Page:Notes and Queries - Series 11 - Volume 12.djvu/43

 us. xii. JULY io,i9io.j NOTES AND QUERIES.

35

Booke of Common Prayer. Imprinted at London for the Company of Stationers, 1635,"

under the heading " The foure Termes of the yeare," I find :

"3. Trinitie Terme beginneth the next day after Corpus Christi day, and endeth the Wednesday fortnight after.' 5

JOHN B. WAINEWBIGHT.

NAPOLEON AND THE BELLEROPHON (11 S. xi. 339, 438). In the ' History of the Wars of the French Revolution,' by Edward Baines, 1817, vol. ii. facing p. '477, is an engraving of ' Surrender of Napoleon to Capt. Maitland on board the Bellerophon,' Brook pinxst., Edwards Sculpst., Leeds, pub- lished by Edwd. Baines, Feb., 1817. There are ten figures in all. Napoleon, wearing his cocked hat, is delivering his sword to Capt. Maitland, who is uncovered.

In Christopher Kelly's ' Full and Circum- stantial Account of the Memorable Battle of Waterloo,' &c., 1817, among the prints at the end is one of ' Bonaparte on board the Bellerophon off Plymouth ' no name of either painter or engraver, but name of publisher, &c. (Thomas Kelly, Paternoster Row). This print appears also in Kelly's i History of the French Revolution,' &c., 1818, vol. ii., facing p. 263.

The scene is, I think, the quarterdeck, or the gangway. Bonaparte (cocked hat as before) is standing close to the edge of the deck, with a telescope in his right hand ; with him are two military officers, uncovered, also a sailor at work ; on the water far below are many boats containing men and women. The nearest, whose sightseers are two ladies and three men, flies the white ensign, as does, I think, a small sloop farther away.

ROBERT PIERPOINT.

THE FLAG OF THE KNIGHTS OF MALTA ( 1 1 S. xi. 359, 439, 4S1). MR. BLAGG'S reply is another example of the way in which many persons mix badges with coats of arms.

The cross on the effigy of Sir Thomas Gresham is an attempt to represent the "badge" of the Order, and is no evidence either for or against my statement respecting the arms and flag of the Order of St. John.

Reference to the official uses of the arms and badge of the Order furnishes the best evi- dence, and hundreds of examples can be found carved on the buildings of Rhodes and Malta. In England the best examples are perhaps the bosses of the vaulting of St. John's Gate, which date from its building in 1504.

The coinage of the Order from shortly after 1300 to 1798 will also prove my statements.

S. G.'s reply at the second reference is most interesting, and his third flag bears in the second and third quarters the arms of Grand Master Geoffrey Caraffa, 1680-90.

The cross flory on the effigy in Rushton Church is apparently as near as the alabaster carver could get to the eight-pointed cross badge of the Order.

My old friend Sir W. H. St. John Hope, Knight of Grace of the Order of St. John, may have expressed a preference for the cross flory, but he is far too well versed in the history of the Order to question the accuracy of the use of the eight-pointed cross. H. W. FINCHAM.

St. John's Gate, E.G.

WILLIAM BORROWS, M.A. (US. xi. 471). The monument, a monumental tablet by J. Evan Thomas, sculptor, was erected in St. Paul's Chapel, Clapham, Surrey, in memory of the Rev. William Borrows (1781- 1852), of St. Edmund Hall, Oxford, B.A. 1812, M.A. 1815 ; thirty -six years minister of the Chapel.

A lithographic reproduction of it forms the frontispiece ,to ' Select Sermons by the late Rev. William Borrows, M.A.' 8vo, London, 1852. DANIEL HIPWELL.

HUGH PRICE HUGHES AND BARON PLUN- KET, PRIMATE OF IRELAND (11 S. xi. 453). My attention having been drawn to the query in your pages regarding the ancestry of Mr. Hugh Price Hughes, permit me to say that the ' Life Story,' which I wrote for The, Temple Magazine, had been passed in " proof " by Mr. Hughes before publication, and we may assume that he found it accurate in every detail.

(Mrs.) SARAH A. TOOLEY.

J. HILL (US. xi. 208, 271, 310). There is much difficulty in deciding among the various artists of the name of Hill what work belongs to each, and your readers will do a good service to artistic biography if they will enable us to distinguish between the Hills with the same initials.

I have collected the following scraps of information from various sources :

1. J. Hill exhibited six landscapes be- tween 1780 and 1825 at the Royal Academy (see Algernon Graves's invaluable ' Dictionary of Artists,' second edition, 1895). I am sorry I cannot quote a later edition, as there is not one, though there ought to be.

2. I. Hill engraved some views for the ' History of Monmouthshire ' by David Williams, published in 1796. His forename is indicated by an / or J according to the