last and present centuries. It is to be regretted that the design he formed, in conjunction with Archdeacon Cotton and the Rev. Dr. Todd, of bringing out an enlarged and improved edition of Sir James Ware's 'History of the Irish Bishops,' was not carried into effect before his death. Besides theological contributions to periodicals, he published several sermons and a few pamphlets upon the education question.
[Dublin University Calendars; Todd's Catalogue of Dublin Graduates; Cotton's Fasti Ecclesiæ Hibernicæ, ii.357, 371, v. 180; Gent. Mag. (1850), new ser. xxxiii. pt. i. 678; Irish Ecclesiastical Journal(l Feb. 1850), vi. 17; Stephens's Introduction to vol. iii. of the Book of Common Prayer for Ireland, printed for the Ecclesiastical History Society, 1850.]
ELRINGTON, THOMAS (1688–1732), actor, born in 1688 in London, near Golden Square, was apprenticed by his father, who 'had the honour to serve the late Duke of Montagu' (Curll, History of the Stage, p. 150), to a French upholsterer in Covent Garden. His associate, Chetwood [q. v.], tells many stories of the difficulties that beset them in their joint attempts at amateur performances. Through the introduction of Theophilus Keene, an actor of reputation, Elrington seems to have made his way on to the stage. His first appearance took place 2 Dec. 1709 at Drury Lane, as Oroonoko. He subsequently acted Captain Plume in the 'Recruiting Officer,' the Ghost in 'Œdipus,' Cribbage in the 'Fair Quaker,' &c. In the summer he played with Pinkethman at Greenwich, taking characters of importance. During 1710-12 he remained at Drury Lane. In 1712 he was engaged by Joseph Ashbury [q. v.], the manager of the Smock Alley Theatre, Dublin, at which house he appeared, taking from the first leading parts in tragedy and comedy—Timon in Shadwell's alteration of Shakespeare, Colonel Blunt in Sir Robert Howard's 'The Committee, or the Faithful Irishman,' Lord Townly in the 'Provoked Husband,' &c. In 1713 he married the daughter of Ashbury, after whose death he succeeded to the management of the theatre. He obtained also Ashbury's appointments of deputy-master of the revels and steward of the king's inns of court. A post in the Quit-rent Office was also given him, and by Lord Mountjoy he was made 'gunner to the train of artillery,' a post of some emolument, which subsequently he was allowed to sell. Under his management Smock Alley Theatre prospered, and he enjoyed high social and artistic consideration. He made occasional visits to London, playing, 24 Jan. 1715, at Drury Lane, Cassius in 'Julius Cæsar,' appearing subsequently as Torrismond in the 'Spanish Friar,' Hotspur, Orestes, Sylla in 'Caius Marius,' Mithridates, &c., and playing originally Pembroke in Rowe's 'Lady Jane Gray.' On 6 Oct. 1716 he appeared at Lincoln's Inn Fields as Hamlet. Many parts of importance were assigned him. He was the original Charles Courtwell in Bullock's 'Woman is a Riddle,' and Sir Harry Freelove in Taverner's 'Artful Husband.' In 1718 he was, at Drury Lane, the original Ombre in the 'Masquerade' of Charles Johnson, and Busiris in Young's tragedy of that name. After this he appears to have remained in Ireland until 1 Oct. 1728, when, in consequence of the illness of Booth, he reappeared as Varanes in 'Theodosius' at Drury Lane, of which during the following season he was the mainstay. Othello, Cato, Antony, Orestes, are a few of the parts he then took. Handsome offers were made him of a permanent engagement. These he declined, stating that he was so well rewarded in Ireland for his services that no consideration would induce him to leave it. There was not a gentleman's house in Ireland, he affirmed, at which he was not a welcome visitor (Davies, Dramatic Miscellanies, iii. 473). After his return to Ireland he was seized with illness, while studying with a builder a plan for a new theatre, and died 22 July 1732. He was buried in St. Michan's churchyard, Dublin, near his father-in-law. His last performance was about a month earlier, as Lord Townly, for the benefit of Vanderdank. He was a good, almost a great actor. His style was to some extent founded on that of Verbruggen. In Oroonoko he was unsurpassed. Macklin spoke with rapture of his acting in the scene with Imoinda, saying that Barry himself was not always equally happy in this part. Colley Cibber did Elrington the honour to be jealous of him, never mentioning his name in the 'Apology.' A story is told by Davies (Dramatic Miscellanies, iii. 472) of Cibber refusing Elrington the part of Torrismond in the 'Spanish Friar,' and resisting aristocratic pressure which was brought to bear upon him. Elrington, however, played the part so early as 1715, and was often afterwards seen in it. Elrington was well built and proportioned, and had a voice manly, strong, and sweet. The performance in Dublin of Zanga won him the high commendation of Young, who said he had never seen the part so well done. When the London managers preferred him over the head of Mills to the character of Bajazet, Booth said, upon the displeasure of Mills being manifested, that Elrington would make nine such actors as Mills. Victor says, however, that Elrington owned that the
