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"Foul means will never silence Bull."
"A long pull, a strong pull, a pull altogether."

One prose placard was a pretended magistrate's order forbidding people to laugh or hiss, because Brandon had arrested one of the audience for what he called "an unnatural laugh," &c.

"Every night our voice we'll raise,

To Kemble's shame and Britain's praise.
"When zeal's displayed in a good cause,
It then deserves the town's applause.
"Our motto this-conquer or die!*
To Kemble this is Bull's reply.
"Pit three-and-sixpence, it must be:
No Israelites here let us see."
"Brave Britons, never quit the field,

Until the foe is forc'd to yield!"

This last placard was much fought over. The catchpoles tried to pull it down, but it was quickly thrown up to the second tier, fastened with exultation, and retained there all the night. Some of the rioters wore O. P., cut out in card, in their hats; and an orator, who passed for a midshipman, was loudly cheered. The next night the O. P.s exhibited a mask of a man's head, with spectacles upon the nose; in one eye was written O, in the other P. The midshipman this night attempting another speech, was at once captured by the officers, dragged to Bow-street, and discovered to be only a druggist's clerk in disguise. The people also were much irritated by the arrest of a poor servant-girl out of place, who, having a child's rattle thrown into her lap, sprung it, and was at once seized, and, not producing bail, sent to Tothill Fields. She was eventually discharged. The following songs (selected verses of which we give), began now to be sung about the streets :

"John Kemble he would an acting go,
'Heigho!' says Kemble,

He rais'd the price, which he thought too low,
Whether the public would let him or no,

With his rowley powley, gammon, and spinnage,
And 'Oh!' says Manager Kemble.

"The mob at the door made a mighty din,
'Heigho!' says Kemble,

They dash'd like devils through thick and thin,
And over the benches came tumbling in,
With a rowley, &c.,

"Twill do,' says Manager Kemble.

"He held by the tip of his opera hat,

'Heigho!' says Kemble,

'Indeed the concern is as poor as a rat.'

Says John Bull, 'No, damme, we don't stand that,
With our rowley, &c.,

'Twont do, great Manager Kemble.'"

KEMBLE, LEAVE THE PIT ALONE.

"Johnny, leave the pit alone,

Let them crack their wit alone;

Can't you let 'em sit alone,
Let 'em sing O. P.

"Why with lawyers fagging 'em,
Up to Bow Street dragging 'em,
Brandon aims at gagging 'em,
More the blockhead he.

Johnny leave the pit alone,
Let them crack their wit alone,
Can't you let 'em sit alone,
Let 'em sing O. P.

"Other measures try at, O!
Let the house be quiet, O!
Coughing is not riot, O!

Valiant boys are we

Johnny, leave the pit alone,
Let 'em crack their wit alone,
Can't you let 'em sit alone,
Let 'em sing O. P.

"Despotism French is, O!
O. P. lads and wenches, O!
Gallop o'er the benches, O!
Trip it merrily.

Johnny, leave the pit alone,
Let 'em crack their wit alone,
Can't you let 'em sit alone,

Let 'em sing O. P."

"Come all you lads and you lasses fond of sport
And listen to my ditty, and hear but my report,
For if in seeing pantomimes, it pleaseth your delight,
Then haste to Covent Garden, it openeth to-night.
CHORUS.

"Then haste away, unto the play, where you can quickly be,
And by paying of a shilling this famous playhouse see.
This noble building, to be sure, has beauty without bounds,
It cost upwards of one hundred and fifty thousand pounds;
They've Madame Catalani there to open her wide throat,
But to hear your foreign singers I would not give a groat;
So haste away, unto the play, whose fame has reached the skies,
And when the CAT opes her mouth, oh! how she'll catch the flies!"

(To be continued.)

--

ART AT THE INTERNATIONAL EX

and home.

HIBITION.

