the histories of Essex), is a manor in the title of the "side elevation" portrait by parish of East Horndon, held for many writing the name "Butler (a commander centuries by the Tyrell family. I have of the Federal Army during the Civil War, referred to my copies of Salmon, Morant, 1860-4) over that of Washington. I can Wright and other histories of Essex, also understand General Butler as a fitting to my MS. notes, &c., but find no mention subject for caricature, but not Washington. of the name Ewen in connexion with East Horndon. WILLIAM GILBERT, M.S.A. 1. Mr. Cadby, Mr. Hopkinson, and Messrs. Oetzmann and Plumb exhibit various grand and cottage pianos (June 14, 1862). 2. In the East Dome a performance by Mr. Barnett on Cadby's piano (July 12, 1862). X. T. R. COLONEL GORDON, R.E., IN THE CRIMEA CADBY (12 S. x. 168).—The following ex-(12 S. x. 169).—The Colonel Gordon whose tracts are from The Illustrated London portrait is in the Series of Historical News:Portraits photographed in the Crimea, 1855,' by Roger Fenton, would be Sir John William Gordon (1805-1870), who on the outbreak of the Crimean War was at once sent there, was present at the Battles of Alma and Inkermann, and was director of the right attack during the early days of the siege. A month after the siege commenced, owing to several casualties, Gordon was made C.R.E., and held this position until the arrival of Sir Harry Jones. He was particularly well known, and "Gordon of Gordon's Battery was a name known wherever an English newspaper penetrated. on 3. In conjunction with a performance Cadby's pianoforte there is some very pleasing, and indeed skilful playing on the concertina by the Misses Lachenal (Sept. 6, 1862). The reference in each case is, of course, to the International Exhibition. F. H. C. Cadby was a manufacturer of pianos who made a considerable fortune in the business, very largely by making for the trade. That is, he made the pianos and smaller dealers and retailers had their names marked on them. Cadby Hall was built for a showroom, but I believe this was after the death of Cadby. I remember calling, when I was a little boy, some 50 years or more ago, with my father, on Mr. Cadby, who lived in a fine old-fashioned house with a large garden full of fruit, at Margate. This was just before his death. W. B. S. SAVERY FAMILY BOOKPLATES (12 S. x. 131). The wife of Charles Savery was AMERICAN HUMORISTS : CAPT. G. H. Elizabeth, daughter of Andrew Edwards DERBY (12 S. ix. 353, 394, 491, 535; x. 154). Butler of Caerleon. They were married MR. GEORGE MERRYWEATHER's explanation June 1, 1819 (Cambrian). The Butler of the supposed error of title to the frontis- family were resident at Caerleon for many piece portrait of Washington in the first years and were maltsters. John Butler, edition (1865) of the Squibob Papers' is grandfather of Andrew Edwards Butler, quite reasonable and possibly correct, but made his will May 31, 1768. A son of it is difficult to understand how it is further Charles Savery and Elizabeth was the late described in the list of illustrations to the Almericus Blakeney Savery of Monmouth, book as Portrait of G. Washington.' I a magistrate for the county and formerly a am familiar with an engraved portrait of captain in the R. Monmouthshire Militia. General Washington, published in 1818, at the Shakespeare Press at Wigan, and presented with an early part of a History of "TIME WITH A GIFT OF TEARS (12 S. America,' as well as with earlier portraits. x. 18, 54, 96).-Swinburne certainly did To none of these does the Squibob 66 por- not correct his work to any great extent after trait" bear any resemblance. My copy of it was first written, but I have MSS. of his the Papers' bears the signature of a that show that he did correct and make former owner, G. L. Cain, New Orleans," additions, and he frequently altered his and from the similarity of the handwriting poems when they were reprinted. 