514
NOTES AND QUERIES.
[9 th S. II. DEC. 24, '98.
limited range of tunes. Our organ had a vein of
lightness and wantonness in it. How this came
about I do not know. But one of the tunes ground
out on it was ' The Devil's Hop.' This would never
do. There were two elements of difficulty in it.
In the first place, if this tune were not turned on
we would be one tune the poorer in divine service.
But it was intolerable that any psalm should be
sung to ' The Devil's Hop.' After much considera-
tion the difficulty was solved in this way. On the
organ the title ' The Devil's Hop ' was altered into
' De Ville's Hope,' and instructions were issued to
the grinder to grind slowly and solemnly. By this
means the air served for an Easter psalm.'"
JONATHAN BOUCHIER. Ropley, Hampshire.
PUDDLEDOCK (9 th S. i. 329, 478; ii. 157, 211, 415). As suggested by MR. F. ADAMS, I applied to the rector of Souldrop the Rev. F. E. M. Girling for further information respecting this place, and he writes me as follows : " Puddledock " is that part of Knotting parish which is now known as " Knotting Green," and may be found under the old name marked on Cruchley's cyclist's and tourist's map of Bedfordshire. No doubt this is the place named in the Turvey registers, although no confirmation can be obtained from the Knotting registers, because the burials from 1686 to 1688 are missing. Will those who have kindly replied to my inquiry please accept my hearty thanks ? THOS. WM. SKEVINGTON.
Wood Rhydding, Ilkley.
" CIRAGE " (8 th S. xii. 347, 454). In Hogarth's plate of 'The Idle Apprentice Gaming,' the third in the series 'Industry and Idleness ' (a reproduction of which is to be found in the Penny Magazine for 31 May, 1834, vol. iii. p. 213), the idle one is to be seen cheating a most lamentable -looking object, who, by his round basket containing brushes and a cloth and his low.four-legged stool, is evidently a shoeblack. Defoe's description is not a bit overdrawn. With the exception of being respectable, the shoeblacks at Mont- pellier in 1871-2 were provided in exactly the same way, the stool being a round three- legged one " the little tripod " of Gay.
In Chambers's Edinburgh Journal for 16 March, 1844 (vol. i. No. 11 N.S. p. 176), is the following curious account of 'Dublin Shoeblacks Sixty Years Ago ':
"Among the populace of Dublin, says the Uni- versity Magazine, the shoeblacks were a numerous and formidable body, the precursors of Day & Martin [did not Warren precede D. & M. ?] till the superior merits of the latter put an end to their trade. The polish they used was lampblack and eggs, for which they purchased all that were rotten in the markets. Their implements consisted of a three-legged stool, a basket containing a blunt knife,
called a spudd, a painter's brush, and an old wig. A
fentleman usually went out in the morning with irty boots or shoes, sure to find a shoeblack sitting on his stool at the corner of the street. He laid his foot on his lap without ceremony, where the artist scraped it with his spudd, wiped it with his wig, and then laid on his composition as thick as black paint with his painter's brush. The stuff dried with a rich polish, requiring no friction, and little inferior to the elaborated modern fluids, save only the intolerable odours exhaled from eggs in a high state of putridity, and which filled any house which was entered before the composition was quite dry, and sometimes even tainted the air of fashionable draw- ing-rooms. Polishing shoes, we should mention, was at this time a refinement almost confined to cities, people in the country being generally satisfied with grease. [This custom still lingers in Paris. We have had our boots polished on the Pont Neuf, and boy shoeblacks are to be found in most of the steamers plying on the Seine. 1"
The editorial bracketing seems to imply that the introduction of domestic blacking entirely extinguished street blacking within the British Isles. Was this so, or was the editor's ignorance of street blacking peculiar to himself 1
The query respecting Warren is mine. I believe a Warren's van was driven across the Thames during the frost of 1813-14.
THOMAS J. JEAKES.
Tower House, New Hampton.
PORTRAITS OF CROMWELL (9 th S. ii. 202, 414). In the Cabinet edition of 'Lodge's Por- traits,' n. d., published by William Smith, 113, Fleet Street (the probable date is 1846), is a vignette three-quarter portrait of Oliver Cromwell in complete armour, having in his right hand a truncheon and a scarf round his waist, after the painting by Walker, and said to be from the " Collection of the Right Honourable the Earl Spencer, at Althorp." The countenance is handsome, but stern. In the accompanying 'Memoir' the reader is in- formed that Cromwell " married Elizabeth, a natural [?] daughter of Sir James Bourchier, of Felsted, in Essex."
In Cunningham's 'Lives of Illustrious Englishmen,' vol. ii. (1839), the chief value of which consists in the engravings, is a portrait of Oliver Cromwell, half-length, in complete armour, with a wart over his left eye, and having very coarse features. This is said to be " Engraved by S. Freeman from the original Picture."
In Mark Noble's ' Memoirs of the House of Cromwell ' the study of the heraldry largely displayed at the gorgeous funeral of the Pro- tector in 1658 is very interesting. On one banner is displayed Cromwell, Sable, a lion rampant arg., impaling Bourchier, Arg., three ounces passant in pale or, armed and langued gules. The usual arms of Bourchier are, now-