THE WORKS OF THE LATE JOHN PHILLIP, R.A., and the THIS collection of paintings forms an excellent exposition of certain aspects of English art. It cannot be called great in point of idealism or expression, or in the more heroic forms of the art. Not that English life and English nationality are not capable of all these in an eminent degree, but, in the special sphere of action available for their development, the heights and depths of existence, with the studied insouciance of good society, are tacitly ignored. Attention is directed only to what appears upon the smooth level of ordinary circumstance. The more passionate life of the Italian expresses itself in passionate subjects and expressions of art. Heroic tragedy, divine comedy, the delights of Paradise, the depths of Hades, and the whole range of human life and the human heart, offer fields congenial to the inspiration and individuality of the genius of the south The dreamy and speculative, yet hardly less passionate German revels in sentiment less violent, yet equally intense and, perhaps, more imaginative than that of the Italian' Poetry and idealism are far more important elements in art with our Teutonic cousins than with us. The Gallic pencij loves to chronicle horrors, the representation of which almost every Englishman would carefully exclude from his house And the English picture-buyer moulds the English artist after his own taste; and, though occasionally some ambitious spirit, longing to escape from its trammels, may launch out into the commemoration of a great scene of history, allegory, or Scripture, as a general rule we find delineations of home life, society, familiar scenery, and subjects of a similar nature displayed upon the walls of our annual exhibitions. The pictures of Creswick may be taken as fair illustrations of what might be called this middle-class tendency in art. There is no aspiration and not much sentiment about them, though sometimes the latter quality does seem to work itself into prominence, almost in spite of the artist's realistic bent, yet chiefly so far as inherent in the character of objects themselves. He appears to avoid those convulsions and exceptional effects of nature, in which the imaginative artist revels with sympathetic delight. Green lanes, clear, calm brooks, and skies untroubled by elemental passion or presage, are the materials on which his fancy loves to dwell. There is a singular absence of artistic and imaginative motion in the works of the English painter. Instead of it we have, as before remarked, trees, woods, rocks, stones-all, with few exceptions, under the usual quiet daylight effect. But take this school for what it is-i.e., unadulterated realism and naturalism, with occasional slight touches of sentiment, the whole expressed by a certain technical skill which has reached a relatively appropriate standpoint sufficient to carry out its own special needs, and an honourable position may be at once conceded. The mistake is to cry it up as the one direction to be followed, or as the chief and special representative of British landscape art. And it has its merits. Its unaffected realism and truthfulness are undoubtedly refreshing after studio landscapes

LATE THOMAS CRESWICK, R.A.

An

HERTFORDSHIRE.

(Continued from page 6.)

IN the middle aisle of the chancel, the head nearly touching the extremity of the nave, is a black slab, well wom, with some portions of the inscription now illegible. Round the slab is inscribed the 40th verse of the sixth chapter of St. John, to which verse I would refer your readers for the elucidation of the existing breaks :

AND THIS IS THE WILL O

THAT

SENT ME THAT EVERY ONE WHICH SEETH THE SONNE AND
BELEEVETH ON HIM MAY HA-E
-TING LIFE & I WILL RAISE HIM VP AT YE LA--
0.6 V 40TH

EV—

This slab commemorates that

HERE LYETH Y BODY OF ANNA
TOOKE ELDEST DAVGHTER TO
THOMAS TOOKE OF BEERE IN
EAST KENT & WIFE TO GEORGE
TOOKE OF P IN YE COVNTY
GROANEINGE

