what public or private collection this glass is at present? LEO CULLETON.

FLIXTON. Can any of your readers give the correct derivation of the word Flixton? There are four Flixtons-one in Lancashire, one in Yorkshire, and two in Suffolk-and I believe each, like the Lancashire one, has a place adjoining called Urmston. One of the two in Suffolk is said to be called from one Felix-Felixton, the town of Felix. Then there is Flet, which signifies flat, and the Lancashire one is flat enough for anything. Then Flitte has the same meaning as Flet. There is also Flit, Saxon for battle-strife, and Fleot, the tide-Fleotston, the town up to which the tide comes. Again, there is Flux, a flowing-Fluxton; and also Fleax or Flex, meaning flax-Flaxton. D. H. L.

Flixton, Lancashire.

BURIAL-PLACE OF CAPEL LOFFT. In the burial-ground of the Mill Quarter Plantation, Amelia County, Virginia, is a white marble recumbent cross, to the "memory of Capel Lofft, son of Capel Lofft, of Troton Hall, Suffolk, who died 1869." Could this be the Capel Lofft alluded to by Byron in English Bards and Scotch Reviewers as The Mæcenas of shoemakers and preface writer general to distressed versemen," &c., and whom Dr. Raven mentions, in his 'History of Suffolk,' amongst celebrated men of that County ? FREDERICK T. HIBGAME.

43, Southampton Row, W.C. [Capel Lofft the younger, fourth son of Capel Lofft, of Traston (not Troton) Hall, died at Millmead, Virginia, U.S., 1 Oct., 1873, as is believed. See Dict. Nat. Biog.']

NELSON RELIC.-Upon the back of a small portait of Lord Nelson in my possession the following_inscription appears in the handwriting of Lady Hamilton:

"This portrait of the great good and brave Nelson Lady Hamilton gives to Mr. Ivey at Batersea [sic] Bridge, as Lord Nelson often used to speak to him coming from Merton to town and Lady Hamilton knows he was a

favourite of Lord Nelson."

Who was Mr. Ivey ?

H. D. E.

MANGLES FAMILY.-Can some reader of 'N.&Q.' give me any information as to the early history of this family? John Mangles, of Hurley, in Berkshire, was a large ship-owner, whose ships sailed between India and this country. He made a large fortune during the Peninsular War; his mother was named Pilgrim, and he possessed a portrait of "an ancestor, Capt. Pilgrim, whose commission was in the handwriting of Oliver Cromwell." He had ancestors named Darsey, Dartsey, or Dargey, of Darsey Park, He was "first cousin of Sir Albert Pell, and had cousins named Mainwaring." He married Harriet Camden, a descendant of the

I wish for information also about his wife's family; also the parentage of Nathaniel Mangles, of the Trinity House, dates of birth, death, and marriage. I think a sister of John Mangles married Capt. Henry Cubitt, son of George, of Catfield Hall, Norfolk. I am endeavouring to form a pedigree of the above family, and am unable to proceed, owing to want of knowledge of the earlier members. F. P. YARKer.

3, Addenbrooke Place, Cambridge.

GEORGE MORLAND, SENIOR. Did he paint more than one portrait of Miss Gunning "washing lace in a basin"? I have lately seen this oil painting and the print of the same in private hands.

A. C. H.

[The 'Dict. Nat. Biog.' gives the date of birth as 1751.]

COLBY FONT.-The ancient font in the parish church of St. Giles, Colby, Norfolk, is octagon, with the centre panel representing the Virgin and Child, that on the left two walking figures, and those on the right a woodman with axe on his shoulder and dog at his feet. Four other panels bear the signs of the Evangelists, and the eighth is plain. I am anxious to learn if the representation of the woodman can be intended for St. Giles, as patron of woods. I am aware his usual symbol is a wounded hart. RICHARD GURNEY.

Northrepps, Norwich,

HILL, SCOTTISH ARTIST.-What is known of this artist; and where is his picture of the leading spirits who influenced the disruption of the Church of Scotland in 1843? Were those portraits painted from life or from photographs supplied to him? If the latter, were those same photographs, or daguerreotypes, say, ever gathered together and deposited in some Scottish church institution?

