ASTLEY, JOHN (1730?–1787), portrait painter, was born at Wem in Shropshire, was sent to London and placed under the portrait painter, Hudson. Leaving him, perhaps in 1749, he visited Rome, where he was the companion of Reynolds (from whose accounts a little later it appears that Astley was indebted to him in the sum of 12l. 15s. 6d.), of Richard Wilson and other well-known English artists. James Northcote is the author of the story that at Rome Astley was so poor that he was forced to patch the back of his waistcoat with a canvas of his own painting which represented a magnificent waterfall. Returning from Rome, probably with Reynolds, he secured the patronage and high favour of Horace Walpole. In 1759 he left London for Dublin, and in three years of portrait-painting made a large sum of money. Painting his way back to London, he revisited his birth-place, and met, in that neighbourhood, a rich widow. Lady Duckenfield Daniell, whom he married. This lady and her daughter died shortly after the marriage, and Astley, who was now a wealthy man, married a second time. He bought Schomberg House in Pall Mall (afterwards Gainsborough's), and fantastically re-arranged it for his convenience. 'He was a gasconading spendthrift, and a beau of the flashiest order. When the Dublin ladies sat to him, he is said, by way of flourish, to have used his sword as a maulstick.' He had slight gift as a painter, and little merit as a man, but his good fortune never failed him. He had wasted much money in speculation, when the accidental death of a brother put 10,000l. in his pocket. Quite late in life he married his third wife : it is recorded that at this time he experienced a strange moral quickening and reflected with gravity on the past. He left a son and two daughters. Leslie enumerates Astley, 'a clever, conceited, out-at-elbows, and reckless fellow,'amongst the forgotten artists who were Sir Joshua's companions in youth. His best works, according to one writer, were copies from Italian pictures.
[Edwards's Anecdotes of Painters, where Michael Adams's 'Biographical History' (Hogg, Paternoster Row) is referred to as the ultimate source of information about Astley ; Leslie's Life of Reynolds ; Northcote's Life of Reynolds ; Redgrave's Dictionary ; Nagler, 2nd ed.]
ASTLEY, PHILIP (1742–1814), equestrian performer and theatrical manager, was born at Newcastle-under-Lyme. Receiving little education, he was brought up to his father's trade of cabinet-making and veneer-cutting. About 1759 he joined General Elliott's regiment of light horse, became rough-rider and breaker-in, and rose to the rank of sergeant-major. Having distinguished himself at the battles of Emsdorff and Friedburg and upon other occasions, he obtained his discharge, and opened an exhibition of horsemanship in an open field in Lambeth, his only horse being his regimental charger, given him by General Elliott. He travelled through the country, performing at fairs and markets, resorting sometimes to his old trade as a cabinet-maker. In 1770 he opened a wooden theatre, with sheltered seats, but with an unroofed circus, in a timber-yard at the foot of Westminster Bridge. In 1775 Mr. and Mrs. Astley appeared on horseback at Drury Lane in the Jubilee in honour of Shakespeare. The theatre in Lambeth was gradually enlarged and improved, and called the Amphitheatre Riding House. In 1781 the theatre was opened in the evening, and a candle-light exhibition first attempted, the earlier performances having been presented in the daytime. He had no license from the magistrates, but he pretended that his theatre was under the special protection of a royal patent. In 1783 he was committed to prison for performing illegally, but he was released upon the intervention of Lord Chancellor Thurlow, whose daughters had been taught to ride by Astley. Presently the magistrates granted him a license; he now called his theatre the Royal Grove, having painted the interior to resemble foliage, and added a stage to his circus, to vie with the attractions of a rival establishment of like kind opened on the site of the present Surrey Theatre. He carried his performers to Dublin and Paris, and established equestrian theatres in both those cities. In Paris he instituted the cirque known in later times as Franconi's. He endeavoured to establish floating baths in the Thames off Westminster Bridge. The French Revolution interrupted his performances in Paris, and his amphitheatre was converted into barracks. He re-entered the army, and served with distinction under the Duke of York. In 1794 the Royal Grove Theatre was burnt to the ground. Astley obtained leave of absence from the duke, hurried home to rebuild his theatre, and meanwhile engaged the old Lyceum building in the Strand for equestrian performances. His new theatre was opened in 1794, under the patronage of the Prince of Wales and Duke of York, and in 1798 he was permitted to designate his establishment Astley's Royal Amphitheatre. After the peace of Amiens he returned to Paris, presented his claims before the First Consul, regained pos-
