Office:

1687, July 13, Thomas Lewes, of Stanford, co Notts, Esq, Bachr., 30, & Anne Andrewes, of Ashley Hall, Walton, co. Surrey, Spr., 18, dau. of Sir Matthew Andrewes, of same, Knight, who consents; at Walton or Lambeth, co. Surrey."Harl. Soc. xxiv. p. 186.

Their marriage is not recorded in the registers of Walton-on-Thames.

A Charles Lewis of Stamford Hall, Notts, died 14 March, 1763 (see Gent. Mag.).

CHAS. A. BERNAU.

"COME ALL YOU JOLLY BLADES."-I am connected with an old social and political club which is traditionally supposed to have had a Jacobite origin; but after 1745 the members evidently desired to be regarded as loyal to the house of Hanover, and so politics were for a time eschewed, and in 1747 it is recorded that two of the members were fined for singing "a party song," the name of which was Come, all you jolly blades." Can any reader of N. & Q.' give the words of that song? W. S. H.

LUPPINOS OF HERTFORD AND WARE. — Is anything known of a person named Luppino, who was a scene-painter at Covent Garden about 1790 Another Luppino, said to be a son of the above, was organist at Ware Church, and arranged Psalms and Hymns with Tunes' for use in that church in 1803. Any information respecting either of these will be welcomed. W. B. GERISH.

BANKES OF CORFE CASTLE. Burke's 'Landed Gentry,' ed. 1894, vol. i., under 'Bankes of Corfe Castle,' gives the following: "Bankes, Walter Raph, Esq., of Corfe Castle...... Lord High Admiral of Purbeck, by Royal Charter, Mayor of Corfe Castle, Lord Lieut. of Purbeck, Lay Bishop of Wimborne," &c.

Can any one inform me about these unique
dignities?
B. W.

Fort Augustus, N.B.

Beylies,

THE CRUCIFIXION: EARLIEST REPRE-
SENTATION IN ART.

(10th S. v. 248.)

MARUCCHI (who cites Grisar, Analecta Romana,' t. I. x; Kondakoff, 'Les Sculptures de la Porte de Ste.-Sabine,' in the Revue Archéologique, 1877; and Berthier, La Porte de Ste.-Sabine à Rome,' Fribourg, 1892) writes of the great door of Santa Sabina in his Basiliques et Églises de Rome' (Paris et Rome, Desclée, Lefebvre & Cie, 1902) Pp. 188 sqq., as follows:

"On la considérait autrefois comme un ouvrage du XII ou du XIIIe siècle. Un archéologue russe, M. Kondakoff, a démontré qu'elle remonte au Ve, qu'elle est d'un style qui rappelle beaucoup celui des nombreux sarcophages chrétiens de cette époque, qu'elle n'a au contraire aucune analogie avec les sculptures du moyen-âge. Elle doit donc être contemporaine de Célestin Ier ou de Sixte III.......Il y a particulièrement à remarquer la scène du Cruci fiement, dans laquelle on avait cru voir autrefois les trois enfants dans la fournaise. Il est certain que les premiers chrétiens avaient une grande répugnance à représenter les souffrances du Sauveur. Une seule peinture connue, celle du cimetière de Prétextat, rappelle une scène de la Passion...... C'est seulement au Ve siècle qu'on donne la croix sous sa vraie forme, encore est elle ornée de fleurs et de pierreries, 'crux gemmata, florida.triumphalis.' Dans la mosaïque de St.-Etienne-le-Rond, qui est du VII° siècle, la buste du Sauveur domine la croix, il n'y est pas attaché. Cependant, au VIe siècle on rencontre quelques rares exemples du crucifix, par exemple, dans une miniature d'un manuscrit de la bibliothèque Laurentienne à Florence. Plus ancien est celui de Ste.-Sabine. Et il est moins voilé que sur les fioles de Monza; si le Christ et les deux larrons ont un peu l'attitude d'orantes, on voit nettement trois des extrémités de chaque croix. Le Sauveur, comme autrefois dans le célèbre crucifix de Narbonne, est sans tunique, avec une ceinture seulement.'

