Chapter C: LEY

Bere Regis.

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CHANTRY CHAPELS.

(Vol. vi., p. 223.)

At the Derby Congress of the British Archæological Association, the Duke of Rutland exhibited a document of which the following notice by Mr. H. N. Black is made in the Journal of their _Transactions_ (vol. for 1851, p. 297.):

"A bull of Pope Alexander IV., dated at Viterbo, 2 id. Mar., anno 4,
viz., 14 March, 1258. It is addressed to the Bishop of Coventry,
setting forth that Richard de Herthull lived in a place remote from the
mother church, which at some seasons was inaccessible; that he already
had a chapel on his own land, and desired to have a chaplain to serve
therein, for whom he was prepared to provide fit support. The matter
was therefore referred to his diocesan, to grant license accordingly if
he should deem it expedient. The leaden seal is yet attached to this
beautiful little document."

Then follow the words of the document in Latin.

Herthull has been corrupted into _Hartle_: and on the moor of this name a chapel still remains, although of much later date than that mentioned in the above-named document; traces of an earlier erection are however still visible in a portion of the present foundations. It is now used as a barn. Distant from this about two miles, at Meadow Place, near Yolgrave, is another chapel, now used for a similar purpose as the foregoing. In this, the jambs of all the windows still remain; the east window is a very large one.

The above is not intended to answer W. H. K.'s Query, but rather as a note in connexion with it.

T. N. B.

Chester.

In the North Riding of Yorkshire, celebrated for its monasteries, &c., were many chantry chapels, both in the hamlets, and in the rural situations apart from them. Gill's _Vallis Eboracensis_ contains an account of several; among the rest may be noticed one at Newton Grange. This chapel, which is now used for agricultural purposes, is preserved, by request of its noble owner Lord Feversham, in its primitive form. It stands in a meadow field, at some distance from the ruins of the ancient seat of the Cholmeleys, and was used as a burial chantry, but not exclusively so. In 1820 a vault was discovered beneath the floor; and five coffins were removed to Oswald Kirk churchyard, and re-interred there. In order to preserve the chapel from ruin, Lady Cholmeley bequeathed one pound per annum to the Rector of Ampleforth for preaching a sermon annually therein; but the ruinous state of the building at that time caused the removal of the pulpit, and the sermon is preached in the church at Oswald Kirk.

The _Valor Ecclesiasticus_ contains the records of dissolved chantries.

J. E. G.

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PHOTOGRAPHIC NOTES AND QUERIES.

_The Collodion Process._--I have been much pleased with the directions given by DR. DIAMOND in your columns for the production of collodion positives; but they have been hitherto unaccompanied by any reference to the causes of those numerous failures that occur in this delicate process, and which are so disheartening to {186} beginners. I will just enumerate a few of the appearances with which I have been troubled, and trust that they may elicit from other operators an account of some of their instructive failures. I will premise, as an answer to a former Query respecting the cost and description of lenses, that I obtained mine of Mr. Goddard, now of Jesse Cottage, Witton, Middlesex. They are combination-lenses, two inches and a quarter in diameter (achromatic); the front lens can be used singly for views, producing a picture nearly seven inches square, but when combined covering four inches. For these, with brass mounting, I paid less than 3l.: a single lens, the same diameter, would be about 1l. They work to focus, cover flat, and define well, producing pictures equal to the most expensive.

I have usually preferred Mr. Archer's collodion, as the most certain and cleanest. The silver bath is composed of thirty grains nitrate of silver and two drops of nitric acid to each ounce of distilled water. An even film may be obtained by the following means:--Represent the plate of glass by the following figure:

