of the brave soldiers of the 14th who fought at Famars." There was an official record of the regiment published in 1845, where the Famars incident is alluded to on

PP. 39-40, and its reception at Dartford on

'LA CARMAGNOLE': 'ÇA IRA' (11 S. iv. 27, 158).- La Carmagnole' is not the regimental march of the 14th Foot, but Ca Ira,' another French Revolutionary song. The official title of the regiment is the Prince of Wales's Own (West Yorkshire P. 53; but the 14th is fortunate in having Regiment). It is curious how much history a very good history published in 1892 by is embodied even in the titles it has borne. Capt. H. O'Donnell, who was adjutant. It is really Kentish in its origin. It was The account given by S. W. in his reply is raised in 1685, the colonel being Sir the legend in the family of the colonel who Edward Hales, Bt., of Woodchurch; other commanded at Famars. companies were under the command of well- at pp. 58-9; and the Dartford commotion The Ca Ira' is Appendix VII. known Kentish gentlemen, with head- at p. 70.

tions.

It is dealt with

A. RHODES.

Notes on Books, &c.

quarters at Canterbury. The colonel became on pp. 369-76. (Fuller information on a Catholic, but would not resign his com- this air will be found in Grove's Diemission, and was prosecuted at Rochester tionary of Music.') Capt. O'Donnell's work assizes. When James II. was attempting is very good, and the absence of an index is to escape in disguise to France, and was somewhat compensated for by a chronoarrested at Faversham, he was accompanied logical Table of Contents and one of Illustraby the quartermaster of the regiment, Edward Syng, and the colonel, the latter being imprisoned in the Tower of London. From the outset the grenadier company and the drummers wore the White Horse, and the motto "Nec aspera terrent," which are still worn in addition to the Prince of Wales's plume. Till 1751 the regiment was known by its colonel's name. It then became the 14th Foot, which title it bore till 1782, when it became the 14th Bedfordshire. The 16th Regiment is now the Bedfordshire, but from 1782 to 1809 was the Buckinghamshire Regiment, when it exchanged its name for some reason with the 14th. The latter retained that title till 1876, when it added the Prince of Wales's Own, which it received at Lucknow when new colours were presented by the then Prince of Wales (King Edward VII.). On 1 July, 1881, the title was again altered, and the official title as given above adopted. The buff facings were succeeded by white; the shape of the cuff was altered from pointed to banded; the royal tiger badges on the collars gave place to the Prince of Wales's plume; and "W. York" in white letters replaced the brass numeral 14 on the shoulder-straps.

With regard to 'Ça Ira,' the regimental tradition is that it was adopted by express command of the Duke of York in consequence of the incident at Famars; but the various traditions differ considerably as to why an English band should play such a French air, and more than one account is in existence as to how the tune was acquired. When the regiment was marching through Dartford, the populace, I was told by an old gentleman, stoned the band; but on an explanation being given, the people responded with three cheers "to the honour

Coleridge's Biographia Epistolaris : being the Biographical Supplement of Coleridge's Biographia Literaria,' with Additional Letters, &c. Edited by A. Turnbull. 2 vols. (Bell & Sons.) MR. TURNBULL has here taken the 'Biographical Supplement of 1847, begun by H. N. Coleridge, and finished by his widow, and printed, he says, all the non-copyright letters of Coleridge available from other sources....and additional biographical matter, explanatory of the letters." He has thus, he contends, produced "as faithful a picture of the Poet-Philosopher Coleridge as can be got anywhere, for Coleridge always paints his own character on his letters. Those desirous of a fuller picture may peruse, along with this work, the letters published in the Collection of 1895, the place of which in the narrative is

indicated in foot-notes."

The expert in the disjecta membra of this fine poet will not be able to praise Mr. Turnbull for the thoroughness of his search for material, and will, we think, be occasionally irritated by the comments supplied; still, the collection has the same kind of vivid interest as the Biographia Literaria from its range, its divagations, its varieties of style and matter, and, it must be added, its picture of a man whose promise was so much greater than his performance, great as that is now recognized to be in poetry.

The enunciation of Coleridge's many religious and philosophic theses seems now more amusingly pompous than ever, and his recurrent hopes of making the public pay for such instruction will be amazing to the modern journalist. Looking back on his life, we may consider him at least as fortunate as he deserved to be, lucky above all in such friends as Sir Humphry Davy, James Gillman, and Thomas Allsop. But we have no desire to utter moral platitudes or patronizing comments concerning a great man whose pitiful weakness of will was a torment to himself. Besides

the complaints of the valetudinarian and the disappointed writer, there are humorous touches

and odd, bright comments vivified by Coleridge's insight-how great at its best all students of Shakespeare should know-and judgments of and by Coleridge which afford piquant contrasts. The comments on Walter Scott are, as is remarked in a note," not justifiable," and will be ranked by the judicious along with the spleen of Carlyle. As for Scott's poetry, a word might have been said of the reasons why Coleridge was prejudiced against it. Lockhart does not fail to record the metrical hint taken from the casual recitation by Sir John Stoddart of the unpublished Christabel.' Pleasant certainly is Coleridge's appreciation of the Lambs; and there is entertainment to be had, though of a less elevating character, in the poet-philosopher's relations with the motley world of society, politics, trade, and literature. We find him as ingenious in palliations and excuses as Beethoven when that great master did not choose to be bothered with an archducal -pupil.

