PRINCE RUPERT'S FORT, CORK HARBOUR. -When Marlborough's fleet attacked the harbour entrance September, 1690, it was engaged by a battery of eight guns, eventually silenced by three landing-parties of resolute seamen. Lord Wolseley says these guns were at Prince Rupert's Fort. Old maps show a fort of this name as late as 1774. It is a matter for research as to why it was so-called.

It may have been erected by Prince Rupert's men circa 1649, or, merely named after him in consequence of his naval successes against the Dutch, 1666/7. Some attribute the building to Lord Mountjoy. Both this and a Prince Rupert's Tower at Kinsale appear to have been contemporary, and to have been close to the water's edge at the entrance of their respective harbours. Can any reader of N. & Q.' supply additional information regarding Prince Rupert's Fort in Cork Harbour, or indicate any picture or plan previous to 1774 ?

R. C. L. H.

RICHARD III.-Is there any reccrd of the natural children of King Richard III., and of their descendants ? MEDINEWS.

ORIGINAL PORTRAITS OF JOHN HOWARD, THE PHILANTHROPIST. According to his own declaration, John Howard would never He was allow his portrait to be taken. much annoyed by some who followed him in the streets of London for this purpose, but generally managed to escape them.

The best and most authentic portrait is that by Thomas Holloway, an artist of some note, and an intimate friend of Howard. He was much in his company. This was done in India ink, and is the basis of many of Howard's likenesses. It was engraved for Brown's 'Life of Howard.' It is admirably executed. This is now in my possession.

There is a pencil sketch," a mere outline, taken by stealth whilst in church. It was originally owned by Mr. Palmer, M.P. for Reading.

Two plaster casts of Howard's face were taken after his death by order of Prince Potemkin, who retained one, and gave the other to Thomasson, Howard's servant, when it was purchased by Mr. Whitbread.

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representing Howard sitting at a table, holding a paper, marked Howard on Prisons," but the features are much younger than in other portraits: the artist, unknown. There was a print engraved by Edmund Scott, published in London, Sept. 22, 1789, about four months before Howard's death. It purports to be from an "original picture by Mather Brown, an American artist, born Oct. 7, 1761; died in May, 1831. There were two of these paintings: one in the National Portrait Gallery, the other in Howard's house at Cardington. I have this print in my possession.

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If from an original picture," does this mean that Howard receded from his determination not to sit for his likeness, and finally yielded? Or, did the artist paint him from memory, whenever he may have seen him? The size of the print is 17 by 14 in. It is doubtless a good likeness, and indicates the character of the subject. At whose request was this portrait painted? Is it really an "original"? Who Who knows anything of its history?

was the first owner?

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78 Kennington Park Road. [Our Correspondent will find lives of James Newton and John Pordage, about whom he also enquires, in the 'D.N.B.']

"H. K.," MEMBER FOR MALDON.-In a poem by an anonymous writer, entitled Oppression,' and published in London, 1765, the phrase Portsmouth Yankey" appears.

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This is said to be the first appearance of the word yankee," and it is applied to a member of the House of Commons of the The Gentleman's Magazine for 1790 speaks period, who was a native of Portsmouth, of a portrait of Howard from an original | N.H., had removed to England, entered sketch "taken by stealth in church." Parliament and was a supporter of the Whether it is the one above referred to is Stamp Act. He is referred to as "H. K." a question. Can any one identify him? He was I have also in my possession a beautiful apparently member for Maldon.

THE MANNEQUIN OR DRESSMAKER'S DOLL. surmounted by a ball, according to Bertie -I am anxious to trace eighteenth-cen- Wyllie's 'Sheffield Plate' (re-issued in 1913). tury references to the mannequin or dress- I have not seen the presentation plate myself maker's doll. Rose Bertin, the leading and suspect that the "Sun in Splendour, French modiste of the seventeen-eighties double struck is probably the mark of the (and, I think, other dressmakers), was accus- Soho Plate Co., also of Birmingham, namely tomed to communicate the newest Paris two stars of eight points each; but I am fashions to the capitals of Europe by sending open to conviction. Mr. Wyllie states that to them an elaborately dressed doll. Émile Boulton had moved from Sheffield to Langlade, in his 'Life of Rose Bertin,' refers Birmingham in 1764 and started silver to the practice, which is also touched on in plating in that town too. As a matter of the first number of the Cabinet des Modes fact the Soho Works were opened by him in (Nov. 15, 1785), where the method of the 1762. His biographers say nothing about his fashion-plate - Planche in taille douce stay in Sheffield but tell us that his father enluminée-is commended as far better. with whom he served his apprenticeship had Certainly by the end of the century the been a silver stamper and piercer at Birfashion-plate, both in France and England, mingham. L. L. K. had reached so high a level of artistic excellence as entirely to supersede the dressed doll. But I should like to trace earlier references to the mannequin and to discover if any actual specimens remain in museums or private hands. Some of the dolls in the Victoria and Albert Museum may possibly be mannequins, but I know of no authentic evidence to this effect.

