it known to have been the case in any other churches? A. F. KIRKPATRICK. Trinity College, Cambridge. CRESTS.-I have looked in vain through the Meyrick Collection, now at South Kensington, for an instance of a crest attached to a helmet. In some of the helmets I observe small screw-holes in the crown, apparently intended for the attachment of a crest or device of some kind. Can any one refer me to any work on heraldry or armour, English or German, where I can see helmets figured with the crests attached? Am I correct in supposing that in some cases the crown of the helmet was fashioned into the shape of some heraldic monster; in other words, that the top of the helmet, which covers the crown of the wearer's head, was raised into a conical form terminating in a device or crest? I think I have seen something of the kind figured in the illustrations to some German romance, but the idea may have originated in the brain of the artist. Many of the helmets at South Kensington have sockets behind for the plume; but none of the tilting helmets appear to have been intended to carry crests. Were such ever used in the tournaments? F. M. S. FANQUEI AND PANG.-What is the meaning of these two Chinese words? We are accustomed to see the first translated "Foreign devils"; and just now we see that the latter, occurring in the credentials of the Burlingame embassy, is interpreted "Lesser kingdoms." Though I do not know Chinese, I strongly suspect there may be something wrong here. I think Fanquei and Pang are the same, and that both mean simply "Remote people," or "Western people." Fuinach, which means "West end" in the Celtic, was an old name of Ireland, and is found also on the west coast of Asia Minor. It is very likely that the Mandarins-wearing the old Irish style of muntierna-when they named the fanqueis, did not mean to call us all"devils." A Chinese scholar may be able to lighten our darkness in the matter and set us right with our Celestials in this etymological respect. W. D. New York. HAROLD FAMILY. -I should be glad if any of your readers could give me any information respecting the family of Harold. Happening to be the possessor of that old Saxon name, I feel somewhat interested, especially as it is so seldom heard of as a surname? I have been told that there are two families of this name-one in Suffolk and one in Ireland-but have never been able to find any traces of them in any works of reference which I have consulted. T. R. HAROLD. 5, Newman's Row, Lincoln's Inn Fields. HARVEY'S "TOURISTS' GUIDE THROUGH CORNWALL," 1861.-Who is the author? and where published? E. H. W. D. HUCKNALL UNDER HUTHWAITE. -Will any of your Nottinghamshire correspondents oblige me by explaining what is the meaning of the affix to this hamlet, situated in the parish of Sutton in Ashfield? Is Huthwaite the name of a family who had property there, or is it the name of some other locality? E. H. A. KIT'S COTY HOUSE. On visiting Kit's Coty House near Maidstone, Kent, a few months ago, I was informed, by a person who apparently knew something of the country round about, of the following common belief by the rustics of the district. It is said by them that a pool of water contained in a hollow on the top of the capstone never dries up, not even in the hottest weather, when it might reasonably be supposed to soon evaporate. I cannot speak pro or con the truth of this assertion, as I did not climb to the top of the cromlech, being able to obtain all the data I then required without doing so. The legend-for I take it to be nothing else-did not strike me at the time very forcibly; but since my return home I see it has been noticed by a correspondent to the Gent. Mag. Dec. 1828, p. 512. It is there stated, speaking of the side stones forming the cromlech, that HYMNOLOGY. There is a hymn in the Christian Knowledge Society's, Harland's, Bickersteth's, and some other collections, beginning "Father, again in Jesu's name we meet," which I find generally attributed to "Whitfield." If, however, I am not mistaken, it rather belongs to the late excellent Lady Lucy Whitmore, amongst whose Original Hymns, published in 1832, it appears. The mistake might easily have arisen in the following way. In Bickersteth's index, either from want of space, or possibly to conceal the name of the authoress, it is written "Whit," which subsequent editors may have naturally enough, though erroneously, enlarged into "Whitfield.' Is this so? C. W. BINGHAM. PICKERIDGE, ETC. Can any of your readers give me the etymology of the word Pickeridge or Pickerage, which is the name of a farm in Fulmer, co. Bucks? The word pichet is used locally, but I do not find it in any dictionary with such meaning, to signify corner; and 1 interpret Pickeridge to mean corner ridge, the farm being on the edge of some table-land bordering a valley in which runs a brook now nearly dry, but forty years ago a trout stream. Is this interpretation admissible? May I take this opportunity to ask the meaning of two other names, Silpho and Broxa, which are vills in the parish of Hackness in the North Riding of Yorkshire. Hackness formed part of the