Giuliano thereupon putting his hand thereto with extreme diligence and labour completed this work which was placed at the time in the church of San Gallo without the gate. In this panel are the Dead Christ, the Magdalen who embraces the feet of St. John the Evangelist who holds His head and supported Him on his knee; there are similarly shown St. Peter weeping and St. Paul who with outstretched arms gazes upon his dead Lord. And truth to tell Giuliano finished this panel with such loving care, so much attention and judgment that, as he was then, so hereafter will he always and justly be greatly extolled. The share of another hand in the paint ing as we see it to-day (Pitti Gallery No. 64) is thus clear. But the suggestion of the description fitting more closely Andrea del Sarto's work (Pitti Gallery No. 58) where, if indeed the principal features are identical, the fourth attendant Saint is St. Catherine, is disproved by an early copy of Fra Bartolommeo's painting recorded by Sr. Gaetano Milanesi in a note to his standard edition of Vasari's Lives extant in the church of San Domenico at Prato. In this copy, ascribed to Fra Paolini, pupil and assistant of Fra Bartolommeo, the two Saints Peter and Paul mentioned by Vasari are duly depicted. At what date these were removed from the original and an uniform dark background substituted is not known, nor why, unless it be that both figures had been damaged in the removal from San Gallo, or later perhaps by candle-smoke and incense at San Jacopo tra Fossi. The reference to the Entombment' by Raphael, and the suggestion that the 'Lamentation' under discussion is a copy of some early "work of his would appear to be due to a misapprehension of the young artists's singular and admitted precocity. The earliest known painting by Raphael is the so-called Solly Madonna (Berlin Museum) executed about the year 1501. Raphael's first visit to Florence, 1504, is upon record in a letter addressed to Gonfalonier Piero Soderini in which the Duchess of Urbino recommends the young artist to his protection. Several among Raphael's inasterpieces, 'The Virgin with the Goldfinch' (Uffizi Gallery) and the portraits of the Florentine merchant Angelo Doni and his wife (Pitti Gallery) fall in this period of his art (1504-1508). The Entombment' by Raphael (Borghese Gallery, Rome) depicts a different, later phase of the Passion, and authorities including Mr. Berenson date the work, 1507. THE EDITOR, The Italian Mail. RACQUET "hazards" COURT, LONDON, E.C. (clii. 407).—It would seem that MR. LOUIS ZETTERSTEN makes a shrewd, and quite an apposite, conjecture when he the opinion that Racquet Court in Fleet Street is connected with the game of tennis, for I am told by Mr. Ralph Straus, who is preparing a History of the Game of Tennis in England, that the MS. list of fourteen London tennis courts, compiled by the Clerk to the Petworth Estate in 1617, includes the "Fleetstreete Courte " and desbroade and 171⁄2 foote high. cribes it as being "66 foote longe, 17 foote Unfortunately Thus it is not possible to locate the site. other tennis courts were commonly indicated It is worth noting that the positions of by the name of the game rather than by an implement used in the playing of it. we find in the Index to Rocques' 'Plan of the Cities of London, Westminster and "Tennis the Borough of Southwark' (1747) Tennis Court, Court, High Holbourn " Middle Row, Holbourn " Tennis Court, Church Entry, Shoemaker Row." again in Ogilby and Morgan's Map of London (1677) We have Tennis Court Lane Buildings, in Upper Thames Street) and (afterwards called Joiners' Hall Tennis Court Yard," leading out of Holborn. And date than tennis, and I believe there is no The game of rackets is of more recent suggestion that a Racket Court ever existed in this part of London. Is it not more likely therefore that, in this one was called after a tavern of that common with most London courts and alleys, name" The Racquet"? The propinquity of a tennis court would afford some reason for its being, and its name. That this may not be considered a mere "shot," I should say that in a MS. list of tokens, compiled about 1680, which has recently come into my possession is one that the collector has recorded in an abbreviated form : S. STREET W .A. London CAPTAIN COOK: MEMORIAL TO HIS DRAUGHTSMAN (clii. 368, 410, 466). The tablet to the memory of John Webber, Esq., is in part confirmed by his burial certificate. He was buried in the Parish of Saint George's, Hanover Square on 9 May, 1793. This information I have reecived from the Rector. In addition the D. N.B.' says of John Webber (1750?