This is true of the figures of the two thieves also. I cannot understand how it is that Hare, in his 'Walks in Rome,' i. 249, states that this representation of the Crucifixion "has the figures on the crosses fully draped." The miniature at Florence referred to above is by Rabbula (A.D. 586), a monk of the convent of Zagba, in Mesopotamia. The crucifix at Narbonne is one mentioned by Gregory of Tours; and the crucifix at Monza is "a phylactery" sent by St. Gregory the Great to Queen Theodolinda, still preserved in the Cathedral Church of St. John at Monza (see Farrar, Christ in Art,' 1901, at pp. 353-4 400-1). Marucchi goes on:

Au VIe siècle la coutume, peut-être venue d'Orient, s'introduit de le revêtir du colobium,' ou longue tunique: elle s'affirme dans les fresques du cimetière de St.-Valentin et de Sta. Maria

Antiqua au Forum; mais elle ne fut pas de très
longue durée, car une fresque de St. Clément, du
temps de Léon IV. (IX siècle), représente de
nouveau le Sauveur nu."
JOHN B. WAINEWRIGHT.

in A.D. 706, dedicated the first mosaic example of this subject in St. Peter's at Rome. Benedict Biscop, Abbot of Jarrow (who died A.D. 690), brought, from the latter city, the first picture of the Crucifixion, of which there is record, to the North of England. St. Augustine, advancing with his monks to his first conference with King Etheli.bert of Kent (A.D. 597), was preceded by a silver cross, and a Crucifixion painted upon a panel."

In Crowe and Cavalcaselle's History of Painting in Italy,' new edition, 1903, vol. pp. 49-51, occur the following passages :

"It is known to antiquarians that the gates of the The Rev. R. St. John Tyrwhitt, in 'Art church of Santa Sabina at Rome contain very old Teaching of the Primitive Church,' gives an illustrations of gospel subjects in carved wood, and it illustration of a clothed Christ crucified beis stated that they were set in their present places by order of Innocent III., about A.D. 1198. But it is tween two semi-nude thieves, taken from an easy to perceive that the panels of which the gates existing Laurentian MS. and dating from are composed are no longer in their natural order, A.D 586; but he asserts: "It is impossible and that the wood in which they are carved is to determine which is the earliest representaolder than that of the framings which keep them tion of the Crucifixion or crucifix now in together. Some subjects, not unlike those of the fifth century at Santa Maria Maggiore, alternate existence." He records that the first and with those of more modern character......But the second known examples were said by Angelo tendency to ascribe these curious and interesting Rocca to be the workmanship respectively carvings to a very early period is checked by the of Nicodemus and St. Luke. But the figure conviction that one of the panels, representing Christ on the one attributed to the latter is prac crucified between the two thieves, can only have tically naked (the waistcloth being of conbeen composed about the close of the tenth or beginning of the eleventh centuries, when the tracted proportions); hence it suggests a same subject appears to have been treated, in the much later treatment than does the former. wall paintings of Sant' Urbano alla Caffarella by a The Santo Volto,' or 'Vultus de Luca,' is painter of the year 1011. [A foot-note adds that fashioned in cedar, and is attributed to it appears that the panels were originally twenty- Nicodemus. Tradition says that, being reeight, of which only eighteen remain.] For some time after painting came to be thought an incentive duced to poverty, he when residing at Ranla, to piety amongst Christians, a jealous supervision procured some wood of the trees growing in exercised by the clergy prevented the treatment of Lebanon, and started carving this identical subjects illustrating the Passion. As time sped on the feeling of the masses in this respect underwent a figure. But, not being a practised craftschange. Scenes from the Passion soon followed man, he at last, in despair, gave up the hope episodes from the earlier history of Christ. But of ever completing it satisfactorily, when till very near the eleventh century the ignominy one night an angel, out of pure compassion, of death on the cross prevented Christians from visited him and finished the task. This accepting delineations of the Crucifixion, which, crucifix, after divers experiences, is said to in the first period of Christianity, had been have been miraculously conveyed to Lucca, multiplied to some small extent by pagan scoffers. When Christian feeling had overcome its long where it has undoubtedly been since A.D 782. aversion to the most fearful of all the incidents In that year it was landed at the mouth of attendant on the Redeemer's suffering, an excess the river Magra, in the Gulf of Spezia, and of ingenuity was shown in the effort to make Beato Giovanni, then Bishop of Lucca, manifest the absolute insensibitity of Christ to torments. In the gates of Santa Sabina this in-placed it in the church of S. Frediano in the genuity is displayed in the representation of latter city. Giovanni died A.D. 800. Later Christ crucified, but living, serene, and open-eyed. (A.D. 930), the carving was removed to a The cross is barely indicated near the ends of the cathedral then standing near the site of the fingers, though the nails are seen where they penetrate the hands. The stature of the Saviour present one (dedicated to St. Martin), which greatly exceeds that of the two malefactors at His appears to have been built A.D. 1070; and side. He is without a nimbus, and of antique since the erection of the latter it has remained build and proportions; antique, likewise, are the there. It is probably of sixth-century workthree gables of the architecture behind Him." manship; certainly one of the earliest crucifixes in existence. It repressnts our Lord crowned as king, and vested in a long pontifical robe, as priest. It is guarded with great jealousy in a chantry situated upon the north-east of the nave, and is only exhibited, for the veneration of the faithful. upon seven or eight days in the year. Of these, Good Friday and the Feast of the Invention of the Holy Cross (3 May) are two. I saw it there many years ago, but a

A. R. BAYLEY.

The Rev. G. S. Tyack, in 'The Cross in Ritual, Architecture, and Art' (1896), says :

"The Greek Fathers at the Council of Trullo, in

A.D. 692, decreed that, instead of the Lamb [as heretofore], the Lord Jesus Christ shall be shown hereafter in His human form";

and he adds:

the earliest crucifix in the Catacombs dates from the seventh and eighth centuries. Pope John VII.,

couple of summers or so since, not being there upon one of the appointed feasts, was distinctly refused a sight of it.