OF HERT

VNDER CORR

TILL THAT

GREAT DAY SHEE DEPARTED

THIS LIFE YE

DECE

TH DAY OF

42.*

bristling with morbid theatrical effects. Creswick put into just named, the advance in breadth of tone, light and shade, As before and in effective and harmonious grouping are strikingly his pictures what he saw, and he saw nature. The painter has developed from the crude remarked, his are not the pictures in which the poet-painter apparent. translates from air and sea and sky the mingled impressions draughtsman, and diligent but superficial copyist, into the which they have produced upon his imagination. Yet in artist, at whose beck light and shadow, and life and nature, some of his sea pieces, in which he has to deal with a large seem to become willing instruments. expanse of air and distance, in the larger and freer scope thus permitted to his brush, he seems to gain with the freedom of WORMLEY CHURCH AND MEMORIALS, his subject a certain elasticity of feeling and idea. example of this may be observed in the fine picture "St. Michael's Mount" (1344), the romantic natural situation of which gives rather the impression of some "castle in the air," than of a substantial English habitation. The light, fresh tones, and the general local characteristics of the Cornish coast are well rendered. The picture is the joint work of Creswick and Mr. Ansdell, R.A. The sky is breezy and full of motion, and the sea dashes against the shore in wild white jets of spray. A general feeling of space and freshness pervades the picture. On the opposite side of the gallery, we have the reverse of this in "The Kingfisher's Haunt" (1182). It might fitly be called a woodland interior, and is a picture one would be well pleased to have for a daily companion, refreshing to look upon at odd moments, with cool, deep water, pleasant to see on hot days. Near this are two interesting heads by Phillip, "Portrait of a Lady" (1184) and "Study of a Roman Peasant Girl" (1185). Á striking contrast they present-the sensitive and pensive reflectiveness of the northern lady, and the rich prononcé beauty of the peasant of the Campagna. Beneath these is a much older work of the painter, "Presbyterian Catechising' (1186). It has almost as many cracks on its surfaces a Holbein, and it is nearly as crude and hard as Holbein ; but many of the faces are excellent in expression, the grouping is effective and agreeable, and as a picture of national characteristics it is specially valuable. Close by this (1188) is the " Sketch for the Picture of the Marriage of H.R.H. the Princess Royal with the Crown Prince of a similar slab, but bearing the following inscription :Prussia," which, at the time it was painted, excited admiration among artists for the skill with which the large and difficult masses of white were treated. A few steps further, and we have "Pasquccia" (1198), a grand Roman head with outline and bearing such as the Imperial city alone can boast; and near it "Doubtful Fortune" (1203) attracts the eye by its strength and vivacity. A fair Senora is awaiting the decision which the eager, cunning fortune-teller with her glowing smile is auguring from the cards in her hand. The work is a perfect gem, and a most excellent example of the master. Almost the most remarkable picture in this gallery is The Officer " (1332). This, the painter's last finished work, for life-like expression and thorough technical mastery, is unrivalled. The eyes possess a reality and speculation wonderful to behold, seeming to follow and look out upon the spectator wherever he may place himself. A decade, and even less, made all the difference in the artist's handling of the brush and perception of effect. If we look at the pictures painted about the years 1853-4 and those between 1864-7, the increase in grace, style, tone, and general taste, as well as the improvement in the artistic use of material, are most apparent. In the earlier pictures, we find energy and character abundantly present, but, at the same time, much vulgarity, and a hardness of outline and flesh extremely unpleasing. The flesh-painting of the later period, when narrowly examined, seems produced by a collection of indefinite touches. No distinct outlines are perceptible, but the faces have the semi-transparency of living flesh, with its brilliant tints and its delicacy of texture. A few of the paintings near the entrance of the gallery illustrate these remarks. Compare the two large pictures "Life among the Gipsies-Seville (1343), painted in 1853, with "The Early Career of Murillo" (1329), painted in 1865, or "Study of a Head" (1221), painted in 1859, with "Dolores, a Study" (1334), or "The Officer" (1332), painted respectively in 1864 and 1867. In the two largest of the works

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There is also in the middle aisle, and near the altar-rails,

HERE LYES Y BODY OF MARY SHEERE WID-
DOW YE RELICT OF ARTHVR SHEERE ESQ &
DAVGHTER OF IOHN GARDINER DR OF YE LAWES
WHO DYED YE 18TH DAY OF IVLY 1660 & IN Y
75TH YEARE OF HER AGE LEAVEING MARY
HER SOLE DAVGHTER & HEIRE THEN WIDDOW
& Y RELICT OF FRANCIS FORSTER Esq.
A black tablet on the north wall of the chancel is thus in-
scribed :-

prope hic (in cœmeterio) iacet
DAME MARY GLASCOCK LATE
WIFE OF SR WILLIAM GLASCOCK
KNT FORMERLY THE WIFE OF
FRANCIS FORSTER ESQ. DECEASED
SHEE DYED THE LAST DAY OF MARCH
1670 WITHOVT ISSVE SHEE WAS
DAVGHTER OF ARTHVR SHEERE ESQ.
& MARY (GARDINER) HIS WIFE
BOTH DECEASED.

