and his subordinates, which has control of various matters of expenditure, and legal and judicial authority within the sovereign's court-royal, with power to correct all offenders, and to maintain the peace of the verge or jurisdiction of the court-royal, which extends every way two hundred yards from the gate of the palace." (Wharton, 'Law Lexicon.') The Board was so-called from the green-covered table at which its business was originally transacted, and was first used in 1536, when Thomas Hatterlyf and Edwarde Weldon were clerks of the green-cloth. ARCHIBALD SPARKE.

James Milne, from which the following is an extract:

Yo-ho-ho and a bottle of rum! "" You instantly take up the other lines of the of course, wrote it to jingle with the "bluggy quatrain in Stevenson's Treasure Island.' He. deeds of Long John Silver and his merry comrades. But there is a whole pirate ballad, which sprang from Stevenson's text, and who wrote it? The great ballad was written by an American, Mr. Young Ewing Allison, of Kentucky, under the title, The Dead Men's Sorg.' Its verses, as he first gave them form, were set to music in 1891 by Mr. Henry Waller, an adopted son of Mrs. Scott-Siddons. But the original draft did not become the amplified grisly song of Mr. Allison's final touches until 1897. No doubt this accounts for the The Lord Steward of His (or Her) bowdlerised versions which have Majesty's Household has his office in Buck-blown about, sometimes as an old pirate ingham Palace, known as the Board of Green chantey," sometimes as a thing. copied from Cloth. Other officers are Treasurer, Comp- a musty scrap book," always without mention troller, Master of the Household, Clerk of the author. The whole story is told in a Comptroller and assistant Clerks, Porters, privately printed volume by his friend, Mr. C. I. Ingram, also of Louisville. Cooks, etc. All matters relating to the expenses of the establishment, not covered by the Privy Purse, pass through the Clerk's hands. My father was commanded by King Edward VII. to submit certain furniture for one of the Palace Chapels for His Majesty's approval, and the command was issued by the Clerk to the Board of Green Cloth.

AN NCHOR CHANTY" (clv. 261, 305).The Morning Post of Oct. 14, 1921, published an article by Mr. E. B. Osborn, which included the whole six verses of the ballad of The Dead Man's Chest.' The author inci

dentally explained "that the Dead Man's Chest was one of the Virgin Islands re-named by the buccaneers, a mention of which in Charles Kingsley's volume of travels in the West Indies was one of the seeds of Stevenson's story"; and added that the verses were given in the Book Monthly of November, 1914; they were said to have been copied from a musty scrapbook, in which the author's name was not given.'

The ballad, with some slight verbal differences, was also published in The Graphic of 29 Oct., 1921, with a prefatory note by Mr.

دو

Mr. Milne's statement makes it clear that

the ballad is not a genuine example of the type of sea-song which figures in print indifferently as chanty," "chantey and shanty.' With regard to the origin and spelling of this word the well-known musician, Sir Richard Terry (author of The Shanty Book'), wrote as follows in The Times of 5 Oct., 1918: :

66

May I enter a protest against the pedantry which-because of a fancied derivation from (un) chanté-would spell it Chanty or Chantey"? The result of such spelling is that out of every thousand landsmen 999.9 pronounce it Tchahnty rhyming with auntie," instead of shanty" rhyming with " scanty, as every sailor always pronounced Were it worth while I could that the word is derived from a negro shanty or hut. According to the Oxford Dictionary (which, by the way, spells it Shanty) the word did not find its way into literature until 1869. That being so, surely it is more scholarly to spell it as the sailor always pronounced it.

it.

prove.

J. R. H.

AUTHORS WANTED, (clv. 315).—(1) Sleep wayward thoughts.' This is the first of three verses set to music by John Dowland and printed in his First Booke of Songs or Ayres,' 1597. The book has been edited by Dr. E. H. Fellowes as part of his English School of Lutenist Song Writers.'

(2) Change thy mind.' The first of five printed in Robert Dowland's Musical Banverses written by Robert, Earl of Essex, and quet,' 1610, with music by Richard Martin. The song (words and music) was printed in the The words Musical Antiquary, October, 1909. bethan Song-books,' 1887. are to be found in Bullen's Lyrics from ElizaG. E. P. A.

The Library.

Mary II., Queen of England, 1689-1694.
By
Nellie M. Waterson. (Duke University
Press: London. Cambridge University Press.
12s. 6d. net)..

THIS unpretentious

little

volume gives evidence of good acquaintance with sources, and of due knowledge of the historical work which has been done in recent years on the much-vexed period of the Restoration and the Revolution. It sets out painstakingly so much of the course of English political affairs as is necessary to make Mary's life understood, and, focussed as a biography, it brings together the most telling pieces from Mary's letters and from contemporary authors. It is, however, in no sense an interpretation, either of Mary herself, or of the events and influences of the time, and, lacking that quality, is throughout a little flat and uninspired. Miss Waterson makes the following comment on that well-known passage in the Queen's "Memoirs" in which she speaks of the estrangement from Anne as a punishment upon them for their conduct unavoidable though it still appeared to her to have been towards their father. " The sisters had gone against nature' at the Revolution, and this breach was to be regarded as their punishment. To such a conclusion did Mary's quaint moralising lead her." This passage there are others akin to it shows that our author is not quite up to the height of her task, whether we consider merely its personal and human aspect or look also to its historical side. Miss Waterson, strange to say, has no remarks to make on Mary's maternal ancestry, no attempt at tracing the Hyde in her, or noting how it mingled with the Stuart. She handles, too, rather awkwardly, her life amid the Court and the terms her piety and her private tastes kept with the manners and fashionable pursuits-especially the gambling of the day. The public services rendered by Mary are more adequately set out, though still with what feel is we an inadequate understanding of her a fault which counts heavily in a biography. We should guess that, so far, Miss Waterson has more perience as a reader and researcher than as a writer and thinker, and we should expect her to do better later on.

ex

The book has a somewhat larger proportion of misprints than, we think, ought to be tolerated.

