John Hooper

(18 August 1744 - )
     Family Connections and Life of James Hooper Paper by Elizabeth Boyle in Filing Case A at the Maryland Historical Society [online] states: John Hooper born in Boston August 18,1744, who enlisted February 16,1775 in the great War of Revolution as a private in the 7th Company Battalion of Regular Troops in service of the Province of Maryland (see Revolutionary Records in the Maryland Historical Society).
John Hooper was a brother of the Honorable William Hooper, a signer of the Declaration of Independence (representing the State of North Carolina). John Hooper was likewise a son of Reverend William Hooper of Trinity Church Boston, a native of Scotland. John Hooper located in Frederick County, Maryland while his two brothers resided in Wilmington, North Carolina. The latter was the first president Of Cape Fear Bank in Wilmington.
. John Hooper was born on 18 August 1744 in Boston, Massachusetts, USA. He was the son of Rev William Hooper and Mary Dennie.

Thomas Killigrew

(7 February 1611/12 - 18 March 1682/83)
Anthony van Dyck. Thomas Killigrew [left] and Lord William Crofts (?). 1638
     Thomas Killigrew was born on 7 February 1611/12 in Hanworth, Middlesex. He was the son of Sir Robert Killigrew and Mary Woodhouse. Thomas Killigrew was christened on 20 February 1611/12 in St Margaret, Lothbury, London.
     -Dictionary of national biography: Killigrew, Thomas (1612-1683), playwright and theatre manager, was born on 7 February 1612 at Lothbury, London, and baptized on 20 February at St Margaret, Lothbury, the fourth son of Sir Robert Killigrew (1579/80-1633) and Mary Woodhouse; he was brother of Sir William Killigrew and Henry Killigrew.
Early years, 1612–1641
Although the seat of the family estate was at Hanworth, near Hampton Court, Killigrew was probably raised in London. His interest in the drama may have been aroused at an early age: in October 1662 Pepys reported the story of how Killigrew as a boy would go to the Red Bull playhouse at Clerkenwell, ‘and when the man cried to the boys, “Who will go and be a divell, and he shall see the play for nothing?”—then would he go in and be a devil upon the stage’ (Pepys, 3.243–4). The earliest mention of Thomas occurs in his grandmother Margerie Killigrew's will, dated 22 May 1623: to him and his brothers Charles (1609–1629), Robert (1611–1635), and Henry (1613–1700), she bequeathed the sum of £5 (Margerie Killigrew's will).
Unlike that of his brothers William (1606–1695) and Henry, who both studied at Oxford, Thomas's formal education appears to have been rather incidental. Correct spelling was an achievement that, even in later life, he never quite attained. As his brother Henry, in a letter to Anthony Wood, testified in November 1691, Thomas ‘wanted some learning to poise his excellent natural wit’ (Pritchard, 288). What education he had he obtained at court, to which his father, the queen's vice-chamberlain, must have introduced him. Contrary to what has been maintained, however, Thomas did not become a page at court as early as 1625 but some time later. Of his career at court until 1635 or 1636, not much is known. It has been (somewhat implausibly) suggested, on the authority of William Coventry's story as reported by Pepys in July 1665, that Thomas entered the service of Francis, Lord Cottington, when the latter became ambassador to Spain in the autumn of 1629 (Pepys, 9.256).
