What Became Of Fanny?

According to A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & and Other Stage Personnel in London: 1660-1800 1(referred to as ABD), Fanny d'Egville flourished 1779-1800 and the authors suppose that she was the third child of Peter and Sophia d'Egville.

Fanny d'Egville's marriage lines from Saint Anne's Church, Soho, reveal that she wed Stephens Ferté Mikel on 7 February 1799. The date fell on a thursday that year and  it was likely to have been cold. The United Kingdom, like much of Western Europe, was grasped by a severe winter. In Scotland there were heavy snowfalls and frosts - transport was disrupted.

The only people that we can know celebrated the wedding with the couple were Fanny's father, Peter, and her brother James. At first I thought that most of the entry, including the signatures of the bride and groom, were all in the same hand as they are so similar. But there are slight differences - and Fanny's hand seems unsteady where she scratched 'F.' Below them are the autographs of Peter and James.

Neith Peter nor James have included the family name Hervé (Anglicised as Harvey). This is in contrast to the wedding lines of Fanny's niece, Adèle Sophie Bizet d’Egville, in 1835 where one of the witnesses signed with only the name Hervé.

The last performance by Fanny that  ABD can cite was at Covent Garden on 2 May 1800. It is quite possible she continued in the theatre, there is now deeper access to playbills than was possible when ABD was compiled (the final pair of volumes appeared in 1993) and her timeline can probably be established with greater confidence.

Fanny may appear in both the 1841 and 1851 censuses. In 1841 a 50 years old Francis Mikel, teacher of dancing, lives at Haverstock Cottage, Saint Pancras. Dwelling with her are: Ellen Lennox, 9 years of age; Isabella Lennox, 6 years of age; Mary Ann Hogg, 50 years of age; and Mary Ann Allbury, 20 years of age. The latter two women are described as F S, female servants. I suppose of one hires woman who share the same name one needn't worry who arrives when one calls out.

In 1851, the still 50 years old Fanny Mikel is a teacher of dancing and head of the household at 32, Lee Road, in Lee, Lewisham. Ellen and Isabel are now 19 and 16 years old, joined by the 14 years old Fanny Lennox. The domestic needs are satisfied by the 55 years old Jane Cole. Almost as an after thought, the 7 years old Henry Davis is listed as Fanny Mikel's nephew.

Ellen, Isabel and Fanny Lennox appear to be Fanny's granddaughters. Their place of birth is listed as Hampstead. The never quite reliable FamilySearch.org has a baptism record for Ellen Georgina Lennox. She was baptised down by the River Fleet at the Old Church, Saint Pancras on 5 June 1832. Her parents are recorded as Frederick Lennox and Frances Josephine Horne.

From these slight facts alone it cannot be concluded that Fanny Mikel is Fanny d'Egville but the coincidence is compelling. While a woman aged 50 in 1841 would have been too young to marry in 1799 there is no particular reason to believe Fanny was telling the truth to the census enumerator.

A swift search of FamilySearch.org provides corroborating evidence from the Old Church at Saint Pancras. On 26 July 1802 Frances Josephina Mikel was baptised, although her birthdate is recorded as 16 May 1800. Her father is listed as Mark Stephens Mikel and her mother is Frances Ferte. What kind of dance could Fanny have performed on 2 May 1800?

1. P.H. Highfill et al. (1982) A Biographical Dictionary of Actors, Southern Illinois University Press ISBN 0-8093-0919-X

Une Académie De Danse

Mais le lendemain, et pour rien, j'en éprouvai
un bien vif à voir chez lui M. Degville, excellent
maître de l'école de Gardel. Vingt carrosses à sa
porte, et dans ses élégans salons, trente à quarante
jeunes personnes des premières maisons d'Angle-
terre, m'annoncèrent une académie de danse telle
que je n'en connaissais point encore. Les femmes
seulement, ou tout au plus quelques proches parens
des élèves, sont admis à ces réunions, Deux harpes
une basse, deux violons, sans compter celui du
maître, jouent les exercices les gavottes, les pas
de deux, de quatre, de huit, et enfin la contre-
danse ou walse générale. Des rafraîchissement
ofierts par madame Degville, femme modeste et
spirituelle, terminent cette joyeuse leçon, où cha-
cune aspire à se rendre, tant pour apprendre à
bien danser que pour dire que l'on y danse avec
les jeunes ladys telles, telles.... qui, dans cette
occasion, veulent bien déroger, mais sans tirer à
conséquence; c'est-à-dire, sans que la fille d'un
baronnet puisse jamais être invitée chez sa com-
pagne, fille d'un noble lord la connaissance et
l'amitié ne passent pas les portes de l'académie.

Souvenirs de Brighton, de Londres et de Paris; et quelques fragmens de littérature légère.

Amélie Julie Simons-Candeille. 1818

But the next day, and for nothing, I felt very keen to see at home Mr. Degville, excellent master of the school of Gardel. Twenty carriages at his door, and in his elegant rooms, thirty to forty young people of the first houses of England, informed me such a dance academy as I have not known. Women only, or at most a few close relatives of the pupils are admitted to these meetings. Two harps, a bass, two violins, not counting the master's, play the exercises, the gavottes, the pas de deux, de quatre, de huit and finally the contre-danse or waltz. The refreshments offered by Mrs. Degville, a modest and spiritual woman, end this happy lesson, where each one aspires to go, less to learn to dance well than to say that one dances there with such, such .... young ladys, who on this occasion, are willing to condescend, but without consequence. That is to say, that the daughter of a baronet can never be invited to to the home of her companion, daughter of a noble lord: the acquaintance and friendship do not pass the doors of the academy.

