At the same time he interspersed his editorial contributions with original verse, and also executed with his own hand woodcuts after the original illustrations. A sturdy champion of the seventeenth century royalists, and a hearty hater of puritanism, he freely enlivened his editorial comments with the free expression of his personal prejudices, and with scornful references to current political and religious views from which he dissented. But despite editorial eccentricities his work forms a serious and invaluable contribution to the history of English ballad literature. Ebsworth was elected F.S.A. in 1881.
In 1894 he retired from Molash vicarage to live privately at Ashford. There he died on Whitsunday, 7 June 1908; he was buried in Ashford cemetery. His library was sold in 1907. On 29 May 1865 he married Margaret, eldest daughter of William Blore, rector of Goodmanham, East Yorkshire. She died on 18 April 1906, leaving no issue. A portrait in early life was painted by Thomas Duncan [q. v.] of Edinburgh. Another portrait was taken in 1873 for the collection of portraits of the Canterbury clergy formed by Mrs. Tait, wife of the archbishop.
Besides the works mentioned, Ebsworth printed in 1887, for private circulation, a hundred and fifty copies of 'Cavalier Lyrics for Church and Crown.' Many of the poems were scattered through his reprints of the 'drolleries' and ballads. All reflect the manner of Suckling or Carew, and more or less genially expound the thorough-going toryism which was part of Ebsworth's nature. He also edited Shakespeare's 'Midsummer Night's Dream' of 1600 (Furnivall's Facsimile Texts,' 1880); 'Poems by Thomas Carew' (1892); 'Poems of Robert Southwell' (1892); and Butler's 'Hudibras' (1892, 3 vols.). With Miss Julia H. L. De Vaynes he edited 'The Kentish Garland' (2 vols. 1881-2), and for the early volumes of this Dictionary he wrote lives of his father and mother and of Charles and Thomas John Dibdin.
[J. C. Francis, Notes by the Way, 1909; Notes and Queries, 27 June 1908; Crockford's Clerical Directory, 1908.]
EDDIS, EDEN UPTON (1812–1901), portrait-painter, was the eldest son of Eden Eddis, a clerk in Somerset House, by his wife Clementia Parker. His grandfather, William Eddis, was secretary to Sir Robert Eden, governor of Maryland. Born on 9 May 1812, in London, he showed as a boy a talent for drawing, and became a pupil in the art school of Henry Sass. In 1828 he entered the painting school of the Royal Academy, and in 1837 won the silver medal. He first exhibited at the Academy in 1834, and then annually from 1837 to 1881. He also exhibited occasionally at the British Institution and at Suffolk Street.
While a young man, Eddis travelled and sketched on the continent with his friend James Holland [q. v.]. In 1848 he settled in Harley Street, where most of his professional life was passed.
Some portrait-drawings in chalk of members of the Athenæum, made when he was still quite young, were very successful and procured him many commissions. Though he had cherished wider ambitions, he determined to embrace the opportunity thus afforded by portrait-painting, chiefly from a generous desire to help his family. In 1838 he exhibited a portrait of Lord John Beresford, archbishop of Armagh, and in the following year one of Viscount Ebrington, lord- lieutenant of Ireland, together with a sketch of Chantrey, the sculptor. These were the first of a long list of distinguished sitters, men eminent in politics, law, the army, and the church, and women celebrated in the society of the day. The painter's social gifts made him a delightful companion; and many of his sitters became lifelong friends. Among the closest and most intimate of his friends were Samuel Jones Loyd, Lord Overstone [q. v.], and his family. Eddis exhibited a portrait of Lord Overstone in 1851; and thirteen of his pictures (not all portraits) are in the collection of Lady Wantage, Lord Overstone's daughter. Between 1840 and 1850 he painted, in addition to portraits, 'Naomi,' other biblical subjects, and two pictures illustrating a poem of Keble's. After 1860 the portraits were increasingly varied by subjects of rustic genre and pictures of children. Several of these were engraved by Every, Joubert, and others, and had great popularity as prints. Macaulay (1850), Archbishop Sumner (1851), Bishop Blomfield (1851), George Dallas, the American Minister (1857), Sir Erasmus Wilson (1859), Lord Coleridge (1878), and Sydney Smith were among those who sat to Eddis. His portrait of Theodore Hook is in the National Portrait Gallery. A series of his portrait- drawings in chalk was lithographed by Gauci.
In 1883 Eddis's health threatened to give way; he determined to exhibit no more after that year, and retired to Shalford, near Guildford. The trouble passed, and he lived, hale and strong, till 1901, continuing
