See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

CHARLES See also:

• CHARLES BURNEY (1726-1814)

BURNEY (1726-1814)  , See also:

• ENGLISH

English musical historian, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SHREWSBURY
• SHREWSBURY, CHARLES TALBOT, DUKE OF (166o-1718)
• SHREWSBURY, DUKE
• SHREWSBURY, EARLS OF
• SHREWSBURY, ELIZABETH TALBOT, COUNTESS OF (1518–16o8)
• SHREWSBURY, JOHN TALBOT, 1ST EARL OF (d. 1453)

Shrewsbury on the 12th of See also:

• APRIL

April 1726 . He received his earlier See also:

• EDUCATION

education at the See also:

• FREE

free school of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city, and was afterwards sent to the public school at See also:

• CHESTER
• CHESTER, EARLS OF

Chester . His first See also:

• MUSIC

music See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund See also:

• BAKER, HENRY (1698-1774)
• BAKER, SIR BENJAMIN (1840-1907)
• BAKER, SIR RICHARD (1568-1644/5)
• BAKER, SIR SAMUEL WHITE (1821-1893)
• BAKER, THOMAS (1656-1740)
• BAKER, VALENTINE [BAKER PASHA] (1827-1887)

Baker, organist of Chester See also:

• CATHEDRAL

cathedral, and a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Dr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BLOW, JOHN (1648-1708)

Blow . Returning to Shrewsbury when about fifteen years old, he continued his musical studies for three years under his See also:

• HALF

half-See also:

• BROTHER

brother, See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• BURNEY, CHARLES (1726-1814)

Burney, organist of St See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary's See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, and was then sent to See also:

• LONDON

London as a pupil of the celebrated Dr See also:

• ARNE, THOMAS AUGUSTINE (1710-1778)

Arne, with whom he remained three years . Burney wrote some music for See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson's See also:

• ALFRED

Alfred, which was produced at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre on the 3oth of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1745 . In 1749 he was appointed organist of St Dionis-Backchurch, Fenchurch See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, with a See also:

• SALARY

salary of X30 a See also:

• YEAR

year; and he was also engaged to take the See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord in the " New Concerts " then recently established at the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's Arms, Cornhill . In that year he married See also:

• MISS

Miss See also:

• ESTHER

Esther Sleepe, who died in 1761; in 1769 he married Mrs See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen See also:

• ALLEN, BOG OF
• ALLEN, ETHAN (1739–1789)
• ALLEN, GRANT CHARLES GRANT BLAIRFINDIEI, (1848–1899)
• ALLEN, JAMES LANE (1850– )
• ALLEN, JOHN (1476–1534)
• ALLEN, or ALLEYN, THOMAS (1542-1632)
• ALLEN, WILLIAM (1532-1594)
• ALLEN, WILLIAM FRANCIS (183o-1889)

Allen of See also:

• LYNN

Lynn . Being threatened with a pulmonary See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection he went in 1751 to Lynn in See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

Norfolk, where he was elected organist, with an See also:

• ANNUAL

annual salary of £See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

loo, and there he resided for the next nine years . During that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he began to entertain the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• HISTORY

history of music . His See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

Ode for St See also:

• CECILIA, SAINT

Cecilia's See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day was performed at See also:

• RANELAGH

Ranelagh Gardens in 1759; and in 176o he re-turned to London in See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• HEALTH

health and with a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• FAMILY

family; the eldest See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child, a girl of eight years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, surprised the public by her attainments as a harpsichord player . The concertos for the harpsichord which Burney published soon after his return to London were regarded with much admiration . In 1766 he produced, at Drury Lane, a free English version and See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of J .