6 this person appears to have corrected the J. B. W. B. S. Notes on Books. By An Introduction to Ecclesiastical Latin. H. P. V. Nunn. (Cambridge University Press. 68. net.) THIS book deserves a hearty welcome: in fact it has been, in our opinion, needed for a long time. To relinquish Latin is to relinquish one of the fairest portions of one's inheritance. A language which was the common speech and common writing of men for so many centuries cannot present any insuperable difficulties. Yet so awkwardly has Latin been treated in the schools that it is supposed-with Greek-almost to require a special faculty for its acquisition. The first reform required is the use of easy Latin for reading of authors who are more intent upon the matter than upon the manner of their writing. The great body of literature of this kind in Latin is to be found in ecclesiastical works. In these one may often note with surprise how nearly Latin can approximate to modern speech. In them, too, lives and vibrates an energy not, in itself, inferior to the vitality of the classics. The writer of these words still piously remembers the advice of Professor Henry Nettleship to read the Fathers. The scholars of the Renaissance could not have enjoyed classical Latin as they did if they had not had a familiarity with the language almost like that with their mother tongue. In their zeal for pure Latinity they started an unfortunate tradition which has made the learner of Latin begin at the end rather than the beginning, has rendered all use of or pleasure in Latin "precious," and to a great extent enfeebled interest in it. Mr. Nunn's book is an excellent summary of the grammar of Ecclesiastical Latin, illustrated chiefly from the Vulgate, chosen for the purpose because it is the easiest and most accessible Latin book. The learner is warned not to take the Vulgate for a classic in the sense in which our Authorized Version is to be so taken. Comparisons and contrasts with classical Latin are briefly noted: and Mr. Nunn shows skill in conjecturing and providing against common mistakes. Extracts follow from nine ecclesiastical writers, beginning with St. Perpetua and ending with Thomas à Kempis. This part of the book might perhaps have been extended. Archaeologia Aeliana. Third Series. Vol. xviii. (Published by the Society of Antiquaries of Newcastle-upon-Tyne.) MR. ALLEN MAWER's recently published work on the Place-names of Northumberland, which we reviewed at 12 S. viii. 39, has ensured a respectful attention to anything he has to say on this subject. His article in the new Archaeologia Aeliana gives a summary view of the present state of knowledge and of his own opinions. He erects into a matter of interesting speculation the difference of treatment between place-names of settlements and towns, and names of natural features. The first article contributed by Mr. Hamilton Thompson tells about the parish churches of Northumberland, a subject specially worth attention from the beginner in architecture because the beauties and merits of the old Northumbrian churches are to be sought in their construction, not in their ornament. This article is well illustrated. Mr. Hamiton Thompson's second paper is on the visitation of the diocese of Durham carried out by Archbishop Savage during the vacancy of the See in 1501. We noted one passage: Vicars were also, in defiance of canon law, occasionally non-resident. The vicar of St. Nicholas, for example, was at his studies at Cambridge; there was, however, a parish chaplain... Is this a case of a clerk's having received a licence from his bishop to leave his church for the purpose of study? Possibly the Alumni Cantabrigienses' has garnered something on the subject from the Episcopal Register of Richard Foxe, who had been translated from Durham to Winchester. A third paper by the same writer is a most careful and interesting account of the books of the Companies of Glovers and Skinners of Newcastle-uponTyne, to which are appended the orders of the Company of Glovers and copious extracts from their account-books. The Shawdon