THROUGH the WORDSWORTH TWO IMPORTANT WORKS OF TRAVEL. COUNTRY. By Professor WILLIAM KNIGHT, of St. Andrews 1. The SOLOMON ISLANDS and their University. With 56 Etchings of Lake Scenery by Harry Goodwin, printed on Japanese paper. 1 vol. Columbier 8vo. 428. NATIVES. By H. B. GUPPY, M.B. With numerous Plates, "A charming souvenir of the lakes.... We have nothing but praise for Mr. Goodwin's drawings."-Pall Mall. An extremely handsome and very interesting book....The mechanical production is nearly 2. The GEOLOGY and PHYSICAL CHARACperfect....For reminding those who have seen it already, and preparing those for whom the sight is yet to come of a scenery unsurpassed by that of any district in the world, it is unequalled, and is never very likely to be excelled."-Manchester Examiner. The BEST BOOKS: a Reader's Guide to the Choice of the best available Books (about 25,000) in all Departments of Science, Art, and Literature down to 1887, with the Dates of the First and Last Editions, and the Prices, Sizes, and Publishers' Names of each Book. With copious Topical Index. By WILLIAM SWAN SONNENSCHEIN. 740 pages, 4to. 218. ; interleaved, 318. 6d. "It would be difficult to exaggerate the usefulness of this book, or to praise too highly the industry of the compiler....The more the guide is examined the more struck will the reader be at the thoroughness with which Mr Sonnenschein has done his work."-Spectator. The best, the most accurate, scientific, and useful contribution which has ever been made to English bibliography. Mr. Sonnenschein has given us exactly what was wanted. It is a permanent addition to English literature."-British Weekly. NATURE and ART. Illustrated with 14 TERISTICS of the SOLOMON ISLANDS. By H. B. GUPPY, specialist and the general reader."-Pall Mall Gazette. Written by EDITH ROBINSON. Illustrated by George Hodgson. A Ballad founded on an old Yorkshire Legend, describing the Monastic Adventures of a Novice, who having formally renounced the world is still sorely plagued by carnal desires. Every page is profusely and humorously illustrated. Imperial 4to. stiff boards, bevelled edges, 108. 6d. The DOCTOR, and other POEMS in the MANX PATOIS. By Rev. T. E. BROWN, M.A. Elegantly printed in fcap. 8vo. 68. "The Doctor' is a poem of more than extraordinary power, which nobody who has read it will easily forget. The story is admirably told. ....There are many works of great poets which we would more willingly lose than this delightful volume."-Academy. "The author is known in the Isle of Man as the raciest story-teller, the warmest patriot, the brightest and most humorous companion." Liverpool Mercury. MINORA CARMINA: Trivial Verses. By C. C. R. Elegantly printed in fcap. 8vo. 68. "These trivial' verses are the very best of the kind we have seen for a long time."-Glasgow Herald. "Gentleman, scholar, sportsman, and bon vivant are apparent on every page."-Bat. LOUISE DE KEROUALLE, DUCHESS of The FOLK SONGS of ITALY. Specimen PORTSMOUTH, in the COURT of CHARLES II. How the Duke of Richmond gained his Pension. Compiled from State Papers in the Archives of the French Foreign Office by H. FORNERON. With a Preface by Mrs. G. M. CRAWFORD, of Paris. With 6 Engraved Portraits from the Paintings at Hampton Court, and Facsimile Letter. 108. 6d. The First Edition has been at once exhausted, and a Second, unaltered, is now ready. "I ask every member of Parliament, and every constituent of every member, to read Louise de Keroualle,' and to consider if the continuance or the commutation of this pension is not a national and intolerable disgrace....I say again that every M.P. who sanctions pensions paid for prostitution and treason is responsible for the infamy he votes to reward."-Truth, Oct. 13. It is very fascinating this being taken behind the scenes of history."-St. James's Gazette. "A supplement to the Grammont Memoirs.""-Notes and Queries. Songs from each Province, with Translations of each en regard, accompanied by a Prefatory Treatise and Notes. By Miss R. H. BUSK, Author of The Folk-lore of Rome.' Printed on handmade paper, and bound in parchment, fcap. 8vo. 68. "The choice in this graceful collection of Italian songs has been well made....It is pleasant to see these specimens of very different dialects placed side by side, and particularly to observe in them how they lend themselves to, and often reflect, the genius of the different races from which they spring."