Amélie Julie Simons-Candeille (1767-1834) was a celebrated and multi talented woman. Composer, librettist, writer, singer, actress, comedienne, and instrumentalist; although only one of her works for the stage survives today. Her memoir of travels through England has some incisive observations. This example describes how James Harvey d'Egville's lessons provided a temporary opportunity for social barriers to fall.

Amélie Julie Simons-Candeille
c. 1810

Joe Manton's Shooting Gallery

A Pair of flintlock duelling pistols by Joseph Manton

Joseph Manton, whose address is given for further particulars of Mrs d'Egville's coach to Paris, was the foremost gunsmith of his day. He experimented with rifling, cartridges and improving the lock mechanism. His duelling pistols had the innovation of added weight at the tip of the barrel that compensated for recoil and allowed deadly accuracy. At the Davies Street address was a shooting gallery where the rich and famous would compete in shooting at a wafer.


(Gronow, 1862)

Although the fashionable congregated at the shooting gallery and the coach was a novel venture, because I have a nasty and suspicious mind, I immediately wondered whether Mrs d'Egville's establishment in Montmartre might be the sort of out-of-the-way place one might send one's pregnant hussies.

Rees Howell Gronow Reminiscences of Captain Gronow, formerly of the Grenadier Guards and M.P. for Stafford, being Anecdotes of the Camp, the Court, and the Clubs, at the close of the last War with France, related by himself (1962)

James Harvey d'Egville's Art Collection

The Morning Chronicle 29 June 1820
The British Library Board

I apologise for the quality of the image; the left-hand side has been lost in the digitisation process. I haven't looked into why James might have moved out of Great Marlborough Street and sold at least part of his art collection.

It would be interesting to try and discover what became of some of these paintings and their provenance. The collection appears to contain some important pieces. For example, Gapard Dughet (1615-1675) was known as Gaspard Poussin because he was Nicolas Poussin's pupil and brother-in-law. His Italianate landscape with goat herders was sold by Sotheby's for £12,500 in 2010.

While being "Old Masters" they aren't the most desirable or most expensive in today's market. In 1820 they might have had greater relative value or, for all I know, have been used as tinder.

If "Aglio" is Agostino Aglio it is possible that he was part of James' circle. Aglio worked in the decoration of theatres, churches and country houses in England and Ireland. Jame's son, James, who became a watercolourist worked in the studio of Augustus Pugin. His home must have provided some inspiration and might have provided role models for his future career.

Mrs d'Egville's Establishment In Montmartre

The newspapers are full of advertisements by the enterprising d'Egvilles - I have a very low tolerance of boredom - but when I saw this one I did a cartoon double take. It provokes so many questions.

The Morning Chronicle 9 September 1802
The British Library Board

War with France was the default situation for Britain throughout much of the eighteenth century. The term The Second Hundred Years' War is used to describe the period from 1689-1815 by some historians. The longest interlude of peace lasted from 1713-1740. But on 25 March 1802 Britain signed the Treaty of Amiens and the War of the Second Coalition came to an end. This particular war - along with the War of the First Coalition - had been an attempt by the European monarchies to counter the revolution in France.  

Peace was short lived because Britain declared war again on 18 May 1803. Despite strong anti-French feeling in England France remained a cultural centre. The column also contains an advert for a school in Tournay. Mrs d'Egville doesn't appear to be offering any specific education so the nature of the establishment is unclear. It might almost be a 'bin' for unwanted young women. James d'Egville is certainly the ballet master because this address appears in other adverts at this date.

This was, perhaps, not the carriage's only journey. In the "Fashionable World" column of The Morning Post on 15 April 1802 it was reported that,

The first and only carriage sent to Paris from this country, since the signing of the Definitive Treaty, arrived there a few days ago. It was built by Mr. THOMPSON of Mortimer-street for Madame D'EGVILLE, a French lady of large fortune.

The identities or identity of Mrs and Madame d'Egville are anybodies' guess.

Sophie d'Egvilles Last Appearance In London

To date I haven't found an appearance by Sophie on the London stage much later than this extravaganza by James. This heroic pantomime cost Drury Lane some £7,000 to produce.

You will notice that Miss d'Egville appears twice on the billing. While admitting the possibility of other explanations it seems likely that these are Sophie and Fanny. This is three years after Peter d'Agueville's auction was forced by relocation from Ipswich in 1792.

The capitalisation is copied directly from the magazine so it is interesting that while Georges' name appears in small capitals neither of the Misses d'Egville merit this billing. Perhaps it was almost time to try something new for Sophie.

It is worth reading some of the other articles in the Freemasons' Magazine for February 1795 because they give a real sense of the instability in the Europe for which Sophie was shortly to embark. A good analogy might be that one decides to go and get a job in Paris some time after Dunkirk in 1940.

Feb. 12. The long-expected heroic Pantomime of D'egville's—"Alexander The Great, or, The Conquest OF Persia," made its entre at Drury-laneTheatre.

In this Ballet, which certainly exceeds every thing of the kind ever exhibited on an English Theatre, the magnificent splendour of scenery and decorations are happily and ingeniously blended with all that strength of interest which fine action must ever excite. The characters are as follow:

MACEDONIANS.

Alexander, - - Mr. J. D'Egville.

Hephestion, - - Mr. Aumer.

Clytus, - - Mr. Dubois.

Perdiccas, - - Mr. Fairbrother.

Parmenio, - - Mr. Phillimore.

