་ 66 was plays, yet he achieved a beneficial reform in stage dress, though at the expense of antiquarian correctness and truth. In the first two acts as Lady Macbeth, Mrs. Siddons appeared in a costume that was said to be copied from "the bridal suit" of Mary, Queen of Scots. From her shoulders to her feet fell a black velvet robe, with a broad border of crimson velvet; she had a richly jewelled stomacher, with a jewelled necklace, and jewels on her head, from which fell a long white veil, partially covering her robe. She wore this costume on her first appearance as Lady Macbeth, in 1785, and also on the first night of the famous "O.P." riot, Sept. 18, 1809. Her sleep-walking dress had been designed by Sir Joshua Reynolds, but Kemble may have suggested the Mary Stuart costume in the earlier acts. gentleman boxer," was patronized by royalty, and had Mendoza, "the Professor of Self-defence," as a pupil, as well as an antagonist. Big Ben" the name given to a noted prizefighter named Bryant, who "flourished" between the years 1786 and 1791. One of his victories, at Dartford, Dec., 1789, was over Tring, "the big Porter at Carlton House." It is satisfactory to think that the modern stage does not condemn its favourite tragic actresses to utter such lines "in character" within a minute or two of melting their audience into tears. Who was "the Honourable John St. John," who wrote this tragedy? Did he perpetrate any other tragedy; and what "run" had his Mary, Queen of Scots'? Did it run to twelve nights, as did the very poor play The Regent,' by Mrs. Siddons's friend, Mr. Bertie Greatheed, of Guy's Cliff, which play was In a volume of some fifty or sixty contemporary produced at Drury Lane Theatre in 1788, when the water-colour sketches made by an Irish lady, Miss part of the heroine, Dianora, was performed by the Sackville Hamilton, representing Mrs. Siddons in great actress whose home for two years had been at her various characters, she is depicted as appearthat romantic spot where the author of the playing in 'Mary, Queen of Scots,' in yellow (Fitzresided? The Regent' of 1788 was consigned to gerald's 'Lives of the Kembles, ii. 193). Among oblivion; and possibly the 'Mary, Queen of Scots,' the numerous portraits of Mary Stuart in last of 1789 shared the same fate, despite the command-year's relic exhibition at Peterborough I cannot ing powers of the chief actress and also of the im- recall one that represented her in yellow. In Mr. personators of Queen Elizabeth and the Duke of St. John's tragedy there is nothing to indicate the Norfolk. costume, or its colour, of Mary Stuart; only in the last scene, after she has retired to her oratory, there is the stage direction, "Enter Mary from her Oratory, dressed gorgeously, with a Cross and Beads." Mr. Boaden, in his Memoirs of J. P. Kemble,' says:- Thomas Campbell, in his 'Life of Mrs. Siddons' (ii. 158), after mentioning Mrs. Siddons's appearance in Jephson's 'Law of Lombardy,' says: A still humbler piece taxed her powers soon afterwards (March 20th) in the Hon. Mr. John St. John's 'Mary, Queen of Scots.' Unfortunate Mary! the historians distract us about her memory, and the bad poets will not let her alone." From the date here given by the poet Campbell March 20, 1789-it would appear that Mr. St. John published his tragedy at the end of the next month, April 30; and, in his dedication to the Hon. Mrs. Bouverie (to whom, he says, the composition of the play was in a great measure due), he speaks of the performance having been honoured with so great an attendance." Was it performed more than once? "The Honourable John St. John had ventured to compose a tragedy upon the subject of Mary, Queen of Scots, and Kemble and Mrs. Siddons condescended to act the parts of Norfolk and the Queen. But versifying the descriptions of Robertson, and thinking without a catholic mind, and with no enthusiasm, either for Mary or ancient times, will do nothing in this drama. There can be no sort of doubt as to the philosophic candour, and the beautiful language that distinguish both Hume and Robertson. But