Mrs. Jameson, in her 'History of our Lord' (1890) writes:-

"The first notices of the existence of a crucifix are quoted by most authentic writers from the works of St. Gregory of Nyssa, Bishop of Tours (A.D. 574), although some doubt may be expressed as to whether the latter refers to crucifixes in the present sense of the word."

This gifted authoress gives an illustration of a crucifix of great antiquity, ascribed to Cardinal Borgia. The figure represents a dead Christ. Another example (also dead) figured by Mrs. Jameson is at present in the treasury at Aix la-Chapelle. It is known as the Cross of Lothario (son of the great Charlemagne). The prince died A.D. 855.

Fair Park, Exeter.

HARRY HEMS.

་

Catacombs, representing our Saviour on the cross, with the Virgin and St. John standing alone on each side; and there is an illustra tion of it on the next page. Mrs. Jameson remarks: "The date is uncertain; later critics assign it to the eleventh century."

Dean Farrar, in his 'Life of Christ in Art,' p. 400, writes:—

"In the sixth century we have the cross, but not the crucified. In the tenth century there are some crucifixes, but the crucified is represented in long robes......In the four following centuries the robe is gradually stripped off and the physical agony unscripturally emphasized. The earliest known painting of the Crucifixion is that by Rabbula (A.D. 586).”

The subjects represented in the Catacombs in the first six centuries were the Adoration. of the Magi, the Good Shepherd, the entry into Jerusalem, and the washing of the disciples' feet. The early Christians shrank In the Abbé Martigny's 'Dictionnaire des from any representation of the Saviour Antiquités Chrétiennes,' 1877, p. 227, another suffering on the accursed tree ("Cursed is edition of which is quoted in Smith's Dic- every one that hangeth on a tree'), lest it tionary of Christian Antiquities,' the earliest should impede the work of inducing a pagan public painting of the Crucifixion is claimed and heretic world to embrace Christianity, to have been possessed by France. The Abbé and turn it into ridicule, of which probarefers the reader to Gregory of Tours (Debility there is evidence in the calumnious Glor. Martyr.,' i. 23), and states that this picture must have been at least as old as the middle of the sixth century.

Crucifixes did not appear in churches, according to Guericke, till after the seventh century, and "all the most eminent Crucifixions known were objects of private devotion, like the pectoral cross of Queen Theodolinda and the Syriac MS. of the Medicean Library at Florence" (Dict. of Christ. Antiq.').

The Penny Post, which was often a more learned authority on such matters than the title might lead those who were ignorant of its editorship to suppose, says:—

"It is generally allowed that no representation of the Crucifixion, that is, with a figure on the cross, is extant of a date before the end of the sixth century; but the exact date and the earliest examples are questions which have been much discussed, and the Abbé Martigny does not think that archæological science has yet arrived at such a point as to determine them satisfactorily. The carliest example usually quoted, namely, that of the early Syriac MS. of the Gospels in the Medicean Library at Florence, has the figure clothed; but the two feet are shown beneath distinctly nailed to the cross, a nail in each foot......This MS. is supposed to have been illuminated in 586."-1 Oct, 1896, pp. 272-3.

J. HOLDEN MACMICHAEL. I find that Mrs. Jameson, at p. 152 of vol. ii. of her History of our Lord,' mentions a picture of the Crucifixion in the

graffito, believed to be as old as the second century, discovered in a chamber of the Palace of the Cæsars in 1857 (now in the Kircherian Museum, Rome). A photographic reproduction of this graffito is given at p. 122 of Lanciani's Ancient Rome in the Light of Recent Discoveries,' and a woodcut at p. 94 of Farrar's 'Life of Christ in Art.'

Folkestone.

JAMES WATSON.