By July 1632 at the latest Killigrew was serving as a page of honour to Charles I, and over the next few years he tried to supplement his annual salary of £100 with the proceeds from confiscated properties. In his will, dated 12 September 1632, Sir Robert bequeathed to his sons Thomas and Robert his part and portion of all his real estate in the county of Cornwall and ‘the yearlie sum of fiftie pounds apeece … to be issuing and going out of all my Manors, lands, tenements and hereditaments’ in the same county (Sir Robert Killigrew's will). To Thomas and his heirs he also left 100 acres of fenland in Lincolnshire. But Sir Robert's heavily encumbered bequest was probably an insufficient financial basis for a young courtier to build a career on. In the scramble for money and favour characteristic of one in his position, Thomas managed to ingratiate himself with Queen Henrietta Maria herself. His first play, The Prisoners, a romantic tragicomedy composed in 1635 and performed at the Phoenix, Drury Lane, by Her Majesty's Servants in 1636, may have been a successful bid for royal favour. In October 1635 he was given the opportunity to accompany Walter Montague, the queen's favourite, on his travels to the continent. Montague and his attendants stayed at Calais, Paris, Tours, Orléans, and Loudun, where Killigrew recorded his experiences at the convent of the possessed Ursuline nuns. Before 17 January 1636 they arrived at Vercelli in Italy, then continued south to Rome and Naples, where Killigrew's next two tragicomedies, Claricilla and The Princess, were composed, in whole or in part. Claricilla was performed at the Phoenix before 1641; The Princess was probably acted at Blackfriars by the King's Men.
In the spring Killigrew returned to England and on 29 June he married Cecilia Crofts, a maid of honour to the queen. Thomas Carew, a friend of the Crofts family, celebrated the bride's beauty and the groom's happiness in a poem ‘On the Marriage of T. K. and C. C. the Morning Stormie’. Henry, the single son from this wedding, was born on Easter day, 9 April 1637. Cecilia died on 1 January 1638 and was buried in Westminster Abbey. In Van Dyck's famous double portrait of Killigrew and an Unknown Man, painted in 1638, Killigrew is shown in mourning for Cecilia, wearing her wedding-ring and a small cross with her intertwined initials. The evidence shows that her memory stayed with him throughout the years of his second marriage.
In the course of 1639 Killigrew set off on his travels again. The sons of the earl of Cork, Francis (who married Thomas's sister Elizabeth in October 1639) and Robert Boyle, recorded meeting him in Paris in November. From their correspondence, Killigrew's itinerary can be accurately reconstructed: in March 1640 he joined them in Geneva and left for Basel three weeks later, intending to cross the Alps. He visited the English College of the Jesuits at Rome twice in March 1641 and on his way back to England stopped at Geneva again in April. The title-page of the 1664 folio edition of Killigrew's best-known play, The Parson's Wedding, probably written in 1640–41, describes it as having been composed at Basel. Characterized by the Boyles' tutor as one that loved ‘profaine and irreligious discourses’ (Stoye, 247), Killigrew had somehow acquired the ill fame that was to haunt him ever after.
Exile, 1641–1660
Like most of his relatives, Killigrew joined the royalist side at the outbreak of the civil war. Already in November 1641 he had been employed as a messenger by both the king and the queen. He was summoned to appear before the Commons in February 1642 on suspicion of treason, but not until several months later was he taken into custody and probably placed under house arrest. He continued to occupy his lodgings at The Piazza, Covent Garden, until July 1643, when he was given a pass to join the royalist forces at Oxford. Soon afterwards he may have left England. By April 1647 he had become admitted to the circle of the exiled Prince Charles and was sent to Italy to borrow money for the support of his young master's cause, a mission that proved a moderate success. Killigrew's romantic tragedy The Pilgrim may have been written for the Prince of Wales's Company in Paris in 1646. When James, duke of York, established himself at The Hague in May 1648, Killigrew entered his service as groom of the bedchamber. Shortly after the execution of Charles I in 1649, he transferred his services again to the household of Prince Charles in Paris. As the new king's special envoy, he was entrusted with the task of seeking the recognition of Venice and the northern states of Italy. In November 1649 he scored some success at Turin, then travelled on to Genoa, Leghorn, Pisa, and Florence, where the reception given him was much cooler and the authorities' attitude to the king's cause noncommittal.
Killigrew reached Venice on 14 February 1650 and remained there as Charles's resident for more than two years. During his Italian stay, he found the time to write two lengthy dramatic romances, Cecilia and Clorinda, its first part composed in Turin, its second in Florence, and Bellamira her Dream, entirely written in Venice. As of June 1651 Killigrew began to experience difficulties in his relationship with the Venetian senate over his alleged involvement in illegal slaughtering and smuggling practices. The senate's request in June 1652 that the English resident be dismissed was largely inspired by political expediency, as the Venetian republic did not wish to antagonize Cromwell's government.
