Page:Notes and Queries - Series 11 - Volume 10.djvu/421

 n s. x. NOV. 2i, i9i4.] NOTES AND QUERIES.

415

during the life of Manners ; and those who know Wraxall's wealth of detail and love o anecdote will not think it likely that h< would fail to hear or to record the pointec re murks of Wilkes or Burke if they had been iiti'de at the time. Wraxall's last mention of Wilkes is on 9 May, 1787, eighteen months earlier, when he records his speech on th impeachment of Warren Hastings, am observes that Wilkes had rarely taken any active part in the last two or three sessions that he felt the infirmities of approaching aid that his articulation grew annually more embarrassed.

I venture to give this long extract because it shows how little the ordinary man can

i judge by reports of speeches. Thurlow's sentences resounded through the land as a manly, disinterested declaration of loya attachment to a fallen monarch, while we

1 now recognize it as a blasphemous expression

of disappointment at his failure to get his

price for desertion. J. J. FREEMAN.

Shepperton-on-Thames.

EARLS OF DERWENTWATER : DESCEND- ANTS (11 S. x. 148, 218, 256, 271, 311, 373). 3In. MORETON makes the mistake of calling tin second the last Earl of Derwentwater. James, the third, was the last.

In the ' Parish Registers of Aldenham,

Herts, 1660-1812,' by Archdeacon Kenneth

<;il>t>s (privately printed), vol. i. p. 310, is

the mention of Robert Dolling, Vicar of


 * Aldenham 1775-94, only son of James

Dulling, of Kingsberry, Middlesex, who

married Mary, only child of J. Radcliffe of

Storkport, Cheshire, cousin of the last Earl

iof Derwentwater. MATILDA POLLARD.

Belle Vue, Bengeo.

AVANZINO OR AVANZINI (11 S. X. 370). 1

would refer MR. E. RIMBAXILT DIBDIN, of the \Valker Art Gallery, Liverpool, to the most 'ict unite of living Italian authorities, Signer Ha si Ho Magni, for some collateral elucidation of the drawing attributed to Pier Antonio Avanzino " about the date A.D. 1580," now n his catalogue. MR. DIBDIN apparently on Aiders his ' Enthronement of the Virgin ' " !> the work of Nucci Avanzino rather liiiu of Pier Antonio Avanzino, on the ground >1 suitability of date. Let it be noted Nucci lied in 1630, and Pier Antonio Avanzino in ''>'"> : therefore, as he says, the design >nl.s most probably with the period and let i me of Nucci, as Pier Antonio flourished ully one hundred years later, when art was i di-c-adence.

I find Basilio Magni's gigantic volume on Italian Painting ' refers to both these

artists, and I translate all he writes concerning them as follows. Vol. iii. p. 637, ' Pittura del Secolo XVIII.' :

" Pierantonio Avanzini of Piaccnza, who died in 1733, was a pupil of Marcantonio Franceschini of Bologna, and worked in fresco on the ceiling of the Sola del Colloquio in the church of San Martino at Naples scenes from the life of Christ ; and on the walls of San Brunone oil paintings. Many other works he painted in Piacenza, but for the most part from designs of his Maestro (master) and others, as he possessed small powers of composition."

From vol. iii. p. 598 :

" Avanzino Nucci of Cittk del Castello died in 1629, aged 77 years. He painted an altarpiece in San Silvestro on the Quirinal (Borne), and frescoes in the second chapel on the right of the Church of San Agostino ; also paintings of the Madonna with SS. Peter and Paul on the tiles of the staircase of the Capitolino picture gallery, for- merly over the altar of the chapel of the Conserva- tori, now a passage chamber, since a door has been opened exactly where the altar stood."

These fragments comprise all Signer Magni writes concerning the Avanzini, and he justly asserts that he sees all that he describes. I possess several letters he kindly wrote me on various topics, and I am glad to say that he still works as a landscape painter in his advanced years. He presented copies of his volumes to the British Museum and South Kensington perhaps the only ones in England, except the copy from which I quote. WILLIAM MERCEB.

DE BRUXELLES AND D'ANVERS (11 S. x. 370). For a bibliography of the Varick family, which united the two offices of burg- grave of Bruxelles and margrave of Ant- werpen by the marriage of Henri de Varick with Anne Damant, see J. Huyttens ' L'art de verifier les genealogies des families beiges 5t hollandaises,' p. 168. Although hereditary
 * harges, these can hardly be called

' honours," Nicolas Damant, Chancellor of Brabant and father of Anne, having bought the burggravate of Bruxelles of the Count of Bossu in 1606. As regards the burggravate n particular, J. B. Christyn, author of the Jurisprudentia Heroica,' points out (p. 351) Jiat the burggrave (latint "vicecomes") was castellan or judge of a town. Not to confuse these so-called vicomtes with heredi- ,ary viscounts by patent which existed contemporaneously with them during the ater centuries, it seems well to denominate he former as burggraves, though indeed, in Blemish, the viscount by patent becomes jurggraaf. The translation of markgraaf (or nargrave) by "marquis" would involve the .bsurdity, in the case of Antwerpen, of