Court Rolls are dealt with by Mr. J. C. Hodgson, who also works out the history of the manor of Bitchfield; the accompanying study of Bitchfield Tower with plan and illustrations is by Mr. J. Oswald and Mr. W. Parker Brewis. The study of a slab of grey sandstone which has been for over a century in the garden of Mr. H. F. Lockhart of Hexham has yielded Prof. Bosanquet a new Roman inscription of which he here gives an account. Mr. A. Fenwick Radcliffe traces the history of the Fenwick family of Brenkley from 1571. Mr. James Hodgson's contribution of recollections and original correspondence of the poet John Cunnigham is of real importance for a knowledge of the poet's biography (settling, for example, the place of his death and the name of his brother) and of his character and friends. The Print-Collector's Quarterly is always a The new welcome arrival. one contains two aticles of special interest-that by Mr. Max Lehrs on the Master LCZ, which is most successfully illustrated, and that on Collectors' Marks on Mr. A. K. prints and drawings by Mr. C. F. Bell. Sabin discusses with very sympathetic understanding the work of Elizabeth Adela Forbes, and Mr. George Somes Layard tells us the curious and romantic story of Lombart's pastiche of Cromwell, Charles I. and Louis XIX. LONDON, MARCH 25, 1922. CONTENTS.-No. 206. NOTES:-Keats's Death and The Quarterly Review, 221 Glass-painters of York, 222-Shakespeare Allusions, 224 Howarth, Advocate Robert Johnson-John and Christo- The account of Keats is, I fear, too true. Hunt tells me that, in the first paroxysms of his disappointment he burst a blood-vessel; and thus laid the foundation of a rapid consumption. There can be no doubt but that the irritability which exposed him to this catastrophe was a pledge of future sufferings, had he lived (ibid., p. 171). And on July 16 he followed this with a further letter saying : : . Portraits and Seal, 228-John Frederick Smith, NovelistH. Crouch, Artist-Scotch Coffee-houses and Inns in the I send you-as Diomed gave Glaucus his brazen Eighteenth Century-The Norman People-Royal Ante- arms for those of gold-some verses I wrote on diluvian Order of Buffaloes-Bernard de Gordon-The the death of Keats-written, indeed, immediately Contes Guiccioli's 'Recollections of Lord Byron after the arrival of the news. I need not Nicholas Hilliard-White Horse Ornament in Fanlightsbe told that I have been carried too far by the "Berwick," 229-Early Life of George III.-Cogetenthusiasm of the moment; by my piety, and my Edward Stephenson-Wren Conybeare, Dean of LlandaffGeorge Colman Cossens, indignation, in panegyric. But if I have erred, Hants-Hamlet MarshallThomas Dickson-Menzies of Culter Allers-Story by I console myself by reflecting that it is in defence Edgar Allen Poe wanted, 230. of the weak-not in conjunction with the powerful. REPLIES:-Sir Thomas Phillipps, 230-Cap of Maintenance, I have been unwillingly, and in spite of 31-Lambert Family-Eighteenth-century Poets-John myself, induced to notice the attack of the Charles Williams-"Once aboard the lugger"-Williams Quarterly upon me; it would have been affectation of Ishaston: Tombstones of St. Mary's, 232-Pseudo-titles to have omitted the few words in which I allude Dummy Books "La Santa Parentela '-" Gregor " of the Mosquito Coast, 233-Temporary Fords: "Sand "to it. I have sought not to qualify the contempt Wulan Meyler--Use of "at" or "in" with Place-names, from which my silence has hitherto sprung 234-Addison's 'Spectator'-Oxfordshire Masons, 235 (ibid., pp. 177-8). Desire MSS.