possessions of the abbey of Whitby, which probably received its name from the Danes, in lieu of its old Saxon name. But are Silpho and Broxa Danish? E. P. PRAGUE BRIDGE. - Can any of your readers tell me anything of the following work, which consists not of a description of the bridge, as the title would lead one to imagine, but is rather a book of devotions to the different saints whose figures adorn the bridge: "Eigentlicher Entwurf und Vorbildung der Prager-Brücken, sammt deren darauf postirten Statuen allen... Staten-Patronen zu grösserer Ehren den Fremden aber zu einer nützlichen Augenlust vorgestellt, und, mit Bewilligung der hohen geistlichen Obrigkeit, gedrückt in der königl. alt-Stadt Prag. Bey Joachim Johannes Kamenitzky, 1716." Pp. 278, 16mo, plates. R. B. P. "THE RISING SUN."-Where is a poem to be found commencing "Thou glorious monarch of the day uprising," and containing the passages and "Wearyful, tossing on his bed of pain," "The flower-sprent meadow and the grassy hill.” A SUBSCRIBER. Peckham. SADOWA. For thus naming the great battle in which Austria was crushed by Prussia, have we any higher authority than the hurried letter of Dr. Russell, The Times' correspondent? The Prussians, I believe, speak of the battle as that of Königgrätz. How is it officially styled by the Austrians, and what is the rule about giving a name to a battle? Does the right of doing this rest with the victors? I suppose so. It is curious to see how many years elapsed before all nations agreed in giving the same name to a great battle of former days. The French for a long time persisted in calling Waterloo the battle of Mont St.-Jean; the Prussians called it Belle Alliance-witness to this day Belle Alliance Platz in Berlin; we from the first called it Waterloo, and now this is accepted by all nations as the proper name. How is the o in Sadowa accented? Is it long or short? I presume the word is pronounced Sādŏvă. The win Bohemian has the same sound It as in German, and is the equivalent of our v. is a pity some phonetic liberty is not allowed us in copying German, Polish, and Bohemian names, by the adoption of our v to express their w. For want of such a plan we make a sad mess of proper names, especially the Slavonic ones, by writing (veh), and yet sounding it like an English w (double u). w JAYDEE. SATYRE, 1595.-The Rev. J. B. Pearson, in his useful Index to the English Books in Emmanuel College, Cambridge, just published, mentions at p. 96 a book called Satyre Menippized, 1595. A fuller description of this book, if Mr. Pearson would kindly communicate it, would probably interest many readers of "N. & Q." He also notices a History of Tamerlane, 1597, which I of either work in Lowndes or Hazlitt. suspect is very rare. I cannot find any account L. ARMS OF SLAUGHTER. What are the arms of Slaughter of Cheyney Court, in the parish of Bishop's Frome, Herefordshire? I should be glad to learn how and when this family became extinct. C. J. ROBINSON. SMITH ARMS.-I find the following arms assigned to this name in Burke's Armory and Edmondson's Heraldry-viz. "Argent a saltire azure between three crescents gules and a millrind in base of the second." Crest, "A dexter hand holding a pen." I am particularly anxious to discover evidence of the existence of such a coat, and whether it was Scotch, English, or Irish. It is exceedingly like one Scotch coat-that of Smith of Dirletonand I cannot help thinking that it may have originated in a mistake of blazon, the chess-rook in the base of the latter coat being transformed into a mill-rind in the former. Can any one kindly inform me if the coat ever existed; and if so, by what family or individual it was borne ? F. M. S. VANDEN BEMPDE. John Vanden Bempde, whose daughter and heir married the Marquis of Annandale in 1719, made his will in 1725, which was proved in the same year. His father, Abraham Vanden Bempde, married one of the daughters and co-heiresses of Sir Peter Van Lore, Bart., a Dutchman, who was naturalised 8 Jac. I. The Vanden Bempdes are said to have come over from Holland in the time of Henry VIII.; and a Vanden Bempde married a maid-of-honour of Queen Elizabeth, and received from her some presents, which John Bempde makes heir-looms in his will. Have any of your readers met with any account of a Vanden Bempde under Henry VIII. or Elizabeth? E. P. VOWEL SOUNDS.-Where is the best information relative to the peculiar way we have in England of sounding the vowels? It seems to have come in about the sixteenth century or later. What can be the reason of our pronouncing them differently from our fore-elders and from every other nation in Europe? In "oblige" (obleege), we have or until recently had the old sound of i retained, as it is still by our ceevileezed friends in North Britain. The College, Hurstpierpoint. J. T. F. WHITWIBANS, HAMOUNDES, ETC.