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NOTES AND QUERIES. uo* s. n. NOV. 5, iw*. Cooke, Joseph Marryat (1743), Robert Phelps, Edward Borrett (1738), Nathaniel Sheffield (1737), Edward Smith (1737), Bazil Herne (1742), John Poole (1734), William Webb (1741).

Among other names mentioned are: Jonathan Alderton (1735), Edward Jermegan (1738), Zephaniah Marryat, D.D. (1746), Samuel Potts (1743), Charles Buxton (1746), Thomas Pitt, M.P. (1737, Cornwall; sued by his coachbuilder: George Walker), Stephen Snatt (yeoman, Washington), Charles Fletewood (1739), John Brice(1741), John Pepper Medlicoat (1736), Bennet Barber (1736), Samuel Chester (1744, Wilsdon), Henry Marnham Bristow and his wife (maiden name Mary Brittridge), Henry and Sarah Harcourt (Fulham), Thomas Napleton (1733, Weybridge), John Owen, William Chamber-lain and William Belch (1738, "Linnen Drapers" in partnership), William Bartlett (1729, carpenter), Dame Mary Levett (1722, Bath). The dates refer to the last mention made of the name.

There is a reference to "Boyle's Head, formerly Stationer's Alley, Strand." A good portion of Mayfair was included in the marriage settlement, which also comprises estates at St. Albans and Pattiswick. Henry Laremore was the solicitor to the Independents of Ropemaker's Alley, Little Moorfields. In Dr. Thomas Gibbons's 'Diary' (1761, Wed., 1 July) is the entry: "Attended the settlement of the Revd. Mr. Joseph Pitts at the late Mr. Halford's place," i.e., Horsleydown. Was this our scribe's father? I shall be pleased to afford further information to personal applicants.

—Recently the College of Arms has granted a coat of arms to the borough of Bromley, and it is really a very appropriate one. It may be described as follows: Quarterly, Gules and azure, on a fesse wavy argent three ravens proper between, in the first quarter, two branches of broom slipped of the third, in the second a sun in splendour, in the third an escallop shell or, and in the fourth a horse forcene, also argent; and for the crest, on a wreath of the colours, upon two bars wavy azure and argent, an escallop shell as in the arms, between two branches of broom proper. The connexion of the borough with the ancient see of Rochester is brought to mind by the escallop shell, and the broom speaks to us of the derivation of the name Bromley. The sun in splendour is typical of the association of bundridge with the town, while, of course, the white horse is the crest of the county of Kent, and the ravens on the fesse wavy argent keep the Ravensbourne in mind. The motto is "Dum cresco spero," which may be translated "While I grow I hope," certainly very appropriate for this thriving young borough, the future of which may be designated as full of hope. This grant of arms seems worthy of chronicling in the pages of 'N. & Q.'

(See ante, pp. 299, 337.)—It might well be supposed that no one alive could have seen 'Titus Andronicus ' on the stage, but is quite right in saying that the play was produced by Ira Aldridge. It was played at the Theatre Royal, Dublin, in the winter season of 1855-6, when Aldridge was fulfilling a starring engagement there, and I well remember his powerful performance of Aaron, and the disgust of many members of the company at having to study and assist in this most horrible play. What version was used I cannot say, but it must have been much cut down, for Aldridge, who was equally good in tragedy and in comedy, played afterwards in a farce called 'The Mummy,' and sang the song 'Possum up a Gum Tree.' Whether Aldridge ever appeared in London I cannot say.

—The revised article on Browne in the new edition of Chambers's 'Cyclopædia of English Literature' (1901) would be considerably better for still further revision. A good many fresh facts concerning the poet's life and writings have come to light since Mr. W. Carew Hazlitt issued his edition in 1868-9 in a series called the "Roxburghe Library" (not "Roxburghe Club," as the reviser states). Most of these facts, gleaned from first-hand authorities, together with three new sonnets from the Salisbury Cathedral MS., appeared in the "Muses' Library" edition (1894). Then a letter to the Academy for 25 August, 1894, and Mr. F. W. Moorman's admirable treatise on 'William Browne: his "Britannia's Pastorals (1897), &c., should not have been overlooked.

I am not aware that Browne's "Inner Temple Masque" was "produced at court in 1620," as stated by the reviser. What is his authority? But in his introduction to vol. ii. of 'A Calendar of the Inner Temple Records,' 1898, pp. xlii-xliii, the late Mr. F. A. Inderwick, K.C., gives an interesting account of the performance of this masque in the Inner