-Pall Mall Gazette. "A delightful book, throwing many side lights on the ideas and customs of the Italian race....Comprehensive and fascinating." Morning Post. "Will prove acceptable alike to lovers of poetry and to those special students for whom it was presumably intended."-Scotsman. "We recommend all lovers of the songs of the people and all students of Italian dialects to send for this book."-Vanity Fair. SOCIETY in the ELIZABETHAN AGE. SONNETS ROUND the COAST. By Rev. By HUBERT HALL, of H.M. Public Record Office. With numerous Coloured and other Plates derived from Contemporary Drawings, and a large folding Coloured Map of London in the Sixteenth Century. Third Edition. 8vo. cloth gilt, gilt top, 108. 6d. "Mr. Hall is a complete master of the complex economic history of the time; and it is not the least of the various merits of his book that it follows out such familiar but abstract facts as the competition for land or the general rise of prices in all the graphic details of individual lives."-Academy. "Vastly entertaining is the account of Wild Darrell's diet just three hundred years ago-especially if we contrast it with the hotel bills of the present day." "Punch. 7th 8. No, 101. H. D. RAWNSLEY, Vicar of Keswick, Author of Sonnets at the "Mr. Rawnsley shows a true poetic spirit.... His sonnets are of a high order, and he frequently invests antiquarian relics with an interest which future tourists, with his verses in their hands, will readily appreciate."-Scotsman. SWAN SONNENSCHEIN, LOWREY & CO. Paternoster-square. Celebrities of the Century. Being a Dictionary of the Men and Women of the Nineteenth Century. Cloth, 218. ; Roxburgh, 258. Religion, The Dictionary of. An Encyclopædia of ILLUSTRATED VOLUMES. The Life and Times of Queen Victoria. By R. WILSON. Vol. I. 98. Our Earth and its Story. By Dr. ROBERT BROWN, F.L.S. Vol. I. 98. Peoples of the World. By Dr. ROBERT BROWN. 6 vols. each 78. 6d. Our Own Country. With 1,200 Illustrations. 6 vols. each 78. 6d. Old and New Edinburgh. 600 Illustrations. 3 vols. each 98. Greater London. By E. WALFORD. 400 Illnstrations. 2 vols. each 98. 6 vols. each 98. Gleanings from Popular Authors. Illustrated. 2 vols. each 98. ILLUSTRATED HISTORIES. Revised throughout. Profusely illustrated with New and Original each 98. each 98. 2 vols. British Battles on Land and Sea. 4 vols, each 98. each 98. Christian and other Religious Doctrines, Denominations, Sects, Heresies, Ecclesiastical Terms, History, Biography, &c. By the Rev. WILLIAM BENHAM, B.D. Cloth, 218.; Roxburgh, 258. English History, The Dictionary of. A Record of the Doings of the English Nation at Home and Abroad. 218.; The Story of the Heavens. By Sir ROBERT STAWELL Roxburgh, 258. Twelve Divisional BALL, F.R.S. F.R.A.S. With Coloured Plates and Wood E- Electricity in the Service of Man. Edited by R. H. G. SEELEY, F.R.S. With 214 Illustrations. 78. 6d. A History of British Fossil Reptiles. By Sir Science for All. Cassell's New Natural History. Edited by Prof. P. MARTIN DUNCAN, M.B. F.R.S. With 2,000 Illustrations. Short Studies from Nature. With Full-Page Illus CASSELL & COMPANY, Limited, Ludgate-hill, London. LONDON, SATURDAY, DECEMBER 8, 1887. CONTENTS.-N° 101. NOTES:-Tercentenary of Mary Stuart, 441-Lord Mayors of Foreign Extraction-"The Glorious First of June," 444The Fur Seal Trade-Modern Palimpsest-Headsman's Block, 445-Attendance-Early Fruit Trees-Shelley Family, 446-Wezand, 447. QUERIES:-Early Churchwardens' Accounts-Cardinal Beaton- Whitehall Evening Post'-Yorkshire Proverb-St. Enoch-Danish Kings of Dublin-Peel Castle, 447-Riddle -“Belmont ”—' Windsor Drollery'-'God and the King'Monogram-Major Denham-St. Dachiarog - Newell Berkeley-Demon ringing a Bell-Pesock, 448-Beautiful Snow-Charade in Latin-Christians in England-CarrTooley Street Tailors-Vismes Family-War Medals-The Yew-R. Webb-Emerson-Carried, 449-Authors Wanted, 450. REPLIES:-London M.P.s in 1563-7, 450-Maslin Pans, 451, -Military Events in Piedmont-"To stoke the Dutchman " -English Quotation by Bismarck-Where was the Revolution of 1688 concerted?