After leaving Venice, Killigrew stayed briefly at The Hague in attendance on the duke of Gloucester. When the duke removed his household to Paris in May 1653, to join his mother and King Charles, Killigrew accompanied him there. Whether Thomaso, or, The Wanderer, probably completed in 1654, was written in Madrid, as the title-page of the 1664 edition indicates, has never been ascertained. Largely autobiographical, Killigrew's two-part comedy is a verbose but often sparkling account of the exiled cavaliers' experiences in Spain, France, and the Low Countries. Soon after the court had departed from Paris in June 1654, Killigrew returned to The Hague, home to a large English community. At The Hague, he enjoyed the protection of Elizabeth, queen of Bohemia, who had been in exile there since 1621. To her intercession with Charles II, her nephew, and to the latter's mediation with Willem Frederik of Nassau-Dietz (1613–1664), stadholder of Friesland, Killigrew owed his appointment, in 1655, as a captain in the service of the states general.
It was possibly on the occasion of his first visit to The Hague in summer 1652 that Killigrew had made the acquaintance of Charlotte van Hesse-Piershil (1629–1715), the eldest and well-to-do daughter of Johan van Hesse (d. 1638), gentleman of the prince of Orange. The couple were married in the church of the Walloon Reformed Community, on 28 January 1655. As early as October 1655 the newly-weds contemplated leaving the city, signalling their intention to move to Maastricht, where Killigrew's company was garrisoned. On 29 December 1655, their first son, Charles Killigrew, the future theatre manager, was born there; and on 19 February 1657 a second son, Thomas (d. 3 June 1674), was added to the family. In the meantime, Killigrew had himself assigned to a different company, no doubt within the same city. On 1 May 1656, the council of state, in view of Killigrew's reputation as someone having ‘courage and experience in matters of war’ (Vander Motten, ‘Lost Years’, 321), appointed him to replace one John More, who had deserted his company.
While in the pay of the states of Friesland, Killigrew also acted as a kind of liaison officer for Charles II. In a letter from Maastricht (intercepted by the intelligence services of John Thurloe, Cromwell's secretary of state), he provided an astute summary of the doings of the major European powers in spring 1657. The English government went on to monitor closely his movements in Charles's service. On 5 April 1658 Sir George Downing informed Thurloe of Killigrew's intention to seek the appointment to a vacant post of regimental major. The prospect of such promotion may have necessitated the family's temporary return to The Hague, for on 28 March 1658 the church register of the Walloon Reformed Community there recorded the christening of a daughter, Charlotte-Marguerite (who may have died in infancy, before the end of 1660).
As groom of the bedchamber, Killigrew accompanied Charles on his semi-secret tour of the United Provinces in early September 1658, a tour which probably took the king as far north as Friesland, where he visited the Frisian stadholder. On 18 October Downing reported to Thurloe that he had ‘had an accompt from one Killigrew of his bed-chamber’ (Vander Motten, ‘Lost Years’, 324) of Charles's complete itinerary and the company he kept. It is not clear whether such information, if indeed supplied by Killigrew, amounted to a form of treason or was merely an apology for the king's presence on Dutch soil. From the five letters which Charles wrote to Willem Frederik between March 1659 and April 1662, it is evident that even after 1658 Killigrew continued to enjoy the protection and friendship of the monarch and the stadholder. Both men evidently co-operated in protecting Killigrew's interests, as on the occasion of the request which John Milton, Latin secretary to Cromwell, sent to Killigrew's Frisian paymasters on 27 January 1659, pleading that he be not allowed to escape an outstanding English debt. In the final months of the exile, Killigrew was not exclusively involved in state matters. In a letter from Maastricht dated 11 February 1659 and sent to an unknown friend, he declined the latter's offer to become a Catholic, criticizing at length the idolatrous practices of the church of Rome and its position on transubstantiation (Durham University Library, Cosin MS BI 13).