SELPPUC.

[Three Scottish artists of the name of Hill are men. tioned by Graves. The only portrait painter is Mrs, A. R. Hill.]

SIR KENELM DIGBY.-Sir Kenelm Digby is stated to have inherited the property of his father, notwithstanding the attainder of the latter. Of course we conclude that Sir Everard Digby, prior to committing himself, conveyed his property to trustees to the use of his son Kenelm, according to the practice of those times. Is it known who those trustees were? Some old MS. might show; it would scarcely be found in print. It would be

done at this distance of time. Clearly the trustees (or trustee) rendered an essential service to Sir Kenelm, which he probably requited. ERGATES.

LONDON DIRECTORIES.-Will you please state in 'N. & Q.' when the first directory of the City of London was published; if directories have been issued annually since the first publication; and if a complete set is in any of the public libraries in London ! F. O. H.

"SONES CARNALL" IN 1494.- What is the exact meaning of these words in a Scottish deed of the above date? The Rev. Mr. McGregor Stirling, minister of Port of Monteith, in his book upon the district, gives the following, p. 71, as a note among the Gartmore papers :

"The 25 Feb'ry on thousand four hundreth and nyntie-four year, is a renunsatione granted be John the Gram and Walter the Gram sones carnall to umquill Maliso Earle of Monteath, with consent of John Lord Drummond and Duncan Campbell of Glenorchy their tutors, in favours of Alexander Earle of Monteath their principal Lord and chiefe of the lands of Ellantallo, the Port, Monbraich, the Miltoun of Gartmullie, Cambusmore and Cambusbeg and many other lands therein contained, pertaining to them by donatione of umquill Malise Earle of Monteath there father.' Below this passage is written Dougalstonnes note taken up when he went throw the charter-chist of Monteith.' It is titled on the back, 'Dougalstonne's note written to Mungo Buchanan.'”

There is also a note of this renunciation in the Crawford MSS. in the Advocates' Library, Edinburgh, describing the grantors as "John Graham and Walter Graham, sons carnal to umquhill Malise," &c. R. BARCLAY-ALLARDICE.

Lostwithiel, Cornwall.

"In the eighth century lived Vergilius, a philosopher as well as a divine, as appears by a treatise of his on the Antipodes written against the then received opinion of the shape of the earth, which he proved to be a globe and not a plain surrounded by the heavens at its verge. He spent some time in France, at the Court of King Pepin, by whom he was highly esteemed."

I have searched in vain in the British Museum for further information respecting this writer and his remarkable treatise, and shall feel obliged for any further information on the subject.

Ealing, W.

H. B. HYDE.

AUTHORS OF QUOTATIONS WANted. — "Each day is a little life, and our whole life is but a day repeated." A. 8.

The ladies of St. James's are painted to the eyes, Their white it always stays, their red it never dies; But Phyllida, my Phyllida, your colour comes and goes, It varies to the lily, and it trembles to the rose!

Beylies.

GALLERIES IN CHURCH PORCHES.

(8th S. x. 396.)

There are the remains of a similar gallery in Bildeston Church, Suffolk; the staircase is oak and runs up the west wall turning to the south wall and so to the gallery over the south porch entrance. It would appear that these galleries are rare, and little attention has been paid to their probable use. It would seem that they were erected being likewise used as the way up to the room for the singing on Palm Sunday, the staircase Bildeston Church. over the south porch. This would be the case in

The Sarum Processional says, speaking of the procession on Palm Sunday :

"Hic fiat secunda statio ex parte ecclesiæ australi, ubi septem pueri in eminenti loco simul cantent hanc antiphonam: Gloria laus et honor tibi sit, rex Christe redemptor, Cui puerile decus prompsit Hosanna pium.' Chorus idem repetat post unum quemque versum. Pueri vero dicant versum: 'Israel es tu rex,' &c. Chorus idem repetat: Gloria, laus.'"'Hymnal Noted,' No. 54.

