current issue of The Library an identification of the hand of that William Stanley, sixth Earl of Derby, who has been credited with the authorship of Shakespeare's plays. It is a pretty problem neatly solved and the error of a former expert-published in The Genealogist in 1892-has given occasion to some extra illustration which should have its use to the student of Elizabethan scripts. Then Dr. Greg goes on to quote from M. Lefranc-the ingenious promotor of Derby's claims the delightful result of his having laid the facsimiles in The Genealogist before the President of the Société de Graphologie de France. A wonderful character was de duced from the specimens; but some of the conclusions are vitiated from failure to recognise that the same writer would, in those days, write either English or Italian script as suited him.


E notice in The Antiquaries' Journal for this month a description and illustration of the bracelet found at Selsey last November (v. cxlix. 380,416). It is now in the British Museum. The ultimate source of the metal is probably Ireland; the type is best represented in Yorkshire. Since in type this bracelet is earlier than the gold bracelet found at Heathery Burn it may be dated nearer 1000 than 800 B.C.

WE E learn that the date of baptism of Button Gwinnett, one of the signatories of the Declaration of Independence, for which an advertisement appeared in our columns on April 24, has been obtained. The certificate of the baptism was discovered in an old parish record by Mr. Dutton, of Gloucester.

THIS week was opened at the Victoria and Albert Museum one of the most interesting of recent exhibitions-that of works of art belonging to the Livery Companies of the City of London. It consists of plate, furniture, hangings, embroideries, pictures, charters, and other objects-plate being the staple exhibit, and the earliest piece of this the standing cup and cover given to the Mercers' Company by Sir Thomas Leigh, hall-marked for 1499. Here, in the place of honour on the walls, is the carpet made at Lahore specially for the Girdlers' Company and presented to them by Robert Bell in 1634; and here are also the tapestry representing St. Martin and St. Dunstan, of the Vintners, and the Saddlers' "Pall." The Drapers have sent their Gobelin tapestries with the story of Jason and Medea; and the

Fishmongers the dagger with which it is said that the Lord Mayor, Sir William Walworth, killed Wat Tyler.


T midnight on Aug. 1 the celebration of the seventh centenary anniversary of St. Francis of Assisi will be begun by a solemn Pontifical Mass in the Cathedral of Assisi and in the Church of S. Rufino. On the same night so we learn from The Morning Post of July 21-the whole Umbrian Valley will be illuminated, the bells of Assisi will be rung, and the Blessed Sacrament carried through the streets. The celebrations will be continued until the end of autumn and the presence of the highest Church dignitaries, together with State and Civic authorities, will mark the occasion as one of some historical importance in the relations of Church and State in Italy,


THE Manchester Guardian for July 20 had an interesting article on marriages at made It appears announcement has been at Washington that captains of American vessels have no authority to marry people on the high seas. As the writer says, the surprise among English people will be that claim to such power was ever made by or for them. Those whom the announcement has disturbed resent it as giving a further advantage to British-owned ships, there being an idea abroad that British captains retain the right to perform a valid marriage at sea. It is to be hoped that no one will be led to entertain this delusion.


AEBURN'S portrait of Sir Duncan Campbell, first Baronet of Barcaldine and Glenure is to be sold at Christie's on Wednesday in next week-last picture sale of the season. Sir Duncan served at Copenhagen and at Talavera. The portrait represents him in the uniform of the 3rd Scots Fusilier Guards. Another highly interesting feature of next week's sales will be the offering at Christie's of Romney's "Mrs. Davenport of Capesthorne.' Wellknown by reproduction it has been for years noted by dealers both in England and the United States as a picture to be acquired. THOSE of our correspondents who have recently been interested in John Hawkeswork may like to note that a set of the Adventurer, which he conducted-Nos. 1-140 (Nov. 7, 1752, to Mar. 8, 1754)—was bought at Christie's last Monday by Messrs. Maggs for £35. At the same sale a portrait of a nobleman by Titian (in black, holding a gold chain) was sold for 600 guineas.

Literary and Historical left. Notes.