The theatre manager, 1660–1676
Although Pepys on 24 May 1660 recorded meeting Killigrew, ‘a gentleman of great esteem with the King’ (Pepys, 1.157), on board the Charles, the dramatist's wife, pregnant again, and the three children presumably prolonged their stay in Maastricht. Not until after the birth of Robert (baptized on 4 July 1660) did Charlotte move to London. Before the end of the year, she and her three sons were included in an act of naturalization, which in due course was ratified by the king. In May 1662 Charlotte became keeper of the sweet coffer for the queen, and in June she was made first lady of the privy chamber. Despite his recent re-establishment in London, Killigrew on 12 September 1660 acquired the rights of citizenship of Maastricht. His motives for doing so almost five years after settling down at Maastricht are a matter for speculation. As late as 30 November 1660, the king intervened on his behalf with the Frisian stadholder, asking that Killigrew be allowed to retain his military appointment, which he risked losing as a result of the council of state's plans to cut the expenditure for defence. In the course of 1660 Killigrew petitioned the king for a variety of offices and commodities, including the keepership of the armory at Greenwich, ‘in consideration of his expense in attendance on His Majesty abroad’ (CSP dom., 1660–61, 101), and a parcel of white plate worth £1200 that had belonged to Cromwell. But the financial compensations which Charles must have promised him during the exile had by the end of 1660 not yet materialized—hence perhaps the dramatist's request to retain his Dutch commandership. Not until November 1661 was he granted an annual pension of £500 as a groom of the bedchamber. By then he had completely changed his mind about his overseas obligations, for on 31 October 1661 the king once again intervened with the stadholder, asking him to allow Killigrew to transfer his company, supposedly for health reasons. The favour was granted and in January 1662 Killigrew's company was sold to one Jeremy Roper for 14,000 guilders.
The most singular mark of the king's esteem was of course the licence which in July 1660 he gave to Killigrew and Sir William Davenant ‘to erect two playhouses … to control the charges to be demanded, and the payments to actors … and absolutely suppressing all other playhouses’ (CSP dom., 1660–61, 124). Both men thus obtained a virtual monopoly to form two companies of players, produce all and any dramatic entertainments, and license all plays submitted to them. Killigrew's company, known as the King's Men, began acting at the Red Bull on 5 November 1660; they moved to Gibbons's Tennis Court, Vere Street, on 8 November. Davenant's company, under the patronage of the duke of York, possibly started their operations at Salisbury Court by 15 November; they moved to their Lincoln's Inn Fields theatre, fully equipped with movable scenery, in June 1661. When Claricilla was revived at Vere Street, on 4 July 1661, Pepys remarked on how empty Killigrew's theatre was ‘since the opera begun’ (Pepys, 2.132).
On 7 May 1663 the King's Company began acting at the new Theatre Royal, Bridges Street, Killigrew holding both acting and building shares in the company. Killigrew boasted a group of experienced actors and actresses drawn from various earlier troupes, including Michael Mohun, Nicholas Burt, Charles Hart, John Lacy, Anne Marshall, and Elizabeth Weaver. Davenant had to compete with a less seasoned troupe but managed to secure the services of Thomas Betterton, who had briefly been a member of the King's Company. Killigrew also had the exclusive rights to a large repertory of pre-Restoration plays, which included nearly all of Ben Jonson's works and many of Shakespeare's. Despite the heavy preponderance of old plays in the repertory of the Theatre Royal in the 1660s, there were few practising playwrights from the earlier period, but several new gentlemen dramatists attached themselves to Killigrew's company. Sir Robert Howard, holder of one quarter of the shares at Bridges Street, and James and Edward Howard wrote for his company in the early 1660s; so did Roger Boyle, earl of Orrery, and possibly Sir George Etherege. Of the professional playwrights Killigrew went on to recruit, none was more important that John Dryden. After negotiations with both companies, he became in April 1668 a playwright-sharer with the King's Company, agreeing to provide them with three plays annually in return for one and one-quarter shares. (Dryden broke the agreement in 1678.) Apparently Nathaniel Lee had a similar agreement, and so did Thomas D'Urfey during part of his career. Elkanah Settle also allied himself with the company in 1673.