Ptolemy, - - Mr. Caulfield.

Attalus, - - Mr. Benson.

Eumenes, - - Mr. Bland.

Philip, - - Mr. G. D'Egville.

Officers, Guards, Attendants.

AMAZONS.

Thalestris, - - Mrs. Fialon,
Miss Collinse, Miss Heard, Miss D'Egville, Miss Redhead, Miss Stagledoir. Miss Stuart, Miss.Tidswell, Mrs. Bramwell.
PERSIANS.
Darius, - - Mr. Fialon.

Son of Darius, - - Master Menace.

Oxathres, - - Mr. Boimaison.

Memnon, - - Mr. Webb.

Arsites, - - Mr. Maddocks.

Spithridates, - - Mr. Banks,

Raesaces, - - Mr. Lyons.

Sysigambes, - - Mrs. Coyler.

Parisatis, - - Mrs. Hedges.

Artemisia, - - Mrs. Butler.

Statira, - - - Miss J. Hillisberg.

High Priest of the Sun, Mr. Roffey.

Satraps.

Mr. Kelly, jun. Mr. Evans, Mr. Brady, Mr. Caulfield, jun. Mr. Powel, Mr. Creed,

Attendant Females.

Miss Brooker, Miss Phillips, Miss Daniels, Mrs. Harris, Mrs. Hasley, Miss Chatterley, Miss Grainger, Mrs. Jones, Miss Menage, Miss D'Egville.

 Priests and Persian Army.

Lampooning James

Figaro in London was a satirical paper and a predecessor of Punch. This non-too-flattering portrait of James was published on Saturday, 30 April 1836.

James' pupils had been the subject of public conjecture for at least thirty years now. Some of his ballets may not have been as straight forward as they at first appear. For instance La Cruche Cassée - performed on 7 January 1826 - really has little to do with broken jugs. The subject of the 1771 painting by Jean-Baptiste Greuze would have been familiar to most sophisticated gentlemen.

Morris does not know what to be up to. He has been told that he is a twaddling manager of the old school, and that the old school will no longer do,—a truth that his considerably diminished coffers have for the last few seasons been painfully teaching him. He has been in the habit for the last sixty years of playing old comedies, and laying out nothing but a few shillings now and then for a yard of white satin, to give a fresh lining to Mr. F. Vining's old light comedy coat; and every time he has fresh lined this said coat, he has fancied himself very liberal, and hugged himself in his own conceit as an enterprising manager. Latterly, he has discovered that nobody comes to his theatre, and, as his receipts have diminished, he has refused even the satin lining to his actors coats; but though he has discontinued trimming their coats, the critics have been very active in trimming their jackets. However, at last, having grown desperate by repeated losses, he lugs out Winston, kicks out F. Vining from the stage-managership, cuts a caper round his own stage, and, in a paroxysm of poignant agony, takes apas seul down to the house of D'Egville. 'Damme,' says Morris, 'I'm ruined if I don't have a ballet at the Haymarket;' and he gave a faint pirouette, which ended in his slipping down flat upon some oil-cloth, under the ex-dancing master's sideboard. D'Egville, having picked him up, cut a few useless and empty capers, poised himself upon one foot clumsily, and threw out his arms like the sails of a ricketty windmill. 'I'm your man' cried the danseur of former days; ' I'll get up ballets.' Morris clutched at the bait, and thought that, in securing poor old D'Egville, he had ensured all the splendour of spectacle, and all the allurements that the train of Terpsichore can offer. D'Egville engages a few of his own pupils, gives them a few French names, and mixes up with them a few of the old stout and sturdy shilling per night Coryphees of some of the miner theatres. The superannuated couple think, by this trick, to make people believe that they have got a French ballet at the Haymarket. No such thing. The corps is as wretched a mixture as four-shilling tea, and they waddle about the stage as clumsily as bugs on a bolster. Morris cannot manage with spirit, even if he were to try ; and his effort to compete with the King's Theatre in the ballet department is about as good a joke as Hunt's putting up for Westminster against five other candidates. Morris had better stick to the payment of his salaries, without attempting the wretched farce of trying to earn them. If he wishes to make money he must let his theatre, but if he likes losing his cash he has only to keep it open. In these days ofmanagerial activity and competition, such a twaddler as Morris ought to have nothing lo do with a theatre, and we very much fear the experience of the season he has just commenced will give him good reason to agree with us. The most judicious thing he has done is to take half-price, but, as an act of justice, he should do so at the very commencement of the performance. What he means by engaging poor Russell as stage-manager we cannot divine. The fact is, that Morris has got about him more twaddlers of the old school, if possible, this season than any previous one.

Assault In The Mirror

The gossip from the Opera House reflected in The Monthly Mirror for October 1807 reveals a more complex background for James' assault on Mr Waters than was reported in The Morning Post the following year.  

James dispute with Waters must be seen in the context of a struggle for ownership of the Opera House between Waters and Mr W. Taylor. Waters owned almost half of the shares in the Opera House and held a mortgage for the controlling percentage of the shares owned by Taylor. The labyrinthine legal proceedings in this matter which would ultimately last for decades began in June 1808.

The Monthly Mirror for October 1807.

Assault At The Opera

I love this story because of its slapstick quality. Life at the Opera was often turbulent.

The assault took place on 24 October 1807 but it did not come before the Court of the King's Bench until 16 February 1808 so today is the anniversary of the trial. 

James had to pay £5 in damages to Waters - this doesn't seem an extraordinarily large sum but at the time an agricultural worker might earn £40 per year.