BLAKE'S 'HEADS OF THE POETS.' THE eighteen portraits by William Blake


called Heads of the Poets,' painted for Hayley's library at Felpham, and now in the Heaton Park branch of the Manchester City Art Gallery, are described in Gilchrist's Life of Blake, some of them in the text and the whole series again in W. M. Rossetti's Annotated Lists of Blake's Paintings, Drawing and Engravings' at the end of the book. The names given to them there, and the descriptions of the accessory designs, seem never to have been systematically criticised, for with one exception they are repeated in the volume of reproductions published by the Blake Society in 1925. The following notes correct and supplement some of Rossetti's identifications and descriptions.

EURIPIDES. The accessory design is a line-for-line copy of a drawing by Hayley's son Thomas, entitled 'The Death of Demosthenes,' and engraved by Blake for Hayley's Essay on Sculpture,' 1800. The portrait is clearly intended for the same person as the central figure of the accessory design; a photograph of the ancient bust of Demosthenes on which it is based may be found in Wells's Outline of History,' vol. i., p. 226. The civic wreath of oak refers to Demosthenes' political orations.


at all like the stout, bearded soldier on the


LUCAN. This, judging from the size, is a companion to the Demosthenes. The parallel extends further, for in both cases the accessory design illustrates the death of the man represented in the portrait. No portrait of Lucan, authentic or imaginary, seems to exist, and this painting cannot be intended for Lucan and the death of Lucan" because Lucan committed suicide. The head is very like that of Cicero, and the accessory design perfectly fits the account of his death given in Smith's 'Smaller Classical Dictionary.' The supposition that this is intended for Cicero is borne out by the civic wreath of oak, mingled with palm in allusion to his philosophical writings. The scene cannot possibly represent Cæsar and the decapitation of Pompey, for Pompey was not beheaded, but stabbed in the back as he was stepping ashore from a boat. Caesar was not present, and in any case he was not


SIDNEY. This portrait should be called 'Ercilla.' The accessories are an arrow and an Indian feather head-dress; they have no connection with Sidney, but are specially suitable for Ercilla, who wrote an epic, Araucana,' on the wars between the Spaniards and the natives of Chile. The notes to Hayley's Essay on Epic Poetry' contain a summary of the Araucana, with long extracts translated into English verse. The portrait is identical with one reproduced in the Nouveau Larousse Illustré 'except that it is reversed, like several others in the series. Doubtless this was done to adapt them to their intended position on the walls of Hayley's library.


POPE. The figure on the left, which Rossetti was unable to identify, illustrates in every detail the opening lines of Pope's Elegy on an unfortunate Lady.'

CAMOENS. The accessory, an anchor, is the device of Cape Colony, an allusion to the episode in the Lusiads' of Vasco da Gama's rounding the Cape of Good Hope. Or perhaps it refers more generally to his voyage to the Indies. It is curious that Camoens is represented as blind in the left eye instead of in the right, as he was in reality.

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VOLTAIRE. The accessory design, representing Joan of Arc encouraging a party of soldiers, seems to require some explanation in view of its incompatibility with the spirit of Voltaire's 'Pucelle.' There is a parallel case in Romney's portrait of Lady Hamilton as Joan of Arc, which Hayley regarded as an expiation of the treatment of Joan of Arc by the English, and of Shakespeare's portrayal of her in King Henry the Sixth.' See Hayley's sonnet in his Life of Romney, p. 159, beginning "A soothes that injured bright atonement shade." Rossetti says "The wreath is distinguished from all the others by the variety and brightness of its floral colours . . is not at all accustomed to associate the idea of Voltaire with any special vividness of The wreath more probably natural beauty.' typifies brilliant versatility.



SPENSER. The accessory design to this head is more typical of Blake's work than any of the others. I am unable to suggest an interpretation of it as the Blake Society's photographs, on which I chiefly depend, were taken before this picture was restored.

