Page:Dictionary of National Biography volume 47.djvu/70

 Exhibition’ (1851, vol. xii.); ‘Source, Supply, and Use of Nitrate of Soda for Corn Crops’ (1852, vol. xiii.); and ‘Nitrate of Soda as a Substitute for Guano’ (1853, vol. xiv.)

Pusey left one son, Sidney (born 15 Sept. 1839), and two daughters, Edith Lucy, and Clara, married to Captain Francis Charteris Fletcher, whose son, Philip Fletcher, was heir to the estates.

A striking miniature of Pusey as a young man is in the possession of his daughter, Mrs. Fletcher. There is a mediocre portrait of him at about the same age at Pusey, where also is a large crayon drawing of him in his prime by George Richmond, R.A. An etched reproduction of this on a smaller scale was done by F. C. Lewis for Grillion's Club. Pusey appears in the engraving of 1842, by the younger S. W. Reynolds, of Richard Ansdell's destroyed picture of the Royal Agricultural Society, and Ansdell's original study of Pusey is now at 13 Hanover Square. The engraving of 1851 was by a local artist, J. Fewell Penstone, Stanford, Berkshire.



PUTTA (d. 688), first bishop of Hereford, was skilled in the Roman system of church music, having been instructed in it by the disciples of Pope Gregory; he was ordained priest of Rochester by Wilfred during the vacancy of the see after the death of Bishop Damian (d. 664) between the death of archbishop [q. v.] on 14 July 664 and the landing in England of archbishop Theodore [q. v.] in 669, who on his arrival consecrated him to the see of Rochester (, Historia Ecclesiastica, iv. 2). He attended the council of Hertford convened by Theodore in 673 (ib. c. 5). When Rochester was wasted by the Mercian king Æthelred during his invasion of Kent in 676, Putta was absent from the city; he was sheltered by Sexulf, the bishop of the Mercians, who gave him a church and a small estate, where he dwelt until his death, making no effort to regain his bishopric, to which Theodore consecrated Cuichelm in 676, and on his resignation Gebmund in 678. Putta meanwhile performed service in his church, and went wheresoever he was asked to give instruction in church music (ib. c. 12). It is said, though perhaps this is a mere inference, that he had often thought of resigning his bishopric before he was compelled to leave it (Gesta Pontificum, p. 135). His place of retreat is said to have been in the district of the Hecanas or Herefordshire, and he there perhaps acted as Sexulf's deputy, and has therefore been reckoned as the first bishop of Hereford (ib. p. 298; i. 238; Ecclesiastical Documents, iii. 130). His name occurs as a witness to a charter of Wulfhere of Mercia to an abbess of Bath, marked spurious by Kemble (Codex Diplomaticus, No. 13). In this charter, as given in the ‘Bath Chartulary’ (C. C. C. Cambr. MS. cxi. 59) he is described as ‘archiepiscopus,’ evidently by a mistake of the scribe (Two Bath Chartularies, Introd. vol. xxxiii. pt. i. pp. 6, 76). He also appears as a witness to another charter to the same abbess, marked spurious (Codex Dipl. No. 21; Two Bath Chartularies, pt. i. pp. 8, 77), and in a spurious document relating to the monastery of Peterborough (Ecclesiastical Documents, iii. 136, 160). He died in 688 ( i. 41). Bede describes him as well-informed as to church discipline, content with a simple life, and more eager about ecclesiastical than worldly matters.



PUTTENHAM, GEORGE (d. 1590), and his brother (1520?–1601?) have each been independently credited with the authorship of an elaborate treatise entitled ‘The Arte of English Poesie,’ which was issued anonymously in 1589. The full title ran: ‘The Arte of English Poesie, contrived into three bookes; the first of Poets and Poesie, the second of Proportion, the third of Ornament,’ London, by Richard Field, 1589. It was licensed to Thomas Orwin on 9 Nov. 1588, and Orwin transferred it to Richard Field on 3 Feb. 1588–9. Field wrote and signed a dedication to Lord Burghley, dated 28 May 1589. The book, Field said, had come into his hands with its bare title and without any indication of the author's name. The publisher judged that it was devised for the queen's recreation and service. The writer shows wide knowledge of classical and Italian