Morning Post 17 February 1808
British Library Board

Prejudiced By A Mistake?

This statement appeared in The Morning Post on Saturday 13 December 1823. It interests me for two reasons.

Firstly, James confirms that the George Harvey d'Egville living in Atherstone is indeed his brother. It's the first firm evidence that I've found and it shifts an assumption to a fact. I'd a lurking suspicion that the George of Atherstone might not be a connection of the famous James and less famous George at all. We do know that there were other Harvey d'Egvilles in the United Kingdom at the time and their connection, if any, is a mystery.

Secondly, the man who was wrongly hanged for murder in Barbados has either taken or was given the forenames that were current in the Harvey d'Egville family. We know that there was a Peter Hervez d'Aigueville who married at Portsea in the 1770s and a family who were active in East Anglia a little while afterwards. While the statistical odds of two people who share the same name meeting at a party are much less than one might think these names are quite rare.

I'm uncertain whether from what we know of James' character that we should believe this is a credible denial.

The Morning Post Saturday 13 December 1823
The British Library Board

News Of James' Libel Action Spreads

The Sydney Gazette And New South Wales Advertiser,

Wednesday 7 November 1827.

COURT OF COMMON PLEAS, JUNE 8.

LIBEL.

D'EGVILLE  V. RICHARDS.

  This was an action brought by Mr. D'Egville, the ballet-master of the Italian Opera-house, against the defendant, Mr. Richards, the ostensible proprietor of the Age Sunday Newspaper, to recover a compensation in damages for a libel inserted in that Paper.

  Mr. Patteson opened the pleadings and Mr. C. Philips stated the case. The Learned Counsel said, that he did not appear so much the professional advocate, as the friend of the plaintiff, who had chosen him to conduct his cause rather from having known him, than from any doubt of the talents of the learned Gentlemen sitting around him. When the Jury were acquainted with the nature of the libel, they would have no doubt it was calculated to injure the character of the plaintiff. The libel was obviously written and published with an intention of wounding his feelings, and throwing a stigma on his reputation. Mr. D'Egville was not more admired by the public for his talents as an artiste, than he was esteemed by his private friends for his amiable qualities. He (Mr. D'Egville), as ballet-master of the Opera-louse, composed a ballet in three acts, called Le Siege de Cythere, which became exceedingly popular. The third act was acknowledged to have been taken from a piece which had been composed by M. Dubervalle. Had the libel in question only attacked the professional character of the plaintiff, in all probability the present action would not have been brought; but the defendant had thought fit to publish in his Paper, what he must have known was a false and calumnious attack on the private character of the plaintiff, who was compelled, in vindication of his reputation, to appeal to the laws of his country.-The defendant had an opportunity of justifying what he had published, the plaintiff haying proceeded by civil action, instead of having prosecuted him criminally.-This course gave the defendant an opportunity of pleading the truth of what he had published, if there were any truth in his assertions; but he had not thought proper to put such a plea on the record, nor had he condescended to answer the action by Counsel. The friends of the true liberty of the press would not desire to see it supported, if it exceeded the bounds of fair criticism, or reflected on the private character of individuals. If such a system were encouraged, the press, instead of being a blessing to the country, would become a curse. The plaintiff, as Ballet Master of the Opera House, received a salary of £1,500 per annum; in addition to which he derived considerable sums from different noblemen and gentlemen, whose families he taught dancing. It was of the utmost importance that his character should be above suspicion: and, being so grossly attacked by the defendant, he was compelled to resort to an action, to prove to the world that the attack was founded only in malice. The libel in question arose out of a pretended criticism of Mr. D'Egville's Ballet, Le Siege de Cythere, and the defendant thought to shelter himself by making it appear that the libellous observations were written by a Correspondent. Mr. D'Egville had repeatedly offered to drop this action if the defendant would give up the author of the libel, but he had refused; and he (the Learned Counsel) was warranted in asserting that the libel was the production of the defendant's own pen. The Learned Gentleman read the libel, which was inserted in the Age, of the 11th of March last, under the head of " Notice to Correspondents,"-as follows:- " A reference to the ballet at the King's Theatre is inserted, in justice to all parties. I do not presume to write a critique-; but only to give you information you may not possess. The ballet at the Opera on Tuesday last, was impudently asserted in the bills as the composition of D'Egville, ‘Siege de Cythere,’ when it was originally composed and produced by M. Dubervalle. The only credit due to D'Egville is the extraordinary memory to have so closely followed the original in every scene, group, and action, unless he made memoranda at the time, which I presume was ihe case. The writer of this was in Dubervalle's ballet when first produced ut the Old Pantheon, and thinks D'Egville can only copy, not compose. For example, his previous billet of Rose Blanche was originally performed at Oudinot's two-penny theatre on the Boulevards, expressly for the revolutionary gentry of 1792, about the martyrdom of the Princess Lamballe and others, when D'Egville was very conspicuous in Paris, and accused of being the bosom friend of the murderer that carried that unfortunate Princess's head on a Pole." -The Learned Counsel said, that this was the libel for which the plaintiff sought compensation at the hands of the Jury, and he believed that a more atrocious and unprovoked attack never was made on a respectable man.-It was as false, too, as it was calumnious.-The plaintiff so far from being active in promoting the revolution, was conspicuous in the ranks of loyalty, and had hazarded his life in the service of the unfortunate Monarch who then filled the throne of France. He put it to the honour of the Jury, as to what must be the feelings of the plaintiff when he saw himself represented as the bosom friend of the greatest monster and most blood-thirsty wretch that figured at that sanguinary period-a fiend, who was not satisfied with the massacre of the innocent of all ages, and of both sexes, but had become the butcher of a corpse! As soon as the plaintiff became acquainted with the publication of this libel, be applied to the defendant to give up the name of the writer, as the libel purported to have come from a correspondent. This the defendant refused; and having slandered an amiable man, he refused to apologise, or to appear to defend the action, in person or by Counsel. The Jury, under all the circumstances, would say what was a fair compensation the plaintiff ought to receive for the injury attempted lo be done to his character by this atrocious and malignant libel.