Dr. Rock says :

where such galleries are constructional and remain, will any one add to the list who can ? H, A. W. I find the following in a MS. history of Westonin-Gordano, Somerset, bequeathed to me by a relative, a native of that county, but from what source it was obtained I know not :

"There is a curious gallery over the doorway in the porch, which, according to tradition of the county, was used for chanting a portion of the service at weddings." EVERARD HOME COLEMAN.

"GOD SAVE THE KING" (8th S. x. 234, 362, 438, 478).-In my former contribution I said that the controversy as to whether the music was originally composed in England or in Germany could never be satisfactorily decided; and I am still of that opinion. So much has been written on the topic that the columns of N. & Q.' would scarcely suffice to hold even a summary of the various arguments.

MR. JULIAN MARSHALL has partly misrepresented what I said, and he has introduced a paragraph relating to the "Harmonious Blacksmith" which has nothing to do with me or with the question in hand. I merely alluded to the wellknown belief in Dr. John Bull as the composer, without expressing any opinion as to its truth. But the needless asperity of tone displayed by MR. JULIAN MARSHALL is such that I will not enter into any argument with him-I will simply ask if any other contributor to N. & Q.' can bring forward evidence to show that "God save the King (or Queen) was ever recognized as the official royal march before the Elector of Hanover was invited by the Whigs to become King of Great Britain and Ireland.

'Rule Britannia,' 'Scots wha hae,' 'St. Patrick's Day,' and the March of the Men of Harlech' are truly national songs, and breathe the spirit of patriotism, whereas, in my humble opinion, "God save the King" (or Queen) is not a national anthem at all, but is simply a grand air wedded to very inferior verse, expressive of loyalty and attachment to a particular dynasty, both dynasty

maintain that this is a topic which could be discussed by educated gentlemen without any necessity for the use of such terms as "fraud," "ridicule," "fables," or 66 absurdities." WALTER HAMILTON.

Many varied statements have been made as to the origin of the music of our national anthem. In the 'Dictionary of Music and Musicians,' edited by George Grove, D.C.L., the subject is largely dealt with, without arriving at anything definite. It is necessary, however, to deal with one paragraph alone, for though the writer queried its contents, they were nearer the truth than he was aware of. He says:

"Both words and tune have been very considerably music of an old anthem that was sung at St. James's antedated. They have been called the very words and Chapel for King James II.' [quoted from Victor's letter, Oct., 1745]. Dr. Arne is reported to have said that it was a received opinion that it was written for the Catholic Chapel of James II. Dr. Burney says the same, adding that for it to be sung in the Catholic Chapel of James II. it must surely have been in Latin, of which no traces could be found."

But all this is true in the main, and its first performance recorded was under the following singular and appropriate circumstances.

Upon 21 February, 1660, Samuel Pepys, Esq., went to Westminster Hall, where he saw the members return to Parliament who had been expelled by Col. Pride in 1648. This was the first part of General Monk's scheme to propose the restoration of Charles II. to the throne. Pepys dined with Lord Crewe and then returned to Westminster Hall, where he met Matthew Lock and Henry Purcell, both eminent musical composers, with whom he adjourned to a coffee-house and sat in a room next the water, where they spent an hour or two. Pepy's writes :

"Here we had variety of brave Italian and Spanish songs, and a canon for eight voices which Mr. Lock had and as they sang this loyal song they looked from the lately made on these words, Domine salvum fac Regem,' window and saw the City from one end to the other with a glory about it; so high was the light of the bonfires, and the bells rang everywhere."

The tide of popular feeling had turned to the king; and next day Pepys observed "how abominably Barebone's windows are broke again last night." Thus it was the very hour in which to sing "God save the King."

A fragment in "A Choice Collection of Lessons for the Harpsichord or Spinnet, composed by the late Mr. Henry Purcell, 1696," would seem to be the canon as originally composed, and probably found in MS. among Purcell's compositions and loose papers published after his death and credited to him. Seeing that Purcell was one of the loyal party at the coffee-house when Lock's canon was sung, his possession of it is easily accounted for. The music of the canon is to be found in Grove's

writing of that date would not be "copper-plate," and the person who prepared it for the press might consider "Jly" the best representation of the seal. JOHN RADCliffe.