As Killigrew's annotated copy of his Comedies and Tragedies (1664) preserved in the library of Worcester College, Oxford, demonstrates, he was ambitious enough to prepare his own plays for production on the new, scenic stage. The Princess was revived at Vere Street on 29 November 1661, ‘the first time … since before the troubles’ in Pepys's words (Pepys, 2.223). Claricilla and The Parson's Wedding proved the most successful of Killigrew's plays. Clandestinely performed at Gibbons's Tennis Court in 1653, Claricilla (one of the stock plays of Mohun's troupe at the Red Bull in 1660) was successively revived at Vere Street on 1 December 1660 and 4 July 1661, at court in January 1663, and at Bridges Street in March 1669. A performance of The Parson's Wedding, ‘acted all by women’ according to Pepys (ibid., 5.289), was scheduled at Bridges Street on 5 or 6 October 1664; it was given again at Lincoln's Inn Fields in June 1672. Much more popular, however, than any of his plays was Aphra Behn's The Rover, a lively adaptation of Thomaso, first produced at Dorset Gardens in March 1677. (As groom of the bedchamber, Killigrew had probably introduced Behn to Charles's intelligence service in 1666.) Despite the manifest advantages Killigrew enjoyed as the manager of the King's Company, he appears to have had insufficient practical sense of the theatre to compete successfully with Davenant, a professional playwright and theatrical innovator. Nevertheless, his theatrical initiatives were by no means despicable. Before the end of 1660, Killigrew beat Davenant in the race to introduce actresses on the stage, a novelty made official in the April 1662 patent issued to him, decreeing that all female parts were to be played by women. On 2 August 1664 he told Pepys of his plans to set up a nursery theatre at Moorfields, ‘were we shall have the best Scenes and Machines, the best Musique … and to that end hath sent for voices and painters and other persons from Italy’ (Pepys, 5.230). And in February and September 1667 he boasted to the same interlocutor of the many improvements at his theatre, including the importation of distinguished Italian musicians.

Killigrew's company shared of course in the misfortunes that befell the London stage. In June 1665 the theatres were closed down on account of the plague and on 25 January 1672 a fire destroyed the Theatre Royal, forcing Killigrew's company to move to the playhouse at Lincoln's Inn Fields, recently vacated by the Duke's Men. It is undeniable, however, that the King's Company's problems must be attributed to Killigrew's dubious handling of his theatrical holdings, resulting in conflicts with the disgruntled sharing actors, and, indeed, his own son Charles. As early as 1663, Killigrew had made over his building shares to his brother-in-law Sir John Sayers, to be held in trust for him; he also temporarily delegated the direction of the company to Hart, Mohun, and Lacy. After the death of Sir Henry Herbert, who in 1661–2 had sued the patent-holders for usurping some of his powers, Killigrew was appointed master of the revels on 1 May 1673 but in February 1677 he resigned the post to his son Charles. Only three weeks later, he was forced by law to turn over to Charles his patent and governorship of the company (in 1682 it was discovered that his theatrical property had not been his to control).

Trying to cope with his expensive habits of getting and spending, including his theatrical investments, Killigrew had to borrow money from his wife, whose interests in the Piershil inheritance had been safeguarded by a 1655 contract. Throughout his term as a patentee he petitioned the king for diverse gifts and licences. In December 1663 he requested the grant of a lease of nineteen messuages ‘in Collier Row, Stepney, and Shoreditch, the manor of Puriton-cum-Crandon, and a house in Bridgewater’, worth £88 a year (CSP dom., 1660–70, 686). In March 1670, in consideration of his ‘long and faithful services’ (ibid., 1670, 133), he was given the benefit of a bond worth £500, due to the king from one Thomas Pritchard. And the state papers for the years 1671 to 1676 show that he obtained a patent to license ‘pedlars and petty chapmen’ (ibid., 1671, 216) and claimed the right to grant licences for lotteries. After 1676 his interest in the theatre business gradually dwindled.