  Witnesses was culled to prove the proprietorship and publication of The Age, and a witness proved that Mr. D'Egville was the Ballet Master at the Opera House-and among other successful ballets, he had produced Le Siege de Cythere.

  The Chief Justice summed up the case. To charge the plaintiff with being the intimate friend of a man concerned in one of the most sanguinary murders recorded in the history of modern times, was a gross libel. The defendant having admitted the falsehood of the statement by not pleading the truth of that statement, the Jury would say what was fair compensation to the plaintiff for the injury.

  The Jury gave a verdict for the plaintiff-Damages 150l.

National Library of Australia

http://nla.gov.au/nla.news-article2189307

Portrait of James Harvey d'Egville

Portrait of James Harvey d'Egville (1809)
Held by the University of Illinois

James d'Egville Hams It Up

Costume of Mr d'Egville
Circa 1830 Signed C.H.
Folger Shakespeare Library

In 1827 the sons of two theatrical dynasties set off to tour Italy. Charles James Mathews (son of Charles Mathews) and James d'Egville (son of James Harvey d'Egville) had both been articled to Augustus Pugin who is now chiefly remembered as the architect of the interiors at the Palace of Westminster and its famous clock tower. Mathews later returned to the theatre as both actor and playwright.

Charles James Mathews
(1803-1878)

While in Florence, Mathews designed and built a small theatre for Lord Normanby. He and d'Egville both played in amateur productions during their stay and the costume designs have survived as a series of lithographs which are held by the Folger Shakespeare Library.

...In 1827 he again quitted England for Italy, but on a professional tour that time, accompanied by Mr. James D'Egville, with whom he had been associated in Mr. Pugin's office. They visited Milan, Rome, Venice, &c., examined the ancient monuments of those places, and exhibited their architectural drawings in each of those celebrated academies. At Milan, Venice, and Rome, Mathews was elected a member of the several academies. At the former place, some drawings of his, of the Duomo D'OssoIa, and other sketches, are still exhibited.

In 1829 they visited Florence, where Lord Normanby was then residing, and was entertaining the Florentines with private theatricals. Young Mathews (with his father's permission) appeared, at his lordship's request, in the following characters: Risk, in " Love Laughs at Locksmiths;" Dogberry, in "Much Ado about Nothing;" Tony Lumpkin, in " She Stoops to Conquer;" Adam, in " The Iron Chest;" Buskin, in " Killing no Murder;" Simpson, in "Simpson & Co.;" Falstaff, in "King Henry the Fourth," &c., &c., &c.

At the theatre San Clemente, the actors in the above plays, among others, were Lord and Lady Normanby (really admirable performers), Sir Hedworth and Lady Williamson, Lord Fitzharris, Lord Albert Conyngham, Messrs. Craven, Nightingale, Dundas, Aubry, Phipps, Bligh, Antrobus, Thelluson, Sitwell, St. John, E. Villiers; Mrs. Dalton, Miss Augusta Stephenson, Miss Geraldine de Courcy, Miss Sitwell, La Principessa Belgiojoso, La Marchesa di Pucci.*

He also performed Sir Benjamin Backbite in the " School for Scandal," on the single occasion of the comedy being performed at Lord Burghersh's, then ambassador at the court of Tuscany; on which occasion Lady Teazle was played by Lady Burghersh, Joseph Surface by the Marquis of Douro (the present Duke of Wellington), and Charles Surface by Lord Burghersh.

* Mathews, while at Florence, built Lord Normanby a small theatre, and painted a drop scene for it.

The literary life and correspondence of the Countess of Blessington, Volume 2
Richard Robert Madden, 1855

If the print is any sort of likeness James appears to be a chip off the old block. There is some similarity between the subject and this detail of Tatius from David's Intervention of the Sabine Women (1799) for whom James Harvey d'Egville modelled.

James Harvey d'Egville Shows His Playful Side

Charles Mathews (1776-1835)
by C. Turner (1825)

One morning at rehearsal, "His Innocence" (casually, of course) remarked, as Mr. Mathews left the room (who was, at this period of his life, the thinnest of human beings, and far from possessing even tolerable health), that "it was hardly to be credited, while looking at his slight form, what extraordinary muscular strength he possessed."

"What-what-what, Mathews!" cried Dowton— (for whom the snare was laid) startled by so transparent a fallacy, "why-why, he 's a poor weak creature !—what can you mean by strength ?—why, I 'd undertake to knock him down with my little finger." (Mr. Dowton piqued himself upon his really muscular frame.)

"Don't you be too sure of that" said Russell, coldly; "have you ever tried?"

"No," said Dowton ; " but I can venture to say that he has not the least muscular power—a poor, consumptive young man; poor fellow, without an atom of sinew or muscle in his whole composition."

"Well!" mildly, yet reprovingly, drawled Russell, "but you shouldn't speak, Dowton, without proof—now I have seen Mathews perform the most marvellous feats of strength, and therefore I know what he can do. Why, D'Egville (of course, D'Egville was promptly confederate in this trick), muscular and Herculean as is his frame, he would find Mathews more than his match, if they came to the test."