-Ela Family - Poole Family Literator, 452-Charms-Edinburgh University-Descendants of English Kings-Claiborne-Bishop Ken's Appeal, 453 -Civet Cat Crest-"Roi des Français"- Greater London'Tarantelle-" Candid friend"-Canoe-"Signor Puppy, "454 -Epitaph-Peel Castle-Irish House of Commons-Campanile, 455-Fairies-Wordsworth's Lines-De Sancy Diamond, 456-Segor-Gadroon-Sack for Communion Wine, 457-Étienne Perlin-Authors Wanted, 458. NOTES ON BOOKS.-Ashton's Voiage and Travayle of Sir John Maundeville'-' Bryan's Dictionary of Painters'Gomme's Romano-British Remains'- Munk's Euthanasia'-Fletcher's 'Co-operative Index to Periodicals.' Notices to Correspondents, &c. Notes. fluenced by chemical preparations. It is a curious fact that it was accidentally discovered in the secret drawer of a beautiful cabinet of tortoiseshell, inlaid with buhl, known to have belonged to Charles I., who inherited it from his father, who, in his turn, was doubtless well acquainted with its history.” This cabinet was lent by Her Majesty to the Tercentenary Exhibition at Peterborough, and, from its size and beauty, naturally attracted much interest apart from its historical fame. It was brought over from France by Mary Stuart, and given by her to the Regent, Lord Mar, from whom, through the marriage of his great-granddaughter, Mary Erskine, with William Hamilton of Wisham it passed into the possession of the Belhaven family. It was beBelhaven and Stenton, together with the tress of queathed to the Queen by Robert, eighth Lord hair and a purse worked by the Queen of Scots (also exhibited at Peterborough), with the request that it might be preserved either at Holyrood or Windsor. It is kept at Windsor. The "Lock of Queen Mary's Hair" (No. 98 in the catalogue) should rather be described as a large tress of hair; and it excited as much interest as the rosary, veil, and the chief portraits. It is preserved in a glass case, but I had the satisfaction to hold the tress in my hand, and to feel its soft silkiness. A ring was exhibited by Mr. A. Forbes Irvine, containing a single hair of Mary Stuart. It formed a fine thin line round the edge of the crystal. A small brooch containing hair of Mary Stuart was also lent by Mrs. H. C. Erskine; but the tress sent by Her THE TERCENTENARY OF MARY, QUEEN OF Majesty was the only hair in the exhibition from SCOTS: HER HAIR AND PERUKES. (See 7th S. iv. 81, 121, 281, 361, 381.) I had sent my notes to the Editor before the appearance of the Saturday Review, October 22, or I would have incorporated in them some reference to the most interesting article in the journal just named on 'The Portraits of Mary Stuart' in the recent Peterborough Exhibition, which the writer justly terms a "singularly interesting series of portraits of all kinds," in which Sir Walter Scott would have delighted; adding that "perhaps never before have so many portraits of a single individual been gathered together in one small room." Their "number and variety is simply, as Dominie Sampson would have remarked, 'prodigious !'" which it was possible to form a true judgment of the colour. It determines that point beyond all controversy. In describing the portraits at Peterborough the writer in the Saturday Review says:— "Rev. E. Bradley's celebrated miniature represents the Queen as still in mourning for Francis II. She is a very beautiful young woman; but it is the only portrait in which her hair is painted, as Scott describes it, 'dark brown.' All the other portraits are at one on this point, proving thereby the authenticity of the lock preserved by the Queen, and also that, since she possessed naturally the fashionable colour of the day, there was no need for her to use any of the dyes then, as now, so greatly in vogue." A photograph from the miniature forms the frontispiece to my Fotheringhay and Mary, Queen of Scots.' The miniature is also copied, with a representation of the large cabinet, in the two pages of The chief point on which I wish to touch is the disputed question as to the colour of Mary Stuart's hair. The