Page:Dictionary of National Biography volume 25.djvu/346

H annotations.’ His name appeared on the title-pages of two volumes of ‘Annotations illustrative of the Plays of Shakespeare, by Johnson, Steevens, Malone, Heath’ (1819), but very few of his critical observations are incorporated. Heath was ‘always a martyr to bad health, and led the life of a valetudinarian.’ He died at Exeter on 13 Sept. 1766, and was buried at St. Leonard's, Exeter, on 21 Sept. A copy of his full-length portrait by Robert Edge Pine, also by Pine, still hangs in the Guildhall. A mezzotint engraving of it was executed by J. Dixon, and has been introduced in ‘Heathiana’ (p. 8), and on p. 566 of Dibdin's ‘Bibliomania.’ His wife, born 5 July 1718, survived until 19 Nov. 1808. Their family was seven sons and six daughters, of whom five sons and three daughters lived to middle age. His son Benjamin was head-master of Harrow 1771–1785, and a younger son, George, became head-master of Eton in 1796. A family group of Mrs. Heath and seven of her children was painted by R. E. Pine, and an autotype print, from a reduced facsimile in water-colours by G. P. Harding, faces p. 12 of ‘Heathiana.’ Mrs. Heath was naturalised by a special act of parliament about 1760.

His great-grandson, Baron Robert Amadeus Heath, preserved the following manuscripts by him: 1. ‘Spicilegium Virgilianum, seu notæ ad Virgilii editiones Burmannianam et Martynianam.’ 2. ‘Euripides recensitus castigatus et illustratus ad supplementum editionum Kingianæ et Barnesianæ.’ 3. ‘Lectionum antiquarum pars prima, sive Lectiones Catullianæ ad editionem Cantabrigiensem.’ 4. ‘Lectiones Tibullianæ.’ 5. Supplement to new edition [by Seward] of Beaumont and Fletcher's works. John Forster, in a letter printed in ‘Heathiana’ (p. 11), says that Dyce had seen the last manuscript, and had adopted some, but not enough, of its suggested readings. In 1882 it was presented by Baron Heath to the British Museum and is now Addit. MS. 31910. In addition to these works Heath left behind him most of the materials for a new edition of Hesiod. He was a collector of rare books from the age of thirteen, and in his lifetime distributed his library between two of his sons, but still left a large collection. There was printed in 1810 a ‘Catalogue of Books containing all the rare, useful, and valuable Publications to the present time to be Sold in April and May by Mr. Jeffery, No. 11 Pall Mall,’ and the catalogue was reissued later in the year with the prices and names of the purchasers. Heath was the principal collector of this library, but it was augmented by his son, the Rev. Benjamin Heath.

 HEATH, CHARLES (1761–1831), topographer, was a native of Hurcott, near Kidderminster, Worcestershire, where his father owned extensive paper mills. About 1791 he set up as a printer at Monmouth, and prepared a number of topographical works on the neighbourhood. These he printed at his own press, and all ran through many editions. Heath was twice mayor of Monmouth. After his death (7 Jan. 1831) his fellow-townsmen erected a monument above his grave in St. Mary's churchyard, Monmouth, and the inscription stated that his books ‘first brought into the notice of tourists’ the many picturesque points of interest in the neighbourhood. His works included historical and descriptive accounts of the town of Monmouth (1804), of the Kymin Pavilion and Beaulieu Grove (1807, 1809), of Tintern Abbey (1793, 1806), of the town and castle of Chepstow (1793, 1805, and 1808), and of Raglan Castle (1797; 11th edition, 1829). He also wrote ‘An Excursion down the Wye from Ross to Monmouth.’



HEATH, CHARLES (1785–1848), engraver, born in 1785, was illegitimate son of James Heath [q. v.], the engraver. He received instruction in engraving from his father, and an etched head done by him at the age of six is in the print room at the British Museum. He proved an apt pupil, helping to carry to perfection the style of small plates for book illustration initiated by his father. He was early in life a fellow of the Society of British Artists, and contributed for some years to their exhibitions, but subsequently left the society. His small plates for the numerous popular editions of English classics are executed with great taste and delicacy, and in some of his portraits, such as that of ‘Lady Peel’ after Sir Thomas Lawrence, he attained great excellence. In his larger plates he was less uniformly successful; among these were ‘Puck’ and ‘The Infant Hercules’ after Reynolds, ‘Sunday Morning’ after M. W. Sharp, ‘The Girl at the Well’ after R. Wes-