-In the compotus of the executors of Thomas Button, Bishop of Exeter, in the year 1310, "four whitwibans and a chain for a silver seal" are mentioned as sold for sixteen pence. Can "N. & Q." tell me what these "whitwibans" were? A lot of "loculi, pouchi, and hamoundes," six in number, were sold for sixteen shillings and twopence. I should be glad to learn how the "loculi" and "pouches" differed in shape, and what is the derivation of "hamoundes"? I suspect its root to be AngloSaxon, and that it means something which protects and keeps safe. Can it have any connection with the surname Hammond? H. WORDSWORTH.-Are the following lines by Wordsworth original, or are they only a copy by him of some verses in his poems? They are said by a competent judge to be an autograph by the poet, signed by himself, and were transcribed at the request of Mr. Mayer." They are inserted in a copy of the Paris edition of the Poetical Works, 8vo, Galignani, Paris, 1828. I have a strong impression of having met with the lines elsewhere; but must own that I have not examined every page of the poet's works for the purpose of discovering them. If new to the world they deserve being now made known through "N. & Q." :"Blessings be with them and enduring praise, Who gave us nobler loves and nobler cares, The poets who on earth have made us heirs Of truth and pure delight by heavenly lays; O might my name be numbered among theirs, Then gladly would I end my mortal days!" "WM. WORDSWORTH." "Transcribed at the request of Mr. Mayer, Florence, June 4th, '37." J. MACRAY. [By Wordsworth, Personal Talk, st. 4.] EBENEZER JONES.- Can any of your correspondents supply me with particulars of the life of the above-named Chartist? He published a volume in 1843, entitled Studies of Sensation and Event-a very striking book, but long since out of print. F. GLEDSTANES-WAUGH. Queries with Answers. PAIGNTON EPISCOPAL PALACE. - The Devonshire papers inform us that the ruins of the ancient palace of the Bishops of Exeter at Paignton have just been sold, together with the land formerly its deer park, to a Captain Ridgway, and that it was formerly the residence of Miles Coverdale, who, according to tradition, made his translation of the Bible into English in one of the upper rooms of the tower now standing. Where shall I find an authentic account of Paignton Palace? and particularly, can you direct me to any work or collections where I am likely to find drawings of the edifice? DART. [The history of the bishop's palace at Paignton is somewhat obscure. To the cathedral of Exeter still belong the great tithes of Paignton, which at least demonstrate a former connection; and as variety might be an object, the local circumstances of this place, seated near the church, on grounds gently declining to Torbay, might recommend it to some one of the bishops who had a taste for such beautiful scenery; or who, perhaps, being an invalid, might have resorted to it for the sake of bathing and inhaling the sea-breeze. At the beginning of this century, in the portion contiguous to the churchyard, there was little but the pointed window to designate its ancient appropriation; but rising from the walls, and having in view the whole of the beautiful bay, appeared a tower in tolerable preservation, which, as it was not likely to have been constructed for military purposes of defence, was most probably intended for a gazebo, as on every side it had a command of scenes which for luxuriance, beauty, and picturesque variety, could not be well exceeded. Sir John William de la Pole (ob. 1635) in his Collections towards a Description of the County of Devon, 4to, 1791, p. 279, informs us that "Paignton was anciently the inheritance of the Bishops of Exeter, where also they had a dwelling-house. It was alienated from the bishopric by John Voysey, Bishop of Exon, unto William Herbert, Earl of Pembroke, from whom it descended unto Henry, Earl of Pembroke; and from him unto William, Earl of Pem- · broke, and afterwards to Philip Herbert, Earl of Pembroke and Montgomery." In the additions to Risdon's Survey of Devon, ed. 1811, p. 378 [678], it is, however, stated, that "after Paignton was alienated from the see, it came to Stafford and the Earl of Cork and Mr. Poyntz and from them to the Rev. John Templar." In the Antiquarian and Topographical Cabinet, edited by J. Storer and I. Greig, ed. 1807-1811, vol. iv. are engravings of (1) "Remains of the Palace at Paignton," and (2) “The Palace Tower at Paignton and the Church."] FROBENIUS. I have a book printed by Frobenius, entitled "Aesopi Phrygis Fabellae, Graece & Latine, cum alijs opusculis, quorum index proxima refertur pagella." Below the title is a well-engraved woodcut device, with "Fro ben' at the sides, "Basilea, in officina Frobeniana. An. M. D. XXX." The book is in the original stamped vellum binding, with brass corners and clasps. It is inscribed inside on the cover 66 Sigismundis Trainer, mense Octobrj vi. die, Anno 1532;" the cover is also marked outside in black letters "Sigmv. Trai.” On the title-page is written "Sum ex bibliotheca Johannis Christophori Rosa, Anno 1563." I should be glad of any information concerning the book, a small octavo, or the original possessor, Sigismundis Trainer. Markham House, Brighton. HENRY W. HENFREY. [John Froben of Basil printed five editions of Esop's Fables-namely, in the years 1518, 1521, 1524, 1530, 