Rossetti's notes on the heads of Milton,

Homer, Chaucer, Dryden, Otway, Dante and Cowper do not seem to require any comment. Before discussing the others-Shakespeare, Tasso, Young and Hayley-I must return to the hint given in the note on Demosthenes, where I showed that the design was not by Blake, but by Thomas Hayley. The second volume of Hayley's Memoirs includes Memoirs of Thomas Alphonso Hayley, the Young Sculptor.' Thomas Hayley (17801800) was the pupil of Hayley's friend Flaxman. Besides his work as a sculptor, many of his paintings and drawings are described in the Memoirs. The following is a complete list of them, excluding portraits and designs for sculpture: The Two Angels and Mary at the Tomb of Christ'; Minerva and Perseus'; Satan passing through Chaos'; 'Macbeth and the Witches'; The Dying Demosthenes ; The Queen of Naples and her Child' Christ and the Woman of Samaria.' I have already shown that Blake used the Demosthenes, and with this list in hand it seems probable that at least three more of his accessory designs-those to Tasso, Shakespeare and the head called Young,' or Blair,' are based on Thomas Hayley's drawings.







TASSO. Rossetti's figure of a woman in prayer, &c." is perfectly fitted with a title from the above list: Mary and the two Angels at the Tomb of Christ.' (See 'Memoirs of T. A. H.,' p. 156.) Tasso wrote an epic on the Crusades, hence his association with the Tomb.

SHAKESPEARE. The accessories are not Hamlet and the Ghost, but Macbeth and the Witches ('Macbeth,' Act IV., scene ii.). Rossetti's title fails to explain four out of the six figures. For a description of the supposed original, see T. A. H.' p. 450.




YOUNG. "Accessory, a figure which may stand for a Recording Angel." It has evidently been realised that this portrait is not in the least like Young, and both the Manchester authorities and the Blake Society call it Blair.' There is no portrait of Blair in the British Museum print-room, so I have not been able to check the resemblance. But this is the head of Klopstock; Hickel's portrait, on which it is based, may be seen in Koennecke's 'Bilderatlas zur Geschichte der deutschen Nationalliteratur.' Blake's copy is exact in every detail except that it faces left instead of right. The accessories are unfinished, but the attitude of the seated woman on the right, and the ominous spray

of thorn on the left, probably indicating the figure of Christ which was to have occupied that side, suggest that this is Thomas Ĥaylay's Christ and the Woman of Samaria,' illustrating Klopstock's Messiah.' (See 'Memoirs of T. A. H.,' p. 478).



HAYLEY. Neither Hayley's taste nor his opinion of his own merits as a poet would have allowed him to include a portrait of himself in such a series as this. Furthermore, he was nearly sixty when the series was painted, and this is the head of a youth. The renaming of Euripides and Lucan as Demosthenes and Cicero, by disposing of Rossetti's assumption that all the heads are of poets, leaves no objection to calling this one Thomas Hayley, and the correction supported by comparison of the portrait with others of Thomas Hayley in Hayley's Essay on Sculpture,' in his Memoirs (vol. ii.), and in the picture after Romney in the National Portrait Gallery, 'Flaxman modelling the Bust of Hayley.' The surrounding wreath is of ivy, often used on monuments, especially of the young, to represent undying attachment (Thomas Hayley died, aged 19, before the Heads were painted). The two doves also are typical of affection.

K. POVEY. 85, Foxley Lane, Purley, Surrey.


(See ante, pp. 3, 24, 41).




GEORGE NUGENT REYNOLDS (see ante, p. 6, col. 2) is the " George Reynolds the Younger, ," who is mentioned in the following Deeds which are filed in the Registry of Deeds Office, Dublin. From the Conveyance dated 10 Dec., 1785, it would appear that he took the additional Christian name of Nugent a little while prior to 1785. A Lease and Release dated 2 and 3 January 1765 Between George 238-355-154913. Reynolds the Elder of Reynolds Loughscur Co. of Leitrim gent and George Reynolds the younger, son of said George Reynolds the Elder of the one part and Hugh Maguire of Castlenugent Co. Longford Esq. and Hugh Connell of City of Dublin, Wine Merchant. For settling the reversion and inheritance for ever of




Town and Lands of Letterfyan also Town and Lands of Brendrum, Aughalorgh, &c.