+--------------------+
| 1 3 |
| |
| |
| 2 4 |
+--------------------+

Hold the plate with the left hand at 1, pour a body of collodion in the centre: tilt towards 1 (being careful not to let it touch the thumb), incline towards 2, run into 3, and pour off at 4: then hold the plate vertically (resting the corner 4 on the neck of the collodion bottle) to drain: incline it first to the right and then to the left, repeating this several times until the ridges are removed. By these means an even film may be produced, without a thick ridge, from 2 to 4. The time it may be left before plunging into the silver bath will depend on the temperature (about half a minute). Dip evenly into the bath, lifting up and down to allow of the evaporation of the ether: the film will also saturate more rapidly. When the greasy appearance is gone, it is ready for the camera. Sometimes the film is nearly transparent and bluish, not having sufficient iodide of silver; or it may contain too much iodide, the greater part flaking off in the bath, leaving the collodion with very little, and that patchy; or from being placed in the bath too quick, the lower corner still present a reticulated appearance, which of course renders it useless.

Having exposed the plate the necessary time, the next step is the development. The solution I usually employ is prepared with protosulphate of iron. I do not find distilled water absolutely necessary (during the summer months I fancied the tones were improved by using ordinary water, perhaps from containing a little lime), and the acetate acid is not glacial, but a description termed Beaufoy's, much less expensive. The proportions are--

Water 2 ounces.
Acetic acid 1 drachm.
Protosulphate of iron 8 grains.
Nitric acid 2 drops.

Mix the water and acetic acid first; then dissolve the iron; and, lastly, add the nitric acid, which, by varying the quantity, produces different effects. On pouring the solution over the plate, there is sometimes a difficulty experienced in causing it to flow evenly. Sometimes a little more acetic acid in the developing solution, or, if the plate has been out of the bath some time, redipping it, will prevent this; but if this does not remove it, and the resulting picture is hard and unpleasant in tone, a new bath is necessary. For positives, the resulting picture is more pleasing and delicate by using the developing agent rather weak. After it has remained on sufficiently long to bring out the image, the undecomposed iodide is to be removed by hyposulphite of soda. I always use the same solution, pouring it on and off until exhausted. Having sufficiently washed, the picture may perhaps appear with many black spots, this may in future be obviated by adding a little alcohol to the collodion:--or it may be covered with white spots; in that case the collodion requires settling, or rapidly filtrating through an old piece of loose silk. Sometimes it will look all black and white (a common fault with collodion positives), without middle tints: by adding a little more acetic acid, or an extra drop of nitric acid, to the developing solution, or the addition of a few drops of ordinary pyrogallic solution, this disagreeable effect may be overcome. In taking portraits, it is often caused by having the sitter placed with too much front light. Then, again, the should-be whites of the picture may be dull and greenish by reflected, and red by transmitted, light. This effect I generally find remedied by putting less nitric acid in the developing solution. During the development, by watching the colour (by holding a piece of white paper underneath), this red tendency may be observed; in that case the drawing may be preserved by leaving the plate for about a minute after pouring the developing agent off, and before removing the iodide. Some change appears to take place by its contact with the air; it gradually gets more opaque, and when finished, though not so white as many, yet presenting an extremely rich brownish-yellow tone.

During the late dull weather, many of my plates have shown a tendency to an uniform leaden-looking deposit, destroying the blacks of the picture. A little more nitric acid in the bath will sometimes overcome this, but I have not yet found a sufficient remedy. During the summer months I was in the habit of using double the quantity of {187} iron I have stated, diluting the solution more; then was compelled to diminish the quantity to twelve grains, and now I use eight. I have tried the proportions recommended by French photographers, but they seem to contain too large a proportion of iron. I prefer the use of the protosulphate to the protonitrate of iron from its cheapness, and the ease with which it is made up. It will also keep for any length of time, rather improving than otherwise.

I back with liquid jet from Suggitt, opposite the House of Correction, Mount Pleasant, Clerkenwell. It dries rapidly, and brightens the appearance.