writer, speaking of the beautiful por-illustrations of the portraits and relics given in the trait of Mary painted by Juan de Medina (lent by Mr. John Ferrier to the Peterborough Exhibition), representing her as Dauphiness at the age of fifteen, says: "The hair is precisely of the colour of the famous lock which the Queen treasures, but, after some reluctance, graciously allowed to be included among the Peterborough relics. It is of the loveliest golden hue, and very fine...... of the fairest auburn, and the lock of it sent by the Queen bears no trace whatever of having at any time been in Queen newspaper, August 27. A replica of the miniature was at Blenheim, and was sold by the Duke of Marlborough at Christie's, August, 1886. The Blenheim and Mr. Bradley's miniatures were then examined by several experts, and both of them were judged to be original contemporary portraits. They were presumed to be painted by Jehan de Court about the date 1563, when Mary Stuart would be twenty-one years of age. A copy of the miniature by a contemporary artist, Catharine da Costa, is in the Earl of Dysart's collection at Ham House. We applied for the loan of it, but in vain. Miss Agnes Strickland gives a very full description of it in the thirteenth chapter of her 'Mary Stuart,' speaking of the hideousness of the widow's headdress, &c. This miniature must have been a great favourite, for no fewer than four copies of it were exhibited at Peterborough, all smaller than the original, and one, the property of the Duke of Buccleuch, with the oval turned upwards instead of horizontally, and without the lettering "Maria | Regina Scotorum.” It was copied by Bernard Lens, and bears his signature, with the date "1720." Another of the copies, lent by Miss Petit, was signed with his monogram, "B. L." A similar portrait is at Windsor Castle, at the back of which is written (supposed to be in Bernard Lens's own manuscript) "Mary Queen of Scotland, by leave of his grace Duke Hambleton in whose hands ye originall is taken out of her Strong Box after she was beheaded after an originall. Bernard Lens, London fecit Oct. 1747." He not only made many copies of the miniature, but he also painted many portraits in the costume of Mary, Queen of Scots; and it is recorded by Vertue, who was his pupil, that a certain lady whose portrait he had painted complained to him that he had not made her like Mary Stuart. (7th S. iv. 362); and that when her head was cut off and the executioner "lifted it up "-it does not say that he did so by the hair-it "appeared as grey as if she had been three-score-and-ten years old, poled very short." So that it appears from this that over her real hair, which had turned grey and was closely cut, she wore an auburn peruke. In Amyas Cawood's picture (at Abbotsford) of the severed head, "one pearl appears among the dark locks which have been replaced by the artist," says Miss Agnes Strickland. In my 'Fotheringhay' (p. 142) I said :— "With reference to Mary's hair, close cut and grey, the Earl of Shrewsbury said that it had been so cut in his house for the convenience of applying cataclasms to relieve her severe headaches. These were neuralgic, and were probably the chief cause of her hair turning grey. note to Manfred,' where he complains that he is grey. Lord Byron, however, thought otherwise; for, in bis haired with anguish,' he mentions as instances Mary Antoinette and Mary, Queen of Scots, turning rapidly grey, with cares and sorrows'; and that the hair of Mary's grandson, Charles I., turned quite grey in like manner during his stay at Carisbrook.” Mr. Froude says, "The coif fell off and the false plaits." Dr. William Robertson says, "Her hair was black, though, according to the fashion of that age she frequently wore borrowed locks and of dif ferent colours." But he is wrong in saying "black"; as is proved by the tress of golden hair in the possession of Her Majesty. "When I was at Windsor I saw two miniatures of Mary Stuart, one as a beautiful woman with dark hair. and the other with light hair and not as a beautiful woman. The latter belonged to Charles I., and was said to be an authentic likeness; but I confess I do not