denote it by the E. letter w, two good examples occur in werea, plural of weros, a year, allied to Lat. uetus, old; and in weros, a word, whence the E. epic. WALTER W. SKEAT. IVY LANE, STRAND (10th S. v. 81, 136, 175). -In June, 1637, "one Googe, younge sonne to Dr. Googe [Wm. Gouge], minister of the Blackfriers," was strangled and stabbed, and "was found dead in the Thames, at Ivye bridge in the Strand" (Documents relating to Prynne,' Camd. Soc., p. 81). W. C. B. COPES AND COPE-CHESTS (10th S. v. 189).There is a cope-chest at Salisbury Cathedral, and another at Gloucester Cathedral; both are, I believe, medieval. J. A. J. HoUSDEN. An excellent example of a medieval copechest may be seen in the fine fifteenth century church of St. Eustachius at Tavistock. Trapezoid in shape, it looks not unlike a quadrant box. Made of oak, it opens by a folding lid, upon which is a wealth of charming old wrought iron work. Another, of similar form, may been seen in the undercroft at Wells Cathedral. HARRY HEMS. Fair Park, Exeter. In regard to MR. CANN HUGHES's inquiry as to the vestments in St. John's College, Oxford, may I say that they were given by the founder, and are therefore considerably anterior to Laud's time? The fullest account of them, and what is known of their history, is in the volume on 'S. John Baptist College, Oxford,' in the series published by F. E. Robinson & Co. W. H. HUTTON. St. John's College, Oxford. CROMWELL'S BURIAL-PLACE (10th S. v. 205).The story of Cromwell's burial in the grounds of Fleetwood House is one of those pleasant traditions that have no solid foundation in fact. It appears to be quite modern, and is not mentioned by Robinson or the older historians of Stoke Newington. Mr. Walford doubted the truth of the legend, and his explanation in 'Old and New London,' v. 542, rightly accounts for it. General Fleetwood did not reside in Fleetwood House with his wife Bridget, the daughter of Oliver Cromwell, as stated by Lizzie Alldridge in her article entitled 'In Search of Dr. Watts.' There is no reason to suppose that Bridget, the daughter of Cromwell, the widow of Ireton, and the wife of Charles Fleetwood, ever entered Hartopp House, as it was called during her lifetime. She was buried at St. Ann's, Blackfriars, 1 July, 1662; and on 14 Jan., 1663/4, Fleetwood married at that church, as his third wife, Mary, the daughter of Sir Sir Edward Hartopp, of Freathby, in LeicesJohn Coke, of Melbourne, and widow of tershire. By this marriage Fleetwood came into possession of Hartopp House, which had been built by Sir Edward Hartopp or called Fleetwood House. his father, but which was thenceforward The old house was pulled down in the spring of 1872, and in April of that year it was visited by the late REV. S. ARNOTT in company with the late MR. E. J. SAGE, as well as by MR. A. ANDREWS. These three gentlemen gave descriptions of the house in the columns of 'N. & Q.' (4th S. ix. 296, 362), but none of them made any mention of the Cromwell tradition. The date of Bridget Fleetwood's death was worked out by that great genealogist COL. JOSEPH LEMUEL CHESTER in 'N. & Q.,' 4th S. ii. 600; iii. 156. W. F. PRIDEaux. 'CHERRY RIPE' (10th S. iv. 469; v. 214).— MR. SCARGILL writes: "This song occurs in a musical drama performed at the King's house,' and was sung by Nell Gwynne before King Charles II. I forget the name of the Pepys in his diary." piece and the date. It is referred to by Samuel ་ find that Pepys enters under date 23 JanOn looking carefully through the diary I uary, 1667, the following remark :Humorous Lieutenant,' a silly play, I think. "To the King's House, and there saw The Knipp's singing did please me. In Mrs. Pearce's box, Knipp took us all in and brought in Nelly [Nell Gwynne], who acted the great part of Coelia to-day, very fine; and did it pretty well. I kissed her, and so did my wife, and a mighty pretty soul she is." On turning to Beaumont and Fletcher's tragi-comedy The Humorous Lieutenant,' I see no song is assigned to Coelia. The only song in the play is in Act IV. sc. iii., which is allotted to " Magician" and "The Spirits dancing round the bowl." Pepys, on 20 April, 1661, mentions seeing this play acted before the king; his only comment then is, "Not very well done." Pepys praises Nell Gwynne's clever performances in comical parts, "most as a mad girl," "but best of all like a young gallant," also when "she dances in boy's clothes," but he never alludes to her singing, though he highly extols Mrs. Knipp as a vocalist. 