G. H. P.

_Mr. Weld Taylor's Iodizing Process._--The process I sent to your columns last month, for iodizing paper, is applicable _only_ to the paper of Canson Frères; and I may further explain, that if the solution does not answer well, it may be washed over again with a solution of iodide of potassa only of the usual strength, and then set on a dish of slightly-acidulated water, to assist the separation and set free the potash. To make the matter clear to MR. SHADBOLT, I may observe, to one who is in the habit of iodizing paper, a considerable amount of the passage relating to cyanide of potassa could not be misunderstood; the nitrate of silver being added to the iodide of potassa, forms at once a precipitate which it is required to take up. The old double iodide says, add iodide of potassa till it does so, and it will do so; but the cyanide of potassa does it much better, and the cyanogen is lost as the paper dries, otherwise it would take no image at all. In the process I gave it merely requires an equivalent, "and cyanide of potassa is always of use in many of these processes." That equivalent is of course best arrived at by a solution, as, if the cyanide of potassa were added in the lump, it would be lost or be in excess.

Further, I may enlighten MR. SHADBOLT by assuring him that the iodizing paper with the ammonio-nitrate of silver, which I never saw published yet, is the best way; and I may confidently assert that the better ways of iodizing papers are not published at all. It is a tedious process to do, but it is as certain as taking a positive from a negative. At present I have not space to give my way of doing it. I may also add, that it will not answer with all papers. In fact, all samples of paper require some modification of the process, as the chemicals are different in the various modes of bleaching paper by different manufacturers. The ammonio-nitrate is perfect with Whatman's paper; indeed it is a subject of much regret, that this maker has not turned out a paper as thin and hard as the Canson Frères. The latter gentlemen have added some chemical, probably iodine, to their paper, which renders it almost impossible to iodize it at all. I believe it to be iodine, because the paper becomes perfectly black over _free_ iodine, which no English paper will do. At all events, this paper is very uncertain, although it has a quality in appearance that is unsurpassed by any other.

WELD TAYLOR.

7. Conduit Street West, Bayswater.

_Sir William Newton's Process: Further Explanations._--In reply to your correspondent F. MAXWELL LYTE, who is desirous of knowing my motive for washing the paper over with chloride of barium previous to iodizing--

In the first place, I find that it appears to give strength to the paper.

Secondly, that the action in the camera is better and more certain.

Thirdly, it keeps cleaner in the bringing-out process, thereby allowing a longer time for a more complete development.

Fourthly, I have never found any _solarizing_ take place since I have used it (about three years); and, fifthly, I find that it keeps longer and better after it is excited for the camera.

From the observations which I have made since I have made use of chloride of barium, I conclude that it has the effect of _destroying_ any injurious properties which may be in the paper, and more especially with respect to the SIZE; and besides which, when combined with iodide of silver, greater intensity is obtained in the negative.

I have occasionally prepared paper without chloride of barium, but I have always found (except for positives) that I could not rely upon it with the same degree of certainty. I need scarcely add that throughout the whole of this process the greatest care and attention is required, and that the water should be constantly agitated while the paper is in it, and that the water should be once changed.

W. J. NEWTON.

6. Argyle Street.

* * * * *

Replies to Minor Queries.

_Lady Nevell's Music-book_ (Vol. vii., p. 59.).--To transpose the six-line staves of old music into the five-line staves of modern notation, it is only necessary to treat the lowest line of the treble, and the highest line of the bass, as ledger lines. The five remaining will correspond with the five now in use.

I should feel greatly obliged to your correspondent L. B. L. for a sight of his Virginal Book, as it appears to be an exact transcript of the one in DR. RIMBAULT'S possession.

WM. CHAPPELL.

201. Regent Street.

_Tuch_ (Vol. vii., p. 82.).--ALPHAGE suggests that the "touchstone" had its name because "a musical sound may be produced by touching it {188} sharply with a stick." I think this is an error, and that it owes its name to its use in the assay of gold and silver. We find this application of it described in a work (now scarce) published in 1677, under the title of _A Touchstone for Gold and Silver Wares_. The author, after describing the qualities of a good touchstone, observes (p. 36.):

"The way to make a true touch on the touch-stone is thus: When your
touch-stone is very clean ... your silver being filed ... rub it
steadily, and very hard, on the stone ... until the place of the stone
whereon you rub be like the metal itself ... wet all the toucht places
with your tongue, and it will show itself in its own countenance."