"Oh, nonsense and stuff!" said Dowton, impatient at the manifest folly of Russell's assertion; "don't make a fool of yourself;" and D'Egville, affecting also to laugh at the idea of his being overcome by Mathews in a trial of strength, Russell coolly expressed his convictions that "Mathews, in wrestling, would conquer D'Egville," and declared he would back his opinion with a five pound note; and just as he took it from his pocket, Mr. Mathews, (quite unconscious, of course, of what had been going on), returned. The sight of his spare figure seemed to stimulate Dowton's courage and opposition, and he hastily dived into his pocket, saying—" Well, for once, I-I-I-I will lay a wager, and get that-that-that eternal five pound note from you, for you deserve to be punished for your obstinacy; so, here, Barrymore, do you, do you hold the stakes." Hereupon, Russell calmly and confidently placed his note in Mr. Barrymore's hand, and Dowton began to count from his purse a similar sum; but as he was about to place the coin with the umpire, his metal was shaken at the tranquil and assured air of Russell, and he drew back his cash, declaring that he would not indulge Russell in the love of betting on every occasion—and recanted; at the same time repeating his conviction that "he should be robbing the foolish fellow of his money if he betted upon such an absurdity."

Mr. Mathews having however cheerfully consented to this proof of his superior strength, wrestled withD'Egville, who acted his part so well, that he frequently fell under his antagonist's extraordinary bodily power, and in fact, was so worsted in the struggle that he admitted with much apparent mortification, that he had no chance with him. At the same time, Dowton, pale with amazement, declared he would not have credited the fact had he not witnessed it, and ever after, while he could not withhold his wonder that a man of such apparently weak frame, could be capable of such vigorous energy, Mathews was ranked amongst the Athletes by his brother comedian.

Anecdotes of Actors: with other desultory recollections, Anne Mathews, 1844

James Harvey d'Egville: Before Super Injunctions

— Our libel law, under the auspices of the best of judges, and administered by most sapient juries, is making noble strides. M. D'Egville, the gentleman who deserves the thanks of all the saints on earth, for having cured the young men of the present day of the sinful taste for ballets, brought an action against The Age newspaper for this paragraph:—

"The ballet at the opera on Tuesday last was impudently asserted in the bills as the composition of M. D'Egville, Siege de Cythere, when it was originally composed and produced by M. Dubervalle.The only credit due to D'Egville is the extraordinary memory to have so closely followed the original in every scene, group, and action, unless he made memoranda at the time, which I presume was the case. The writer of this was in Dubervalle's ballet when first produced at the old Pantheon, and thinks D'Egville can only copy, not compose. For example, his previous ballet of Rose Blanche was originally performed at Odenot's two-penny theatre on the Boulevards, expressly for the revolutionary gentry of 1792, about the time of the martyrdom of the Princess Lambelle and others, when D'Egville was very conspicuous in Paris, and accused of being the bosom friend of the murderer that carried that unfortunate princess's head on a pole."

The first allegation is, that the ballet was not Mr. D'Egville's work, and it is therefore one for which he ought to be especially grateful. It would be well for him indeed, if his enemies would deprive him thus of the discredit of the different dull performances with which he has vexed our eyes. The second charge, if charge it can be called, which carries no imputation with it, is that monsieur was conspicuous in Paris, at the time of the Revolution. Being conspicuous is hardly in itself a crime, we presume. But lastly, he was accused of being the bosom friend of the murderer of the Princess Lambelle.

" The learned counsel (Mr. Phillips) said, that this was the libel for which the plaintiff sought compensation at the hands of the jury, and he believed that a more atrocious and unprovoked attack never was made on a respectable man. It was as false, too, as it was calumnious. The plaintiff, so far from being active in promoting the Revolution, was conspicuous in the ranks of loyalty, and had hazarded his life in the service of the unfortunate monarch who then filled the throne of France. He put it to the honour of the jury, as to what must be the feelings of the plaintiff when he saw himself represented as the bosom friend of the greatest monster and most blood-thirsty wretch that figured at that sanguinary period."

We are extremely glad to learn, that a more atrocious and unprovoked attack (than the above quoted) never was made on a respectable man. We rejoice to discover that respectable men, from the beginning of things down to the present time, from Adam to D'Egville, have had nothing worse to complain of. "But what," asks the counsellor, (Phillips,) "must be the feelings of the plaintiff, when he saw himself represented as the bosom-friend of the monster," &c. The inquiry is beside the question, simply because Monsieur D'Egville never saw himself represented as any such thing: the terms of the libel are, that he was accused of being the bosom friend, &c; and there is a wide difference between the representation of an accusation, and the representation of the fact, though it may escape the clear logical perception of an Irish orator.

" The Chief Justice [of the Common Pleas, be sure] summed up the case. To charge the plaintiff with being the intimate friend of a man concerned in one of the most sanguinary murders that was recorded in the history of modern times, was a gross libel, the defendant having admitted the falsehood of the statement by not pleading the truth of that statement. The jury would say what was a failcompensation to the plaintiff for the injury."