-1793) There is another intance of a London tavern deriving its name from a tennis court; that one still exists and is recorded by J. H. Macmichael who, in his Story of Charing Cross' (1906), says at No. 48 Whitcomb Street is an interesting old sign of the Hand and Racket the sign is unique in London and without doubt had its origin in being contiguous to the Royal Tennis Court on the South side of St. James's Street. Larwood and Hotten do not give examples of any of these signs, though they instance two other devices which derive from ball games the Ring and Ball, emblems of Pall Mall, and the Bat and Ball, which might come from Hand in and Hand Out or some other early form of cricket. In the interval which has elapsed since MR. LOUIS ZETTERSTEN'S query appeared I have waited, and hoped, to see a reply from one of your correspondents who are authorities on London topography, but if my suggestion is of any use to the author of City Street Names' I am happy to make it in the hope that it will provoke some more authoritative opinion as to the origin of the name of Racquet Court in Fleet Street. AMBROSE HEAL. I quote the following from 'Picture of London' by J. Britton, Longmans, c. 1826. The King's Prison of the Fleet, on the E. side of Fleet Market, is a large modern brick he returned to London 1776. . . he exhibited in the Royal Academy a portrait of his brother, which attracted Dr. Solander. This led to his appointment as draughtsman to the third and last expedition of Capt. Cook to the South Seas . Returned in 1780, having witnessed the death of Cook employed then for some time by the Admiralty in making several drawings from his sketches, etc., etc. Wm. Hodges was the artist on the second voyage, Jas. Webber the artist on the third and last voyage. I have complete lists of all the crews before me, and nobody named Webber sailed in either ship on the second voyage. Therefore the memorial is in error to this extent, and should be included with those cited at 12 S. xi. 468; cli. 465 and clii. 47. If his name was not James, as I believe it was, then he preferred to be so called, for I find it written both Jas. and James. The memorial appears to have been executed by a third person who, to say the least, was careless. building, with stone staircases, built after the AN old house was destroyed in 1780, by the rioters The building consists of four storeys of equal length: first the basement floor, into which there is a descent by several stone steps. Here are the kitchen, wine and beer cellars, and fourteen apartments for prisoners. The first floor is ascended by stone steps, and contains two tap-rooms, fourteen rooms for prisoners, and the chapel; the second floor consists of a coffee-room, and 22 rooms for prisoners; the third, of 27 rooms, and in this division is the infirmary; the fourth floor contains 27 rooms The large court, bounded by lofty walls which surrounds the prison, extends in length 60 yds.: in it, the prisoners amuse themselves at tennis, racket, skittles, &c. No prison allowance is furnished, but there are various donations from the Courts of Exchequer and by private individuals. Debtors may remove themselves from any other prison at £6 or £7. Racket Court is marked in the plan, as a square included in the Rules, of which a full description is given. The spelling of the word is the same in referring to the prisoners' game. See further, Chaplain of the Fleet.' Besant's J. PARSON. JOHN A. RUPERT-JONES. NOTHER MEMORIAL TO CAPTAIN COOK (clii. 207, 249, 285).—I forwarded copy of the number containing the article at the last reference to Captain James H. Watson, a President of the Royal Australian Historical Society, and I am in receipt of yours and the items you inclose, and I am glad to have the opportunity of correcting the error you quote from Heaviside's "History of Stocktonon-Tees." In no history of Cook's Voyages that I have seen is the name of Captain Christopher to be found, nor the name in any rank or rating, but Dr. Douglas Cook's Voyages, in the 3rd Voyage has a reference to him and the Preface in reference to Cook's instructions to look for a passage round the north America from the Pacific to the Atlantic. It is to the effect that Captain Christopher, in the Service of the Hudson Bay Company, was instructed in 1761 to look for a passage from Hudson's Bay to the Pacific Ocean, and in the of sloop