Final years, 1676–1683
According to Pepys, writing on 13 February 1668, Killigrew had been given the title of ‘King's fool or jester … and may with privilege revile or jeere any body … without offence’ (Pepys, 9.66–7). Countless anecdotes survive to prove that it was during his years at Charles's court that Killigrew established his reputation as a flippant conversationalist endowed with a caustic wit. Whether or not this is indicative of a fundamental change of mind, in his declining years he took a fancy to having himself portrayed in a very different guise, first, in the 1670s, as a pilgrim of St James, and after 1680, bearded as St Paul, carrying a sword, the emblem of martyrdom. Financial worries, however, must have weighed the family down, as is suggested by his petition, dated 16 January 1680, for payment of arrears on his pension in the amount of £850.

In 1683 Pier Maria Mazzantini, an Italian physician, asked the king for leave to practise the antidote Orvietan, claiming that it had saved Killigrew's life. ‘Weak and indisposed in body’, on 15 March 1683 the dramatist drew up his will. He requested to be buried at Westminster Abbey, together with his first wife and his sister Elizabeth (d. 1681). The largest part of his estate, both ‘real and personal’, and the arrears on his pension went to his son Henry, who was also made the sole executor. Charlotte and her children were left unmentioned. Killigrew died at Whitehall on 19 March 1683. Within days after her husband's death Charlotte petitioned the king for relief, arguing that she had brought ‘a considerable fortune to her husband … though of late by the insinuation of ill people his affections were withdrawn from her so that he has left her and her two youngest sons in a very necessitous condition’ (CSP dom., 1683, 220). The king obliged by granting her an annual pension of £200; he also contributed £50 to the funeral. Charlotte was buried on 22 April 1715, having survived her children by several years. Roger, born on 17 September 1663, had died prior to July 1694; Robert, a brigadier-general, was killed at the battle of Almanzor on 14 April 1707; and Elizabeth, born on 3 July 1666, may have been buried at St Martin's on 21 April 1690.

J. P. Vander Motten
A. Harbage, Thomas Killigrew, cavalier dramatist, 1612–1683 (1930) · J. P. Vander Motten, ‘Thomas Killigrew's “lost years”, 1655–1660’, Neophilologus, 82 (1998), 311–34 · J. P. Vander Motten, ‘Unpublished letters of Charles II’, Restoration: Studies in English Literary Culture, 1660–1700, 18/1 (1994), 17–26 · J. W. Stoye, ‘The whereabouts of Thomas Killigrew, 1639–41’, Review of English Studies, 25 (1949), 245–8 · Pepys, Diary, vols. 1–9 · J. Lough and D. E. L. Crane, ‘Thomas Killigrew and the possessed nuns of Loudun: the text of a letter of 1635’, Durham University Journal, 78 (1985–6), 259–68 · M. W. Walsh, ‘Thomas Killigrew's cap and bells’, Theatre Notebook, 38 (1984), 99–105 · J. P. Vander Motten, ‘Thomas Killigrew: a biographical note’, Revue Belge de Philologie et d'Histoire, 53/3 (1975), 769–75 · M. Rogers, ‘“Golden houses for shadows”: some portraits of Thomas Killigrew and his family’, Art and patronage in the Caroline courts: essays in honour of Sir Oliver Millar, ed. D. Howarth (1993), 220–42 · Margerie Killigrew's will, 22 May 1623, PRO, PROB 11/146, sig. 71 · Sir Robert Killigrew's will, 12 Sept 1633, PRO, PROB 11/164, sig. 69 · will, 15 March 1683, PRO, PROB 11/372, sig. 36 · CSP dom., 1660–85 · A. Pritchard, ‘According to Wood: sources of A. Wood's lives of poets and dramatists’, Review of English Studies, new ser., 28 (1977), 268–89, 407–20
BL, papers, Add. MS 20032 | Bodl. Oxf., Clarendon MSS · TCD, Trinity College MSS
A. Van Dyck, double portrait, oils, 1638, Royal Collection [see illus.] · A. Van Dyck, oils, 1638, Weston Park Foundation, Shropshire; copy, NPG · W. Sheppard, oils, 1650, NPG · J. J. Van den Berghe, stipple, 1650 (after W. Sheppard), BM, NPG · pencil drawing, 1650 (after W. Sheppard), NPG · W. Faithorne, line engraving, 1664 (after W. Sheppard), BM, NPG; repro. in T. Killigrew, Comedies and tragedies (1664) · mezzotint, 1670–1679, BM · J. vander Vaart, mezzotint, c.1680 (after W. Wissing), BM · mezzotint, BM, NPG
Wealth at death
two houses in Scotland Yard: will, PRO, PROB 11/372, sig. 36, 15 March 1683
© Oxford University Press 2004–5
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J. P. Vander Motten, ‘Killigrew, Thomas (1612-1683)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [, accessed 24 Sept 2005]
Thomas Killigrew (1612-1683): doi:10.1093/ref:odnb/15538
     In Margaret or Margery Saunders (Leigh)'s will dated 22 May 1623, Thomas Killigrew was named as heir; Will of Dame Margery Killigrew, widow of St Margaret Lothbury, city of London.