I append part of Salmon's version of the inscription, which at all events will supply the missing portions:

"Of Popes in the county of Hertford, Esq. Groaning under corruption till that great day. She dep. this life Dec. 1642."

A Thomas Tooke was a benefactor to this parish. "In 168messuage and five acres of land in Cheshunt, now let (1826) to James Ebbon, were purchased and conveyed to Trustees in trust every Christmas day in pursuance of a direction in the Will of Th Tooke, dated 9th June, 1670, to lay out 3., part of the rents, in prend ing six blue coats, six yellow petticoats, six pair of blue stockings in bonnets for three of the poorest boys and three of the poorest of this parish, two of which six boys and girls to be yearly named the owners of Wormley Bury and the others by the major part of parishioners, and the rest of the rents to be disposed of to the aged men and women of the parish, at the discretion of the m part of the parishioners. The present trustees are Sir Abraham Hume, Alexander Evelyn, Esq., Rev. T. M'Cullock, George W.. stead, Esq., Mr. James Elliott, Mr. Richard Iredale, Mr. Walm

Akers, and Mr. William Wiseman. 1826."

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Salmon mentions this as on the south side; but it is probably a mistake on the part of that author.

*

A white tablet, next to that erected in memory of Dame Mary Glascock, records the death of Heron Hart, Esq.,* son of Samuel Hart, M.D., born at Fort St. George, in the East Indies, on the 11th September, 1693, died 17th June, 1743. The same memorial also commemorates Mary, wife of Charles Boddam, Esq., and sister of the late Heron Hart, obt. 14th April, 1749, æ. 51; Charles Boddam, Esq., obt. 31st Dec., 1752, æ. 72; Hannah, wife of Peter Roberts, Esq., and daughter of the late Charles Boddam, obt. 3rd July, 1784, æ. 63; and Charles Boddam, son of the abovementioned, obt. 5th Nov., 1784, æ. 65.

On the same side, a short distance from the above, but toward the east, a white marble tablet records that—

Underneath lies the Body of WILLIAM CHADWICK, of the Antient Family of Chadwick in the County Palatine of Lancaster, late Rector of this parish Church, upwards of 50 years and Constantly Resident who Married first with Ann daughter of HENRY HALL of the County of Middlesex, Esq and Grandaughter of HENRY CHAUNCEY of Yardley Bury in the County Hertford Esqr

and afterwards with Eliz: the widow of WILLIAM NORTHEY Esqr and Daughter of MICHAEL THOMPSON Merchant and citizen of London he died the 17th of June. 1746

A white tablet on the south wall,† erected in memory of Richard Gough, the eminent antiquary, and author of the work on Sepulchral Monuments, &c., contains the following inscription, which is well worthy of attention :

Hunc propè parietem
Reliquias suas condi voluit

RICARDUS Gough,
antiquâ stirpe ortus :

Ex heroibus qui in bellis Gallicis et

civilibus claris Gloriam,

Ex mércatoribus Stapulæ Calesiæ Indiæque orientalis

Divitias deduxit,

Patriæ amorem, erga Reges fidem,
Legum Antiquitatumque patriæ peritiam.
ex atavis consanguineisque derivatam,
constanter coluit

Hasce investigandi cupiditates innatæ
testimonia habeto

Topographiam Britannicam,

Gulielmi Camdeni Britanniam renovatam, Monumenta Sepulchralia Magnæ Britanniæ illustra.

On the chancel floor, next to the memorial of Mary Sheere, is a large white slab, on which is inscribed in large characters the following:This stone and vault beneath was built at the charge of Heron Hart, Esq., and the ground purchased by a faculty from ye commons for the use of himself and family for ever in the year of our Lord, dccxliii."

† See also notice of tomb in churchyard, infra.

