ader." Dryden pronounced her "always
excellent." Cibber is authority for the statement that it was on her behalf
that benefits, which up to that time were reserved for authors, were first
established for actors by command of James II. Mrs Barry had a child by
Lord Rochester and a second by Sir George Etheredge, both of whom were
provided for by their fathers. In 1709 she retired from the stage and died
on the 7th of November 1713.

BARRY, JAMES (1741-1806), English painter, was born at Cork on the 11th of
October 1741. His father had been a builder, and, at one time of his life,
a coasting trader between the two countries of England and Ireland. To this
business of trader James was destined, and he actually made when a boy
several voyages; but he manifested such an aversion to the life and habits
of a sailor as to induce his father to suffer him to pursue his own
inclinations, which led strongly towards drawing and study. At the schools
in Cork to which he was sent he was regarded as a prodigy. About the age of
seventeen he first attempted oil-painting, and between that and the age of
twenty-two, when he first went to Dublin, he produced several large
pictures, which decorated his father's house, such as "Aeneas escaping with
his Family from the Flames of Troy," "Susanna and the Elders," "Daniel in
the Lions' Den," &c. At this period he also produced the painting which
first brought him into public notice, and gained him the acquaintance and
patronage of Edmund Burke. The picture was founded on an old tradition of
the landing of St Patrick on the sea-coast of Cashel, and of the conversion
and baptism of the king of that district by the patron saint of Ireland. It
was exhibited in London in 1762 or 1763.

By the liberality of Burke and his other friends, Barry in the latter part
of 1765 was enabled to go abroad. He went first to Paris, then to Rome,
where he remained upwards of three years, from Rome to Florence and
Bologna, and thence home through Venice. His letters to the Burkes, giving
an account of Raphael, Michelangelo, Titian and Leonardo da Vinci, show
remarkable insight. Barry painted two pictures while abroad, an Adam and
Eve, and a Philoctetes, neither of them of any merit. Soon after his return
to England in 1771 he produced his picture of Venus, which was compared,
though with little justice, to the Galatea of Raphael, the Venus of Titian
and the Venus de Medici. In 1773 he exhibited his "Jupiter and Juno on