A Memorial of Articles of Agreement dated 1 June 1767. Between 250-580-165931. George Reynolds the younReynolds ger of Letterfyan in Co. Leitrim Esq. and Lawrence Connell of St. Johnstown in Co. Longford gent. Whereby George Reynolds settled unto Lawrence Connell all Lands of Dromore in Co. of Leitrim. For lives of said Laurence Connell and Elizabeth Connell his wife and John Connell their eldest son.




A Conveyance dated 10 December 1785. Between George Reynolds of 382-370-256292. Letterfyan in Co. Leitrim Reynolds Esq. and Hugh Connell of Cranery in Co. Longford Sworn 19 April, Esq., Surviving Trustee in a certain Deed of Release bearing date 3 January 1765 between George Reynolds Esq. since deceased the father of the said George Reynolds, Hugh Maguire late of Castlenugent in said Co. Longford Esq. deceased, the said Hugh Connell and George Reynolds party thereto of the second part, William Keon of the City of Dublin of the third part. William Keon living at Carrick and Gowley.

Witnessed by Myles Keon of Keonbrook, Co. Leitrim and by Edward Keon of Mor eagh... and that he saw the same duly executed by the above named George Reynolds who lately styled himself George Nugent Reynolds.

7. In the Introduction to a book of Irish Poetry by Stopford Brooke it is stated that George Nugent Reynolds wrote numerous poems to the Dublin magazines about 1792-5. A few years ago I heard of a Book of Poems (unpublished) by members of the Reynolds family, containing the following by George Nugent Reynolds.

2. Verses on a Goose.

3. The Golden Calves.

4. The Lion at the point of Death.

5. Given to Mrs. Byrne who lent the Author Fontaine's Tale of the Eyes composing with the Mouth.'

6. To William Rowley Esq. of Drumsua. 7. An Epilogue written for Mrs. Willis after Goldsmith's Play of 'She stoops to -conquer.'


On his sister Bridget.


Verses made at Letterfyan.
Epitaph of R. Johnstone, Esq.


11. On the Marriage of a Black Man and Woman.

12. Of the Northamptonshire Fencibles quartered in Carrick-on-Shannon, 1800. 13. Onasha reply to Cuacea address. 14. The Invitation.

The Answer.

15. 16.

Lines on his Mother.


On a Lady recovering from a decline. An Epitaph on his Father who was shot in a duel.



The Farewell.

20. Song made on a favourite white thorn which was destroyed by a storm at Loughscur.


On a poor Maniac.

22. To my Mother, Sisters and Friend. A well-known poem by George Nugent Reynolds was the Exile of Erin,' the original of the exile being a John Cornick. Later Thomas Campbell claimed to be the author of this, declaring he wrote it in the spring of 1801 and published it, with his name attached, in the Morning Chronicle and the Star. I have seen the former paper for 1801, and find the poem was published in the issue for Jan. 28 without any author's name being attached. Considerable controversy arose at the time regarding it, and G. N. Reynolds's relations swore that he wrote it in or about November 1799, and gave most convincing proofs.

The original of the following poem is in the possession of the Rev. R. B. Birmingham, and helps to prove that George Nugent Reynolds was author of the Exile of Erin.'

Lines on Ford Lodge, Cavan, the Residence of Richard Young Reynolds, Esq. This

most beautiful seat where the green germs of Spring First announced its approach, is a place where

a King Could be well entertain'd with all man might


1. Verses written at Castle Tennison "The By its owner, brave Richard Young Reynolds Vision.'

Esquire. It's embellish'd with furniture, paintings, and plate;

It seems more like a palace than gentleman's seat.

One esteem'd painting's there, which the rest doth outshine,

Of fam'd George Nugent Reynolds, a son of the Nine,

Which his lyricks transcendent do truly attest; That bright genius and poet immortal confest, Long his Exile of Erin" shall priz'd be, as long

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As admir'd in the world, all the beauties of
But the Bard himself's gone (while his works
we admire),
To compose
divine songs for the heavenly
Still the Spirit of Song you'd think's lingering
Around which feather'd songsters make vocal
the air
With their shrill varied notes, both at evening
and morn,
As melodious they sit on the dew-spangled

May 27th, 1845.

