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 took for the most part the form of biographical anecdotes, which, although often incorrect in detail, are generally true in substance and in spirit. He was much assisted by Admiral [q. v.], who, though for many years confined to his chair, ‘retained an extent of information and an accuracy of memory regarding naval affairs beyond any officer of his time’. Locker had, however, no literary experience, and probably shrank from the labour of reducing his accumulated stores to form. He handed them over to [q. v.], who translated so much of them as suited his purpose into the ‘genteel’ verbiage of the ‘Biographia Navalis.’ It was also at Locker's suggestion, and with the assistance derived from him beforehand, that five years after his death Charnock undertook and wrote his ‘Life of Nelson.’ In both works the principal value is derived from the contributions of Locker.

In 1770 he married Lucy, the daughter of Admiral William Parry, and granddaughter of Commodore [q. v.] Mrs. Locker died in 1780, leaving two daughters and three sons, the youngest of whom, [q. v.], is separately noticed. A portrait of Locker, by Gabriel Stuart, is in the Painted Hall at Greenwich; another, by Abbott, belonged to Mr. F. Locker-Lampson. 

LOCKEY, ROWLAND (fl. 1590–1610), painter, was a pupil of Nicholas Hilliard, and resided in Fleet Street, London. He is commended, together with [q. v.], by (fl. 1605) [q. v.], in the preface to his translation of Lomazzo's ‘Art of Painting,’ 1598, and he is mentioned by Francis Meres in his ‘Wit's Commonwealth,’ 1598, among the eminent artists then living in England. He is stated to have painted ‘a neat piece in oil, containing in one table the picture of Sir John More, a judge of the king's bench temp. Henry VIII, and of his wife, and of Sir Thomas More, lord chancellor, his son and his wife, and of all the lineal heirs male descended from them, together with each man's wife unto that present year’ (see, History of Leicestershire, vol. iii. pt. i. p. 490). This description corresponds very nearly to the group of the family of Sir Thomas More attributed to Holbein, formerly in the collection of Speaker Lenthall, and now in that of Mr. Strickland at Cokethorpe in Oxfordshire; a small copy of this group in water-colours, attributed to Isaac Oliver, is in the collection of Major-general Sotheby (Tudor Exhibition, 1890, No. 1087). A portrait of Dr. John King, bishop of London, formerly in the collection of Dr. Rawlinson, and engraved by Simon van de Passe, is stated on the engraving to have been painted by Nicholas Lockey, ‘Nicolas Lockey pinx. et fieri curavit.’ As the word ‘pinxit’ seems a later addition to the inscription, it may possibly have been painted by Rowland Lockey, and engraved under the direction of Nicholas Lockey. 

LOCKEY, THOMAS, D.D. (1602–1679), librarian of the Bodleian and canon of Christ Church, Oxford, was born in 1602, and obtained a king's scholarship at Westminster School. He contributed to the Oxford Collection of Verses on the Death of Queen Anne in 1619; was elected to Christ Church, matriculating 16 March 1621; and graduated B.A. 18 May 1622, M.A. 20 June 1625, B.D. 12 June 1634, D.D. 29 Nov. 1660. Lockey was vicar of East Garston, Berkshire, until 1633, and he or a namesake held the prebendal stall of Thorney in Chichester Cathedral till 1660. But he resided at Oxford, where he was noted as a college tutor and a preacher, until, in January 1651, a sermon preached by him before the university offended the parliamentary visitors, and led to his deprivation and suspension. He thereupon left Oxford, but returned to residence at the Restoration. On 21 July 1660 he was made prebendary of Beminster Prima, and on 17 Aug. of Alton Pancras, both in Salisbury Cathedral. On 28 Sept. 1660 he was elected librarian of the Bodleian Library. Lockey won the good opinion of visitors by his courtesy, but, according to Wood, was not a very efficient librarian (cf., Life and Times, ed. Clark, i. 335). Hearne says that he designed the catalogue of Selden's books (Collections, ed. Doble, ii. 40). In a letter dated 25 July, probably 1664, he wrote to Archbishop Sheldon of this ‘accession of about 30,000 authors, that I have by myne owne paynes disposed of in a catalogue, afterwards to be inserted in the general.’ Fifty masters of arts were employed on this catalogue, which was not completed for twelve years. On 8 Sept. 1665 he received Clarendon, the chancellor of Oxford, and Clarendon's guest, the Earl of Manchester, chancellor of Cambridge University, on their visit to the library, and delivered a Latin