'Cherrie Ripe' was written by Robert Herrick in 'Hesperides,' published in 1678. It was not set to music until 1824, when Charles Edward Horn set it and sang it, and So far as the index to Wheatley's 'Pepys' indicates, there is no entry connecting Nell Gwynne with Cherry Ripe.' The extract given by MR. SCARGILL (23 Jan., 1666/7, apparently) does not seem exact. There is no reason, of course, why some one should not have set Herrick's words to music at that U. V. W. time. 255 gives a picture of the presentation of the Day's motto does not appear to bear any intentional allusion to Ezekiel vii. 10. It is 'Cherry Ripe' is surely not "much later apparently a purely humorous conceit of his His sign was, however, the "Resurin date than Charles II." Herrick's song of own. that name may be found in Mr. Quiller-rection," an allusion to his name; and in at least one instance he published his own Couch's 'Oxford Book of English Verse.' C. W. B. portrait as a colophon, representing him, whip in hand, in a room over the City entrance of Aldersgate where his boys slept. The sun has just risen, and, accompanying his words with a flourish of the whip, he facetiously bids them "Arise! for it is Day." A note made some years ago is somewhat obscure, but I think this colophon will be the Bagford title pages. found among J. HOLDEN MACMICHAEL. The name of Day rather lends itself to punning mottoes. The Rev. J. J. Day, who, thirty years ago, was vicar of one of the Gateshead parishes, adorned his letter-paper with the rising sun and this motto: "And the evening and the morning were the first day." Not to be behindhand, his spiritual head, Archdeacon Prest, rector of Gateshead, adopted the motto of the Carmichaels and other families: "Toujours Prest." A local wit issued some doggerel rimes on the subject, the burden of which was that the archdeacon's ancestry was the older, because, while there was no day till the Creation, Prest had always existed. BOOKSELLER'S MOTTO (10th S. v. 208).—In a little Italian book that I have, "La Storia di un Moscone. Racconto di F. D. Guerrazzi. Torino, 1858," the following stands as motto to Part I.: Enrico Day stampatore prese per insegna un fanciullo, il quale destava il fratel suo dormente, e in atto di additargli il sole gli diceva; Arise for it is day!" On referring to 'The History of Sign; boards,' by John Camden Hotten, third edition, 1866 (the earliest in the Bodleian), p. 474, I read: "John Day, another publisher of the time of Queen Elizabeth, had a sort of pun, or charade, on his name in the sign of the Resurrection,' his device representing a man waking a sleeper, with the words, Arise, for it is day.' This, however, can scarcely be the English source of the Italian author. Oxford. A. D. JONES. In the writings of the several authorities on John Day I can find nothing to justify the point raised by PATRICK that Day's device and motto, "Arise, for it is Day," is a parody on Ezekiel vii. 10. Most writers, including Ames and the author of the article in the Dictionary of National Biography,' regard his device simply as a pun on his name; but W. Roberts, in his work on 'Printers' Marks' (1893), says: "His bestknown device has a double meaning: first it is a pun on his name, and secondly an allusion to the dawn of the Protestant religion." Such punning allusions to the printer's name were quite common among the devices of the early typographers, two notable instances being Grafton's device of a tun with a grafted fruit tree growing through it, and that of Nicholas Eve, which Newcastle-upon-Tyne. RICHD. WELFORD. KING'S COLLEGE, Cambridge (10th S. v. 188). -Fellow-Commoners certainly existed at this college during the eighteenth century, No complete for Horace Walpole was one. list of them has ever been published that I know of, but such a list would be interesting. R. A. A. L. Walpole. See the history of the college by with Viotti, and to have appeared as violinist the late Provost (pp. ix, 65, 66). E. W. B. HAVEL AND SLAIE MAKERS (10th S. v. 209); -In The English Dialect Dictionary' "Havel and slaie or slea" are described as "part of the fittings of a weaver's loom.” See also Forby's Vocabulary of East Anglia.' E. E. STREET. This trade is still enumerated amongst those carried on in the city of Norwich in Jarrold's directory of that city for 1904-5, and one person is described as "a slaie and havel maker." FREDERICK T. HIBGAME. Given heddle for "small cords," as equivalent to havel, we may add slaie, a weaver's reed. So both words connote the same industry. A. HALL. 102, Highbury Hill, N. FEMALE VIOLINISTS (10th S. v. 229). Maddalena Lombardini - Sirmen, wife of Ludovico Sirmen, violinist, was born at Venice in 1735, and studied the violin and singing at the Conservatorio di Mendicanti of that city, afterwards receiving instruction from Tartini. She appeared at Paris at the Concert Spirituel in 1768, and at London in 1771, both as performer and composer. After 1774 she seems to have devoted herself, so far as public life is concerned, solely to singing. Tartini wrote her a letter 6 March, 1760, which was published, shortly after her death, in 'Europa Letteraria' (1770, vol. v.) under the title Lettera alla signoria