1534-all of which may be seen in the British Museum. The edition of 1518 is the most rare and beautiful, copies of which are in the King's and Grenville collections. The editions of 1524 and 1530 are printed alike in size, &c. According to Brunet, these have produced in Paris not more than nine francs each; but very much, however, depends upon the condition of the volume. Of Sigismund Trainer, to whom our correspondent's copy at one time belonged, we can learn nothing.] WHITTINGTON'S DRINKING FOUNTAIN. · Are any of your readers acquainted with the site where the fountain was erected by Whittington ? It was somewhere in the City. A gentleman has offered to place a fountain on the same spot if it can be identified. J. LEE. [Stow, quoted by the Rev. S. Lysons in his Model Merchant of the Middle Ages, p. 52, says "that there was a water conduit east of the church (St. Giles, Cripplegate), which came from Highbury, and that Whittington, the mayor, caused a 'bosse' (in the shape of a bear's head, and which went by the name of Whittington's boss) or tap of water to be made in the church wall." May we express in 1749. On Nov. 5, 1766, George Brudenell, fourth Earl of Cardigan, who had married Mary, daughter and coheiress of John the last Duke of Montagu, was created Marquess of Monthermer and Duke of Montagu, and he died in 1790, like his predecessor, without heir male, and the dukedom became extinct for the second time.] TORTURE AT NUREMBERG AND MUNICH: THE KISS OF THE MAIDEN. where I may learn the history of the instruments Could you inform me of torture collected at Nuremberg and Munich, and particularly of the "Jungfrau " at the former place? R. W. BINNS. Our correspondent will find in The Archæologia, xxvii. 229-250, an article by Mr. Pearsall entitled "The Kiss of the Virgin: a Narrative of Researches made in Germany in the Years 1832 and 1834, for the purpose of ascertaining the mode of inflicting that ancient punishment, and of proving the often denied and generally disputed fact of its existence." This paper is replete with information on many points connected with the practice of torture in the good old times; and, besides describing the Nuremberg Virgin-of which there are several engravings -proves the existence of similar instruments both in Germany and Spain.] Replies. GAINSBOROUGII'S "BLUE BOY." (4th S. iii. 576; iv. 23, 41, 80, 204, 237.) Mark or Seal. It was a well-known peculiarity of Gainsborough that he rarely ever marked or dated any of his works. Still there were exceptions, and it is probable the least-known "Blue Boy" may yet prove to have been one of them. Most unobtrusively placed on the right corner of the canvas, where it was practically if not really hidden by the frame, there are the remains of the impression of a small seal or mark, to all appearance as old as the picture, and of the same material and colour as the foreground. The general THE DUKEDOM OF MONTAGU.— outline of the remains is that of the royal shield without a motto, as used for marking royal pro"Yesterday, at a quarter past five o'clock in the after-perty, but with "dots" round the sides at least, if noon, died at his house in Privy Gardens, the most Noble George Duke of Montague, Marquis of Monthermer, Earl of Cardigan, Baron Brudenell, of Stanton-Wivil, &c. &c. His grace dying without male issue, the dukedom and marquisate become extinct," &c. a hope that the bear's head will form a feature in the proposed fountain?] "London, May 29, 1790. How is the above, taken from a newspaper cutting, to be reconciled with the account given by both Edmondson and Jacob, in which it appears that John, second Duke of Montagu, died in 1749, leaving no male heir, his three sons, John, George, and Edward Churchill, having died young during their father's lifetime? D. M. [A reference to that most useful of all books on such subjects, Courthope's edition of Nicolas's Historic Peerage of England, explains this apparent discrepancy. John, the second Duke of the creation of 1705, died s. p. m. they had not once been all round the seal. Perhaps experts might deem this impression to be a proof that it had been made in the artist's studio, his own mark or for the Prince of Wales when he purchased the picture. either as The early history of the original "Blue Boy" may now, we think, be thus briefly stated. At one time, if not direct from Gainsborough's studio, it belonged to George Prince of Wales, afterwards to John Nesbitt, Esq., M.P., and subsequently to John Hoppner, Esq., R.A. But here we come upon two "Blue Boys" in the field of picturedom, and it is found that the original pic ture was not in the Grosvenor collection. When Concluded from p. 19. Edwards, an associate of the R. A. and a teacher of perspective, selected the original " Blue Boy" for a special notice in his Anecdotes of Painters, a work evidently revised by foot-notes up to the date of its publication in 1808-as one of these notes tells who Master Buttall was-he knew that it was then in Mr. Hoppner's possession. But he appears to have had no knowledge whatever of the Grosvenor "Blue Boy," unless it might have been as an