And that the touchstone was used in this connexion at a much earlier period is obvious from the language of the ancient statutes. The 28 Edward I., stat. 3. cap. 20., requires all gold and silver wares to be "of good and true allay, that is to say, gold of a certain _touch_." And the word occurs in the same sense in other statutes.

A. R.

Birmingham.

The error of Coleridge, alluded to by your correspondent ALPHAGE, is certainly not a little singular, especially as the word, in the sense of stone or marble, occurs in Ben Jonson, Drayton, and Sir John Harrington, and there is a good article on the word in Nares's _Glossary_. I must, however, altogether dissent from your correspondent's statement that the reason for the name of Touchstone is, that a musical sound may be produced by touching it sharply with a stick, and agree with Nares that it obtained its name from being used as a test for gold. See a very interesting article on Assay Marks by Mr. Octavius Morgan (_Archæological Journal_, ix. 127.), from which it appears that, for the trial of gold, touch-needles were applied to the touchstone.

THOMPSON COOPER.

Cambridge.

_Eva, Princess of Leinster_ (Vol. vi., p. 388.).--O'Haloran, in his _History of Ireland_, says:

In 1168, Dermot Mac Murchad, King of Leinster, having carried away
Dearbhorgie, wife of O'Ruark, prince of Breffin, was driven from his
kingdom by the husband, assisted by the lady's father, the King of
Meath.

"He arrived at Bristol, having obtained letters patent of Henry II. for
any of the king's subjects to assist him against his enemies: but no
one in Bristol was found able or willing to undertake such expedition,
when Strongbow, Earl of Pembroke, who resided at Chepstow Castle,
offered his assistance (Seyer's _Memoirs of Bristol_); and, in 1169,
entered Ireland with two hundred knights and others, to the number of
1000. The object being effected, Strongbow was united to Eva, the
daughter of Dermot; and, at that prince's death, became seised of
Leinster."

By this it appears, that Dermot eloped with the lady in 1168; and, as Strongbow was united to Eva the following year, Eva consequently could not have been the offspring of that connexion. Who her mother was, I am unable to find out.

C. H.

_Whipping Post_ (Vol. vi., p. 388.).--These mementos of the salutary mode of punishment practised by our forefathers, are of frequent occurrence. I have met with them in country villages in all parts of England with which I am acquainted. They generally accompany that place of "durance vile," the stocks; and occasionally have accommodation for two persons, I suppose to suit the various sizes of offenders.

T. H. KERSLEY, B.A.

Audlem, Cheshire.

_The Dodo_ (Vol. vii., p. 32.).--The progress of the interesting inquiry in "N. & Q." regarding the Dodo, induces me to communicate the fact, that amongst the architectural decorations of the palace of the ancient Kings of Kandy, in Ceylon (now inhabited by the governor, Reginald C. Buller, Esq.), there occur frequent and numerous representations of a bird, which in every particular of shape is identical with the extinct fowl of Mauritius. What is more curious is, that the natives were familiar with the figure as that of "the sacred bird," which is common on the Buddhist monuments throughout the island; but Ceylon possesses no existing species at all resembling the Dodo. I have a drawing copied from the figures in the Kandy palace; but as your publication does not admit of engraved illustration, I do not send it.

J. EMERSON TENNENT.

Some weeks ago, on looking over a box of old Kentish deeds and papers, P. C. S. S. found a lease, signed by his ancestor Sir John Fineux, on the 6th of October, 1522, to which is affixed a seal in perfect preservation, bearing what P. C. S. S. has hitherto erroneously supposed to be the crest of the Fineux family, viz. an eagle displayed. He is now, however, indebted to your correspondent (Vol. vi., p. 83.) for the conviction that it must be a Dodo, and that it can represent nothing else. For it is of "unwieldy form," has "disproportionate wings," and is altogether of a "clumsy figure." P. C. S. S. has till now believed that the uncouth appearance of the bird was owing to the want of skill in the artist. But it is now clear that it must undoubtedly be a Dodo; and P. C. S. S. will henceforward live, _sibi carior_, in the certainty that the chief justice of England temp. Henry VIII., from whom he has the honour to descend, bore a "veritable Dodo" as his crest.