-Book-plate of D. Andrews de Swaythalentined Arms-Derivation of Chinkwell-Land Meserement. Terms, 236-William Spry Oldmixon- "Mayor" as a Woman's Title-Fiddlers' Green-East NOTES ON BOOKS:- Seneca and Elizabethan Tragedy '— Notes. KEATS'S DEATH AND THE Is William Michael Rossetti's brief Adonais,' which was printed at Pisa, thus was largely affected by The Quarterly attacks on the younger poets and Keats in particular; and it was written under the immediate influence of the belief that the original cause of Keats's illness was the attack on 'Endymion,' one of the most bitter of them. He put it, indeed, with the greatest plainness in the Preface to 'Adonais.' W. M. Rossetti sought to dismiss this belief by writing :-- 66 Shelley seems to be the principal authority [for the statement that Keats took greatly to heart the attacks upon him whether in The Life Quarterly or in Blackwood], and Shelley, unless founding upon some adequate information, is next to no authority at all. He had left England in March, 1818, five months before the earlier To advert to what Lord Byron wrote about-printed in August-of these spiteful articles Kats having been killed by The Quarterly (Life, p. 101). Bere is hardly worth while. His first reference Unless founding upon some adequate the subject is in a letter to Mr. Murray [pub-information "-that is the point. Shelley her of The Quarterly], dated April 26, 1821. In The expressly names Shelley as his informant. Owing to the recent publication by the present Mr. John Murray of Lord Byron's Correspondence' it is now possible to see the precise words in which Byron had roved the information. Shelley thus deri a letter to Byron from Pisa dated April 16, 1821 :— Yang Keats, whose Hyperion' showed so great • promise, died lately at Rome from the con% of breaking a blood-vessel, in paroxysms air at the contemptuous attack on his b in the Quarterly Review (vol. ii., p. 169). This was not Shelley's only definite assertion speaks with precision at Pisa in April, GLASS-PAINTERS OF YORK. (See 12 S. viii. and ix. passim ; x. 45, 184.) CHRONOLOGICAL LIST OF YORK 1451. John Witton (vide 12 S. viii. 442). 1453. Robertus Hudson, glasyer. This artist either delayed taking up the freedom until long after he came of age or, what is more likely, he was the son of the Robert Hudson one of the workmen to whom John Chamber the elder bequeathed 18. 8d. (vide 12 S. viii. 128). Hudson, on the death of his master in 1437, passed into the employ of the younger John Chamber, who, dying in 1451, left him a similar sum of twenty pence. In 1463-4 he was in business for himself and appeared before the mayor with other master glass-painters, when new ordinances were granted in that year. In 1471 he was doing work for the Dean and Chapter (vide Fabric Rolls). 1455. Johannes In Cok, glasyer. 1463-4 he was one of the master glass-painters to whom new ordinances were granted, and in 1499 either he, or more probably a son of the same name, was doing work at the Minster (vide Fabric Rolls). 1458. Thomas Clerk, mentioned by Thomas Shirlay in his will made in 1456 (proved 1458; vide 12 S. viii. 365) as one of his 'servants,' to whom he bequeathed 3s. 4d., "if he be in my service at the time of my decease." Clerk was probably therefore one of the "ij serviencium Thomae Schirley " who were working at the Minster in 1443. He is mentioned by name in the roll of 1471, by which time he had passed into the employ of another master, probably Matthew Petty, who was doing the windows of the great lantern tower in that year (vide Fabric Rolls). 1459. Radulphus Shotilworth, glasyer. In 1463-4 he is enumerated in the list of master glass-painters to whom new ordinances granted. Thomas Shutiworth, presumably his son, was free as a glass-painter in 1467, and Tho. Shutilworth, husbandman, fil. Radulphi Shutilworth glasier," was free of the city in 1496. If the Thomas Shutiworth free in 1467 was his son also, there were, as in the Chamber family, two brothers of the same Christian name. viii. 485). 1465. 1465. 1466. were Robertus Priston, glasier (vide 12 S. Willelmus Birde, glasyer. Johannes More, glasyer. Thomas Shutiworth, glasyer (see Radulphus Shotilworth, 1459, above). 1470. 1467. Johannis Pety, glasier (vide 12 S. ix. 61). 