Excavations in New Forest Roman Pottery
Sites. By Heywood Sumner. (London, The
Chiswick Press. 12s. 6d. net.)

BEAUTIFULLY printed, beautifully illus-
trated, alike with pictures, diagrams and
maps with its abundant material lucidly ar-
ranged and most readably set out, this book can-
not but be a joy to all archeologists interested

in what remains of the Roman occupation The
soil of the New Forest, of little use for tillage,
and not attractive for residence, contained
in plenty the clays and the sand re-

quired for production of pottery. The
potteries set up in the forest came in the
later Roman years to distribute their wares
over most of Roman Britain, turning up, as ex-
cavation has shown, in all directions, and our
author takes it that the industry died out
gradually rather than suddenly, and principally
because of the Saxons' preference for wooden,
rather than earthenware, bowls and platters.
The book describes first the Roman pottery
made at Ashley Rails, and then in the second
chapter gives account of the excavations in
The essays are re-
kilns at Sloden and Linwood.
prints, with additions and revision, of papers
published in 1919 and 1921 respectively, and the
discoveries since made are dealt with in a sup-
plement. Description of two new kilns at Lin-
wood, and of a potter's hut near Islands Thorns
are the best part of this. The hut was cleverly
located the existence of a spring having fur-
The "ovalish depression,"
nished the clue.
which betrayed the site, upon being opened up,
revealed a clay floor, and six post-holes, the
position of which make a pentagon ground-plan.
The floor level of the northern side of the hut
(Mr. Sumner supposes this to have been made
of wattle-work) was raised six inches above the
level of the southern side, forming a plat-
form which may have been used as a sleeping-
place. At the eastern end was a fireplace, and
floor, resting
without, not far off, a cooking-place. The clay

on undisturbed gravel soil, measured, apart from the platform, about 4 in. thick. Our author's discoveries have added one important touch to the picture we may make of the potters' life in such a hut as this, the spindle-whorl, that is, of Kimmeridge shale, found in the Black Heath Meadow kiln at Linwood, which seems to show that women bore their part in it.

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Memorabilia.

associated with the Birgitta nuns at Vadstena.

Of the foreign objects of ecclesiastical art from the Middle Ages a number of them date back as far as Roman times; others represent the Gothic in practically all its phases. There are embroideries coming from French workshops, often of great informative value Subscrip- and Italian, English, Flemish and German for a knowledge of the history of textiles in Europe. Then, the great set of round pieces of trimming with biblical subjects from a cope from Biskopskulla (about 1200), and the oldest cope from Uppsala Cathedral, carried out in exquisite opus anglicanum technique (end of the thirteenth century) are among the most celebrated of their kind that have been preserved in Europe. The materials on which these embroideries are mounted, or which have been used without adornment for vestments of some kind, also originate from some of the most celebrated centres of weaving on the continent: Regensburg, Lucca, Florence,

WE
WE are glad to put before our readers par-
ticulars we have received of an Exhibition
of Ecclesiastical Textile Art projected for 5-27
Jan., 1929, by the Swedish State Historical
Museum, in the Art Hall of Stockholm. The
exhibition, which is both historical and
modern, is put together partly from the col-
lections of the Museum and partly from loans
by churches, public and private collections, and
-as regards present-day objects from the fore-
most Swedish ecclesiastical art studios. The
cathedrals of the country have readily opened
their often extraordinarily rich, though but
little known, sacristies; above all may be
mentioned Uppsala Cathedral with its col-
lection of church vestments complete from the
thirteenth century.

etc.

The memorials from later centuries are also of considerable value, above all those from the Baroque period, an epoch during which, thanks to her successful wars, Sweden attained a position of power and her great men devoted a considerable proportion of the riches they had acquired to the decoration of the churches. The works were executed both within and without the country; for the most part the materials are Italian, Spanish, and French. Of special interest are numerous pieces of work from Eastern Europe, mementoes of the Swedish campaigns in Russia, Poland, and other countries, and of the connections which were established thereby: Turkish brocades, Turkish and Polish embroideries, etc.

On the whole-thanks to certain favourable circumstances-Sweden has been fortunate in having preserved from the early Middle Ages and all the succeeding centuries an astonish- The artistic level of ecclesiastical art sank ingly great number of old, precious textiles. in Sweden, as in other countries, during the Those from the Middle Ages-copes, chasubles, nineteenth century. However, the Renaisdalmatics, episcopal shoes, antependia, hang-sance movement in this sphere, which charings, canopies, etc. are divided into, firstly, acterised the last few decades of the century those which were made in the country, and found expression remarkably early in Sweden secondly, those which have been introduced -as early even as about 1880-and with unfrom abroad. Among the former are pic-usual consciousness of its object. During the torial tapestries with figure compositions dat- last twenty-five years Swedish artistic handiing from the eleventh and twelfth centuries; craft has produced a number of notable other woven fabrics from the thirteenth to works, which will be represented at the exthe fifteenth centuries; Gothic hangings with hibition by Handarbetets Vänner, Licium, heraldic motives with an intarsiatura-like Libraria, etc., and by individual artists. technique; and embroidered work of all kinds, often associated with certain studios, such as the magnificent pall of Saint Holmger, associated with the Cistercian nuns at Sko, and a number of altar frontals, trimmings, etc.,

THE Italian Mail and Tribune for Nov. 17

tells us of the progress of the projected Medici Museum for Florence. The suggestion was mooted last year that this should be