Napoleon I.: a Biography. By August Fournier. Translated by Annie Elizabeth Adams. With an Introduction by H. A. L. Fisher. 2 vols. (Longmans & Co.)

MR. FISHER points out in his brief Introduction that the author is an Austrian Professor" whose name has long been a household word among those students whose special concern is the literature of the Napoleonic age." The book before us achieved an immediate success in 1885; but its present form is an English version of a revision in which the great mass of recent research was considered, and which appeared in Vienna, 1904-6. The translator has done her work very well, a fact which Mr. Fisher might have left independent -critics to discover. It is pleasant to have in sound and easy English so readable a work as this. Prof. Fournier, unlike some academic notabilities, has the gift of putting before the reader clearly and concisely the acts and motives which reveal character. His history is, in fact, strong in human interest, and, though frequently" documented" in foot-notes, gives a narrative which can be followed with ease, and is free from the infinite complications so dear to the specialist. We find, for instance, revealing accounts of the coup d'état of 18 and 19 Brumaire, and of Napoleon's life at St. Helena. By his skilful use of detail the author tells us much in a few words.

With the greatest admiration for Napoleon | as a general and strategist, Prof. Fournier does not hesitate to expose his selfishness and trickery, and calls attention to the many discrepancies between fact and the Emperor's rhetoric. To plunge France in perpetual war, even with glorious results, was hardly patriotic, and Napoleon could have indulged as a civilian in his inexhaustible zeal for detail. Even at Elba he was full of improvements for the island.

Decided views are expressed on many disputed points, but we have no objection to this course. If there is error, Napoleon himself in his distorted memoirs has contributed to it. In matters of motive certainty can seldom be attained; yet it represents the part of history which is of the greatest interest, and the part in which, it seems to us, Prof. Fournier particularly distinguishes himself. His way of writing, too, if not epigrammatic, is agreeably incisive at times. He brushes aside easily Napoleon's claim, after

He

coming on board the Bellerophon, to be treated
as a guest rather than an enemy; and he does
not take so black a view of Sir Hudson Lowe as
Lord Rosebery did in The Last Phase.'
does not mince words concerning the murder of the
Duc d'Enghien, or, earlier in Napoleon's career,
the massacre of prisoners at Acre. In palliation
of the latter a note quotes military reasons,
but, even if these are veracious, "no laws of war
Ambi-
could justify such an iniquitous deed."
tion was surely never made of more heartless
stuff than in Napoleon, and his wonderful powers
of attracting people in spite of this are alone suffi-
cient to show his greatness as a
superman."

There are formidable Bibliographies provided at the end of each volume; two frontispieces which give unusually attractive views of Napoleon, and seven maps.

GEORGE EDWARD COKAYNE.-We ought to have noticed before the death, on 6 August, of Mr. George Edward Cokayne, Clarenceux King of He had reached his eighty-seventh year, Arms. and had a unique experience of heraldry, starting his official work as Rouge Dragon in 1859, and later holding the positions of Lancaster Herald and Norroy King of Arms. G. E. C.'s Complete Peerage' has long held the position of a work of prime authority on its subject. But readers of our columns do not need to be told of Mr. Cokayne's wonderful knowledge and ready courtesy. last letter he ever dictated was sent to Notes and Queries, and he insisted on not leaving a query unanswered in his favourite paper. He was one of our oldest contributors, and remarked (10 S. xii. 433) that as early as 1852, in the First Series, he wrote under the signature G. E. Adams, his name until 1873.

The

Reference to the Indexes of the Ninth and Tenth Series will show how much valuable matter from his pen enriched our pages. His unequalled grasp of family history and genealogy was combined with the modesty which, with the desire to help others, is characteristic of the best type of scholar.

Notices to Correspondents.

ON all communications must be written the name and address of the sender, not necessarily for publication, but as a guarantee of good faith.

WE beg leave to state that we decline to return communications which, for any reason, we do not print, and to this rule we can make no exception.

We cannot undertake to answer queries privately, nor can we advise correspondents as to the value of old books and other objects or as to the means of disposing of them.

EDITORIAL Communications should be addressed to "The Editor of Notes and Queries '"-Adver66 The Pub tisements and Business Letters to lishers"-at the Office, Bream's Buildings, Chancery Lane, E.C.