1470. Thomas Ne(w)som, fil. Johannis Ne(w)som, glasier. His father, John Newsom, was free in 1442, and his grandfather, John Newsom, free in 1418. They were all glass-painters, but evidently not in business on their own account. Thomas Newsom's father worked for Thomas Shirley and his grandfather for John Chamber the elder. He himself was in the employ of Thomas Shirwin (free 1473; died 1481; vide 12 S. viii. 407), who bequeathed him "two English tables of glass." [1471.) William Franklan, working at the Minster (vide Fabric Rolls). 1472. Thomas Smyth, ferrour. 1473. Thomas Shirwyn (vide 12 S. viii. 406). "1533. Item rassavid of John Caullbeke in glase yt he leyffte in ye hows in mykylgait when he whent frome yt & for helpyng of ij lityllwyndoys in ye kyrke over the alter 63 8d. At that time, in the eyes of the law, glass in be removed by the tenant on the expiration of windows formed no part of the house and could his lease, quar le meason est perfite sauns la glasse (syr Robert Brooke, 'La Grande Abridge'Chatteles'). Calbek, being ment,' 1573, 8.v. a glasier, had evidently fitted himself up with glass windows in the home, and the churchwardens took them in lieu of rent to prevent him from taking them with him. Later in 1600 the churchwardens of the same church paid 6s. 8d. " to my Lady Beckwith for certain Glasse and trellices and Waintscott, which is in the Hause that Mr. Maskew dwelt in, which said Glass trelices and Wainskott is now to remain in the House as other Glasse and heir loomes dothe " (Croft, ' Excerpta Antiqua,' 1796). Ricardus Thomson, glasier (vide 12 S. 1492. ix. 163). 1495. 1496. ix. 164). Ricardus Tyson, glasier. Willelmus Thomson, glasier (vide 12 S. 1498. Willelmus 1503. Johannes Adcoke, glasier. 1504. Robertus Bogge, glasier. He learn t his trade with Robert Preston (free 1465; died 1503). For an account of both him and Begge (see 12 S. viii. 485-7). He evidently succeeded Preston in his business and was established in Coney Street or elsewhere in the parish of St. Martin-le-Grand, for in the will of Thomas Drawswerde, a man in a large way of business as carver of rood-screens and similar church furnishings-he carved the screen at Newark in 1508, competed for the figures on the tomb of Henry VII. at Westminster, and is believed to have beer responsible for the statues of the English King on the screen at York; was M.P. for the city and twice Lord Mayor the testator bequeathe iij tenements lyeng in Sancte Martyne parish nowe (1529) in the holdyng of Roberte Bog two others (Test. Ebor., Surtees Soc., vol. 79, E an 267). Robert Begge's son, William Bogg, glasyer, therefore, from now on, only the names of those was free of the city in 1529. 1504. Willelmus Garbot, glasier. 1507. Ricardus Thornborow, glasier. 1510. Ricardus Pylle, glasier (vide account of William Thompson, 12 S. ix. 164, 165). [1510] William Hutchinson, working at the Minster. A Gregory Hutchinson, son of John Hutchinson, was free in 1516. [1510] Richard Awger, working at the Minster (vide Fabric Rolls). Probably brother of the William Awger free in 1498. 1511. Johannes Fysshe, glasier. 1513. Walterus Burnet, glasier. His Thomas Burnet, barbour and wexchandler, free of the city in 1540. son, 1516. Willelmus Wylton, glasier. 1516. Gregorius Hutchinson, glasier, fil. Johannis Hutchinson. In 1510 a William Hutchinson was working at the Minster. 1517. Ambrosius Dunwich, glasier. He was one of William Thompson's workmen. His master, at his death in 1539, bequeathed him one warke borde, a pare of moldes and a pare of sheres, and a pare of clawmes" (ride account of William Thompson, 12 S. ix. 164, 165). 1520. Thomas Fourneys, glasyer. Probably a descendant of Robertus Fournays, glacier, free in 1412. Thomas Fourneys's son William was free of the city as a glass-painter in 1551. In 1537 Thomas Fourneys was paid 13s. 4d. for work, evidently mending, about the windows of St. Saviour's Church. 1524. Johannes Hawmond, glasyer. 1526. Johannes Dowthuayte, glasier. 1529. Willelmus Bogg, glasyer, fil. Roberti Bogg, glasyer. Free by patrimony. His father, Robert, was free in 1504. 