you -contains both the parenthetical " and know "" ask in the sense that Chapman occasionally puts upon the word. It is, indeed, scarcely possible to read six lines in this scene without encountering a phrase not to be found elsewhere in Beaumont and Fletcher, but appearing with more or less frequency in Chapman. To note adequately all these queer words and phrases would be, to the reader, a too tedious task; but the three lines given below will go far to demonstrate the identity of the author of the scene under review : (1) Author of prodigies! What sights are these! (2) Far fly such rigour your amendful hand. (3) Good lady, rise, and raise your spirits withal. This is no time for us to sleep or rest in. Should the name of brother Forbid us to enlarge our state and powers? (3) (4) Or place affects of blood above our reason, " "in (7) The twice-used parenthetical chief is a rare idiom. It is found onceand, I believe, once only, in Chapman's plays-in Cæsar and Pompey,' I, i: To be suborn'd, in chief, against yourself. It is doubtful whether any other dramatist of Chapman's time used this expression. Chapman's claim to this scene in the play is certainly strengthened by the presence of so mary rhymed couplets in it. They are mostly of his sententious pattern, as a selection will show : Since 'tis so safe and broad a beaten way, Beneath the name of friendship to betray. There is not any ill we might not bear Were not our good held at a price too dear. "Tis justice still (For goodness' sake) t'encounter ill with ill. Several critics have agreed in assigning to Jonson the first two scenes of Act IV, the latest to uphold this view being Mr. E. H. C. Oliphant, in his work mentioned above. I have not seen Charles Crawford's parallels in support of this view, as regards the first scene; but sufficient warrant for its attribution to Jonson is furnished by a fairly strong parallel between these lines We now are duke alone, Latorch secured: Nothing left standing to obscure our prospect: We look right forth, beside, and round about With the last short scene of this act, we shift again to Chapman. It is impossible not to see that we have here to deal with work from the hand of the author of III, i. There is verse of the same crabbed style, with the same sprinkling of rhyme. Couplets from the Chapman mint are Th'undaunted power of princes should not be But, you know, madam, woman never can deedless Readers' Queries. N OFFICER'S MARRIAGE AT THE CAPE OF GOOD HOPE.-In a copy of the Official Army List for 1814, in my possession, there is written in ink at the top of a page headed, "Casualties since last publication "-the page is not numbered the following sentence: Barrack Master at Cork-placed on retired list in October, 1840. He was married at the Cape by the Duke of Wellington, being the only person ever married by His Grace. The remark, probably, refers to Lieut.the 33rd Colonel Francis Ralph West, of Foot, whose retirement from the Army is notified on this page. He was appointed Barrack-Master at Cork in January, 1825. His name appears in the Monthly Army List of October, 1840, as still holding this appointment, but not in that of November. lington? J. H. LESLIE, Is anything known as to this alleged mar"Calamity "is a word of which Chapman riage being performed by the Duke of Welwas fond, and in " "" we have one of his frequent less coinages. The last Act need cause little dispute. The first scene is obviously Massinger's, with the exception of the long speech by Aubrey at the end, which is by Fletcher, who also wrote the rest of the Act. 6 This leaves only the question of the date to be discussed, and of this crux, it appears to me, Jonson's work is the solvent. Judging by the style, Jonson's share must belong to the period between the production of The Alchemist' (1610) and 'The Devil is an Ass (1616), and, as this poet mentions Bretnor-disguised under the name of Norbret, in The Bloody Brother'-in the work of the later date, we cannot go far wrong if we claim 1615 as the year in which the partnership play was produced. That the tragedy was subsequently revised by Fletcher there can be very little doubt. He not only altered largely a scene by Chapman, and added to a scene of Massinger's: there are traces of him also in the Jonsonian portion. If due allowance for these alterations be made, it would seem that Fletcher and Massinger wrote three-fifths of the play, in equal proportions between them, while the remaining two-fifths were shared, unequally, between Chapman and Jonson. But we are still left wondering whether the revision was made necessary by the ravages of time, or because of the lack of the Jacobean substitute for " pep." WILLIAM WELLS. Hon. Editor of the Journal of the Sheffield. Wanted, SONGS ABOUT SOLDIERS. titles of songs about British soldiers, and the British army, with date of publication, if possible. Most of such songs will probably hail from BENGAL COURT, E.C.-This little court LOUIS ZETTERSTEN. JOSEPH CHARLES HORSLEY-KID NAPPED 1818.-Can any of my fellow readers of N. & Q.' throw any additional light upon the occurrence commemorated by the engraving published by Ackerman in November, 1819, (J. Green, Pinx., R. Cooker, Scult.) with the following legend, "Portrait owe their provenance to a narrow PILLION RIDING. The discovery of two pillions, in forgotten corners of an Oxfordshire farm-house and a Staffordshire Rec tory, raises the question when pillion riding went out, and whether enough is known of the successive shapes of pillions to enable one to date them. Presumably the pillion died out as the ordinary country roads were metalled, and became good enough for one horse to draw a gig, which in some districts may not have been till well on in the nineteenth century, especially as carts were taxed. Parson Woodforde's Diary shews us that in the seventeen-eighties he drove a cart, but ladies came to see him on a pillion. Did Jane Austen's heroines ever do anything so so unladylike? G. R. Y. R. GILBERT WHITE, THE NATURALIST. (b. 3 Mar., 1728/9) died in 1750, and was HUGH S. GLADSTONE. area in Staffordshire, wherever they may now be "KING ALLEN."