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A white slab on the chancel floor records the decease of Susannah Fillingham, of Whitechapel Road, London, whose ancestors were inhabitants of this parish, obt. 8th Nov., 1817, æ. 83; also of Charles Hornby Fillingham (son), 20th Jan., 1823, æ. 52; Margaret Broady (daughter of the above Susannah), 3rd July, 1828, æ. 63; and Elizabeth Fillingham (wife of the above C. H. Fillingham), 25th July, 1848, æ. 73. The other memorials in the chancel consist of tablets, commemorating respectively, the decease of Jasper Leigh Goodwin, obt. 4th Dec., 1817, æ. 60, and of his wife Susanna, obt. 15th June, 1820, æ. 52 (this is over the door); Hannah, relict of James Hare, Esq., M.P., and daughter of the late and sister to the present Sir A. Hume, Bart., obt. 6th May, 1827, æ. 75 (near the pulpit); and opposite this, one to Susanna Hare, only daughter of the above, born 11th Dec., 1774, died 16th Jan., 1842; and on the south wall, a fancifullydesigned memorial (a white scroll on a black ground, and surmounting the scroll, a butterfly represented just after its emergence from the chrysalis form), to Harriet, younger daughter of Thomas and Elizabeth Orton Cotterell, of 50 Eaton Square, Pimlico, and late of Highgate, born 6th July, 1829, died 1st July, 1848; and on the same, the above Thomas Cotterell, obt. 16th Jan., 1873, æ. 80. On the abutment between the chancel and nave (south) a tablet is erected to Thomas Dobson Baker, the firstborn of Samuel and Mary Ann Baker, obt. 31st Oct., 1832, æ. 12 y. and 9 m.; and (on the same) Mary Ann Baker, wife of Samuel Baker, and second daughter of Thomas and Elizabeth Dobson, of Forty Hill, Enfield, obt. 4th April, 1846, æ. 50. Opposite this (on the north side) a similar memorial records that Thomas Dobson, of Forty Hill, Enfield, died 18th April, 1850, aged 79; Elizabeth, his wife, 24th Feb., 1851, æ. 78; and that Maria, third daughter of the above, and wife of Arthur Capon Watling, Esq., H.E.I.C.S., died 19th Dec., 1869, aged 70, and was interred in Kensal Green Cemetery. Over the organ is a tablet to William Tongue, born Sept. 8, 1787, died May 22, 1856.

There are but two monuments in the nave, and these are on the north wall, and are both ornamental tablets. The first tablet here noticed is surmounted by a female figure kneeling on a pillow, her right hand being on an open book, which rests on a small projection by her side. Beneath this are the words

I KNOW THAT MY REDEEMER LIVETH, and above the inscription are the profiles of the undermentioned. The inscription, which forms a complete biographical notice (as also does the next enumerated), runs as follows:

"This monument, the destined tribute to the memory of Amelia Lady Farnborough, by her afflicted husband Charles Lord Farnborough, was still unfinished when his own mortal course was closed. After one surviving year of suffering and of sorrow, it now becomes the record of the endearing virtues, the devoted attachment and sacred affection, which, guided by the influence of religious hope during an union of forty-four years, animated mutually the hearts of both

without intermission or decline. They were married on the 28th May, 1793, and their remains rest beneath the same tomb in the churchyard of this parish. Lady Farnborough was the eldest daughter of Sir Abraham Hume, Bart., of Wormley Bury, by his wife Lady Amelia, only sister to John William and Francis Henry, Earls of Bridgewater, and died on the 15th of January, 1837, aged 65, leaving no issue." "Charles Lord Baron Farnborough was the third son of Beeston Long, Esq', of Carshalton, Surrey. He was born in 1760, and entered public life in 1791, under the auspices of the Rt Honble William Pitt, whose friendship he enjoyed in an eminent degree, and to whose political principles he remained consistently attached during a long course of public service. He was nominated Knight Grand Cross of the Order of the Bath in 1820, and on retiring from office in 1826, was raised to the peerage as a mark of his Sovereign's approbation. He died at Bromley Hill on the 18th January, 1838, in the 78th year of his age."

