Page:Notes and Queries - Series 12 - Volume 2.djvu/217

 V2 8. II. SEPT. 9, 1916.] NOTES AND QUERIES.

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2. William Taylor, M.P. for Leominster, 1797-1802; Barnstaple, 1806-12; principal

proprietor and manager of the King's Theatre, manager of the Opera - House, London, before 1806; died May 1, 1825, aged 71. Can any one give his parentage and marriage ?

3. Joseph Richardson, M.P. for Newport (Cornwall), 1796 till he died, June 9, 1803, Aged 46 (see ante, p. 34). Whom and when did he marry ? He was a cornet in the llth Dragoons, Sept. 27, 1775, to 1778.

W. R. WILLIAMS.

PORTRAITS IN STAINED GLASS. (12 S. ii. 172.)

THE famous windows of Long Melford Church, in Suffolk, appear to supply that o which MB. LANE is in search. They re present Sir Thomas Clopton (died 1383) and Katherine his wife, daughter of Sir William Mylde of Clare, and afterwards wife of Sir William Tendryng ; Elizabeth Howard, wife of John de Vere, twelfth Earl of Oxford (the Master Philipson of ' Anne of Geierstein ') Elizabeth Tilney, wife of Thomas Howard afterwards Duke of Norfolk; Sir William Howard, " Cheff Justis of England " temp. Edw. I. ; John Haugh, serjeant-at-law, and a justice; Richard Pygot, also serjeant-at- law and judge ; Sir Thomas Montgomery, Knight of the Garter, and Anne his wife Sir Robert Clifford, Elizabeth his wife, and Sir Ralph Jocelyn, her former husband ; Lady Anne Say and her two daughters ; Lady Dynham ; Sir Robert Crane and Anne his wife; John Denston, and Anne his daughter, wife of Sir John Broughton ; Thomas Rokewode ; a Lady Howard ; and others. For a complete list and further particulars, supplied by the late Mr. Charles Baily, with coloured plates of the windows representing Sir Thomas Montgomery and Dorothy Cureon, daughter of John Clopton, who rebuilt the church in the fifteenth century, see the Proceedings at Evening Meetings of the London and Middlesex Archaeological Society for 1871, pp. 8-23.

E. BEABKOOK.

If MB. JOHN LANE will refer to F. S. Eden's ' Ancient Stained and Painted Glass ' Cambridge, 1913, he will find on p. 123 notes of several such portraits. Amongst other examples given are paintings on glass of Charles I. and his queen at Magdalen and

Wadham Colleges, Oxford. At Brasenose and St. John's are similar paintings of their founders. Also at Harlow Church (Essex) there are portraits of Charles I. and his granddaughter, Queen Anne.

JOHN HABBISON.

At Penrith ( = Red-hill) Church the verger pointed out to me, in the fragments of superb mediaeval glass there preserved from the barbarous destruction of the rest, con- temporary portraits of King Richard II., and of a member of the Nevile family (Guy, I think) and his lady. This subject ought to attract a number of valuable and in- teresting notes. E. S. DODGSON.

I have a record of the following : Nicholas Blackburn and his wife in the east window, and a priest, and two kneeling donors, all in All Saints' Church, York (fifteenth century). Head of an Archbishop in Canterbury Cathedral (fifteenth century). Head of a Bishop in York Minster. King Edward the Confessor in St. Mary's, Ross.

The numerous specimens of stained glass in the Victoria and Albert Museum will no doubt provide other portraits.

ARCHIBALD SPABKE.

" SPIBITUS NON POTEST HABITABE IN

sicco " (11 S. iv. 488 ; 12 S. i. 490). I take great pleasure in acknowledging the acute- ness with which PROF. BENSLY has found out my motive for putting this question. I actually meant to illustrate the very remark about Swift as " anima Rabelaesii habitans in sicco " in Coleridge's ' Table Talk,' ' and vaguely remembered to have seen the phrase " Spiritus non potest habitare in sicco " attributed somewhere to St. Austin. As no reply was forthcoming, I had to draw upon my own resources, and, after one or two attempts in other directions, I bethought me of Sallengre's'6logede I'lvresse' (which [ had not read at the time) as a proper )lace for that particular quotation. Nor did his facetious treatise fall short of my expectations, for I not only found the quotation itself, but a reference to Le Duchat's edition of Rabelais, which, of course, settled every difficulty (' Eloge de rivresse,' ed. 798, p. 92). " By different roads PBOF. JENSLY and I have arrived at the same conclusion : neither have I the slightest doubt that Coleridge had in mind Rabelais and the passage in the ' Qusestiones Veteris et Novi Testamenti.' I have given utterance to this conviction in an (as yet unpublished) essay on Casanova's ' Icosameron,' where I