25 Argyll Road, Kensington, W.8.

SHEFFIELD PLATE: MATTHEW BOULTON. -A presentation of Sheffield plate was recently made, and according to the report of an expert the two candelabra and four candlesticks were the work of Matthew Boulton at the Soho Works, Sheffield, about 1815, and bore his mark of "the Sun in

Splendour," double struck. The pair of wine coolers also bore his mark and their date was about 1810. The famous Soho Works were of course and still are in Birmingham (not in Sheffield); Matthew Bolton was born and remained all his lifetime in Birmingham, where he died on Aug. 18, 1809. Moreover, his mark was a horseshoe

ARMY BADGES.-I am anxious to know when the present badges of rank worn by officers and W.O.s and N.C.O.s of the army at the present time came in to use.

What badges were worn before the present ones?

Are the chevrons on the uniform of the City Marshall relics of such badges ?

Why do the metal stars worn by officers bear the motto Tria juncta in uno ?

Is it correct to say that the title majorgeneral is a shortened form of sergeantmajor-general? TERRIER.

RANELAGH IN PARIS.-I understand that these gardens were opened in 1774. Did they ever attain a fashionable reputation, and when were they closed? The location of Ranelagh Gardens is still indicated in the topography of the French capital by an avenue, a rue, and a square, so named, in the Passy district. J. LANDFEAR LUCAS. 101 Ficcadilly.

MRS. SUSANNA GORDON.-I find among my family papers a 'Copy Mr. Jeremy's Opinion on Instructions to settle Bill by the and wish to trace the relationships or Rev. Mr. Plees against Mr. Short and Wife,' associations of the various persons named therein; also anything of interest relating to the matter itself. The opinion, given by George Jeremy, Lincoln's Inn, 21st January, 1835," commences as follows:

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:

Gordon was duly executed to pass real Estates Presuming that the Will of Mrs. Susanna as it appears to have been, I am of Opinion, that Mr. and Mrs. Plees have the same grounds for proceeding in Equity as she had; but the case must, of course, be supported by evidence.... Mrs. Plees have good grounds of proceeding. If such evidence be forthcoming I think Mr. and At all events, I should think that, under the

working at Westminster in 1352-3, and John Thornton of Coventry who was still alive in 1433 cannot have been one and the same person.

imported from the Continent, hence the chief centres for glass-painting were situated on navigable rivers having an outlet on the east coast. This explains why fat orders from Durham, which did not possess a navigable river, and from Cumberland and Lancashire, to reach which entailed a voyage all round England, came to line the pockets of the York glass-painters on the banks of the Ouse. (Vide Durham Acct. Rolls,' ed. by Rev. Canon Fowler, Surtees Soc.; and Will of Sir John Petty, glass-Windsor Castle,' p. 58) "built in haste, painter of York, Test. Ebor.,' Surtees Soc.) Nottingham had its ships sailing direct to the Continent, whence came not only glass, but new ideas; and in dealing with Thornton it must not be overlooked that he was regarded by his contemporaries not only as an artist of outstanding merit, but also as an innovator, for he evidently displaced John Burgh, the glass-painter. The latter was doing work for the Minster in 1399, and he was still being employed by the Dean and Chapter for repairs in 1419. (York Minster Fabric Rolls,' Surtees Soc.). But he must have been quite out of date in 1405 when Thornton was brought to York, for at that moment what was wanted was not only glass of "new colours such as is mentioned in the 'Durham Account Rolls of 1404, but new ideas also. Lastly, Nottingham seems to have been a centre for church furnishers. One of these, Nicholas Hill, did a thriving trade as a carver of statues and sent his wares as far as London. One consignment consisted of no fewer than fifty-eight heads of St. John the Baptist, some of them with canopies ('Nottingham Records,' iii. 18, 20, &c.). In 1367 the altar table or reredos of St. George's Chapel, Windsor, was made there, evidently because it was carved in alabaster. It was not, however, taken to Windsor by water but by road, requiring eighty horses and ten carts to move it.*

2. Through hasty writing I have unfortunately misquoted rather than (as MR. LE COURTEUR Ccourteously and kindly puts it) "mistaken the purport of "a query on p. 20 of his 'Ancient Glass in Winchester,' which is inexcusable and which I regret. AS MR. LE COUTEUR shows, John Coventre

*The Neville screen (still to be seen in Durham Cathedral) and the base of the shrine of St. Cuthbert were done by a London carver and sent by water to Newcastle; the prior of the abbey undertook the cartage thence to Durham Durham Account Rolls," ed. by the Rev. Canon Fowler. Surtees Soc. iii., p. xxix.