J . See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau's operetta Le Devin du See also:

• VILLAGE

village, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of The Cunning See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man . The university of See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford conferred upon him, on the 23rd of See also:

• JUNE

June 1769, the degrees of See also:

• BACHELOR (from Med. Lat. baccalarius, with its late and rare variant baccalaris—cf. Ital. baccalare—through O. Fr. bacheler)

Bachelor and See also:

• DOCTOR (Lat. for " teacher ")

Doctor of Music, on which occasion he presided at the performance of his exercise for these degrees . This consisted of an See also:

• ANTHEM

anthem, with an See also:

• OVERTURE (Fr. ouverture, opening)

overture, solos, recitatives and choruses, accompanied by See also:

• INSTRUMENTS

instruments, besides a vocal anthem in eight parts, which was not performed . In 1769 he published An See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

Essay towards a History of Comets . Amidst his various professional avocations, Burney never lost sight of his favourite See also:

• OBJECT

object—his History of Music—and there-fore resolved to travel abroad for the purpose of See also:

• COLLECTING

collecting materials that could not be found in See also:

• GREAT

Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain . Accordingly, he See also:

• LEFT

left London in June 1770, furnished with numerous letters of introduction, and proceeded to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and thence to See also:

• GENEVA
• GENEVA (Fr. Geneve, Ger. Genf, Ital. Ginevra, Late Lat. Gebenna, though Genava in good Latin)
• GENEVA, LAKE OF

Geneva, See also:

• TURIN

Turin, See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, See also:

• ROME
• ROME (Roma)

Rome and See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples . The results of his observations he published in The See also:

• PRESENT

Present See also:

• STATE
• STATE, GREAT OFFICERS OF

State of Music in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• ITALY
• ITALY (Italia)

Italy (1771) . Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson thought so well of this See also:

• WORK

work that, alluding to his own See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

Journey to the Western Islands of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland, he said, " I had that See also:

• CLEVER

clever See also:

• DOG

dog Bumey's Musical Tour in my See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye." In See also:

• JULY

July 1772 Burney again visited the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent, to collect further materials, and, after his return to London, published his tour under the title of The Present State of Music in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, the See also:

• NETHERLANDS

Netherlands and See also:

• UNITED

United Provinces (1773) . In 1773 he was chosen a See also:

• FELLOW

fellow of the Royal Society . In 1776 appeared the first See also:

• VOLUME

volume (in 4to) of his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long-projected History of Music . In 1782 Burney published his second volume; and in 1789 the third and See also:

• FOURTH

fourth .

Though severely criticized by See also:

• FORKEL, JOHANN NIKOLAUS (1749-1818)

Forkel in Germany and by the See also:

• SPANISH

Spanish ex-Jesuit, Requeno, who, in hisItaliamwork Saggj sul Ristabilimento dell' Arte Armonica de' Greci e Romani Cantori (See also:

• PARMA

Parma, 1798), attacks Burney's See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek music, and calls him lo scompigliato Burney, the History of Music was generally recognized as possessing great merit . The least satisfactory volume is the fourth, the treatment of See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel and See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach being quite inadequate . Burney's first tour was translated into See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German by Ebeling, and printed at See also:

• HAMBURG

Hamburg in 1772; and his second tour, translated into German by See also:

• BODE, JOHANN ELERT (1747–1826)

Bode, was published at Hamburg in 1773 . A Dutch See also:

• TRANSLATION

translation of his second tour, with notes by J . W . Lustig, organist at See also:

• GRONINGEN

Groningen, was published there in 1786 . The Dissertation on the Music of the Ancients, in the first volume of Burney's History, was translated into German by J . J . See also:

• ESCHENBURG, JOHANN JOACHIM (1743–1820)

Eschenburg, and printed at See also:

• LEIPZIG

Leipzig, 1781 . Burney derived much aid from the first two. volumes of Padre See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini's very learned Storia See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

delta Musica (Bologna, 1757-1770) . One cannot but admire his persevering See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry, and his sacrifices of time, See also:

• MONEY

money and See also:

• PERSONAL

personal comfort, in collecting and preparing materials for his History, and few will be disposed to condemn severely errors and oversights in a work of such extent and difficulty . In 1774 he had written A See also:

• PLAN
• PLAN (from Lat. planes, flat)

Plan for a Music School .