the rudest chronicler of past ages is infinitely better suited to the dramatic poet" (i. 431). In the following year, 1790, "the Hon. J. St. John, proud of his achievement, Mary, I have not been able to light upon any mention of Mrs. Siddons's performance of the Queen of Scots in her son's work, 'Practical Illustrations of Rhetorical Gesture and Action, &c.,' by Henry Siddons (second edition, 1822). Nor can I trace any representation of the character in the numer-gerald says:ous illustrations to the work, unless it is the vign"There was more dignity, as well as morality, in his ette (p. 77) of the uplifted head with the hands rebuke to a foolish play-writer, who was connected with clasped in prayer. We know how Kemble improved the aristocracy-the Hon. Mr. St. John-who had the costumes of the stage at a time when it was written one of the innumerable Mary, Queen of Scots,' deemed the right and proper thing for the leading plays, and was impertinent to the manager in the greentragedian to appear as Othello in the cocked hat room. High words followed. 'You are a person I cannot call out,' said Mr. St. John, insolently. But you a rea and crimson trousers of an English general. And person I can turn out !' was the ready reply; and you although Kemble deliberately voted for ana-shall leave this place at once.' The offender had the good chronism when he adopted the Charles I. cos- sense to return and offer his apologies" (i. 299). tumes for the group of Shakspeare's historical In the work from which I have just quoted Mr. Percy Fitzgerald gives me but very scant justice (his work is published without any date). In the magazine called Titan (James Hogg, Edinburgh), 1857, I had an article entitled 'Siddoniana,' which was subsequently reprinted in my volume of miscellanies, The Curate of Cranston: with other Prose and Verse' (Saunders & Otley, 1862). This article took up twenty-three octavo pages of the book. It was the result of at least four years' inquiry into the subject, chiefly in Worcester and Wolverhampton; and I was enabled to print for the first time many interesting points in Mrs. Siddons's earlier years. I personally knew the lady with whom she had been at school at Worcester, and who told to me the interesting anecdotes of her early girlhood; I got copies of the very scarce and curious playbills issued by Kemble at Worcester in 1767, showing that the future Mrs. Siddons was singing and acting on the Worcester stage before she was twelve years of age; and I was able to show that her first Shakspearian character was that of Ariel in "The Tempest ; or, the Inchanted Island: as Altered from Shakspeare by Mr. Dryden and Sir W. D'Avenant," Twhen, in the storm scene, there were monsters and other decorations," with a "Beautiful shower of Fire," and "the Whole to Conclude with a Calm Sea, on which appears Neptune, Poetick God of the Ocean, and his Royal Consort, Amphitrite, in a Chariot drawn by Seahorses, accompanied with Mermaids, Tritons, &c." This was produced by Kemble, in "the faithful City," on April 16, 1767, when "Miss Kemble" was not yet in her teens. I was also able to give copies of the Worcester playbills, when, in recognition of the law, 1770, the "Concert" and the "Comic Opera, called Love in a Village," in which Miss Kemble and her future husband sustained the characters of Rosetta and Young Meadows, had to be given gratis; but, that "a quantity of Tooth-powder, from London," was to be sold at the theatre doors "in papers at 2s., 18., or 6d." I also was able to give copies of an address written by herself and of another written by her son. These were published for the first time in Titan, 1857, with various other scraps of information that were given to me by Mrs. Siddons's friends and contemporaries, which will be found in my paper 'Siddoniana.' But when Mr. Percy Fitzgerald in his dateless work has to speak of the early years of the future Mrs. Siddons, he quotes one of my discoveries and says in a footnote: "Some of the following details will be found in the 'Siddoniana,' a paper contributed to Titan in 1857 by