Churchill he sailed from Port Churchill (on the western side of that bay) into what appeared a passage, but as he came to brackish water he knew that he was entering a river, and returned. This is Christopher's Inlet. The following year in the same sloop he sailed again, in company with Mr. Norton, in a cutter, to pursue his search, which we know had no result. Dr. Douglas mentions that he got these facts from Captain Christopher Captain Christopher, 1761-2. James H. Watson. Is there any definite connection between this Mr. Norton and the parish of Norton mentioned at clii. 285? EDWARD MCC. S. HILL, F.S.G. Wingham, New South Wales. SERGEANT AT ARMS: HOUSE OF COMMONS (clii. 442; cliii. 13).—If, as MR. ASKEW suggests, and is quite probable, the Sergeant at Arms of 17091717 belonged to the Clifton and St. Bees family, he is most probably the Thomas Wybergh, who comes at the bottom of Dugdale's Visitation Pedigree of the Family who was aged 3 years and 10 months, 1 April, 1665. Thomas was the Christian name of the head of the family for at least five generations between the time of Henry VIII and Charles II. are seen The outlets to or from the mind or soul." expression "windows of the soul' is not among them, but Thomas Phaer's Regiment of Life' (1544 or 1546) is quoted for The eyes are the windowes of the minde, for bothe ioye and anger through them,' and Shakespeare, 'Love's Labour's Lost' V. ii. 848, ‘Behold the window of my heart, mine eie," and Edward Benlowes, Theophila' (1652), III. xxx. "Those Lights, the radiant Windows of her Minde." Though not precisely parallel, a phrase of Rossetti's may, perhaps, be compared, Fair with honourable eyes, Lamps of a translucent soul. The INSCRIPTIONS (cliii. 6).-The material used for rubrication in brasses is usually compounded with shellac just as the black filling is made, and the colour does not change or fade. In the case of lettering that is not filled up ordinary paint is used and sometimes this does fade away. reason that outdoor memorial inscriptions are not coloured is that the colour perishes under atmospheric influence. It is well known that on polished brass in certain lights red letters are quite invisible while the black letters are quite clear and distinct. Occasionally light will also produce the opposite effect. Old placards that were printed in red and black are often found without a trace of the red letters. DIRECT v. WALTER E. GAWTHORP. CIRCUMSTANTIAL EVIDENCE (clii. 426, 466).-The reply given by A. J. H. to MR. HENRY ATKINSON's query is the correct one. My reference was to the summing up of Mr. Justice Darling in the Armstrong trial of which he has given the verbatim report. ALFRED RANSFORD. cavalry." G. H. D. OLD VETERINARY CURES (clii. 458). of the Highland Regiment, formed only two Noting MAJOR FAIRFAX-BLAKEBOROUGH's deep, repulsed the huge mass of the Russian mention of an egg cure culled from the 1824 volume he refers to I would give the following receipt from Markham's 'Faithful Farrier' dated 1674, which also employs the egg in remedial fashion: LAST OF THE SIX HUNDRED (clii. 423). The death of the last survivor of the Six Hundred recorded at the reference seems in a way to close an epoch, for, though there veterans are of the Crimean War still living, they are very few, especially those of the battles of 1854, and fast diminishing. " Your correspondent is hardly quite accurate in saying that the charge of the Three Hundred Heavy Dragoons on the same day has never been honoured in prose or verse. Many years after, when memories of the Crimea and its great deeds as halfforgotten things" were already fading, Tennyson did write a poem on the Charge, though hardly of the same attractiveness as that on the Light Brigade, and perhaps laying rather undue stress on the exploits of two out of the five regiments engaged. Again, should not your correspondent's descriptive words be reversed, and the Light Brigade charge be called an "attempt" and that of the Heavies an "" exploit. As the late F.M. Sir Evelyn Wood pointed out, the former was a brilliant failure, the latter a brilliant success. But, as he further remarks, the glamour of their wild ride" down the Valley of Death has taken the world captive in the case of the Light Cavalrymen, and their memory has been kept alive by Tennyson's ode which SO many of us know by heart; and also by Hastings Douglas's poem, 'Balaclava' with its well-known lines. com Through the watchfulness of an old anonymous contributor to N. & Q.' I am enabled to state that Tennyson memorated the charge of the Heavy Brigade in a poem which is to be found in Macmillan's edition of the poet's works (1894) p. 568, but which is not included in mine (Kegan Paul & Co.) of 1883. Hence my un-blissful ignorance. J. B. McGOVERN. [One or two other correspondents have kindly written about The Charge of the Heavy Brigade.'] CREST FOR IDENTIFICATION (clii. 406).