mitting the erection and adoration of images in churches, and for suppressing popular lay lecturers. When Abbot refused to license sermons by Sibthorp and Roger Manwaring for the press, Montaigne asserted that they were 'fit to be printed' (Laud, Works, vii 7), and gave his license for their publication. But he afterwards declared from his place in the House of Lords that he had not read the sermons himself, and had licensed them only on the express command of the king (Forster, Eliot, ii. 308),
In 1623 he consecrated the new chapel at Lincoln's Inn, where an inscription recording the fact was placed beneath the arms of the see. Montaigne's ambition was still unsatisfied, and he 'would often pleasantly say that of him the proverb would be verified, "Lincoln was, and London is, and York shall be."' It was therefore a bitter blow when, late in 1627, Charles appointed him bishop of Durham, to make room for Laud in the London see. Charles, less attached to Montaigne than his father, looked upon him as 'a man unactive,' and 'one that loved his own ease too well to disturb himself in the concernments of the church' (Heylyn, Cyp. Angl. p. 174). This opinion seemed justified by the earnestness with which the bishop now protested that Durham was 'the worst kind of banishment, next neighbour to a civil death.' By his perseverance he obtained permission to remain 'in the warm air of the court,' only removing from London House in the city to Durham House in the Strand. He was elected to Durham 15 Feb. 1627-8, but in April the see of York was vacated by the death of Tobie Matthew [q. v.] Montaigne strained every nerve to obtain this prize, and, according to a well-known anecdote, when Charles was discussing the question of the vacant see in his presence, he remarked : '"Hadst thou faith as a grain of mustard seed, thou wouldst say unto this mountain (at the same time laying his hand upon his breast), be removed into that sea."' The king laughed, and at once wrote to the dean and chapter of York (4 June 1628) to elect the witty prelate to the archbishopric.
The election took place on 1 July, but the primate was 'scarce warm in his church yet cold in his coffin' (Fuller), for he died in London, aged 59, on 24 Oct., the very day he was enthroned by commission at York. He was buried by his own desire in Cawood Church, where his brother Isaac put up a monument to him (now much dilapidated), with a Latin inscription and verses by Hugh Holland [q. v.] the poet. His benevolence left him poor. He bequeathed the bulk of his property to his brother, and 100l. to the poor at Cawood, besides rings to four little girls, whom he was wont pleasantly to call his wives. John Ward, author of ' Gresham Professors,' declares that he knew a Lincolnshire clergyman, one Farmery, who called himself great-grandson to the archbishop, his great-grandfather having, he said, married Montaigne's daughter, but there is no mention of either wife or daughter in the archbishop's will, dated 12 Feb. 1627.
Besides his benefactions to Queens' College, Cambridge, Montaigne, while bishop of London, zealously promoted the building of St. Paul's, preaching on the subject at St. Paul's Cross, and giving a large sum of money towards the purchase of Portland stone.
[Authorities quoted in text; Le Neve's Lives of the Protestant Bishops, i. 117; Syllabus of Rymer's Foedera, ii. 840; Heylyn's Life of Laud, p. 166; Yonge's Diary, pp. 44, 50, 109; Newcourt's Repertorium, i. 29, 30, 719; Neale and Brayley's History of Westminster Abbey, i. 129-31; Calendars of State Papers, Dom. James I, 1610-30; Notes and Queries, 7th ser. xi. 487.]
MONTALBA, HENRIETTA SKERRETT (1856–1893), sculptor, born in London in 1856, was the youngest of the four daughters of Anthony Rubens and Emeline Montalba, all of whom, especially the eldest, Miss Clara Montalba, attained high repute as artists. Miss Montalba, who adopted sculpture for her branch of art, studied first at South Kensington, and then in the school of the Belle Arti at Venice. Later she became a pupil of M. Jules Dalou, the eminent French sculptor, during his residence in London. Miss Montalba first exhibited at the Royal Academy in 1876, and her work was often seen at the Grosvenor Gallery, the New Gallery, and elsewhere. She mainly devoted herself to portrait or fancy busts; some executed in marble, like those, of Doctor Mezger of Amsterdam (Grosvenor Gallery, 1886), and Dr. Schollander, the Scandinavian artist; others in bronze, like that of the Marquis of Lorne; but the greater part of her work was executed in terra-cotta, as in the case of her bust of Robert Browning (Grosvenor Gallery, 1883). Other works worthy of note were 'A Dalecarlian Peasant Woman' and 'The Raven,' representing a raven seated on a bust of Pallas, from the poem by E. A. Poe. Her last work was of a more ambitious nature, being a life-size figure of 'A Venetian Boy catching a Crab,' executed in bronze, which was exhibited at the Royal Academy in 1893, and at the International Exhibition, Chicago, in the same year. Miss Montalba was never separated from her family, residing in later days chiefly at Venice, and making
