bingle in the ‘Cricket on the Hearth,’ and Antony Latour in the ‘Creole’ of Shirley Brooks, he established his reputation. He then joined Leigh Murray at the Olympic, was stage-manager for Charles Shepherd at the Surrey, and went in 1850 to Drury Lane, then under Mr. Anderson. He played at various country houses during the summer, and at Drury Lane was seen in many parts, chiefly in his father's line. Dandie Dinmont, Silky, Baillie Nicol Jarvie, Autolycus, Touchstone, the Gravedigger, Miramont in the ‘Elder Brother,’ Sam in ‘Raising the Wind,’ Gibbie in the ‘Wonder,’ Harrop in ‘Mary the Maid of the Inn,’ &c., were all taken about this period. He then joined B. Webster of the Haymarket and Adelphi. At the Olympic in 1853 under A. Wigan he was the original Fouché in Tom Taylor's ‘Plot and Passion,’ and was subsequently Mr. Potter in the ‘Still Waters run deep’ of the same author. He was seldom long at any theatre. At various houses accordingly he played Simon Legree in ‘Uncle Tom's Cabin,’ McClosky in the ‘Octoroon,’ Dan'l Peggotty in ‘Little Em'ly,’ Captain Cuttle in ‘Heart's Delight,’ A. Halliday's version of ‘Dombey and Son.’ This last character, played at the Globe 17 Dec. 1873, served for his return to the theatre 20 July 1878. Emery had an impetuous temper. Somewhere about 1860 he went to America, but returned at once through disagreements with his managers. In Australia also, whither towards the close of his life he proceeded, he was not a success. Six weeks after his return from Australia he died, 19 July 1881, of erysipelas at King William Street, Strand. He was in 1857 manager for a short time of the Marylebone Theatre. In addition to the houses mentioned he played at Covent Garden, the Princess's, Haymarket, and Standard Theatres. Emery was a striking, a strong, and a picturesque actor. He had a manly bearing and much blunt pathos. His success was greatest in his father's line of characters. From his father also he inherited some skill in draughtsmanship.
[Tallis's Drawing Room Table Book; Era Almanack; Era newspaper, 23 July 1881; personal recollections.]
EMES, JOHN (fl. 1785–1805), engraver and water-colour painter, is best known by his engraving of the picture by James Jefferys of ‘The Destruction of the Spanish Batteries before Gibraltar.’ The etching for this is dated 1786, and as it was published in October 1789 by Emes and Elizabeth Woollett, widow of the celebrated engraver, it is possible that it may have been begun, or intended to have been begun, by Woollett himself. Emes was also a clever water-colour painter, and executed pleasing tinted drawings of views in the Lake district and elsewhere, some of which he exhibited at the Royal Academy in 1790 and 1791. There are three water-colour drawings by Emes in the Print Room at the British Museum, one being a large drawing representing ‘The Meeting of the Royal Society of British Archers in Gwersylt Park, Denbighshire;’ the figures in this are drawn by R. Smirke, R.A., and it was afterwards engraved in aquatint by C. Apostool. A set of sixteen views of the lakes in Cumberland and Westmoreland, drawn by J. Smith and J. Emes, were engraved in aquatint by S. Alken [q. v.]; these were incorporated into West's ‘Guide to the Lakes.’ Emes also engraved some views of Dorsetshire. His collection of prints was sold on 22 March 1810, he being then deceased.
[Redgrave's Dict. of Artists; Graves's Dict. of Artists, 1760–1880; Upcott's English Topography; Sale Catalogue of Emes's Collection.]
EMES, THOMAS (d. 1707), known as ‘the prophet,’ was an impudent quack who practised as a surgeon among the poorer classes. In the hope of obtaining notoriety he allied himself with the Camisards or French prophets, a pack of crazy enthusiasts who scandalised the town by their indecent buffooneries. He died at Old Street Square, London, 22 Dec. 1707, and was buried on Christmas day in Bunhill Fields. ‘Under the operation of the Spirit’ his brethren were enabled to prophesy that he would rise from his grave between twelve at noon and six in the evening of 25 May 1708. No ‘cloathing’ was to be provided, for rising ‘pure and innocent,’ it would not, they declared, ‘be esteem'd indecency for him to walk naked unto his habitation’ (Predictions concerning the Raising the Dead Body of Mr. T. Emes, 4to, London, 1708?). Three days before the pretended resurrection the government, fearing disturbances, and to prevent any tricks being played, placed guards at the grave and about the cemetery (Luttrell, Relation of State Affairs, 1857, vi. 307).
Emes wrote: 1. ‘A Dialogue between Alkali and Acid … wherein a late pretended new hypothesis, asserting Alkali the cause, and Acid the cure of all diseases, is proved groundless and dangerous. Being a specimen of the immodest self-applause, shameful contempt, and abuse of all physicians, gross mistakes and great ignorance of the pretender John Colbatch. By T. E. Chirurgo-Medicus,’ 8vo, London, 1698. 2. ‘A Letter to a Gentleman concerning Alkali and Acid. Being an