W. T. ("We left our country for our country's good.")-From G. Barrington's prologue when Dr. Young's tragedy The Revenge was played by convicts at Sydney, New South Wales, in 1796. H. C. BARNARD.-Forwarded.

LONDON, SATURDAY, SEPTEMBER 9, 1911.

CONTENTS.-No. 89.

"

(1829), by Thomas Harrison," birth and death being unknown. In the 1884 edition it is attributed to, and entered as by, G. H. Harrison of the Old Water-Colour Society, who died 20 October, 1846.

NOTES:-James Harrison, Painter and Architect, 201The Thames barge with a deckload of F. J. Skill, an Unappreciated Artist, 203-Urban V.'s straw on the right at once proclaims it to be Family Name, 204-Elizabethan Plays in ManuscriptStevenson R. L as a Scientific Observer - British in English waters. Knowing the ports Museum: Earliest Guide-" Ready-Money Mortiboy Linlathen: its Position, 205-Coverham Horses-Rail- of the south and east coasts of England way: Fire-damp: Early Mention Snakes drinking Milk fairly well, I soon identified the picture as -Highgate Archway-Oldest British Soldier-Tailor and being a view on the Orwell; and accordingly Poet-Alderman Wooldridge, 206. QUERIES:-Strawberry Hill: Description of the Villa' in the 1888 edition of the catalogue it is "All my eye and Betty Martin"-Put that in your described thus: "The River Orwell and the pipe and smoke it"-Macaulay on the War of the Spanish Succession-Richard Cromwell: "When Dick the fourth," Bridge near Ipswich.' In the 1893 edition 207-Mary Wollstonecraft: Mrs. Brown-Chaplains: it is no longer under the name of G. H. H., their Status-"The Road to Jerusalem "-Ancient Metal but as follows:- "Harrison (? Thomas, Box-T. and P. Gally, Printsellers, 208-Lunatics and Private Lunatic Asylums-" Every Irishman has a potato died 1829, aged 85)." The entry in the next in his head"-Oliver Cromwell's Wife: Bourchier Family and last edition, 1908, shows that the catalogue -"Sevecher "-Baker Family of Sissinghurst-Authors Wanted-St. Esprit E. Lister: T. Lyster-Thynnes of has been compiled with much greater care. Longleat-Jew and Jewson Surnames, 209-C. Elstob- It reads: A. Eltham G. England-Iliff-G. Ireland - Ivatt Gordon House, Scutari-Moyle Book-plate-Leman

Street, 210.

"Harrison (James), exhibited landscapes at the Royal Academy 1827-46." Then follows the description as above, and the size in inches, “8 by 131, signed and dated 1829."

REPLIES:- Masonic Drinking- Mug: Toad Mugs, 210 French Coin: Republic and Empire, 211-Caracciolo Family-Sir T. Middleton, 212-John Niandser-Thirteenth Bagstor Surname Sweetapple Court, 213- Not being absolutely satisfied that the Henry Watkins, M.P.-Stockings Black and ColouredGyp's 'Petit Bob-Drayson's Third Motion of the description I had suggested was accurate, Earth, 214-Cardinal Allen-Grand Sharri Tephlia - I paid a visit last year to Harwich, and a Moory-Ground-"Make a long arm"-Cowper on Lang: sail up the Orwell at once satisfied my ford-" Vive la Belge," 215-Ingoldsby' Rebus-Deeds and Abstracts of Title-The Vicar of WakefieldBut I took several pencil notes of "Bed doubt. of roses"-Overing Surname - Club Etranger-Barry the structure of the bridge, and on returning O'Meara, 216-Washington Irving's Sketch-Book'-Sir John Arundel-Bibles with Curious Readings-Grinling compared them with the picture, and estabGibbons - Brisbane Family "Apssen counter"-Lord lished the identity entirely to my own Chief Justice and the Sheriff, 217-Reynolds's Pocket- satisfaction. I had often wished to go by Books-"Wimple," 218. NOTES ON BOOKS: A Dictionary of Oriental Quota- land to the bridge, but, being a bad walker, tions-Reviews and Magazines. was never able to do so. However, last Booksellers' Catalogues. year I was able to get there, as now a corNotices to Correspondents. poration tramway runs right up to the bridge, namely, Bourne Bridge, Wherstead. I found that the roof of the house represented behind the two-masted topsail schooner was the old "Ostrich Inn," one of great local celebrity. The sign is an ostrich with a horseshoe in its mouth. This inn and the bridge are mentioned in Materials for the History of Wherstead,' by F. Barham Zincke, Chaplain to the Queen, 1893. When Zincke wrote he said the ostrich on the signboard had no horseshoe in its mouth, but it has one now, and over it the motto "prudens que patiens." At the Sign of the Ostrich,' by Charles James, 1895, is not the inn abovementioned, but "the Ostrich at Colnbrook, some seventeen miles from London on the Great West road."