1533. Laurence Spencer, glasyer. One of the 1534. Ed. Walkynton, glasyer. Two of the workmen of William Thompson (free magne 1540 Johannes Almayn, glasyer. The name Ruggests a foreign derivation, the name "Allebeing applied to Flanders and the southern parts of Germany, so that, in view of the date, this artist was very probably a foreign refugee. If so, he is the first example of an artist Po abroad working at York. Hitherto the ames show that with few exceptions the York fists were all natives of the city and vicinity. an Almayn executed work for the Dean and fapter at Pudsey Burton in 1530 (vide Rolls of The Chamberlains of the Minster). His son, omas, was free of the city in 1555. 1551. Johannes Plewright, glasyer. 1661. Willelmus Fornes, glasyer, fil. Thomae de Ebor, glasyer. Free of the city by mony. His father was free in 1520, and bert Fournays, evidently an ancestor, in 1412. 5. Thomas Alman, glaysyer, fl. Johannis (free 1540) de Ebor, glaysyer. -It is doubtful whether those described aaiers" after this date were glass-paint. who are definitely known to have been painters of glass have been included.) 1578. Nicholaus Giles, glasyer, fil. Henrici Giles, trellessmaker (vide 12 S. ix. 205). 1586-7. Barnard Dinnichoff, glasier. He painted the beautiful enamelled heraldic glass in the dining room of Gilling Castle, with the arms of the Fairfax and Constable families, which is signed and dated "Bernard Dininchhoff fecit 1585." Beyond this, nothing more is known of this artist or of his work. 1634. Edmundus Gyles, glasier, fil. Nicholai Gyles, glasier (vide 12 S. ix. 205). [b. 1645.] Henry Gyles (d. 1709) (vide 12 S. ix. 245, 268). 1740. Andrew Rowell, plumber and glazier. It is possible be was a relative of one Rowell, a plumber at Reading," who, according to Walpole, in his Anecdotes' (Murray's ed., p. 120), did some things particularly for the late Henry, Earl of Pembroke, but Rowell's colours soon vanished. At last he found out a very durable and beautiful red, but he died in a year or two and the secret with him." Dallaway (whose statements must be received with caution) says, "John Rowell, of High Wycombe, who died in 1756, practised this art in the style of Price. His principal work was seven windows for the church of Hambledon, Bucks, but he succeeded most in mosaics and heraldic devices" (Obs. on Eng. Archit., p. 280). Redgrave, in his Dict. of Artists of the English School' (1874), confuses the above two personages (if indeed they were two distinct individuals, which is questionable) into one. [b. 1743.] Mrs. Peckitt (Mary Mitley), daughter of Charles Mitley (d. 1758), a statuary, carver and gilder. Married William Peckitt April 3, 1763, and helped him in his glass-painting work (ide letter of Miss Peckitt to the Gent.'s Mag., May, 1817). After the death of her husband in 1795, Mrs. Peckitt erected a window to his memory in St. Martin-cum-Gregory Church, which, as the inscription upon it states, was designed and executed by his afflicted widow, 1796." A tablet at the side of the window records her death, Jan. 11, 1826, aged 83. 1752. William Peckitt, glass-painter and stainer, by order, gratis ; b. 1731, d. 1795 (vide 12 S. ix. 323). [b. 1786.] John Joseph Barnett; d. 1859 (vide 12 S. ix. 483). Francis Barnett (vide 12 S. ix. 483 and 523). [1846.] John Summers. In 1846 he resided at 24, Petergate (White's 'Directory '), and on Feb. 28 of that year advertised in The Yorks Gazette an exhibition of paintings by the old masters to be held at his house. He also called attention to his skill as a picture restorer and an artist in stained glass. He claimed to be the artist of the east window of St. Peter's Church, Leeds. "The magnificent east window in St. Peter's Church, Leeds, was designed and executed by him. It contains 11,000 pieces of glass. Mr. S. is most enthusiastic in his profession and by constant practice has acquired a knowledge of the art which few men possess.' The window is partly made up of panels "of old glass collected the Continent by Mr. John Summers of Leeds " by, Hist. of the Parish Church at Leeds,' |