a gentleman who writes under the title of Cuthbert Bede,' who collected a few traditions in Worcester and diligently searched some of the local newspapers." And he then, without further designating his authority, appropriates the other items in my article. Mrs. A. Kennard, in her 'Mrs. Siddons' (W. H. Allen & Co., 1887), also quotes them, and very naturally attributes them to Mr. Percy FitzCUTHBERT BEDE. gerald instead of to [The play was first acted at Drury Lane March 20, 1789. How many times it was acted is not known. Its author is said in the Biographia Dramatica' (1812) to have been brother of the late, and uncle to the present Viscount Bolingbroke, to have been many years Surveyor of the Crown Lands, and to have died October 8, 1793. He wrote one other play, 'The Island of St. Marguerite,' 8vo., 1789, a musical romance, dealing with Voltaire's account of the Mau in the Iron Mask. It was acted at Drury Lane November 13, 1789, by Kelly, Suett, Bannister, jun., Barrymore, Miss Romanzini, Mrs. Crouch, &c., and as it gave a picture of actual events in Paris (taking the Bastile, &c.) had a great success. John also wrote Observations on the Land Revenue of the Crown,' 4to., 1787.] St. ENGLISH GRAMMARS. (Continued from p. 122.) Hall's Lessons on the Analogy and Syntax of the E. Language. 1833. 12mo. Haltrop, J. E. and Dutch Grammar. Dort, 1791. 8vo. Hampton, Barnaby. Prosodia construed. 1657. 12mo. Harris, J. Hermes; or, Inquiry concerning Language. London, 1751. 8vo. Also 1765, 1771, 1777, 1781, 1786. Verbs of the E. Language explained. 1830. 8vo. Hart, John, Chester Herault. An Orthographie. London, 1569. 16mo. Hazlitt, Wm. G. of the E. Tongue. 1810. 12mo. Head, Sir E. "Shall" and "Will." 1858. 12mo. H[eath], W[m]. Grammatical Drollery. [An accidence in rhyme]. 1682. 8vo. Henley, J. The Compleat Linguist. London, 171921. 8vo. Anglo-Saxon Grammar. 1726. 8vo. Henshall, S. The Anglo-Saxon and E. Languages reciprocally illustrative of each other. London, 1798. 4to. Etymological Organic Reasoner. London, 1807. Saxonicæ, &c. Oxford, 1689. 4to. Hickes, Dr. Geo. Institutiones Grammaticæ Anglo 8vo. Linguarum Veterum Septentrionalium Thesaurus. Oxford, 1705. 3 vols., folio. Grammatica Anglo Saxonica. Oxford, 1711. 8vo. Hill, W. Fifteen Lessons on the......E. Language. Huddersfield, 1833. 8vo. Hodges, Rich. A Special Help to Orthographie. London, 1683. Small 4to. The Plainest Directions for True Writing of English. London, 1649. 12mo. Holder, W. Elements of Speech. London, 1669. 8vo. Hollyband, Claudius. The French Schoolemaster. London, 1573. 12mo. Also 1631. The Italian Schoolemaster, London, 1575. 12mo. Also 1583, 1591, 1897, 1608. The French Littleton. London, 1625, 18mo. Treatise for Declining of [French] Verbs. London, 1641. 8vo. Hunter, W. Anglo-Saxon Grammar. 1832. 8vo. Hutchinson, F. Many Advantages of a Good Language, with the Present State of our own. 1724. 8vo. Irving, David. Elements of E. Composition. London, 1801, and 1820. 12mo. Jamieson, John. Hermes Scythicus. Edinburgh, 1814. 8vo. Jodrell, Rich. Paul. Philology of the E. Language, [Really a dictionary of quotations.] London, 1820. 4to Johnson, R. The Scholar's Guide from the Accidence to the University. 1665. Johnson, Rich. Grammatical Commentaries. London, 1706. 8vo. Also 1718, 8vo. ; 1818, 8vo. Noctes Nottinghamicæ. Nottingham, 1718. 8vo. Jones, J. Practical Phonography. London, 1701. 4to. 8vo. Latham, Dr. R. G. E. G. (Several editions.) Leibnitz, G. W. Collectanea Etymologia. Hanover, 1717. 8vo. Lewis, M. Essay to facilitate......the Rudiments of G. 1674. 8vo. Lexiphanes. See Campbell, A. Lhuyd, Edw. Archæologia Britannica. Oxford, 1707. E. G., with preface by John Ward. London, 12mo. 1739. Also 1766. Martin, T. Philological E. G. 1824. Monboddo, Lord. Of the Origin and Progress of Murray, Dr. Alex. History of the European Lan- Examined by an Oxonian. 1809. Odell, J. An Essay on the Elements, &c., of the E. Oliver, S. General Critical G. of the E. Language. London, 1825. 8vo. Also 1826. WALTER W. SKEAT. (To be continued.) OLIVER CROMWELL AND CARLISLE In 'N. & Q.,' 7th S. v. 429, s.v. 