The second, which is near the above, contains a bust, the bust surmounting a coat of arms, * &c. The whole of this is the work of Westmacott, R.A. It is thus inscribed:"Sacred to the memory of Sir Abraham Hume, of Wormley Bury, the second and last baronet of his branch of an ancient and honorable Scottish family, who died on the 24th day of March, 1838, in the 90th year of his age. He succeeded to his paternal title and estate in 1771, and married in the same year, Amelia, daughter of John Egerton, Lord Bishop of Durham, and sister of John William and Francis Henry successively Earls of Bridgewater; by her, who died in 1809, he had issue two daughters, Amelia and Sophia, the former of whom was married to Charles Lord Farnborough, and died without issue in 1837, the latter became the first wife of John Lord Brownlow (afterwards created Earl Brownlow), and died in 1814, leaving three children, namely, Sophia Frances, married in 1836 to Christopher Tower, Esqr of Weald Hall, Essex, John Hume Cust (by courtesy Viscount Alford), and Charles Henry Cust. During the long period of sixty-six years, in the course of which he chiefly resided at his mansion in this parish, he was distinguished by an honest patriotism, evinced in many generous actions of public service, and was beloved by all who came within the circle of his acquaintance, for his hospitality, kindness, and beneficence, which qualifications, always enhanced by the cultivation of science and patronage of art, were rendered still more estimable by the sense of religious truth which influenced the general conduct of his life."

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In the south aisle are three tablets, one to Charles Mason' Esq., of Lombard Street, London, obt. 2nd April, 1787, æ 81; also on the same:- -John Cook, Esq., of Broad Street, London, merchant, obt. 9th June, 1757, æ. 61; Thomas Mason, Esq., of Lombard Street, died at Bath, 18th July, 1772, æ. 68; Dorothy Cook, of this parish, relict of the above John, and sister to the above Masons, obt. Sept. 23rd, 1783, æ. 84. And we are further informed that Richard Woodyer, of London, executor of Charles Mason, caused this monument to be erected in grateful remembrance of so good a friend and generous benefactor" (this is on the east wall). The second, on the south wall, is to Anne, wife of George Anne Martin, of Freezy Water, Enfield, and niece of John Barnes Hankins, obt. 9th Jan., 1827, æ. 52; and her husband, George Anne Martin, who died at Belgrave House, Ventnor (Isle of Wight), 23rd Nov., 1842, . 71. The third, near this, is to John Barnes Hankins, late of Woodford Bridge, Essex, died 27th Nov., 1829, . 76, and Susanna, his widow, 21st Sept., 1830, æ. 75. This tablet records (as also does the preceding one) that it was erected as a token of gratitude by the children of George Anne Martin."

*The motto beneath the coat of arms reads, "True to the end." Among the ornaments on this monument may be noticed three books; one marked on the back, "Titian."

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THE CORRINGHAM BRASSES. CORRINGHAM is about four miles distant from Gainsborough, in the county of Lincoln. of the church is a gilded copper plate set in a wooden frame, and upon this plate, which is now black with age, are five figures, represented in the accompanying illustration. On one corner of the plate is a shield charged with the arms of Clifford, viz., Or, three eagles displayed gules, membered azure. Above the inscription, on the plate, is a death's head or skull upon a book, which is placed on an altar between a robed priest and an elegantly dressed female. The former figure represents the Prebendary Clifford and the latter his wife. From the mouth of the priest are issuing the words "Morte quæsivi regnum,' " that is, "By death I have sought the kingdom;" and from the lady's mouth are proceeding, "Quæsiti spero habere dotem," ie, "I hope to have my dowry or portion in that which is sought," referring to her husband's sentence. He sought to obtain the kingdom of Heaven by death, and she hoped to have a portion in it.

On the north wall of the chancel

Upon the front of the book upon which the skull rests are the following words, "Sequentur qui non præcessere." that is, "They shall follow who have not gone before." This book is evidently intended to represent the Bible, the Word of God, the charter of the Christian's hopes, in which he learns that the way to the kingdom of Heaven is through the gate of death. As it is written, "It is appointed unto men once to die." And again, "Flesh and blood cannot inherit the kingdom of God," or of heaven, which is a state of glory beyond the grave. The skull placed upon the Bible with the motto, "Sequentur qui non præcessere forms a very suitable emblem of mortality. Upon the altar, over the heads of three kneeling figures, which personate the three sons of Henry and Eleanor Clifford, are the following, "Det Deus ut sit hereditarium," i.e., " May God grant that it may be inherited by us," which alludes to the "regnum" above. The whole is ́ surmounted with this very appropriate motto:

"Mortuorum monumenta virorum documenta,"

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Translation of the above.