CHURCHWARDENS (8th S. x. 77, 106).-By No. lxxxix. of Canons Ecclesiastical of 1603, which is still in force, there are to be two churchwardens in each parish, one to be chosen by the minister and the other by the parishioners; but in many instances this rule has never been observed. For instance, St. Andrew, Dublin; Attleborough, Norfolk; and three of the old city churches of Norwich had, and maybe still have, three churchwardens. Henley and Ealing have two, but at the former they are both appointed by the corporation, and at the latter by the vestry, which custom, by a notice in the Monthly Church Paper of St. Mary's for May, 1884 and 1885, in my possession, was then observed. At Doncaster one is appointed by the vicar the other by the mayor. For references to many interesting and valuable communications to N. & Q.' on the election of churchwardens, I would send MR. HUSSEY to p. 14 of the last volume.

EVERARD HOME COLEMAN.

JOSEPH OR JOSIAS MILLER (8th S. viii. 25, 97). -His widow survived him twenty-eight years. Her burial is thus recorded in the London Chronicle, Saturday, 12 July, to Tuesday, 15 July, 1766, p. 50: "Thursday were deposited in St. Clement's Church-Yard, in the same grave with her husband, the remains of Mrs. Miller, aged 83, relict of the celebrated Joe Miller." DANIEL HIPWELL.

called "forest cloth." Urmston.

RICHARD LAWSON.

ary English Glossary,' describes "Whites" to be a name given to certain manufactured cloths, and adds the following illustrations of its use :—

"Salisbury has...... Long Cloths for the Turkey trade, called Salisbury Whites."-Defoe, 'Tour through Great Britain,' i. 324.

"This town (Burstall, Suffolk) is famed for dyeing, and there is made here a sort of cloth in imitation of Gloucester Whites, which tho' they may not be so fine, yet their colours are as good."-Ibid., iii. 146. "This mystery (clothing) is vigorously pursued in this County; and I am informed that as Medleys are most made in other shires, as good Whites as any are woven in this County."-Fuller, Worthies, Wilts,' ii. 435.

Thus it appears that "whites" was a term applied to cloth in at least three English counties during the seventeenth century. EVERARD HOME COLEMAN.

71, Brecknock Road, [In Leeds is, or was, the White Cloth Hall, as opposed to the Coloured Cloth Hall.]

PETER OF COLECHURCH (8th S. x. 397).-Is it certain that there was any removal in 1832? It appears from the 'Annals of Waverley' that he lay in the chapel in 1205. But when Mr. Yaldwin saw a tomb below the chapel staircase with remains in 1737 there was neither brass plate nor inscription nor carving about the sepulchre, but "the remains of a body in repairing the staircase; though we know from the Annals of Waverley,' p. 168, that the reliques of Peter were certainly entombed in this place" (Chronicles of London Bridge,' R. Thomstates that the monument of Peter, "remarkable Maitland ('Hist.,' p. 86), son, p. 65, 1839). only for its plainness," was below the chapel staircase ('Chron.' u. s.). But on the occasion of the opening in 1825 there is no mention of the removal

of the bones.

ED. MARSHALL.

A SQUIB WANTED (8th S. x. 435).—I am glad again to see a contribution from the valued correspondent Miss BUSK, and I wish the subject had been one on which all could have agreed. But the fragment given conveys so very false an impression of Gavazzi, that (as it might in future be quoted from 'N. & Q.' as an authority) it is desirable a correct description of the looks and manner of this effective orator should be put on record by one who heard him forty years ago, and who sat in front of him only a few feet distant.

Instead of being ugly, Gavazzi was a very finelooking man, above the common size, strong and muscular. As he came on the platform he bowed to the company, and sat down on a chair facing them. With a very grave countenance he began to speak in a low voice, which he gradually raised, occasionally leaving his chair and taking a step or two up and down the platform. After a few minutes, as he warmed to his subject, he altogether