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observation, but the moral reflections are tedious, and the book's long lease of popularity seems to exceed its literary merits. Two new editions appeared in 1713, with a portrait of Puckle, engraved by Vertue, after a painting by Clostermann. A reprint ‘from the third edition of the London Copy’ was issued at Cork in 1721. In 1723 a revised version, entitled ‘The Club, or a Grey Cap for a Greenhead, in a Dialogue between Father and Son,’ was described as ‘the fourth edition with additions.’ The portrait was here engraved by Cole. The title-page supplied the warning, ‘These characters being mearely intended to expose vice and folly, let none pretend to a key nor seek for another's picture, least he find his own.’ There is a new dedication, addressed to the memory of the former patrons, who were now dead. The additional matter mainly consisted of an appendix of moral ‘maxims, advice, and cautions,’ with reflections on ‘company, friends, and death.’ Reprints of this edition appeared in London (‘the fifth’) in 1733 and at Dublin in 1743. The new sub-title seems to plagiarise Caleb Trenchfield's ‘Cap of Grey Hairs for a Greenhead, the Father's Councel to his Son, an Apprentice,’ 1710 (5th edit.)

Puckle, who resided in early life in the parish of St. Margaret, Lothbury, and afterwards in that of St. Stephen, Coleman Street, was buried in St. Stephen's Church, Coleman Street, London, on 26 July 1724. He married twice. By his first wife, Mary, whom he married before 1690, he had four daughters and three sons, of whom Burton alone seems to have reached manhood. On 21 Feb. 1714–15 he married at New Brentford a second wife, Elizabeth Fownes, a widow of Brentford.

The 1723 edition of Puckle's ‘Club’ was reissued in 1817, with many charming illustrations by John Thurston [q. v.], and a title-page and a few headpieces by John Thompson [q. v.] Thus embellished, the work reappeared in 1834 at the Chiswick Press, with a preface by Samuel Weller Singer [q. v.] The latter stated that Charles Whittingham, the printer and publisher, owned a manuscript by Puckle containing many moral dialogues between father and son, mother and daughter, and the like; but the bulk of this material had been utilised by Puckle in the appendices to the 1723 edition. The latest reprint, with Thurston's illustrations, was published at Glasgow in 1890.

[The author of The Club Identified, by George Steinman Steinman, 1872 (privately printed); art. by Mr. Austin Dobson in ‘Bibliographica,’ pt. viii. 407–21; Gent. Mag. 1822, i. 204–7; Noble's Continuation of Granger, iii. 363; Addit. MS. 28875, f. 17 (letter from Puckle to John Ellis, 1676).]

S. L.


PUDSEY, HUGH de (1125?–1195), bishop of Durham and earl of Northumberland. [See Puiset.]


PUGH, ELLIS (1656–1718), Welsh quaker, was born in the parish of Dolgelly in June 1656. In 1686 he and his family sailed for the quaker settlement in Pennsylvania. They had a stormy passage, and were detained for six months at Barbados. Pugh paid a visit in 1706 to Wales, returning in 1708 to Philadelphia, where he died on 3 Oct. 1718. In 1721 there was published at Philadelphia a tract by him entitled ‘Annerch i'r Cymry’ (‘Address to the Welsh People’), which was probably the first Welsh book printed in America. He speaks in particular to the ‘craftsmen, labourers, and shepherds, men of low degree, of my own quality,’ and bids them be ‘wiser than their teachers.’ The tract was reprinted in this country in 1782 and 1801 (London); an English translation by Rowland Ellis and David Lloyd appeared at Philadelphia in 1727, and was reprinted at London in 1739.

[Rowlands's Cambrian Bibliography; Hanes Llenyddiaeth Gymreig, by C. Ashton, pp. 158–9.]

J. E. L.


PUGH, HERBERT (fl. 1758–1788), landscape-painter, was a native of Ireland, and came to London about 1758. He was a contributor to the first exhibition of the Society of Artists in 1760, sending a ‘Landscape with Cattle.’ In 1765 he gained a premium at the Society of Arts, and in 1766 was a member of the newly incorporated Society of Artists. He continued exhibiting with them up to 1776. He tried his hand at some pictures in the manner of Hogarth, but without success, although some of these pictures were engraved. Pugh lived in the Piazza, Covent Garden. His death, which took place soon after 1788, was hastened by intemperate habits. There is a large landscape by Pugh in the Lock Hospital, and two views of London Bridge by him were contributed to the Century of British Art exhibition at the Grosvenor Gallery in 1888, when it was recognised that his work had been unduly neglected.

[Redgrave's Dict. of Artists; Bryan's Dict. of Painters and Engravers, ed. Graves and Armstrong; Graves's Dict. of Artists, 1760–1893.]

L. C.


PUGH, PHILIP (1679–1760), dissenting minister, was born at Hendref, Blaenpenal, Cardiganshire, in 1679, and inherited a good