'Cathedrals,' May I refer CANON VENABLES to a letter of my own on the subject of Oliver Cromwell and the 4th S. x. 297, and to MR. EDWARD PEACOCK's reply, chapter-house of Salisbury Cathedral in 'N. & Q.,' 4th S. x. 402, confirming my suspicions as to the unfounded coq-à-l'âne of the Salisbury verger? (See also the incisive articles in 1867, 1871, and 1872, by your old correspondent CLARRY, whose name I never see in 'N. & Q.' now.) Much the same thing may be said to have happened, and is probably still happening every day, in nearly every cathedral in England. The damage done at the time of the Reformation, that to be ascribed to Commonwealth men with whom Cromwell had nothing to do, that which is due to eighteenth century neglect, and to the "destructive" architect Wyatt, who died in 1813, is all laid on Oliver Cromwell's shoulders. I believe Carlisle is the extent in the civil wars, and even in this instance only cathedral whose fabric suffered to any great it is all but-perhaps I may say quite-certain that Cromwell had nothing to do with it. As, however, I did not know for certain, I wrote to your constant readers of N. & Q' know, is very learned in the correspondent MR. EDWARD PEACOCK, who, as all history of the civil wars. He said that he believes the charge against Oliver Cromwell in connexion with Carlisle Cathedral is untrue; but he referred me, oddly enough, to a friend of his, a gentleman in Carlisle, whom I knew when I lived there, namely Mr. Richard S. Ferguson, whom MR. PEACOCK described as a most accomplished antiquary." I accordingly wrote to Mr. Ferguson, and he has very kindly taken the trouble to go into the matter closely, and I now, with his permission, forward you the notes he has sent me. As Mr. Ferguson is thoroughly conversant with the history of the border city, CANON VENABLES will have to bring forward some pretty strong evidence to refute his. Vergers and beadles speak according to their knowledge; but in this late age, when so much light has been thrown on Oliver Cromwell's history and character, it is sad to find highly educated people still repeating the old scandals against one of England's greatest men and her very greatest ruler. I will now let Mr. Ferguson speak in his own words: "One of the articles under which Carlisle surrendered, June 25, 1645, to the Scottish troops under General David Leslie, was No. 3, that no church be defaced.' The articles are printed in the preface to Tullie's Narrative of the Siege of Carlisle in 1644 and 1645,' published in 1840 by Jefferson of Carlisle. "The editor of the tract says that, in spite of the articles of surrender, they pulled down a large portion of the nave of the cathedral; but he does not say who 'they' were. Jefferson, in his History of Carlisle,' published 1838, says the same, but adds a note, Tradition imputes the destruction of the west end of the cathedral to Cromwell; but he does not appear to have been concerned in it.' "Dr. Todd, prebend of Carlisle, 1685 to 1728, in his MS. history of Carlisle gives the articles of surrender, and says, "Upon these articles the place was surrendered, and putt into y hands of ye Parliamt Officers, who took possession of it for the Rebells. And notwithstanding the Condic'on they came in upon, either they or those that succeeded y committed violences and Injustices upon both p'sons and places within ye walls. "The Abbey Cloister, part of y Deanery, Chapterhouses, and houses built for ye Prebendaries and ye rest of y members of y College, which were stately buildings, they pulled downe, and imployed ye stones to build a maine Guard, and a Guard-house at every Gate, to repaire ye Walls, and other secular uses as they thought fitt. "The Westward of St. Marye's Church [i. e., the Cathedral] they demolished, which was after built shorter, as it now stands, and they were so moved with zeal and somewt else agst magnificent Churches, that they were designed to pull down the whole Cathedrall, and to have noe Church but only St. Cuthbert's, but y king's hapie Restaurac'on putt an end to these and