About the best thing in the Book of Poems just mentioned is a letter written to the Earl of Clare, Lord High Chancellor of Ireland by George Nugent Reynolds. Full of sarcasm and humour it must have made its recipient feel rather small: :

With surprise and sorrow I received a letter signed "John Dwyer," informing me that your Lordship was pleased to supersede me in the Commission of the Peace for the Counties of Leitrim and Roscommon. I

with surprise, as I am conscious of no fault to deserve so marked an injury, and I add, with sorrow, for low as the appointment is, and low must it be depending on the caprice of your Lordship, yet as it afforded me the power to protect Innocence and counteract Tyranny, I part with it with regret. Your Lordship loves not the constitution more than I do, it has been the theme of my constant Panegyric nor shall the ill treatment I have received at your Lordship's hands tend to democratize my aristocratic creed, that there is in men of mean descent an inate ignobility which neither title nor honour can eradicate, no, my Lord, 'tis not in the radiance of the royal sunbeam to give to the mushroom the fragrance of the rose, and when we look to a new man for the bland and golden dignity of manners which distinguish our genuine nobility, we too often find a pinchbeck petulance substituted in its place. When I waited on your Lordship with a letter from the Governor of the County in which family reside, with an affected hauteur which ill becomes the man of yesterday, you turned on your heel, and refused me an opportunity of justifying my conduct. Had you, my Lord, like your Father been designed for the Popish



Priesthood, you would have had the benefit
of a
St. Omers' education, and of
known more propriety and good manners, but
possibly by looking down from the pinnacle
to which a fortunate combination of circum-
stances has raised it, high, your situation,
is, I confess, yet it never appeared to me an
Angel spoke when I heard your Lordship's
voice. I rather fancied to myself the figure

of a sweep when, clambering thro' dirt and darkness he pops out his soot-coloured head, and with shrill tone proclaims his lofty situation to the world.

It was further asserted that one of the parties houghed a cow, and put a threatening notice on one of the horns. From any committal on record I might have supposed he had houghed your Lordship and stuck a notice probable I impute to impoliteness what may one of your Lordship's horns. It is


be more attributable to fear conscious of having offended me, and knowing me to be a Leitrim man, your hectic nerves trembled To the Right Honble the Earl of Clare, for official duty, had it rained horse whips, at an interview. But so high is my respect Lord High Chancellor of Ireland. My Lord

I should not have deigned to touch the hem
of your Lordship's garment. I cannot con-

clude without a comment on the rudeness and
impertinence of your Lordship's servants, yet
that is easily accounted for, when we recollect
man is an imitative animal, I am with sin-
cerity to my friends and respect for myself,


It was represented to your Lordship that I admitted those deluded persons, who style themselves defenders, to Bail, as often as they were apprehended through the activity of other Magistrates, the assertion was unfounded. Under a just conviction of their innocence I enlarged four persons who in due time came in, and were acquitted by the country.

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JOHN OF SKYE," SIR WALTER SCOTT'S PIPER.-The following is taken from C.O. 53/8, Apr. 1, 1848:



We learn (writes The Inverness Courier) --from a gentleman in Edinburgh, that among the latest victims of the fever at present raging in that city, was John Bruce, John of Skye," for some years the Highland piper at Abbotsford. In his best days, John was a fine athletic man, and when dressed in full costume, playing a pibroch, Abbotsford, to receive from the hands of his or marching up to the dining-room at illustrious master his Celtic quaich brimful of Glenlivet, he had a most imposing and picturesque appearance. Latterly, however, the poor fellow got wild and unsettled. He imagined himself to be a descendant of the great Robert Bruce, and hinted at his pretensions to the throne, which only his regard for "the young lady Queen," prevented him from asserting. He still wandered about, old and indigent, playing the pipes which he had received from Sir Walter; but, like the minstrel of his great master's poem:

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