Maddalena Lombardini, inserviente ad una importante lezione per i suonatori di violino.' That letter was published by Burney, with an English translation, in 1771. It appeared in German in Hiller's 'Lebensbeschreibungen berühmter Musikgelehrten u. Tonkünstler' (1784), and in French in Fayolle's 'Notices sur Corelli, Tartini, Gavinies, Pugnani, et Viotti' (1810). Then there was Regina Strinasacchi, or Sacchi (1762-1839), trained at the Conservatorio della Pietà, Venice, for whom Mozart wrote his B flat Sonata for violin and pianoforte (Koechel, 454). The composer made her acquaintance at Vienna in 1784, and the sonata was performed by her and the composer at her concert on 29 April, 1784. Mozart wrote a letter to his father, praising the beauty and strength of her tone. "I am really of opinion,' he adds, "that a woman can play with more expression than a man." Two other performers may be mentioned Luigia Gerbini, who is said to have studied at some concerts in London; and Signora Parravacini, née Gandini, born at Turin in 1769, also said to have studied under Viotti. She appeared, with immense success, in 1797, at the concerts of the Société Olympique, and later at Berlin, Leipzig, and Dresden. Her last public performance seems to have been at Munich in 1827, when she was nearly sixty years old. These are early and interesting instances of female violinists. It is, however, possible that some hunter among old records may find even earlier ones. J. S. SHEDLOCK. The name of the first lady violinist is panoplied in the dim magnificence of myth. Dubourg claims that it was Queen Elizabeth (The Violin,' fifth ed., 1878, p. 255), founding his pretension upon the boxwood violin in the South Kensington Museum, said to have been given by her to the Earl of Leicester. (See Hawkins's 'History of Music,' London, 1776, vol. iv. p. 342, and C. Engel's 'Catalogue of the Musical Instruments at South Kensington,' London, 1874, p. 287.) The earliest female violinist of whom I have a record is Mrs. Sarah Ottey, who was born about 1695, and of whom Dr. Burney records that in the years 1721/2 she played solos at violin. concerts on the harpsichord, bass-viol, and Gertrude Elizabeth Schmeling, known to fame as Madame Mara (b. 1749, d. 1833), was destined by her father to be a violinist, and astonished audiences on the instrument at the age of ten; in later life she declared that had she a daughter she should learn to fiddle before she sang a note of music. The same century gives us Signora Maddalena Lombardini, to whom Tartini wrote his celebrated letter, published originally in Europa Litteraria' (vol. v., 1770, pt. ii. p. 74), and subsequently in several other works. Female violinists were not regarded with favour until the immense development of the art as a feminine accomplishment about 1875-85. In 1877 Hullah (Music in the House,' p. 30) remarks :— "The blank and stupid astonishment with which violinist was once received amongst us, is happily the apparition-nay, the very mention-of a female a thing of the past." it occasioned, was so much disgusted that she cast R. Ashton (1703 - 15), and Luke Ashton it away and dashed it in pieces. Although I (1724-50). The dates given are only approxiwould not recommend any lady playing on а valuable Cremona fiddle to follow the example of mate, being derived from such notes as I the goddess, yet it strikes me that, if she is desirous possess. There are bells by Scott at Shotof enrapturing her audience, she should display her wick, Taxall, and Wilmslow, in Cheshire; talent in a situation where there is only just light and two fine ones at Cartmel, in Lancashire, enough to make darkness visible." dated 1661. R. Ashton's work may be found at Dalston, Kirkhampton, and Melmerby, in Cumberland, and at Llangerniew, Denbigh; Luke Ashton's at Caldbeck, Cumberland and Great Sankey, Southport, Urswick, and Woodland, Lancashire. Your correspondent should refer to papers on Cumberland bells published some years ago by the Rev. H. Whitehead in the Transactions of the Cumberland and Westmorland Archæological Society. H. B. WALTERS. I ventured to prophesy great things from what was then (1882) called the "mania for teaching girls to fiddle" ("Violin Making,' London, 1883, p. 12), and consider that my forecast has been fully realized. MRS. BERTHA HARRISON is further referred to the records of Regina Sacchi (who married the violoncellist Schlick), who was born in Mantua in 1764 and died about 1822, and for whom Mozart wrote his Sonata in B flat minor, concerning which a sensational story is told by F. Rochlitz in his 'Anecdotes of Mozart'; also to those of Luigia Gerbini (circa 1800) and Signora Parravicini (circa 1820-32), both pupils of Viotti. Catarina Calcagno (born in Genoa, 1797) was said to be a pupil of Paganini, and at the age of fifteen "astonished Italy." The concluding chapter of the fifth edition of Dubourg may direct inquiry. EDWARD HERON-ALLEN. "PIOUS FOUNDER' (10th S. v. 107).