such like Sacrilegious Intenc'ons. Domine, ne Statuas illis hoc Peccatum.' "Dr. Todd distributes the blame rather too widely. Up to 1648, Carlisle was held-not continuously-by Scottish garrisons; civic government disappeared; no mayors appear to have been elected. expect the mischief was done then, either under David Leslie, or the Duke of Hamilton, or his deputy, Sir W. Livingston, assisted by local fanatics. In October, 1648, Carlisle was surrendered by the Scottish forces under Livingston to Cromwell, i. e., to his forces. There is no conclusive evidence that Cromwell ever was in Carlisle until 1651. "With 1648, 1649, order was restored to Carlisle; civic government resumed; a mayor elected; maces and a removed from the ruined nave of St. Mary's to St. Cuthstate sword purchased; the mayor's chapel-or pewbert's; orders issued for the Town Council to attend church; and any design of destroying the cathedral came to an end. That, at least, is my impression. "The above, I think, clears Oliver Cromwell." I need add nothing further to Mr. Ferguson's notes; and I shall now wait with interest to see what evidence-if any-CANON VENABLES proposes to bring forward in support of his charge against Cromwell's troopers that they destroyed the nave of Carlisle Cathedral Ropley, Alresford, Hants. JONATHAN BOUCHIER. PORTRAITS OF WILLIAM PENN.-According to an article in Scribner for May, 1876 (vol. xii. p. 1, et seq.), by Mr. Frank Etting, only two original portraits of Penn are known to exist. One (authenticated I cannot find upon what_ground) was that of the great Quaker at the age of twentytwo, which, presented to the Historical Society of Pennsylvania, has been engraved by Schoff and adopted by Bancroft into his 'History of the United States.' This is said to have been painted from the life, it is believed in Ireland." The other is stated by Surtees, in his 'History of Durham,' to have formed part of the collection of George Allen, Esq., of Blackwell Grange, on the Tees, which contained several admirable crayon drawings by Francis Place (mentioned by Horace Walpole in his 'Anecdotes'), amongst which were "fine heads of Charles II. and of William Penn and his wife." This (of Penn ætat. fifty-two) was copied for the National Museum. The original is described as "eminently handsome, the expression of his countenance remarkably pleasing and sweet, his eye dark and lively, and his hair gracefully flowing over his shoulders." West's portrait, for his picture of Penn's Treaty with the Indians, seems to have been got from a miniature carved (from memory) in ivory by Sylvanus Bevan, an old Quaker apothecary, many years after Penn's death, and sent to old Lord Cobham, who had a marble bust made from it for his garden at Stowe. From this bust West obtained the face for his picture, a face which Inman copied for the Society for Commemorating the Landing of Penn; this again being used for the head on the stock certificates of the United States bank and for all official effigies. In this and other pictures Penn is shown wearing a costume which did not come into vogue, and really was not known, until half a century afterwards, if at all. It will thus be seen a doubt attaches even to one of the two original pictures of Penn said to exist. Now a friend of mine, at the sale of a Quaker lady's effects a few months ago, purchased a picture-an old one, undoubtedly-which contains on the back the following entry, in handwriting which I judge second fit. He was then 72 years old. In 1718, on the Along the top edge of the old oak frame runs a strip, portions of which have been worn or cut away, containing this inscription : "To preserve the history of this portrait the following particulars may be depended on. It was in the family of Sturge, of the Society of Friends, at Bath, for two or three generations, and was inherited by them from old family relatives, also belonging to the Society, back to the period when the portrait was painted, at the time when William Penn was in that city for the benefit of his health in 1715." 