88 NOTES AND QUERIES. [12S. X. FEB. 4, 1922. ('Roman Actor,' III. ii.). 'The Sicilian' is, of course, Phalaris. Compare : - Choose any torture, let the memory Of what thy father and thy brothers suffer' d. Make thee ingenious in it ; such a one, As Phalaris would wish to be call'd his. (' The Bashful Lover,' II. vii.) The torturing of Theophilus at the close of the scene should be compared with the torturing of Junius Rusticus and Palphurius Sura in ' The Roman Actor,' III. ii. In both plays the Roman emperor urges the application of still severer tortures to extort some manifestation of suffering from the tortured, but without success. Note particularly the exclamations of Sapritius and Dioclesian Sapritius : Xo sigh, nor groan, To witness he has feeling, Dioclesian : Harder, villains ! and compare ' The Roman Actor ' : CcBsar : Not a groan ! Is my rage lost ? search deeper, villains ! Compare also, in the torture scene (Mas- singer's) of ' The Double Marriage (Act I., so. ii.) : So brave ! I'll tame you yet, pluck hard , villains ; Is she insensible ? no sigh, nor groan ? There remains only the vision of Dorothea with the fine concluding speech! of Theophilus. Nowhere do we find any 1 trace of Dekker. Generally, the result of my detailed in- vestigation is to confirm the conclusion at which most previous critics have arrived that Dekker is lesponsible for what is worst, and for a good deal of what is best in the play. The prose portions, the speeches of Hircius and Spungius, are cer- tainly almost entirely his, but he is also chiefly responsible for Dorothea and Angelo. Massinger's share in the play is, however, larger than has usually been supposed. All that is distinctively *' Roman " in the play is his, and he is entitled to some of the credit for several of the* best scenes hitherto attributed to Dekker alone. Of the many previous critics who have essayed to divide this play between its two authors, Messrs. Fleay and Boyle (if my| division be the right one) are the most accurate. Boyle's article on the subject ; will be found in the Transactions of the | New Shakespeare Society (1880-6, Part III., pp. 624-6). He differs from Fleay only in -attributing Act II., sc. ii., which Fleay assigns to Massinger, to Dekker. I subjoin ' a table comparing the results arrived at by these two critics with my own : Fleay and Boyle. SyJces. Act I. sc. i. Massinger Massinger Act II. sc. i. Dekker Dekker sc. ii. Massinger (Fleay) Dekker and Dekker (Boyle) Massinger sc. iii. Dekker Massinger and Dekker Act III. sc. i. Massinger Massinger sc. ii. Massinger Massinger sc. iii. Dekker Dekker Act IV. sc. i. Dekker Massinger and Dekker ,, sc. ii. Dekker Dekker sc. iii. Massinger Massinger Act V. sc. i. Dekker Dekker and Massinger sc. ii. Massinger Massinger H. DUGDALE SYKES. Enfield. GLASS-PAINTERS OF YORK. (See ante, 12 S. viii. 127, 323, 364, 406, 442, 485; ix. 21, 61, 103, 163, 204, 245, 268, 323, 363, 404, 442, 483, 523 ; x. 44.) JOHN DE BURGH. FKEE of the city 1375 (* Freemen of York,' Surtees Soc.) as a " glasenwright." He was evidently a member of a considerable family of that name. In 1 399 William Burgh, prob- ably a brother, " filled the great window of Westminster Hall with flemished glass in the last year of Richard II." (Prof. W. R. Lethaby, ' Westminster Abbey and the King's Craftsmen,' p. 304). Several other members of the family were in orders, but at the same time seem to have been all more or less interested in glass. In 1391 John de Ednestow, chaplain of a chantry at the altar of St. Michael in St. Helen's Church, Stone- gate, the parish church of the glass -painters, bequeathed 10s. to Dom Simon de Burgh (Reg. Test. i. 45b). Simon Burgh, chaplain, evidently the same man, made his will in 1423, desiring to be buried " outside the east end of the choir of the Minster of St. Peter at York over against the great window there and near to the wall of the said choir " (Reg. Test. i. 214d) that is, in the cemetery at the east end of the new choir and immediately underneath John Thornton's great east window, which had been completed some fifteen years previously. Another membet of the family, also called John de Burgh (but evidently distinct from the glass -painter, who was alive in 1419), made his will or 1402, desiring parish church. on July to be buried in Halifax For making one window