think so. As regards the colour of her hair, I understand that it was peculiar to that age, and not perhaps to that age alone, for ladies to sometimes wear light hair and at other times dark hair; and this would account for the difference in the portraits. The lock of hair which has been sent by the Queen is of a light colour, contrary to the general belief that Mary's hair was dark." The critic says that the hair of Mary Stuart in Mr. Bradley's miniature is "dark brown." I should The Dean of Peterborough, Dr. Perowne, in his have called it auburn, as there is a decided ruddy address at the opening of the Peterborough Exhibitint to be seen in it. But "all the other portion of portraits and relics, said :— traits" were not "at one on this point," and did not represent the hair of the Queen of Scots of the same golden colour as that of the tress in the possession of Her Majesty. I believe that I am correct in saying that almost all shades and hues of hair were represented, and that in some of the portraits the hair was very dark. It is dark auburn in the profile by Paris Bordone, lent by Miss Fletcher. Nor do I think that there is any question as to her dyeing her hair. Her real golden tresses probably never altered in colour until neuralgic pains, coupled with the long term of her rigorous imprisonment, blanched them. Miss Agnes Strickland, in writing of the world-wide popularity of Mary Stuart, says, "Tresses of every shade of golden, auburn, and chestnut are preserved and fondly exhibited as well-attested portions of her hair." The Saturday reviewer says :"There 18 no reason to believe that Mary Stuart indulged in wigs. Her hair was of the colour then most in vogue, and she had no reason to interfere with it by any artificial means. That it was exceptionally abundant is proved by the fact that, after her head was cut off, the executioner held it up to her enemies and the friends of Elizabeth by the hair." But R. Wingfield, the eye-witness of the execution, distinctly says that she came forth for her execution with "her borrowed hair awborne" Reine d'Écosse' (Tours, vingt-deuxième édition, M. de Marlès, in his 'Histoire de Marie Stuart, 1886), says : : "Les historiens n'ont pas moins disserté sur la couleur des cheveux de Marie Stuart, que tous néanmoins vantent comme fort beaux. Walter Scott prétend qu'ils étaient noirs; Mignet, d'après les contemporains, les fait blonds; M. Dargaud les compare à un rayon de soleil, et Michelet les veut roux. Sur ce point, comme sur tant d'autres, il faut encore recourir au témoinage de Brantôme et des poètes de la Pléiade: tous s'accordent à dire que Marie était blonde, et ne diffèrent entre eux qu'au sujet de la nuance. Brantôme parle de 'ses cheveux si beaux, si blonds et si cendrés '; Ronsard, de l'or de ses cheveux annelés et tressés '; et Renaud de Beaune, qui prononca l'oraison funèbre de Marie Stuart, parle également de ses cheveux si blonds et forts devenus tous blancs à cause de sa longue prison'” (p. 277). I believe that in a book written by Mr. Joseph Robertson-to which I cannot now refer there is an inventory of various things that belonged to Mary, Queen of Scots, and that the list includes numerous perukes. Perhaps some correspondent can give the reference to this. The Saturday reviewer, in speaking of the Blair's College picture, in which the hair is auburn, says: "What is specially remarkable about this picture is, that it affords us an opportunity of flatly contradicting one of Mr. Froude's unkindest and most mischievous remarks anent the Queen of Scots. That historian, it will be remembered, intimates that, in order to produce a dramatic sensation on the scaffold,' she had put on, under her black dress, a suit of vivid crimson, so that 'when she took off her upper dress she stood on the black scaffold, with the black figures round her, blood red from head to foot. Now Amyas Cawood, in his picture, has introduced in the left corner, as if seen through a window, a representation of the tragedy on the scaffold. The Queen is shown as kneeling to receive her coup de gráce. She wears, it is true, a red under-shirt with no sleeves; but as there was no necessity for her