A graffito discovered in 1856 in excavations on the western angle of the Palatine, near to the church of St. Anastasia, and attributed to about A.D. 320, is a still earlier example than one named "the first representation" by HIPPOCLIDES. It depicts a caricature of the Crucifixion in a realization of the old pagan calumny that Jews and Christians worshipped an ass's head : "Somniastis caput asininum esse Deum nostrum" (Tertullian, Apologet.,' c. xvi.). The cross is of the tau form, a simple letter T, and the figure of our Lord, clothed, is surmounted by the head of an ass, which looks down on a figure below. This figure represents the worshipper, who is on the left, and is shown in the act of saluting the object of his adoration by his uplifted left hand. Above the cross is the letter Y, and below are rudely scratched the letters AAEZAMENOΣ ZEBETE[TAI] OEON ("Alexamenos adores God"). The graffito is preserved in the

Roman Catholic) prior to the Roman Catholic Emancipation Act of 1848. For this reason it so happened that the present Duke of Norfolk, as a Roman Catholic, is the first Earl Marshal since the reign of Henry VII. who has in person acted as Earl Marshal at a royal coronation.

King Henry VII., soon after the battle of Bosworth Field-where Richard III. was defeated and slain-was crowned at Westminster Abbey by Cardinal Bourchier, Archbishop of Canterbury. PORTCULLIS.

THE WATERLOO CAMPAIGN (10th S. v. 107, 152). Will the owner of the letter from Major Talbot Ashley Cox state whether he is prepared to part with it, should the friends of the above-named wish to acquire it?

(Mrs.) CHRISTIAN.

Redgate, Uppingham. "WALKING" CLOTH (10th S. v. 169, 212).Some of the remarks at the last reference are very irrelevant.

Walcher in Domesday Book is simply a Norman form of A.-S. Wealhhere, from wealh, stranger, and here, army, compounded in the usual way.

Wakefield is spelt, we are told, Wachefield in Domesday Book. But I doubt if ie is right; and as to Wache, it is merely the Norman spelling of A.-S. wacu, a watch, wake, vigil. The sense is "field where wakes were held." It is impossible to connect it with walker.

If we might be allowed to consider only one question at a time, it would much conWALTER W. SKEAT. duce to clearness.

On 1 Sept., 1459, a will was made by "Ricardus Bramhowe de Ripon, Walkar" On this the (Ripon Chapter Acts,' 84). editor notes:

"A fuller, bence Walker-earth' (W. R. Yks.),. (Townely fuller's earth. The fuller trod the cloth by walking about on it in 'walk-mylne clogges The WalkMyst., Surt. Soc., vol. iii. p. 313). Mylne' of Ripon is mentioned in a charter of 1359, juxta aquam quæ currit usque le Walkemilne.'

Bedern Bank in Ripon was formerly called "Walkmylnbanke" (Mem. Ripon,' i. 135, 282). In Scotland and Germany a fulling mill is a walk-mill (Yks. Arch. Journal, vii. 193).

In 'Durham Depositions,' Surt. Soc., vol. xxi. p. 29, we find, 1447-8, Johannes "walkar," punished "quod Robynson, laboravit in arte fullonica in die Epiphaniæ Domini."

In an interesting account of Clairvaux that is to appear in the next issue of the Yorkshire Archæological Journal, the old writer speaks of the water-power relieving the fullers of their hard labour by alternately lifting and letting down those heavy pestles or mallets, whichever you like to call them, or certainly wooden feet, for this name seems more in agreement with the dancing business of the fullers.

Surely there can be no doubt that the English surname Walker is derived from that same dancing business, so familiar previous to the introduction of machinery.

་

J. T. F.

Walkern (explained in my Place-names of Herts) cannot possibly be connected with A.-S. arn, a dwelling-place; for the sense "house of a walk" is not in accordance with A.-S. idiom, and would be unintelligible. It is rather a Middle-English new spelling (as Walken is good German for "fulling." if from walk and hern, A.-S. hyrne, which The German name of fuller's earth is really does occur as a suffix in place-names) Walkererde, and of a fulling mill, Walkmühle. of the Domesday Book form Walchra, which perhaps really does represent the A.-S. weal-As one of your correspondents refers to the walking of a hat, I may mention that I cera, gen. pl., (place) "of the fullers." witnessed the operation many years ago abroad. The billycock in its pristine state is like a clown's peaked cap, which is dipped into boiling water and "walked," ie., rolled with a wooden pin-a rolling-pin, in factlike paste.

I doubt if there is sufficient evidence about Walkington; and I further doubt whether it can be connected either with fullers or with strangers.

In my 'Concise Dictionary' I suggest that the Mid. Eng. walker, a fuller, was borrowed from the Mid. Dutch walcker, a fuller, which Bailey (who is not to be relied on) misspells walcher. That is, it is probable that the word was reintroduced by the Flemings. For though the A.-S. wealcere exists, I can find only a single example of it, and that is merely in a glossary; so that it may well have been lost, and regained from the Continent afterwards.

L. L. K.

Cowell's Interpreter' says: "Walkers are such as are otherwise called Foresters....... There are foresters assigned by the King, who are Walkers within a certain space of Ground to their care."

H. W. UNDERDOWN.

DR. WALKER's name has a closer association with tenterhooks and frames than with