Brothers [q. v.], the prophet, and of his disciple, Nathaniel Brassey Halhed [q. v.] The first was entitled 'Sound Argument, dictated by Common-sense' (Oxford, 1795, 8vo); the second, 'Occasional Remarks addressed to N. B. Halhed, Esq.' (London, 1796, 8vo). But Oulton showed less judgment in vindicating the authenticity of 'Vortigern,' the tragedy which Samuel Ireland [q. v.] claimed in 1796 to have rescued from overlooked manuscripts by Shakespeare. He issued an anonymous pamphlet, 'Vortigern under Consideration' (1796), in Ireland's behalf. More useful work was a series of compilations dealing with recent theatrical history. The earliest was 'The History of the Theatres of London from 1771 to 1795,' which appeared in 1796 in two volumes, in continuation of Victor's 'History.' For R. Barker, the theatrical publisher, he prepared in 1802, mainly ' from the manuscripts of Mr. Henderson,' 'Barker's Continuation of Egerton's Theatrical Remembrancer … from 1787 to 1801.' Finally he produced 'A History of the Theatres of London from 1795 to 1817,' London, 3 vols. 1818. The strictly chronological arrangement of the pieces described under the headings of the various London playhouses and the absence of any general index impair the value of Oulton's labours for purposes of reference.
Others of Oulton's publications were:
- 'Shakespeare's Poems,' with a memoir, 1804.
- 'The Traveller's Guide, or an English Itinerary,' a gazetteer with sixty-six maps or views, London, 1805, 2 vols.
- 'S. Gessner's Death of Abel,' a translation, London, 1811.
- 'The Beauties of Anne Seward,' 1813.
- 'Authentic and Impartial Memoirs of her late Majesty Charlotte, Queen of Great Britain and Ireland … assisted by eminent literary Characters,' 1819.
- 'Picture of Margate and its Vicinity, with a Map and Twenty Views,' 1820.
After the last date Oulton disappears.
[Baker's Biogr. Dramatica, 1812; Biogr. Dict. of Living Authors, 1816; Genest's Hist. Account of the Stage; Brit. Mus. Cat.; Halkett and Laing's Dict. of Pseudonymous Literature; R. W. Lowe's English Theatrical Lit.]
OUSELEY, Sir FREDERICK ARTHUR GORE (1825–1889), musician and composer, horn in Grosvenor Square, London, on 12 Aug. 1825, was the only surviving son of Sir Gore Ouseley [q. v.], first baronet, of Hall Barn Park, Buckinghamshire, and Harriet Georgina, daughter of John Whitelocke. He was christened at Hertingfordbury in May 1826, when his god-parents were the Duke of York and the Duke of Wellington. Educated privately and at Christ Church, Oxford, he succeeded to the baronetcy on the death of his father in 1844, graduating B.A. in 1846, and M.A. in 1849; he took holy orders, and was curate of St. Barnabas, Pimlico, and St. Paul's, Knightsbridge, 1849-51. In 1850 he proceeded to the degree of Mus. Bac. at Oxford and in 1854 to that of Mus. Doc, being incorporated in the latter degree at Durham in 1856, at Cambridge in 1862, and at Dublin in 1888. From 1861 to 1856 he resided at Lorchill House, Langley-Marish, Buckinghamshire, and in 1856 was appointed precentor of Hereford Cathedral. He succeeded Sir Henry Rowley Bishop as professor of music in the university of Oxford in the same year, and was made LL.D. of Cambridge in 1883, and of Edinburgh in 1884. He was appointed a canon residentiary of Hereford Cathedral in 1886, and died suddenly of epilepsy on Saturday, 6 April 1889, at Hereford He was buried at St. Michael's, Tenbury. He was unmarried, and the baronetcy became extinct at his death.
From his cradle Ouseley evinced an unusual love of music. When he was only three years old some of his compositions were sent to an accomplished musical amateur, the Duchess of Hamilton, who wrote: 'I am equally astonished and enchanted with the child's talent. I hope and trust I shall one day have the happiness of hearing this second Mozart,' His extraordinary talent for extemporising music was remarked as early as his fifth year, and it is recorded that at that early age 'he sang many beautiful and impassioned melodies, which he accompanied with both hands in the fullest and most varied harmony,' When eight years of age he composed an opera to words by Metastasio which was highly praised by eminent musicians and critics. He was an industrious writer during the whole of his life; for twenty-five years he daily composed at least one canon as a contrapuntal exercise. His music for the church includes many services, about one hundred anthems, a large number of chants, hymn-tunes, and carols, nearly all published by Messrs. Novello and Messrs. Cocks; a sacred cantata, two oratorios, 'The Martyrdom of St. Poly carp' (published in 1855) and 'Hagar' (published in 1873), and numerous organ solos. He also composed secular music, overtures, solos, glees, and quartets, the greater number of which still remain in manuscript. His musical library, of about five thousand volumes, contained unique manuscripts and printed works, and was bequeathed by him to the college of