     In Sir Robert Killigrew's will dated 12 September 1632, Thomas Killigrew was named as heir.
     Thomas Killigrew married Cecilia Crofts on 29 June 1636 in Oatlands, Sussex. Thomas Killigrew was widowed on 1 January 1637/38 on the death of his wife Cecilia Crofts.
     He was appointed Gentleman of the Bedchamber to the Duke of York 1 May 1649.
     He was the notorious groom of the bedchamber to King Chas II. A page to King Chas I in 1633, and was sometime Resident at Venice, but is chiefly known for his intimate relations with Chas II. Mentioned by Pepys, had houses where Scotland Yard now stands (old court of Whitehall).
     More information about Thomas Killigrew may be found at
     Thomas Killigrew married secondly Charlotte de Hesse on 28 January 1655 in The Hague, The Netherlands.
     Thomas was a dramatist & courtier.
For additional information see: " LoveToKnow 1911 Online Encyclopedia. © 2003, 2004 LoveToKnow.
     Thomas was appointed a Groom of the Bedchamber to King Charles II. He had to wait in the King's chamber during his Majesty's dressing, and wait at dinner (when he dines prvately), take wine, etc. from the servants, and give it to the Lords, to serve his Majesty. When the Gentlemen of the Bed-Chamber are not there, they perform the Office of dressing the Sovereign, and have their waiting Weekly, two and two, by turns.
These offices were in the gift of the Crown. The procedures for swearing and admitting them into waiting were the same as those for the gentlemen of the bedchamber.
The number of grooms fluctuated considerably. Under Charles II there were usually 12. Extra grooms were regularly appointed under Charles II and occasionally thereafter on 2 February 1661.
     Letters Patent permitting Thomas Killigrew to erect a theatre and perform plays therein, in Cities of London and Westminster.
     In 1673, he was appointed 'Master of the Revels'.
See Oxford Dictionary of National Biography for further information:
     Thomas Killigrew (1612-1683) was a dramatist and wit who played an important role in the re-establishment of the theatre following Charles’ return. As a boy he had been page to Charles I and followed his son into exile. In 1660 Killigrew and Sir William Davenant were granted letters patent by the King to establish theatres. Two companies were formed: the King’s Players, led by Killigrew, and the Duke’s Players led by Davenant. Killigrew’s company played first at Gibbon’s Tennis-Court in Clare Market but in 1663 moved to the new Theatre Royal in what is now Drury Lane. Davenant’s company, after a period at the old Salisbury Court theatre, moved to Lincoln’s Inn Fields, and eventually in 1732 to the Theatre Royal in Covent Garden. These two theatres, subsequently rebuilt, were the only theatres in London licensed for dramatic performances until the mid 19th century and still survive as major performance venues today.
     Thomas died on 18 March 1682/83 in Whitehall, London, Westminster, Middlesex, aged 71. Died in Oct 1682 according to his bible notes. He was buried on 18 March 1682/83 in Westminster Abbey, London. Mr Thomas Killigrew, in the Abbey.