-This appellation frequently occurs in the 'Statutes of George Heriot's Hospital, Edinburgh,' compiled in 1627 by Walter Balcanquall, D.D., Dean of Rochester. Cap. ii. ('De Fundatore Hospitalis') enjoins : "He who readeth prayeris everie evening and morning in the chapell of the Hospitall sall amongst other blessingis give thankis unto God in exprees wordis for the bountiefull mantenance which they living thair receave from the charitie of thair pious W. C. founder." CROSS-LEGGED KNIGHTS (10th S. v. 130, 175). -At 8th S. v. 166 a correspondent took a contemporary writer in The Edinburgh Review severely to task for disseminating "old wives' fables" in speaking of a cross-legged effigy as denoting the burial-place of a Crusader. He also stated that no one possessing "even an inkling of antiquarian know" had believed in this theory for the ledge past forty years at least. This writer, however, refrained from giving his own opinion on the subject. If these effigies do not denote a connexion with crusading, what was the particular reason why the legs were crossed? Bloxam, who wrote his 'Glimpse at the Monumental Architecture and Sculpture of Great Britain' in 1834, says on p. 137 :— "With regard to the monumental effigies which are represented with the legs crossed, and which during this [thirteenth] century are of frequent occurrence, the most common supposition entertained is, that such attitude was intended to distinguish those nobles, barons, and knights who were either actual Crusaders, or who, having vowed to engage as such, died before their vow could be performed. That notion is, however, but conjectural, and can be traced to no sufficient authority; and besides this, the cross-legged attitude was retained for more than half a century after the cessation of the last crusade, though it may be remarked that subsequent to the thirteenth century the instances of such attitude are not very numerous." In 1893 Mr. T. Henry Baylis, K.C., produced his valuable little book 'The Temple Church.' This contains a chapter entitled 'Cross-legged Effigies. Whom do They Represent? Thence I quote the following sentences (second ed., 1895, pp. 88–89) :— "Although cross-legged Effigies do not necessarily represent Knights Templars, I think it fair to infer that some Effigies in the Temple Church-which have the armour of the period of their greatest prosperity-represent Knights Templars who had been to the Crusades, and that other effigies which are not cross-legged may be Knights Templars who legged had not; or it may be that the cross effigies represent not only those who had been, but had, as Stow in 1598 describes them, vowed to the Holy Land. "The Temple Round Church is where you would expect to find the sepultures of the Knights Templars; and out of the nine, six of the effigies are represented with cross legs, tibiis in crucem transversis, and, although no cross-legged effigies are known on the Continent and it be an English and Irish conventionality, some distinction may have been intended between those which were and those which were not cross-legged; and where could the distinction be more appropriate than between Knights Templars who had joined the Crusades and those who had not?" Mr. Baylis gives "Mr. Habingdon in his Nash's Manuscript (1650) cited in Dr. Worcestershire Alvechurch,' p. 31," as his authority for saying that there are no crosslegged effigies known on the Continent. In the face of the explicit statement by MR. JAMES CURTIS at the first reference, this must, of course, now be noted as an error ! JOHN T. PAGE. Long Itchington, Warwickshire. CENTENARIAN VOTERS (10th S. v. 187).-It may be worth adding to the note on this subject that Mr. Matthew Fowlds - who pursues his calling as a weaver in the cottage in which he was born in the village of Fenwick, North Ayrshire, on 22 May, 1806, and is in sound mental and bodily health-recorded his vote at the recent election. I do not know if Mr. George Croal, Edinburgh's nonagenarian link with Sir Walter Scott, exercised his privilege as a voter; but Mr. Samuel Kinnear, his fellow-townsman-who was a printer's lad in the great Reform procession in the Scottish capital in 1832, who heard from his father (a compositor in Smellie's printing office in 1786) a description of Robert Burns, and set type himself in the same dingy case-room sixty odd years ago-was delighted at being able to vote for the Liberal candidate for his division. J. GRIGOR. EDWARD BREREWOOD (10th S. v. 208). The index to 'Catalogue of a Loan Collection of Portraits,' exhibited in the Examination Schools, Oxford, April and May, 1905, does He not contain the name of Brerewood. Miscellaneous. NOTES ON BOOKS, &c. The Scots Peerage. Edited by Sir James Balfour Abundant use is |