-Thomas Wall's Book of Crests,' printed in The Ancestor, October, 1904, says (No. 208) Maliverer beryth to his crest a greyhound in a wreth geules and silver manteled g. d. ar.' The arms of Mauleverer of Ancliffe, Yorkshire are Sable, three Greyhounds courant in pale argent (Ancestor, iv. 240, Surtees Socy. vol. cxviii. p. 81 note etc.) but their crest, according to Burke's Landed Gentry' is a maple branch arising out of the trunk of a tree. The greyhound as an heraldic device, of course, forms, in this case, a rebus (Fr. lévrier). P. B. G. B. by A. C. crest of the Families the (1902) From Armorial Fox-Davies More-O'Ferrall's of co. Kildare is blazoned thus::- On a ducal coronet or, a greyhound springing, sable." H. ASKEW. ALL LL SIR GARNET" (cliii. 28).—When I had horses in training at Hambleton (Yorks) circa 1909 I frequently heard this expression from Yorkshire trainers, jockeys and stable jockeys. I have since in recent times heard it amongst racing men, the alternative in Yorkshire amongst the same class being it wasn't jannock. "All Sir Garnet seems to connote a state of honesty, above-board-ness and fairness, whereas Not to be jannock" suggests a mean advantage, chicanery, legerdemain. Both expressions are still in use J. FAIRFAX-BLAKEBOROUGH. MOTTO: VIRTUTE ET SILENTIO (clii. 461). This is, I believe, the motto of The Royal Order of Scotland (masonic). GEO. W. G. BARNARD. PEACOCK FOLK-LORE (cliii. 9).-See J. Grimm, Deutsche Rechtsaltertümer,' 4 Aufl. (Leipzig 1889) Bd. ii. p. 552; K. Simrock, Weihnachtslieder p. viii.; Archiv für d. Studium der neueren Sprachen, Bd. cviii., Heft 1/2 (Köppel). E. H.-K. BRIDE, FLEET STREET (clii. 441) this ST. -The saint, in whose honour church is dedicated, was, according to Alban Butler, born in Ulster and lived in the sixth century. St. Bridget of Sweden flourished in the fourteenth century (the Order of Our Saviour was founded in A.D. 1363) more than a hundred years after the earliest recorded mention of St. Bride's, Fleet Street, which, according to Mr. A. S. Foord, is under the year 1222. See A. S. Foord, 'Springs, Streams and Spas of London,' 1910, p. 59; W. Hone, Every-day Book,' 1826, p. 197; Alban Butler, 'Lives of the Saints,' under Feb. 1; and E. L. Cutts, Scenes and Characters of the Middle Ages,' p. 21. As will be noticed, by looking up these references, both saints have a connection with Lisbon, but this I take to be pure coincidence or a confusion of the two persons. If your correspondent has difficulty in seeing any of the books mentioned I shall be glad to copy out the pertinent passages for him. PETER B. G. BINNALL. In all probability dedicated to St. Bride or Bridget, Abbess of Kildare in the sixth century (Bell's Fleet Street in Seven Centuries' pp. 17-19), it is the only church in London dedicated to the saint. A useful article by M. ALECK ABRAHAMS is in the London Argus 3 Jan., 1903, p. 249. Another doubtful dedication is that of St. Magnus, London Bridge, but about a year ago the Bishop of London issued a declaration that St. Magnus, Earl of Orkney, should henceforth be held to be "the principal patron of the church." This again, is only founded on tradition. J. ARDAGH. This is St. Bridget of Ireland according to Bond's Dedications and Patron Saints of English Churches' (1914) which states that "In Ireland her churches are almost numberless; in England she is remembered by 19 dedications, one of which is Wren's church of St. Bride, Fleet Street, London." Reynolds's 'The Churches of the City of John Legh, of West Hall. Richard Legh, of West Hall, m._Alice, dau. of John Leycester, of Nether Tabley, 1442, and died about 1486. Thomas Legh, of West Hall, m. Dowse, dau. of Sir Wm. Booth of Dunham Massy, 1461,-had Richard, who m. Beatrix dau. of Geffrey Boydell of Pulcroft, 3 Hen. VII, and dying v. p. left a son and heir, Richard Legh, of West Hall, married twice; by his second wife, Anne, dau, of Richd. Hough of Leighton he had, Richd. Legh, of West Hall, m. Clemence dau. of John Holcroft, of Holcroft in Lancashire, and died 1582, having had Richard Legh, of West Hall, m. Anne |