bath or Bristol she played Lady Teazle, Lydia Languish, Miss Hardcastle, Mrs. Page, and many other characters, including Juliet and Desdemona. On 6 Oct. 1787, still in Bath as Mrs. Goodall, late Miss Stanton, she played Miranda in the ‘Busybody.’ On 2 Oct. 1788 she made her début in London, at Drury Lane, as Rosalind. She supported Miss Farren [q. v.] and Mrs. Jordan [q. v.] in other characters, and played also Charlotte Rusport in ‘West Indian,’ Angelica in ‘Love for Love,’ Millamant in ‘Way of the World,’ and Viola in ‘Twelfth Night.’ Her refusal to play Lady Anne in ‘King Richard III’ led to a quarrel with Kemble and to a keen newspaper controversy. On 30 July 1789, expressly engaged by Colman the younger for ‘breeches parts,’ she appeared at the Haymarket as Sir Harry Wildair in the ‘Constant Couple.’ At one or other house she played many original characters in plays of secondary importance now forgotten. With the Drury Lane company she migrated in 1791–2 to the King's Theatre in the Haymarket, where she played, 30 Nov. 1791, Katharine to the Petruchio of Palmer, returning in 1794 with the company to Drury Lane. Two or three years later she ceased to belong to the summer company at the Haymarket, and in 1798–9 her name disappears from the Drury Lane bills. She played at the Haymarket for a short time in 1803. On 19 July 1813 an action was brought by her husband, Thomas Goodall [q. v.], a merchant-captain in Bristol, who took the title of Admiral of Hayti, against William Fletcher, an attorney, for criminal conversation. A verdict for the plaintiff, with 5000l. damages, was given. In the evidence it is stated that Mrs. Goodall was originally an actress, and had eight children. Mrs. Goodall died at Somers Town, London, in July 1830. She had a symmetrical figure, and in this respect was pitted against Mrs. Jordan, whom she surpassed in height. Her voice was melodious, but her articulation not quite clear. Her character is said to have been amiable. A portrait by De Wilde [q. v.], representing her as Sir Harry Wildair, is in the Mathews Collection at the Garrick Club. In the ‘Druriad,’ a satire, 1798, 4to, she is described as possessing a neat figure and a pretty, lifeless face; and it is said Nor joy, nor grief, affect (sic) her lifeless frame, Inanimate and gentle, mild and tame. A note says she conveys the idea of ‘a well-constructed automaton.’

[Genest's Account of the English Stage; Hazlewood's Secret History of the Green Room, 1795; Gilliland's Dramatic Mirror, 1808; Report of Trial, Goodall v. Fletcher, 8vo, n. d. (1813); works cited.] 

GOODALL, EDWARD (1795–1870), line-engraver, was born at Leeds on 17 Sept. 1795. He was entirely self-taught, and owed his proficiency solely to his own ability and perseverance. From the age of sixteen he practised both engraving and painting; but having attracted the attention of Turner by one of his pictures exhibited at the Royal Academy in 1822 or 1823, the latter offered him as many plates to engrave from his paintings as he would undertake. This decided his future course as a landscape engraver, and his principal plates were from the works of the great landscape painter. These included ‘Cologne,’ ‘Tivoli, with the Temple of the Sybil,’ ‘Caligula's Bridge’—a commission from the artist which was never published—‘Old London Bridge,’ and several plates for the ‘England and Wales’ series, and the ‘Southern Coast.’ To these must be added the exquisite little vignettes for Rogers's ‘Italy’ and ‘Poems,’ and the illustrations to Campbell's ‘Poems.’ He engraved also ‘A Seaport at Sunset’ and ‘The Marriage Festival of Isaac and Rebecca’ after Claude Lorrain, a ‘Landscape, with Cattle and Figures,’ after Cuyp, and ‘The Market Cart’ after Gainsborough, all for the series