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 sons, each male inmate receiving 40l. a year and each female 30l. Two schools are now supported out of the benefaction. The original school was removed to new buildings at Croydon in 1871, and in addition there has been opened the ‘Whitgift Middle School.’

The chief tracts and sermons published by Whitgift in his lifetime have been mentioned. A collection of these works, with much that he left in manuscript, was edited for the Parker Society by the Rev. John Ayre, Cambridge, 1851–3 (3 vols. 8vo). These volumes contain his tracts against Cartwright, sermons, letters, and extracts from his determinations and lectures. Many notes by Whitgift remain in manuscript at Lambeth, in the Tanner manuscripts at the Bodleian Library, and in various collections at the Public Record Office and the British Museum.

Portraits of Whitgift are at Lambeth Palace, at Knole, in the Whitgift hospital at Croydon, Durham Castle, the University Library, Cambridge, Trinity College, and Peterhouse, Cambridge, and the picture gallery at Oxford. His portrait has been engraved in the ‘Herωologia,’ and by R. White, George Vertue, Thomas Trotter, and J. Fittler.

[The earliest biography was the sympathetic Life ‘written by Sir George Paule, knight, comptroller of his Graces Householde’ (London, printed by Thomas Snodham, 1612; another edit. 1699); reprinted in Wordsworth's Ecclesiastical Biography, vol. iv. There is a good sketch of the archbishop in Izaak Walton's Life of Hooker. But the fullest account is Strype's Life and Acts of Whitgift, London, 1718, fol., with an engraved portrait by Vertue (1822, 3 vols. 8vo, with an engraved portrait by J. Fittler). See also Hook's Lives of the Archbishops of Canterbury, vol. v.; Cooper's Athenæ Cantabr. vol. ii.; Cooper's Annals of Cambridge; Mullinger's University of Cambridge, 1884; Maskell's Marprelate Controversy; Arber's Introduction to Marprelate Controversy; William Pierce's Historical Introduction to the Marprelate Tracts, 1908; Acts of the Privy Council; Cal. State Papers, Dom. 1576–1604; Collier's Eccles. Hist.; Soames's Elizabethan Hist.; Fuller's Church History; Ducarel's Croydon and Lambeth; Hallam's Constitutional Hist.; Garrow's Hist. and Antiq. of Croydon, with a Sketch of the Life of Whitgift, Croydon, 1818.] 

WHITHORNE or WHITEHORNE, PETER (fl. 1543–1563), military writer, is described on the title-pages of his books, first as student and then as ‘fellow’ of Gray's Inn; but his name does not occur in the registers unless he be the P. Whytame who was admitted a student in 1543 (, p. 16). About 1550 he was serving in the armies of the emperor Charles V against the Moors, and was present at the siege and capture by the Spaniards of ‘Calibbia,’ a monastery in Africa. He also speaks of having been in Constantinople. While in Africa he translated into English from the Italian Machiavelli's treatise on the art of war, but it was not published till ten years later, when Whitehorne terms it ‘the first fruites of a poore souldiour's studie.’ It was dedicated to Queen Elizabeth and was entitled ‘The Arte of Warre written first in Italian by Nicholas Machiauell and set forthe in Englishe … with an addicion of other like Marcialle feates and experiments …,’ London, 4to. The title-page is dated ‘Anno MDLX. Mense Julii,’ but the colophon has ‘MDLXII Mense Aprilis.’ Other editions appeared in 1573–4 and 1588, both in quarto. Whitehorne next produced an English translation of Fabio Cotta's Italian version of the Greek ‘Strategicus’ by Onosander, a writer of the first century A.D. It was entitled ‘Onosandro Platonico, of the General Captaine, and of his office … imprinted at London by Willyam Seres. Anno 1563,’ and was dedicated to the earl marshal, Thomas Howard, duke of Norfolk, to whom Whitehorne ‘wysheth longe life and perpetuall felicitie.’

[Works in Brit. Mus. Library; Tanner's Bibl. Brit.-Hib.]  WHITHORNE, THOMAS (fl. 1590), musical amateur, published in 1571 ‘Songes of three, fower, and fiue partes, by Thomas Whythorne, gent.’ The collection consists of seventy-six pieces, mostly to devotional words, in five part-books. They were well printed by John Day, the words in black letter. There are copies at the British Museum, Bodleian, and Christ Church libraries. As was usual, Whithorne wrote both the words and music. Complimentary Latin verses, different in each of the part-books, are prefixed; and Whithorne is duly promised immortality. In 1590 he published another collection entitled ‘Duos,’ containing fifty-two pieces, some for treble and bass, some for two trebles or two cornets, and fifteen canons. It is dedicated to the Earl of Huntingdon from London; it was printed by Thomas East, and Whithorne's portrait, at the age of forty, is at the end of each part-book. The first twelve pieces are anthems; only the opening words of all the others are given.

Whithorne was an amateur with an inordinate belief in his own powers. His works are ignored in the theoretical treatises of