Notes.

JAMES HARRISON,
PAINTER AND ARCHITECT.

ONE of our most beautiful, and, from an
art-educational point of view, most useful,
public collections, is that of the water-
colour pictures in the National Gallery of
British Art at the Victoria and Albert
Museum. Among these is a picture which
was acquired in 1876, under the "William
Smith bequest." I have always been in-
terested in river- and sea- scapes, and have
given my attention to this one in particular,
as, though it is charmingly painted, little
seemed to be known about it.

The picture is first entered in the Victoria and Albert catalogue of water-colours for 1878, where it is called "River with Vessels

The Wherstead inn is well worth a visit, for it must be several hundred years old, and the disposition of the bar parlour and as it was other rooms is still the same originally. Needless to say, I took the hint comprised in the verse on an old inn I was

recourse to the Post Office Directory. James was at 1, Holford Square (Mrs. G. H. Harrison's address) from 1844 to 1848 as an architect and surveyor, then he moved to 34a, Moorgate Street; in 1875 he went to 22, Basinghall Street; and in 1880 to 1, Guildhall Chambers. His name disappears after 1881. I have searched at the Probate Office in that year and after, but have not found any will proved.

Thus I infer that James began life as a painter, and had circumstances favoured him, he would have continued in that profession; but he found his living in architecture, and that was the profession he pursued.

66

that the expression 'pure water colour' means freedom from body colour."

This inquiry has been greatly aided by the facilities that are given at the Victoria and Albert Museum Library, where the books are all under one's hand, so to speak. Readers who would study or write about art matters will find the greatest assistance by going to this fine library.

When I consider the time and trouble this note has taken to compile, I cannot help thinking of the vast work there is to be done, if only a short account is to be given of the thousands of artists in Graves's 'Dictionary,' of whom nothing is known except that they exhibited. RALPH THOMAS.

F. J. SKILL, AN UNAPPRECIATED
ARTIST.

IN The Athenæum of 12 August, in a review of
Lovel the Widower, and other Stories
(the Harry Furniss Centenary Edition of
Thackeray "), I notice one striking para-
graph :—

One of James Harrison's pictures is in the well-known collection of water-colours formed by Dr. John Percy, F.R.S. (died 1889: see Boase's Modern English Biography '). About 700 artists and 1,500 pictures were represented in this collection. An exhibition of selected works took place at the Burlington Fine-Arts Club in 1876, the catalogue (anonymous) being compiled, not, as might be supposed, by the owner, but by Sir Wm. Drake. Dr. Percy took Drake's catalogue as a groundwork, but unwisely, as he very soon buried it with his own additions of every kind. We must congratulate ourselves that Dr. Percy's catalogue was acquired for the Print-Room by Sir Sidney Colvin. It is crammed with bio-ings." graphical information about the artists, and original letters from many of the great judges of art of the time, and sometimes has the names of the persons of whom he bought and the prices he gave. It is curious to note the artists who are not represented: E. Duncan, F. J. Skill, C. Davidson, and many others. Dr. Percy had no example Skill-who, according to "Bryan," was by C. F. Williams, a collection of whose born about 1824, and, says the same authowater-colours is at the Southampton Public rity, "died March 8, 1881, of a broken heart, Library. Williams was an exhibitor from having failed to attract public attention 1827 to 1841. Of the sale of Dr. Percy's-was, I have been told, brought up as a collection at Christie's long accounts will be found in The Times of 19 and 26 April, 1890. The following is from the entry in Dr. Percy's own MS. catalogue

:

"Boat on the shore, with stormy sky and several small figures. At the bottom right-hand corner is written J. Harrison, 1830.' Pure water colour, 91 w. x 61h. Capital drawing. One of Holloway's stock taken to by Goupil & Co."

In the margin is this pencil note: "F. Harrison: is it J. or F. ?" showing that he knew nothing about the artist, although his name comes immediately after a watercolour by Mrs. Mary Harrison. On the first page of the catalogue Dr. Percy explains

"Mr. Furniss emphasizes a point he has already made that illustrations worked out as drawings sketches can hardly be described as Thackeray's. on wood by other artists from Thackeray's rough Swain, the well-known engraver, told Mr. Furniss that an artist called Skill made many such drawIt seems somewhat hard on the memory of a conscientious wood-draughtsman, who had a decent share of reputation fifty or sixty years ago, to write of him as an unknown artist; yet it is too true that his tame, careful style would simply “dish" sketches of the sort described.

steel-engraver; his drawings, rather cold and laboured, would seem to bear out this statement. As a landscape painter in water colour he made a small success; became a member of the Institute; and although in England he was comparatively little known in art circles," he was a frequent exhibitor in Paris.

66