"To the memory of Henry Clifford, Bachelor of Divinity, prebendary of this church with Stow and vicar of the same, renowned for the sincerity of his religion and the irreproachableness of his life, a very faithful dispenser of the word of God, and a very frequent distributor of the sacred mysteries of the oracles of God. He married Eleanor, the daughter of Richard Jackson, Gentleman, by whom he had Henry, George, and Thomas. He died Feb. 16, 1628, aged 52.

"A very sorrowful wife, separated from her very dear husband has dedicated this brazen tablet."

66

Phoenix, are you reduced to ashes, are you empty dust, does no Phoenix arise from it?

"Either you will bring forth or perish everlastingly. Reader, consult both the clergy and the people; they say that this age has not produced a man like him.'

separation "à viro charissimo" appeals both to the clergy husband had no equal on earth. They answer, "Hoc and the laity for a confirmation of her opinion, that her œvum huic similem non peperisse virum."

In order to enter into the spirit of this elegant tetrastichon we must take into consideration that the Greek and Latin Fathers considered the fable of the Phoenix as a symbol of the resurrection. St. Clement, of Rome, who is supposed to have been a companion and fellow-labourer of St. Paul, is the first who mentions it in his Epistle to the Corinthians, chap. xxv., in which he is endeavouring to prove a future

resurrection.

Henry Clifford, S.T.B., was installed in Lincoln Cathedral, Prebendary of Corringham, Sept. 28, 1609. He was of the baronial house of Clifford, a son of Henry Clifford, Rector of Sandbach, in the county of Cambridge, and was presented to the vicarage of Gainsborough on the

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In this beautiful tetrastichon the sorrowing wife apostrophises her much-loved husband. In her eyes there never was his equal "Hoc ovum huic similem non peperisse virum." She compares him to the Phoenix, the wonder of the age, and with such affection as only a wife can manifest. My Phoenix-like husband, are you reduced to ashes? from them does no body arise? do you still continue to be empty dust, a vile body, the body of humiliation ? In an ecstacy of delight she exclaims, "Thou shalt produce, thou shalt not perish; thou shalt produce a new body Phoenix-like, but no more an earthly tabernacle. Our ever-to-be-adored Redeemer will change thy mortal body, it shall no longer remain an inanis pulvis'-it shall be changed-it shall be raised in glory; not merely in a state of honour and immortality, but in a beautiful, majestic, and resplendent appearance, fashioned like unto Christ's own glorious body; for the glorified body of our dear Redeemer is the exemplar or pattern of the body of all those who sincerely believe in him, in their resurrection state." The very sorrowful wife, "Conjux mœstissima," when she thinks of the

CLIFFORD

death of John Jackson in 1608. He appears to have held the vicarage of Gainsborough only two years. When he died he was seized of the rectory of Grayingham, the vicarage o Corringham, and the prebend of Corringham, cum Stow, in the county of Lincoln. As above stated, he married Eleanor, daughter of Richard Jackson, gentleman, and had issue: 1. Henry, born 1603, and died s.p., 1689. He was prebendary of Lincoln, and rector of Wroot, in the Isle of Axholme." 2. George, baptized 27th of August. He left England for America between the years 1634 and 1640, and married there 24th Oct., 1648, Abigail, daughter of William Bower and Jane his wife, and died 21st Oct., 1680. Esther, born 29th of March, 1651, married 19th of Nov., 1670, to Robert Pease, Esq., of Hesslewood House, county of York. At the time of his marriage he was living at Amsterdam. 2. Eleanor. 3. Elizabeth.-Vide Supplement to Burke's "Dict. of Landed Gentry," p. 269, note sub nom. Pease of Hesslewood.

GEORGE DODDS, D.D.

I.

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