P. C. S. S. takes this occasion of adverting to some Queries which appeared a few months ago, respecting serjeants' rings. He has in his {189} possession one of those given by Sir John Fineux on his assumption of the coif. The motto is, "Suæ quisque fortunæ faber."

P. C. S. S.

_"Then comes the reckoning," &c._ (Vol. v., p. 585.).--These two lines are to be found in Act II. Sc. 9. of the tragi-comi-pastoral, _The What D'ye Call It_, by John Gay, author of the _Beggar's Opera_, _Fables_, &c. The correct quotation is:

"So comes a reck'ning when the banquet's o'er,
The dreadful reck'ning, and men smile no more."

S. WMSON.

_Sir J. Covert, not Govett_ (Vol. vii., p. 85.).--QUÆRO may be perfectly assured that there never was a baronet of the name of Govett, nor a member of parliament so called. P. C. S. S. is confident that the individual to whom QUÆRO refers, as having sat in the second parliament of Charles II., must have been Sir John Covert, Baronet, who was member for Horsham. The misnomer would not be surprising in a list which contains such names as Nosrooth for Noseworthy, Cowshop for Courthope, Meestry for Masters, and Grubbaminton and Zerve for Heaven knows what!

P. C. S. S.

_Chatterton_ (Vol. vii., pp. 14. 138.).--I feel very much obliged to J. M. G. for his answer to my question. May I ask if he has any other documents or information which would throw light on the origin and history of the Rowley poems? The inquiry has interested me for more than forty years, and I have long been about as fully convinced that Chatterton did not write the poems, as that I did not write them myself. For any help towards finding out who _did_ write them, I should be very thankful.

N. B.

_Tennyson_ (Vol. vii., p. 84.).--The following brief Note from _Democritus in London; with the Mad Pranks and Comical Conceits of Motley and Robin Good-Fellow_, is a reply to the _first_ Query of H. J. J.:

"Ye may no see, for peeping flowers, the grasse."
_George Peele._

"You scarce could see the grass for flowers."
_Alfred Tennyson._

A SUBSCRIBER.

Query 2. Is not the Latin song Catullus XLV. (edit. Doering), where we find (v. 8.):

"Amor, _sinistram_ ut ante,
_Dextram sternuit approbationem?_"

P. J. F. GANTILLON, B.A.

_Llandudno on the Great Orme's Head_ (Vol. v., pp. 175. 235. 305.).--I am surprised that the twice-repeated Query of your correspondent L. G. T. of Lichfield yet remains unanswered. "The cavern" he refers to is that called Llech, and concerning which he has fallen into several errors. The cavern, so far from having been lately discovered, has been known for generations past, and is yearly visited by hundreds of strangers. If the entrance has been made as private and inaccessible as possible, there is nobody to blame but nature and time; for the ancient approach was from the summit of the cliff by means of a flight of stone and grass steps, of which traces still remain connected with an old stone wall. The cave is easily descried from the sea-shore below, whence it can be reached by the aid of a common ladder. The shape is not heptagonal, as stated by L. G. T.; but is semi-octagonal, terminated in front by two square columns of freestone. The front and seats are in perfect preservation; but of the stone table, which many years ago occupied the centre, the pedestal only remains. The font, or rather stone basin, is supplied by a spring of most delicious water, which, at certain seasons, flows in copious quantities into an artificial bath excavated in the rock below. It is said that the cave was fitted up as a grotto, or pleasure-house, by some ancestors of the Mostyn family; and this is all that is known about it. I have measured the principal dimensions, and find the quantities given by L. G. T. sufficiently accurate.