Again we observe that the libel did not charge; it merely alleged that the party was accused of an intimacy with a detested character. No defence was made; and the jury, under the circumstances, with the wisdom and moderation which now distinguish juries in libel cases, brought in a verdict of 150l. damages for the dancing master, who has not in the whole course of his professional life taken a more profitable step than this prosecution. In these remarks we are far from intending to justify the paragraph in The Age; it was of the customary complexion of that paper, which we have ourselves more than once described with the natural expressions of disgust; but we do contend that 150l. or a hundred and fifty shillings damages for it, is a sum utterly disproportioned to the injury. There was no defence, however, and the jury perhaps acted on that common principle which caused the chimney sweeper to be " thrown over" from the one shilling gallery, his abrupt ejection accompanied with the sound reason, "he ha'nt got no friends." Being in no degree better than the rest of the world, we should possibly not trouble ourselves much about this manner of disposing of chimney sweepers, were it not that we sit in the pit below, and we have our fears lest the fall of the chimney sweeper should touch our own heads. Therefore, though by no means partial to the chimney sweeper, we protest against throwing him over, even though he "ha'nt got no friends." He is a dirty sooty fellow by trade, but in punishing him beyond his offence, you may, most worthy jurors of the one-shilling gallery, lead to the injury of others who have not offended at all. You are encouraging, nay, actually rewarding a morbid sensitiveness which may be extended to the annoyance of you all. You begin with throwing over the chimney sweeper: well and good, we are all afraid of being befouled, and will not quarrel about him. But there is the baker, who is not an agreeable neighbour to the gentleman in black, and he will go over next; and there is the tallow chandler, who is not redolent of frankincense, who will follow; and the greasy butcher, and one man has a bad breath, and another's pores are too open, and another occupies more than a fair allowance of room, and another has a cough which interferes with your hearing; in short every one has some little annoying quality, and getting on from the greater nuisances to those next in degree, you will at last find that you yourself are in danger of suffering under the law you have put upon others. You say that you are safe, John, because you don't write; but you speak, man—great folly to be sure, but still speech, such indeed as it is ; and if calling a bailiff a bum is declared a wicked and malignant libel, according to the best doctrine, I should like much to know what may not be considered as calumny. There are actions for words as well as for letters.

But what will be the issue of the present blind rage against the press? Verdicts will encourage actions out of number, on slighter aud slighter provocations, till Mr. Bull grows weary of convicting libellers, and then a reaction will take place. A cold will succeed a hot fit, and after having found every thing libellous, our juries will find nothing libellous. The press will then, after a term of persecution, enjoy a term of tyranny. It will say and do what it likes with complete impunity. There are with John Bull fashions, in justice, as in all other things. It is the fashion just now to find verdicts of guilty in cases of alleged libel; it will be the fashion soon to give verdicts with a not before them. Reason has no voice in either decision. It is the mode—the mode, the mode's the thing!

In the report of M. D'Egville's action, it is said that a witness proved that Monsieur had produced, among other successful ballets, the Siege de Cythère. We certainly had not the slightest idea that the success of all or any of M. D'Egville's ballets could be proved in evidence. A pit more than half empty before the ballet is half over, was doubtless one of the facts instanced.

The London Magazine July 1827
Diary for the month of June (9th)

A Sad Story Of Colonial Life

I don't know what year James Harvey d'Egville went out to India. It was probably circa 1820 (+/- 1) and his arrival in Calcutta will have been recorded in the Asiatic Journal and Monthly Register for British India and its Dependencies. This is the repository of news of all daily life; a divertisement for those enduring the harsh conditions.

I can't even say where James originates but if I do find him I predict that the young mariner was born in either Portsea or Ipswich. He is already a skilled and brave navigator which suggests that he went to sea at an early age.

In 1821 his wife Maria dies during a traumatic birth. Most British women would not now contemplate motherhood at twenty years of age and can expect many other opportunities in a long life.

Within twelve months James has found another woman to share his life. She becomes yet another Sophia d'Egville.

Then just two years after the death of his first wife James dies from fever, his age is unrecorded in the Journal, all the promise he has shown is brought to an untimely end. He leaves behind a "widow far advanced in pregnancy."

I hope that they survived - but they may well now lie in a weed-choked Calcutta cemetery. In these post-colonial times one feels that none of these people should have been there, both enduring and inflicting misery.

Mrs Samuel Dies At Her Newphew's Great Marlborough Street Home

The Gentleman's Magazine, April 1817

Insinuation

Mr. James Harvey D'egville is the eldest son of Mr. PeTer D'egville. The family root is French, but this branch of it pullulated first in England. He owes his education, which, if at all philosophical, was peripatetic, that is, relating to the foot, principally to his father and Mr. Dauberval of Paris. He married Miss Berry of the Opera-House. In 1796 he was engaged at Drury-Lane theatre, when he got up a pantomima called Alexander the Great, and he did the same favour to the pantomimicry of Pizarro, Caractacus, &c. He is now ballet-master at the Opera-House, where he gives considerable satisfaction, although he is with some taste and invention, far from abounding in knowledge and judgment. We must remember, however, that his business is almost exclusively with the legs, to "teach lavoltat high and swift corantos," and it is not a question that he has produced several very good ballet-dancers. But as we like the treason, though we hate the traitor; so we delight in the dancing of his pupils, while we detest the original cause of it—the avarice and depravity of the parents. See some just remarks on this subject, signed H. R. in the Examiner, Feb. 26. "In addition to these shadows, Mr. D'Egville has," says this writer, " a numerous troop of infants, that are brought forward in the ballet, for no purpose that I can imagine, unless it is to shew that children can be kept awake till twelve or one o'clock, and that rouge will artificially supply the colour, of which want of rest has deprived them."

