Page:Dictionary of National Biography volume 55.djvu/357

 canonic writing, pronounced by A. G. Ritter (Zur Geschichte des Orgelspiels, p. 47) ‘a masterpiece of speculative art, such as with equal result only the greatest of the contemporary Netherlanders could create, which is of grandiose effect.’

The motet for forty voices is of all Tallis's works the most remarkable. Similar attempts are ascribed to Byrd, Milton, and Warrock or Warwick, organist to Charles I, but none have survived. The first allusion to Tallis's is in a letter of Tudway's, dated 1 May 1718, recommending a copy then belonging to James Hawkins, organist of Ely, as a suitable addition to the Harleian manuscripts, and declaring he had often heard of the work, but ‘could never believe there was any such thing’ (Harl. MS. 3782). It was performed by the Madrigal Society in 1835, 1836, and 1890; by Henry Leslie's choir in 1879, at Manchester in 1889, and at the annual conference of the Incorporated Society of Musicians on 6 Jan. 1898 (cf., Geschichte der Musik in England, ii. 92–9). F. X. Haberl (Kirchenmusikalisches Jahrbuch, Ratisbon, 1897 and 1898) finds the existence of ‘such monstrous works’ in England before A. and G. Gabrieli ventured to write for sixteen voices in Italy, a highly important fact for musical history.

Tallis has thus left works which are the admiration of musicians, liturgical music used daily in choral services, and hymn-tunes sung by every child. Ambros (Geschichte der Musik, ed. Kade, iii. 465) agrees with Burney that Tallis was ‘one of the greatest musicians, not only of England, but of Europe, in the sixteenth century.’

A head, purporting to be his likeness, but probably imaginary, was engraved for Haym's projected ‘History of Music.’ His autograph, ‘Thomas Tallys,’ is facsimiled in Grove's ‘Dictionary.’ Joseph Warren thought from the similarity of handwriting that Tallis copied the middle portion of Additional MS. 29996.

[The few facts of Tallis's biography are derived from the Originalia Rolls, 5 Philip and Mary, sexta pars, Rot. 69, in the Public Record Office; Harl. MS. 239; Harington's Nugæ Antiquæ, 1779, ii. 83; Lansdowne MSS. 3, f. 171; Catalogue of Hatfield MSS. ii. 155, in Hist. MSS. Comm. 12th Rep.; Particulars for Leases, in the Public Record Office; his epitaph; Musical Times, June 1876 p. 504, November 1876 p. 649; Cheque-book of the Chapel Royal, and other authorities quoted under BYRD, WILLIAM. See also Case's Apologia Musices, 1588, p. 43; Morley's Introduction to Practicall Musicke, 1597, p. 96; Meres's Palladis Tamia, 1598, fol. 288; Day's publications in Bodleian and British Museum libraries; Hawkins's History of Music, c. 95 and App.; Burney's History, iii. 6, 27, 71–83; Jebb's Choral Service of the Church, p. 200, and Choral Responses and Litanies; Parish Choir, 1847, pp. 121, 154; Ecclesiologist, August 1859; Musical Standard, 23 Sept. 1865; Proceedings of the Musical Association, v. 98; Grove's Dictionary of Music, ii. 152, iv. 54, 257, 572; Davey's History of English Music, pp. 126–48, 479.] 

TALMAN, WILLIAM (fl. 1670–1700), architect, was born at West Lavington in Wiltshire, where he owned some property. He attained considerable repute as an architect and surveyor, and was employed on several important buildings, notably Thoresby House, Nottinghamshire, commenced in 1671 for the Duke of Kingston; Dynham House, Gloucestershire, commenced in 1698 for William Blathwayt [q. v.]; Swallowfield in Berkshire, for Henry, earl of Clarendon; and Chatsworth, in Derbyshire, for the Duke of Devonshire. The last-named was commenced under Talman's directions on 12 April 1687, and was completed in 1706. Talman was appointed comptroller of the works to William III, and in that capacity was responsible for the carrying out of the extensive additions and alterations to Hampton Court Palace, begun in 1690 from the designs of Sir Christopher Wren [q. v.], with whose opinion Talman appears to have frequently disagreed. A portrait of Talman was engraved for Walpole's ‘Anecdotes of Painting’ (edit. 1798). A ‘Talman Collection’ was sold in 1766 in Covent Garden, and deposited in Eton College Library (, London Improved, 1766, p. 63;, The Grecian Orders, 1768, p. 57). A folio volume of Talman's drawings is preserved at the Royal Institute of British Architects.

(d. 1726), amateur artist, son of the above, was distinguished as a draughtsman and antiquary. He spent a great deal of his life in Italy, where he made a number of valuable and interesting drawings of antiquities. He travelled about with Giuseppe Grisoni [q. v.], who came to England with him in 1715. When the Society of Antiquaries was first constituted in its present form, Talman was elected director of the society at the first election of officers in January 1717–18, and in that capacity made some of the earliest communications to the society. Talman, who was possessed of an independent fortune, died in 1726, and was succeeded as director of the Antiquaries by Sir Charles Frederick. He appears to have possessed a residence at Hinkworth, near Baldock, Hertfordshire. His effects were sold by auction on 19 April 1727, when several prints and drawings were purchased