to divest herself of her petticoat, she still retains that garment, and it is of black satin." tress, which all the rest of the world, friend and foe of In connexion with this subject I may mention that when their Royal Highnesses the Prince and Princess of Wales, together with the Princess Mary, Duchess of Teck, were on a visit to the Duke of Rutland, at Belvoir Castle, April, 1865, they were asked to write in the book of "Confessions " as to their favourite queen, king, hero, poet, artist, author, virtue, colour, dish, flower, name, occupation, amusement, motto, dislike, locality, ambition. The three royal personages duly filled up the vacant spaces under these diverse heads; and under the head of "Queen," while the Princess of Wales wrote "Queen Dagmar," the Prince and the Duchess of Teck each wrote "Mary, Queen of Scots." CUTHBERT BEDE. But Robert Wingfield, the eye-witness, in his minute description of her execution dress, says that she wore a gown of black satin with a long train, with a kirtle wholly of fine figured black satin, and her petticoat-upper-body, unlaced in the back, of crimson satin, and her petticoat skirt of crimson velvet." In the disrobing "she began to make herself ready, putting on a pair of sleeves It is unfair to hold me responsible for the errors with her own hands, which the two executioners and opinions of others, so allow me to say that the before had rudely put off." She also retained "her extract descriptive of the dress and appearance of petticoat and kirtle." The petticoat was of crimson Mary, Queen of Scots, on the morning of her execuvelvet, and not of black satin. I think that any appa- tion was literally transcribed by me from a note aprent discrepancy between this description and that pended to vol. i. p. 274 of the edition of the 'Remains represented in the picture may be reconciled thus: of Thomas Hearne,' in 3 vols., published by John when she stood up fronting the spectator she would Russell Smith in 1869. The date of it there given be crimson from head to foot; but when kneeling is "the 8 of February 1586." This is easily acdown in profile to the spectator the black satin counted for by the omission of the usual formula kirtle would be seen, the opening in front, showing-7. The MS. in the Bodleian Library, whence it the crimson petticoat, not being visible from that point of view. I commented in my Fotheringhay' (pp. 128, 143) on Mr. Froude's misrepresentations, and also pointed out that, except the executioners and (possibly) her two maidens, there is no proof that she had "black figures all around her" to add to the effect of what Mr. Froude considers a cleverly contrived tableau vivant, or theatrical performance. He seeks to degrade this most touching scene by adding, "Her reasons for adopting so extraordinary a costume must be left to conjecture. It is only certain that it must have been carefully studied, and that the pictorial effect must have been appalling." No wonder that the Quarterly Review (April, 1870, p. 520) denounced Mr. Froude for representing Mary Stuart's career as a cunning stage play from beginning to end,” and said : "Not even in the last fatal scene is this writer awed by the dignity and majesty, learnt in long years of dis is taken, is said to be now marked "E Museo 178." Asking my friend Mr. Falconer Madan, one of the sub-librarians, to explain the reference, he replies that "E Museo is an old collection of MSS. catalogued in the old Catalogus MSSrum. Angliæ et Hiberniæ, Oxon. 1697.” Perhaps the ladies of the unfortunate queen when she was on the scaffold did disrobe her of her gowne of blacke satten printed, with long sleves to the ground," and she then stood "in her peticote vpper bodies with red satten and neyther skyrts of crimison velvett." There are various shades of crimson, light and dark, or "cramasy as it was then occasionally called, and colours do not always appear the same to the eyes of every one. spere speaks of blood when spilt making "the multitudinous seas incarnadine, making the green one red" (Macbeth,' II. i.). So it may be supposed that Mr. J. A. Froude is not altogether wrong in the description of the appearance of Shak |