Page:Dictionary of National Biography volume 36.djvu/242

 Lane. Among his most notable achievements was the scenery to Shakespeare's 'The Tempest,' and 'As you like it,' and for the first production of Lord Lylton's plays. He was also very successful in plays such as 'Coriolanus' or 'Virginius,' which required a knowledge of classical architecture. Marshall was the first to introduce the limelight on the stage, and originated and developed the 'transformation scene.' Generally speaking his scenery depended more on illusion than on solid pictorial effects, such as practised by Clarkson Stanfield and others. On the death of [q. v.] in 1844, Marshall became scene-painter to the opera at Her Majesty's Theatre, and did much to assist Benjamin Lumley in the revival of the ballet. He retired from this profession about 1B58, and devoted the remainder of his active life to landscape-painting, which he had practised continuously, being a frequent exhibitor at the Royal Academy, British Institution, and Suffolk Street exhibitions. He also painted some panoramas of Napoleon's battles, 'The Overland Route,' &c., and contributed a diorama to illustrate the coronation of William IV. At the coronation of Victoria he had a share in the decorations of Westminster Abbey. Marshall died at 7 Lewisham Head, Highgate, on 15 Feb. 1844, Anna Marin, daughter of James Kittermaster, M. D., of Meriden, Warwickshire, by whom he left three children; of these two sons, Charles Marshall and Robert A. K. Marshall, also became artists.



MARSHALL, EDWARD (1578–1675), statuary and master-mason, born in 1578, appears to have sprung from a Nottinghamshire branch of the Marshall family. He was admitted to the freedom of the Masons' Company in January 1626, and to the livery in 1631–2. He resided, as a 'stonecutter,' in Fetter Lane, and became master-mason to Charles II after the Restoration. Marshall was much employed as a tomb-maker, and executed among others the monuments of William, earl of Devonshire, and his countess (1628) at Derby. Sir Robert Barkham and family (1644) at Tottenham, Sir Dudley Digges at Chatham. The line tomb to the Cutts family at Swavesey in Cambridgeshire is by Marshall or his son Joshua [see below], Marshall died on 10 Dec. 1675 in London, and was buried in the church of St. Dunstan-in-the-West, where a monument remains to his memory. He was twice married, and by his first wife Anne (d. 1673) he had nine sons and five daughters, of whom only the eldest son Joshua survived him. He married secondly Margaret, daughter of John White, and widow of Henry Parker of Barnet, while daughter Margaret had been married to Marshall's younger son Henry (d. 1674).

(1629–1678), statuary and master-mason, eldest son of the above, was born in London in 1629. He succeeded his father as master-mason. In that capacity he executed the pedestal designed by [q. v.] for the statue of Charles I at Charing Cross, and was also employed in the building of Temple Bar in 1670. He had a large practice as a tomb-maker, executing among others the monuments to Richard Brownlow [q. v.], prothonotary, at Belton in Lincolnshire, and to Edward, lord Nevil, and his wife at Campden in Gloucestershire, He married Katherine, daughter of John George, citizen of London, died 6 April 1678, aged 49, and was buried with his father in the church of St. Dunstan-in-the-West, He left two surviving sons, Edward and John, and a daughter Anne, married to Richard Somers of the Inner Temple.



MARSHALL, FRANCIS ALBERT (1840–1889), dramatist, born in London in November 1840, was fifth son of William Marshall of Patterdale Hall and Hallstead, Westmoreland. The father, born 26 May 1796, was M.P. for Carlisle 1835–47, for East Cumberland 1847–65, and died in 1872, having married, 17 June 1828, Georgiana Christiana, seventh daughter of George Hibbert of Munden, Hertfordshire.

Francis was educated at Harrow, and matriculated from Exeter College, Oxford, on 14 June 1859, but did not take a degree. He was for some years a clerk in the audit office in Somerset House, but soon began contributing to newspapers and periodicals, and in 1868 resigned his appointment. He had already made some reputation as a playwright, and soon afterwards became dramatic critic to the ‘London Figaro.’ The titles of his plays were:
 * 1) ‘Mad as a Hatter,’ a farce produced at the Royalty Theatre, 7 Dec. 1863.
 * 2) ‘Corrupt Practices,’ a drama in two acts, Lyceum Theatre, 22 Jan. 1870.
 * 3) ‘Q. E. D., or All a Mistake,’ a comedietta, Court Theatre, 25 Jan. 1871.
 * 4) ‘False Shame,’ a comedy in three acts, Globe Theatre,