In 1779 he wrote for the Royal Society an account of the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant See also:

• CROTCH, WILLIAM (1775-1847)

Crotch, whose remarkable musical See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent excited so much See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention at that time . In 1784 he published, with an See also:

• ITALIAN

Italian title-See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page, the music annually performed in the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope's See also:

• CHAPEL

chapel at Rome during See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week . In 1785 he published, for the benefit of the ,Musical Fund, an account of the first See also:

• COMMEMORATION

commemoration of Handel in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey in the preceding year, with an excellent See also:

• LIFE

life of Handel . In 1796 he published See also:

• MEMOIRS

Memoirs and Letters of See also:

• METASTASIO (1698-1782)

Metastasio . Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of his life Burney was paid £1000 for contributing to See also:

• REES, THOMAS (1777–1864)

Rees's Cyclopaedia all the musical articles not belonging to the See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of natural See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy and See also:

• MATHEMATICS (Gr. /saBnµar1Kil, Sc. vOcvn or E7rlQTt'µn; from p iN.La, "learning" or "science ")

mathematics . In 1783, through the See also:

• TREASURY

treasury See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of his friend Edmund See also:

• BURKE
• BURKE, ROBERT
• BURKE, SIR JOHN BERNARD (1814–1892)
• BURKE, WILLIAM (1792–1829)

Burke, he was appointed organist to the chapel of See also:

• CHELSEA

Chelsea See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

Hospital, and he moved his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence from St See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin's Street, See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester Square, to live in the hospital for the See also:

• REMAINDER, REVERSION

remainder of his life . He was made a member of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute of France, and nominated a correspondent in the class of the See also:

• FINE

fine arts, in the year 181o . From 18o6 until his See also:

• DEATH

death he enjoyed a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of £300 granted by See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox . He died at Chelsea See also:

• COLLEGE (Collegium)

College on the 12th of April 1814, and was interred in the burying-ground of the college . A tablet was erected to his memory in Westminster Abbey . Burney's portrait was painted by See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds, and his bust was cut by Nollekens in 18o5 . He had a wide circle of acquaintance among the distinguished artists and See also:

• LITERARY

literary men of his day .

At one time he thought of writing a life of his friend Dr See also:

• SAMUEL

Samuel Johnson, but he retired before the See also:

• CROWD, CROUTH, CROWTH

crowd of biographers who rushed into that See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field . His See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character in private as well as. in public life appears to have been very amiable and exemplary . Dr Burney's eldest son, James, was a distinguished officer in the royal See also:

• NAVY

navy, who died a See also:

• REAR

rear-See also:

• ADMIRAL

admiral in 1821; his second son was the Rev . See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Burney, D.D . (1757-1817), a well-known classical See also:

• SCHOLAR, SCHOLARSHIP

scholar, whose splendid collection of rare books and See also:

• MSS

MSS. was ultimately bought by the nation for the See also:

• BRITISH

British Museum; and his second daughter was Frances (Madame D'Arblay, q.v.) . The See also:

• DIARY

Diary and Letters of Madame D'Arblay contain many See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute and interesting particulars of her See also:

• FATHER

father's public and private life, and of his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and contemporaries . A life of Burney by Madame D'Arblay appeared in 1832 . Besides the operatic music above mentioned, Burney's knowncompositions consist of:-(1) Six Sonatas for the harpsichord; (2) Two Sonatas for the See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp or piano, with accompaniments for See also:

• VIOLIN

violin and See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello; (3) Sonatas for two violins and a See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass: two sets; (4) Six Lessons for the harpsichord; (5) Six Duets for two German flutes; (6) Three Concertos for the harpsichord; (7) Six See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert pieces with an introduction and See also:

• FUGUE (Lat. fuga, flight)

fugue for the See also:

• ORGAN

organ; (8) Six Concertos for the violin, &c., in eight parts; (9) Two Sonatas for See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, violin and violoncello; (io) A See also:

• CANTATA (Italian for a song or story set to music)

Cantata, &c.; (II) Anthems, &c.; (12) XII . Canzonetti a due voci in Canone, poesia dell' Abate Metastasio .