It is said that he was, when in Paris, a furious democrat, but if we have little to do with the learning of a ballet-master, we have certainly still less to do with his politics. On this, however, and many other points, we might have afforded the reader more lights, had Mr. D'Egville, as he promised, furnished as with his lanthorn. We are now indeed more than half persuaded that he meditated a sort of suicide— he would have deprived himself of this Life, which our philanthropy has preserved.

The Monthly Mirror, March 1809.

Scurrilous Gossip

La Journée mémorable de Versailles, le lundi 5 Octobre 1789

THE
SCOURGE;
OR
MONTHLY EXPOSITOR,
OF
IMPOSTURE AND FOLLY

Mr. D'Egville has resumed his situation at the Opera-house: this gentleman is, we believe, particularly intimate with the man who bore in triumphant exhibition through the streets of Paris, the heart of the Princess de Lamballes.

The Scourge, 1 February 1811

Marie Louise de Lambelle
attributed to Henri Pierre Danloux (c 1791)

Mr. D'EGVILLE.

Sir,

 In your second number you have asserted that Mr. D'Egville is intimately acquainted with the man who carried on a pike the heart of the Princess de Lamballes through the streets of Paris. Such assertions as these had been frequently made long before the appearance of the Scourge: Mr. D'Egville, however, conscious that they could not injure him with those who knew him, and unwilling to obtrude in his private character on the attention of the public, suffered them to die away uncontradicted ; and it was not till in the dispute with Mr. Goold they were brought forward to prejudice the court itself against him, that he thought it necessary to give them a serious refutation. For this purpose he obtained in 1802 a certificate from those who had the best opportunities of knowing him at the time of the revolution, declarative of his peaceful and gentlemanly conduct during the whole of that unhappy period, and expressive of their knowledge that any aspersions of the kind alluded to must be unjust. This document I have seen, and it is now in Mr. D'Egville's possession. It is signed by the elder Vestris, Laborie, and most of the respectable performers attached to the Opera at Paris. From the liberality by which even your severest productions are distinguished, I trust that as an act of justice to a much injured individual you will insert this letter.

I remain, Sir, with respect,

your obedient servant,

ACHITES

London,

March 27th, 1811.

The Scourge, 1 April 1811

Le massacre de la princesse de Lamballe

James, Joe, George and Pan

Joseph Grimaldi

In September 1805 the Theatre Royal Drury Lane opened for the season without a ballet master. James Byrne (1756-1845) had left at the close of the previous system and it was agreed that James Harvey d'Egville would succeed him.

The Honey Moon was advertised as the play for the second night, but in the absence of a ballet there was no one to arrange the dance in the piece. It was too late to change the bills but it seemed that the programme would have to be changed.

After a discussion with the stage manager, Wroughton, Joseph Grimaldi was offered an extra two pounds per week if he would arrange the dance and choregraph other pieces. Grimaldi was also given permission to hire dancers. This seems an ill considered by both Wroughton and Grimaldi as d'Egville would soon be joining the company.

Despite this there seems to have been no disagreement between Grimaldi and d'Egville after he had taken up his post. Grimaldi was cast in the role of Pan in d'Egvilles new ballet Terpsichore's Return. This was performed five times before Grimaldi walked away from the Theatre Royal Drury Lane forever.

On the 26 October, Grimaldi drew his salary and found that the additional two pounds was no longer to be paid although it seems the treasury still had the change to his contract made by the manager, Graham, on file.

There is an incisive footnote comment in a footnote to the incident in Grimaldi's memoirs.

The management of Drury Lane, in their desire of novelty, had engaged M. Joubert, and Mademoiselle Parisot, from the King's Theatre for the season. On October 24, it was underlined in the bill of the day, tliat she would appear for the first time, on that stage, on Monday, the 28th, in a new ballet, composed by M. D'Egville, entitled "Terpsichore's Return;" it was, however, "owing to the indisposition of a principal performer," deferred a few days—till November 1. In this ballet, Grimaldi had a great part, that of Pan, in which he fell in love with Terpsichore, who, after favouring his pretensions, jilted him; this allowed Joe full latitude of display, and the applause the ballet obtained had never been exceeded on the production of any drama or piece in that, or any other theatre. The ballet was performed the fifth tine, on Saturday, November 9, on which night Grimaldi quitted the theatre, and never afterwards was within its walls. "Terpsichore's Return" was performed a sixth time, on Monday, November 25, and Pan was personated by George D'Egville, a pantomimist, and brother to James D'Egville, the ballet-master. George D'Egville had performed with great eclat the part of Caliban, at the Haymarket, in a similar ballet, derived from Shakspeare's "Tempest," and as his engagement was possibly on the tapit for Drury Lane, (Pan apparently having been designed for him,) Joe fancying that two suns could not shine in the same sphere, broke the terms of his engagement, and left the course clear to his successor.

Memoirs of Joseph Grimaldi 1853 With Notes and Additions, Revised by Charles Whitehead

As for George Harvey d'Egville, he took the opportunity to act the goat,

Nov. 1.— Terpsichore's Return—a ballet, composed by Mr. D'Egville, as an introduction for Mademoiselle Parisot, who certainly astonishes as an attitudinarian, but does not afford much delight as a dancer. To give something like incident to the dance, Pan is called in to make love to Terpsichore. The constitutional warmth of this Deity is well known, and, on the stage, his amours are generally rendered offensively coarse, by the grimace and gestures of the performer. The Goat, too, was disgusting. Such exhibitions reflect disgrace on the stage.

The Monthly Mirror for November 1805

Otherwise Terpsichore's Return seems to have been applauded so perhaps this criticism is not representative of the public or critical response to the performance.

Rose Parisot