unnoticeable copy. It appears from Mr. Gale, of 47, High Holborn, formerly referred to, it was a tradition of the trade that the Grosvenor "Blue Boy" was more than once restored or made up as it passed from one dealer to another, at real or alleged higher and higher prices, from the time when, without a frame, it was bought for "a few shillings Bingham's auction-rooms by one trader, and the time when, skilfully made up if not also relined as a consequence, and rightly framed, it was sold by another trader to Earl Grosvenor. at In most cases of making up pictures in the absence of the original one, it is instructive to observe the differences which arise, and of which the oil-coloured and made-up photographs of the Westminster picture furnish a case in point. All of these photos that we have seen were originally defective, and when made up without the picture as a guide, they differ in the make-up and in the shades of colour with the original, and also with one another, when different artists have "miniatured" them. If then the Westminster "Blue Boy" was originally a defective copy of the original "Blue Boy," as the low price it fetched at the sale sufficiently indicates-for no known Gainsborough would have been sold at any such priceand, with a made-up history, was made up for sale in the absence of the original picture, it will account for any differences in the colouring, face, figure, and landscape which may be found to exist between the two "blue-clads." Whether Gainsborough did or did not paint both of them-the Westminster "Blue Boy" as the first, but rejected one; and the other, as the finished picture, which went at once into the highest society and is still a treasure of art, is a question on which much might be said. Among those who think it possible that he might have painted both pictures there are Gainsborough Dupont, Esq., the descendant of the artist's nephew and pupil of the same name, and the Rev. Mr. Trimmer. It is not, however, until many years after the painter's death in Aug. 1788, that two "Blue Boys" came into notice, and then the original picture was not the one in the Grosvenor collection. It is, however, possible that a spoilt first trial may have been given by Gainsborough to Master Buttall, and which ultimately became the Grosvenor "Blue Boy." It appears that Mr. But 66 tall removed from Greek Street to King Street' Soho, and that, either through death or other cause, his name disappeared from the Directory about 1797. Possibly the son was left not overwell-off," got into arrears of rent, and had his effects, spoilt picture and all, sold at Bingham's auction-rooms in the manner related. There is, it should be distinctly understood, no desire to call in question the artistic merits of the Westminster "Blue Boy," or the high encomiums which have been written in its praise, but only to show that it is not the original "Blue Boy," and that there is another of still higher merits, consequently entitled to still higher praise from the public and art critics. Examinations of the least-known "blue-clad.”— Since my last communication this picture has been critically examined both by artists of the highest standing and by experienced picturedealers, with very satisfactory results. The scepticism naturally arising towards a new claimant for equality with, or pre-eminence over an old favourite, led to a far more severe examination of the picture than usual. Of course there were some who, deep in the Westminster faith, were perhaps cautiously inclined to designate it " a replica attributed to Gainsborough;" but against such an opinion a high authority urges, with all the might due to great knowledge and long experience, an unhesitating protest to be made and acted upon, in which advice other competent judges also concur. Indeed, it is the expressed opinion of several of those who have examined the picture, that there is not a Gainsborough in the National Gallery to equal it, on merits, and that if placed at a proper height beside "the portrait of Dr. Schomberg," designated as "one of the finest in the world," the Boy in Blue " would easily carry off the honours of attraction from the "Man in Brown," as a fascinating and attractive work of art. 66 In such a case differences of opinion were to be looked for, but they took the form generally of again differing as to which part of the picture should be used whereon to hang an objection or raise a discussion. For example, one judge thought the thoroughly English face not vigorous enough, although the whole figure is an (6 at ease" one, where the vigour of action, or a manly tone of face, would be inappropriate. A fine boyish face and a well-developed figure were alone required, and are alone given. But here we would ask, was the "subject" a "model" for the portrait chosen for a real resemblance to Gainsborough himself when young, and handsome as he always was? If so, may it not then be possible that the calm thought which is so well expressed in that sweet English, Murillo-like face, and the fine proportions which are so ably painted and coloured in the bust, limbs, and finely-turned |