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3. The reasons for assuming that the windows of St. Stephen's Chapel and of the Chapter House and St. George's Chapel at Windsor were rushed through are as follow: Until the year 1344 Edward III. had been building the Round Tower at Windsor which was (according to W. J. Loftie, though never finished, the work being evidently interrupted by the departure of the King and his army for the renewal of the French war in 1345 which culminated in the battle of Crécy. On his return work was not resumed on the Round Tower; the king whilst away had evidently changed his mind, and in the middle of the year 1348 founded the Order of the Garter. In August of that year the Black Death appeared in England and rapidly spread and was at its worst in the second half of 1349. "Seeing that (as stated in a proclamation issued the same year), a great part of the people and principally of labourers and servants is dead of the plague " (Warburton, Edw. III.’ p. 142) all building was at a standstill. The newly formed order had therefore no place in which to meet. The king "seeing the necessity of masters and the scarcity of servants who will not work unless they receive exorbitant wages (ibid.) had therefore not only to obtain labour by force but to pay wages in excess of his own 2nd Statute of Labourers (February, 1350–51). By these means (again to quote W. J. Loftie) "the original chapel of St. George, like the Round Tower, was very rapidly and hastily erected (Windsor Castle,' p. 155), and, as MR. LE COUTEUR Shows, in less than fifty years more men were impressed to repair it, so that it must quickly have fallen into a very dilapidated condition. For the decoration of the Chapel glasspainters and decorators likewise had to be impressed, and the power to do this required a writ empowering the holder to force whom he wished, which document generally contained a clause entitling him "to commit to prison all rebellious subjects therein to stay until they find security to serve faithfully,' or some similar clause. Moreover, the word " impress (as a reference to the N.E.D.' shows) always has the sense of compulsion and frequently of force rendered necessary through haste. Thus, Hamlet," Such impresse of Ship-wrights

learned description over one hundred and
fifty pages in length see the late Dr. James
Fowler's paper,
Yorks. Archaol. Journal,
vol. iii.) The little figures in the canopy
shafts are certainly characteristic of much
of the work of the York school, but they are
by no means universal and are only intro-
duced where there was room for them.
Thus of the hundred and five panels in the St.
William window only the five panels of
donors contain figures in the shaftings.
These figures are also to be seen in work
far removed from York, e.g., at Altenberg
in Germany.
JOHN A. KNOWLES.

TERCENTENARY HANDLIST OF

NEWSPAPERS.

whose sore Taske Do's not diuide the Sunday from the weeke;" and the example which MR. LE COUTEUR gives of Henry V. forcibly impressing army surgeons when an appeal to the patriotism of the gilds had proved a failure, supplies another instance. Such means are absolutely without parallel in the whole history of window-making. Moreover, the St. Stephen's Chapel accounts and those for the Chapter House and St. George's Chapel at Windsor given in the late Sir Willian St. John Hope's 'Windsor Castle' prove that the time expended on the work was extraordinarily short. There were three separate and distinct series of windows. The first, those for St. Stephen's Chapel, were done between June 20 and Nov. 28, 1351, i.e., in approximately six months. The second for the Chapter House, (12 S. viii. 38, 91; see vii. 480.) Windsor, were begun early in March, 1352, ONE of MR. ROLAND AUSTIN'S criticisms and finished before Whitsunday which in of Mr. J. G. Muddiman's • Handlist 1352 fell on May 27, that is in less than the suggestion that that he might well three months. The St. George's windows have asked publicly for assistance in comwere begun on June 11, 1352, and finished piling lists "appears to a fellow-student some time after Michaelmas, thus taking six of the newspaper not quite sound. Had months or so to do. As practically the same Mr. Muddiman taken this course he would, staff of artists was employed we may assume surely-unless his collaborators had all that the work was of the same quality been students already familiar with his throughout, and if we may judge from main sources of information, the British published drawings of fragments of the Museum collections-have been overwhelmed St. Stephen's glass, the work was of an by a tremendous mass of data already under elaborate character. Considering the primi- his hand, the checking and collating and tive methods of cutting glass and firing it sifting of which would have made his task then available, it is remarkable that the even more laborious than it has already work could be done in the time. The items been. The method he has adopted, of invitquoted by MR. LE COUTEUR from the ing collaboration after the publication of his accounts for 1353 are for making packingHandlist,' is really the better one, as it cases. The glass itself, however, according avoids any overlapping of research, and to Sir William St. John Hope had been provides only for additions which actually finished for some time during which it was do supply gaps in his consecutive summary "kept there (ie., at Westminster) until the of newspaper history. No student and lover following March when it was sent to Windsor of the old newspaper can be too grateful for and set up in the chapel windows ('Wind-that summary, or for the help and stimulus sor Castle,' i. p. 143). of all Mr. Muddiman's work in this widefield of research.

4. My suggestion (made with all diffidence) that the east window of Great Malvern Priory representing the Passion of Our Lord might possibly be a later work of Thornton's was founded upon the remarkable similarity in the details of this window to those in the St. William window at York, notably in the sleeves tight on the forearm with three buttons below, furred round the cuff and puffed above the elbow; in the chaplets of leaves with "owche" in front worn by some of the male figures, and in the thickness of the traced lines in shadow parts such as under the eyelids and under

The following list slightly supplements the Handlist. I hope, later, further to supplement and annotate it-and particularly to ante-date many provincial papers already included-by comparison with a large collection in private hands, for the moment inaccessible.

I am indebted to Mr. H. Tapley Soper for access to notes for an as yet unpublished history of Trewman's Exeter Flying Post.

The British Intelligencer, or Universal
Advertiser. No. 10, May 23. (Salisbury