Page:Dictionary of National Biography volume 56.djvu/395

 equally from excessive praise and undue disparagement. Mackintosh considered the last three cantos to be of exquisite beauty, and ‘beyond all doubt the most faultless series of verses ever produced by a woman’ (Life, ii. 195–6). Mrs. Hemans was greatly touched by Mrs. Tighe's poetry (cf. ). She wrote a poem in her memory entitled ‘The Grave of a Poetess,’ and another ‘I stood where the life of song lay low,’ after she visited Mrs. Tighe's grave. Leigh Hunt allows ‘Psyche’ a languid beauty. It drew from Moore the laudatory lines ‘To Mrs. Henry Tighe on reading her “Psyche,”’ beginning ‘Tell me the witching tale again.’ In 1806, however, he wrote to Miss Godfrey: ‘I regret very much to find that she [Mrs. Tighe] is becoming so furieusement littéraire; one used hardly to get a peep at her blue stockings, but now I am afraid she shows them up to the knee’ (, Diary, ed. Lord John Russell, viii. 61). ‘Psyche’ was published in 1811, after her death, with other poems. A fourth edition appeared the next year, and a fifth in 1816. Other editions were published in 1843 and 1853. It was printed in Philadelphia in 1812. Mrs. Tighe seems to have written a novel (cf. Psyche, edit. 1811, p. 269n.), and some pieces of hers appear in the ‘Amulet,’ 1827–8.

Mrs. Tighe was a very beautiful woman. In the 1811 edition of ‘Psyche’ is a portrait engraved by Caroline Watson from Comerford's miniature, after a picture by Romney; and for the 1816 edition the same miniature was less successfully engraved by Scriven.

[Webb's Compendium of Irish Biography, p. 525; O'Donoghue's Poets of Ireland, iii. 244–5; Howitt's Homes of the Poets, 1894, pp. 281–91; Burke's Landed Gentry, ii. 2012.]  TIGHEARNACH (d. 1088), Irish annalist. [See .]

TILBURY, GERVASE (fl. 1211), author of 'Otia Imperialia.' [See .]

TILLEMANS, PETER (1684–1734), painter and draughtsman, born at Antwerp in 1684, was son of a diamond-cutter, but studied landscape-painting when young. He was brother-in-law to Peter Casteels [q. v.], and in 1708 the two young men were brought over to England by a dealer named Turner. By him they were employed in copying the works of popular masters, such as Teniers, Borgognone, and others, which Tillemans did with great skill. At last becoming known to amateurs and persons of quality, he was constantly employed to paint views of country seats with figures and buildings, or landscapes with sporting subjects, such as horses and dogs. A fine view of Chatsworth by Tillemans is preserved there. At Thoresby House, Nottinghamshire, there is a large painting by Tillemans, dated 1725, of the second Duke of Kingston and others on a shooting party. At Knowsley House there are some views of Newmarket and the racecourse by Tillemans, and many similar subjects have been engraved. He executed several drawings of Newstead Abbey for William, lord Byron, who was his pupil in drawing. When Kneller's academy was opened in Great Queen Street in 1711, Tillemans was one of the first pupils to attend. He was employed with Joseph Goupy [q. v.] to paint a series of scenes for the opera-house in the Haymarket. So highly esteemed was Tillemans as a topographical draughtsman, that his services were retained by John Bridges (1666–1724) [q. v.], author of the ‘History of Northamptonshire,’ to make all the drawings for that work; these amounted to about five hundred, all executed in Indian ink, for which Bridges gave him a guinea a day and the run of his house. Tillemans resided for some years at Richmond in Surrey. His services were also retained for some time by Dr. Cox Macro [q. v.] of Norton Haugh in Suffolk, where he died on 5 Dec. 1734; he was buried in the neighbouring church of Stowlangtoft, near Bury St. Edmunds. He etched a number of his own views and designs himself. He formed a collection of popular masters which was sold by auction, together with a number of his own works, at Covent Garden on 19–20 April 1733 (Catalogue of a Collection of Curious Paintings of Mr. Peter Tillemans).

A portrait of Tillemans was engraved for Walpole's ‘Anecdotes of Painting’ (ed. 1798).

[Walpole's Anecdotes of Painting, ed. Wornum; Redgrave's Dict. of Artists; Nichols's Literary Anecdotes, viii. 682, ix. 364.]

 TILLESLEY, RICHARD (1582–1621), archdeacon of Rochester, born at Coventry in 1582, was the son of Thomas Tillesley of Eccleshall in Staffordshire, by his wife, the daughter of Richard Barker of Shropshire. Matriculating from Balliol College, Oxford, on 20 Jan. 1597-8, Richard was elected a scholar of St. John's College on 5 July 1603. He graduated M.A. on 26 June 1607, B.D. on 22 Nov. 1613, and D.D. on 7 July 1617. On 25 Nov. 1613 he was licensed to preach, and in that and the following year he received the Kentish rectories of Stone and Cuxton from John Buckeridge [q. v.], bishop of Rochester, and late president of St. John's College. On 9 April 1614 he was installed archdeacon of Rochester, and on 13 June