-This was an eighteenth SEXTON'S WHEELS.-It is asserted that Of the two known wheels one occurs at Yaxley in N.E. Suffolk, and the other at Long Stratton, Norfolk, where it is preserved in the vestry. Both these places are in the diocese of Norwich. What purpose did the wheels serve? BAR ARBON FAMILY.-William de Egleston, H. ASKEW. JACKLIN.-Can any reader give me inform-COL BLOOD'S THEFT OF CROWN ation as to the original home or homes of the Jacklin family? It is usual to say that this name, like Nicklin, is a formation similar to Franklin. But I have come across the assertion that Nicklin is not so formed, but is derived from Lynn Hall in the parish of Shenstone near Lichfield, and the fact that, as it appeared, all branches of that family JEWELS. Has there ever been any evidence of Charles II's complicity with Colonel Blood to steal the Crown jewels? We know that Blood received a pension of £500, and that Charles examined him, himself. Charles was always short of money, and if he could have sold the jewels might have had a satisfactory sum in ready cash. D. A. H. MOSES. Replies. CHARLES I AND THE BANQUETING HOUSE, WHITEHALL. (clii. and cliii. passim). IN my article on Charles I. and the Baning House, at cliii. 201, 219, 237, I had intended to make some mention of the great window situated in the south wall of the Hall, but the article becoming long, I omitted any special reference to this window, and it will perhaps be of sufficient interest to consider it here in some detail. First, it may be stated that in Stuart times there were two galleries running along the sides of the Hall, as they do now, at the level of the top windows. These galleries were connected at the north, or Charing Cross end, by a similar gallery along the north wall, and on to this north gallery the upper doors, in the north annexe to the House, opened. At the south, or Westminster end of the House there was, in early times, no gallery connecting the south ends of the side galleries, as does the south gallery there at the present time, this south gallery being of comparatively modern construction. In the seventeenth and eighteenth centuries the side galleries ran to the south wall of the Hall and there terminated. The only window in the Banqueting House that was ever called the Great Window," is the large window at the south end of the Hall high up at the level of the galleries. This window is mentioned in the roll of the account of the Paymaster of the Works for the charges "in new building of a Banquet ing house at Whitehall with a vaulte under the same." The House was completed by Inigo Jones in 1622, and the Paymaster's account, which is in the Record Office, London, was finally settled in 1633. In this account, the original of which I carefully copied, the Banqueting Hall is described as "wth XIIII windowes of eache side and one Greate window at the upper end," that is the south or Westminster end. Surprising as it may seem, there appears to have been a belief in the seventeenth century, probably of foreign (Dutch) origin, and never becoming established in England, that Charles I was brought out from the Banqueting House to the scaffold through this great south window of the Hall, high at the level of the galleries. There is a large engraving in the King's Collection which I have known for some years, and have had photographed. It seems to have been made from a work intended to illustrate the manner of the King's passing from the Hall to his execution, through this great window. The engraving measures 34 ins. by 20 ins., and has no date and no artist's name attached, but engraved beneath it is: Το her most Serene and most Sacred Majesty Anne by ye Grace of God Queen of Great Britain, France and Ireland, etc. This inscription fixes approximately the date of the engraving. The view shows Whitehall Palace and the river side of the Banqueting House from the south-east, as also the south side of the House. The great window in the south wall is seen in the view as very much enlarged, and projecting sideways from the upper part of this window, coming through it in a direction from east to west, is a prominent bridgelike structure passing to a high narrow annexe, which runs from above downwards along the south wall of the House. This narrow annexe is close to the Whitehall Street side of this great south window, and reaches nearly to the window's top level. The end of the annexe below is concealed by smaller buildings along the south of the Banqueting House. Some six months ago I had the above engraving conveyed from the King's Library to the Print Room at the British Museum to ask the authorities there if anything was known about it. I showed it to the Assistant Keeper of the Prints and Drawings, Slade Professor, who at once said that within the last few days a photograph of a painting had been sent to the Department asking for an opinion on it, and that the engraving I showed him had a remarkable resemblance to this painting. The photograph had been sent up by the Conservator of a Museum in a large town in the south-west of England. The Assistant Keeper called the Keeper, who examined the engraving, in which he noticed a resemblance to the photograph mentioned which he had received, but had already returned to the country. He kindly said he would write and ask for it to be sent up again, and would let me see it. This he did, and a few days later I examined the photograph and the engraving with the Assistant Keeper. His opinion was that the engraving was probably made from the painting, and. that the latter was possibly one of the smaller works of De Jong, a Dutch artist. I subsequently wrote to the Conservator of the Museum from whom the photograph |