     His will was proved on 19 March 1682/83 at the Prerogative Court of Canterbury. Will of Thomas Killigrew, Groom of His Majestiy's Bedchamber of Saint Martin in the Fields, Middlesex, dated 19 March 1683.
     -Killigrew, Thomas (1612-1683), English dramatist and wit, son of Sir Robert Killigrew, was born in Lothbury, London, on the 7th of February 1612. Pepys says that as a boy he satisfied his love of the stage by volunteering at the Red Bull to take the part of a devil, thus seeing the play for nothing. In 1633 he became page to Charles I., and was faithfully attached to the royal house throughout his life. In 1635 he was in France, and has left an account (printed in the European Magazine, 1803) of the exorcizing of an evil spirit from some nuns at Loudun. In 1641 he published two tragi-comedies, The Prisoners and Claracilla, both of which had probably been produced before 1636. In 1647 he followed Prince Charles into exile. His wit, easy morals and accommodating temper recommended him to Charles, who sent him to Venice in 1651 as his representative. Early in the following year he was recalled at the request of the Venetian ambassador in Paris. At the Restoration he became groom of the bedchamber to Charles II., and later chamberlain to the queen. He received in 1660, with Sir William Davenant, a patent to erect a new playhouse, the performances in which were to be independent of the censorship of the master of the revels. This infringement of his prerogative caused a dispute with Sir Henry Herbert, then holder of the office, but Killigrew settled the matter by generous concessions. He acted independently of Davenant, his company being known as the King's Servants. They played at the Red Bull, until in 1663 he built for them the original Theatre Royal in Drury Lane. Pepys writes in 1664 that Killigrew intended to have four opera seasons of six weeks each during the year, and with this end in view paid several visits to Rome to secure singers and scene decorators. In 1664 his plays were published as Comedies and Tragedies. Written by Thomas Killigrew. They are Claracilla; The Princess, or Love at First Sight; The Parson's Wedding; The Pilgrim; Cicilia and Clorinda, or Lov\ in Arms; Thomaso, or the Wanderer; and Bellamira, her Dream, or Love of Shadows. The Parson's Wedding (actec c. 1640, reprinted in the various editions of Dodsley's Old Plays and in the Ancient British Drama) is an unsavoury play which displays nevertheless considerable wit, and some of its jokes were appropriated by Congreve. It was revived after the Restoration in 1664 and 1672 or 1673, all the parts being in both cases taken by women. Killigrew succeeded Sir Henry Herbert as master of the revels in 1673. He died at Whitehal on the igth of March 1683. He was twice married, first t< Cecilia Crofts, maid of honor to Queen Henrietta Maria, anc secondly to Charlotte de Hesse, by whom he had a son Thomas (1657-1719), who was the author of a successful little piece Chit-Chat, played at Drury Lane on the i4th of February 1719 with Mrs Oldfield in the part of Florinda.

Child of Thomas Killigrew and Cecilia Crofts

Children of Thomas Killigrew and Charlotte de Hesse

Child of Thomas Killigrew

Henry Killigrew

(9 April 1637 - before 16 December 1705)
     Henry Killigrew was born on 9 April 1637 in St Martin in the Fields, Westminster, Middlesex. He was the son of Thomas Killigrew and Cecilia Crofts. Henry Killigrew was christened on 16 April 1637 in St Martin in the Fields.
     Henry was appointed a Groom in Extraordinary of the Bedchamber on 31 October 1674.
     Henry Killigrew married Lady Mary Savage. Henry Killigrew was an executor of Thomas Killigrew's estate on 19 March 1682/83 in the Prerogative Court of Canterbury.
     Henry was appointed a Groom of the Bedchamber on 19 December 1683. Henry was at the court of James II when Duke of York. "Scapegrace of the family".
     Henry died before 16 December 1705 in Soho, Westminster, Middlesex. He was buried on 16 December 1705 in St Martin in the Fields.

Children of Henry Killigrew and Lady Mary Savage