66 With a few other words which are illegible, with the exception of, perhaps, “very" and Sturge." The portrait is that of an elderly, good-looking man, firm jawed, with well-cut nose and sharp and thoughtful eyes, bewigged, large hatted, and wearing an eight-buttoned coat of mauve velvet, with a white stock atop. I take it that Penn in 1715, at the height of his fame and in the fashionable city of Bath, would hardly have sat to any but a first-rate painter for his portrait, for any fresh light with regard to which I shall feel exceedingly in debted. Neuadd Wen, Canton, Cardiff, JAMES HARRIS. the ancient Church. In turning over the leaves of the Retrospective Review I have come upon an instance of this kind which is not mentioned by the writer I have referred to. It occurs in vol. ii. p. 136, in a review of an English version of a Spanish novel called 'The Life and Adventures of Lazarillo Gonsales, surnamed De Tormes.' I have never read either the Spanish original or the English translation, so cannot tell who is responsible for the mistake. It is not probable that it can occur in the original, for every Spaniard must have known the difference between the two things. The tale is one of Spanish cheating, and from the extracts furnished it seems to be just of the kind to entertain our ancestors who flourished in the middle of the last century. At one time Lazarillo was in the service of an old priest, who had an ancient chest in which he "deposited the sacrament-bread." This chest, with the aid of a tinker, Lazarillo opened, and gave the tinker one loaf for his pains and used the rest to satisfy his hunger. It is quite clear that what is meant is the bread intended to be used for the Eulogia. In Spain, as elsewhere throughout Western Christendom, the Roman Catholic Church has for ages used wafer for the holy Eucharist. ASTARTE. PRIVATELY PRINTED WORKS.-You have often mented literary and historical value attaching to lately commented in your columns on the augthe privately printed volumes of to-day above corroborated by every one interested in works of those issued years ago, and this opinion must be that class. Every advantage, however, seems to carry with it a corresponding drawback, and such is the case with regard to these volumes. With this increased importance they have become dearer in the market, and the difficulty of acquiring them proves a greater stumbling-block than ever to students. It has happened to me of late to require "RUSTICUS EXPECTAT," &c.-There are two the following works, and to find them wanting lines of Horace which seem to refer to a fable: from the British Museum : 1. Adam, W. Gift of a Grandfather, 1836; and sequel, 1839. Rusticus expectat dum defluat amnis; at ille Labitur, et labetur in omne volubilis ævum. 2. Baker, Sir G. S. Office of Vice-Admiral. Is there any classical fable or story to this effect? 3. Lowe, Rachel J. Farm and its Inhabitants. There is no such fable in Phædrus. There is such To these volumes I may add the privately-printed a fable in L'Estrange, but he, or the author heMemoirs' of Miss Fanshawe and the Australian translates, may have manufactured it out of Horace. La Fontaine, who has versified almost all the fables, old or new, has not got it, nor is it in Croxall's Fables.' Had it been in Babrius, it would hardly have been omitted from these E. YARDLEY. modern collections. HOLY BREAD. The last volume of the Antiquary (pp. 191-194) contains an article on holy-bread, in which the writer points out that this blessed bread has often been mistaken for the holy Eucharist by persons who are not acquainted with the rites of volume of poetry by Barron Field. My own case is no doubt that of many others, and we should be glad if you would continue at reasonable intervals to impress on those at the cost of printing such volumes the need of copies being deposited in the National Library, where they will be within the reach of every student. WESTMONAST. WATCH MENDING 1608.-In the accounts of the Earl of Northumberland, Historical MSS. Commission, vol. v. p. 229, is a charge, under February 3, for "mending of a watch and string |