370
NOTES AND QUERIES.
[12 S. I. MAY 6, 1916.
JOHN HAMILTON MORTIMER, R.A. As the
Life I am writing of this extraordinary, but
almost forgotten, artist is now far advanced,
I shall be grateful if any readers possessing
letters or unpublished information regarding
him, his friends, or his works, will kindly
forward particulars to 'N. & Q.,' or to
me direct. GILBERT BENTHALL.
205 Adelaide Road, Swiss Cottage, N.W.
CORONATION MUGS. When were they first made in this country ? Specimens in salt-glaze with reference to the coronation of George IV. are extant, and not uncommon ; but is there any trace of an earlier manu- facture ? L. G. R.
Bournemouth.
[See 8 S. x. 436, 524 ; xi. 91.]
PARAPHRASES OF SHAKESPEARE. What works of Shakespeare, if any, have been paraphrased into English later than the Elizabethan ? M. SOPOTE.
MR. SCOTT AND MR. SARTORIUS. An exquisite illustrated edition of Somerville's ' The Chase,' engraved by Mr. Scott from paintings by Mr. Sartorius, appeared in 1817, and was reprinted subsequently by Tegg. Information on the illustrators will oblige. ANEURIN WILLIAMS.
["Mr. Scott" is probably John Scott, b. Newcastle 1774, d. 1827 or 1828, for whom see * D.N.B.' Four generations of Sartorius were well-known animal painters. Notices of them will be found in the
- D.N.B.'; and of Francis Sartorius and his son
John N. Sartorius, the most important of them, in Bryan's ' Dictionary of Painters and Engravers.' The one authority on the subject is Sir Walter Gilbey's account of them in Batty's Magazine, January and February, 1897.3
BARBOR : PORTRAIT OF SWIFT. A friend of mine has an engraving of Swift which resembles the frontispiece likeness of Swift in Lord Orrery's ' Remarks ' on that author. It has the same Latin inscription under it from Pliny's Epistles : " Civis aliquos virtu- tibus pares et habemus et habebimus, gloria neminem. B. Wilson fecit 1731." Under- neath are the words : " This is taken from a profile in crayons by Mr. Barbor, which belonged to Dr. Mead."
I should be much obliged for any informa- tion about " Mr. Barbor." Was he an artist ? J. A. LEEPER.
12 Belmont Avenue, Donnybrook. [The late EDWARD SOLLY at 5 S. iv. 309, citing Wilde's 'Closing Years of Dean Swift's Life' as his authority, states that " the crayon profile by Barber" was in 1849 "in the possession of Joseph Le Fanu, Esq., of Dublin." MR. SOLLY says it was engraved by Wilson in 1751 (not 1731).!
IDENTIFICATION OF MANUSCRIPT. In a
ate fourteenth-century list of books be-
onging to the College, among a number of
theological and philosophical books occurs
one with the title ' Ad amantem,' as it is
read by one palseographical expert, or ' Ad
amentem,' as it is read by another. The
manuscript is further identified by the
addition to the list of the first word on the
second leaf, " secundo folio," which is facere.
[ am afraid the quest is hopeless, but it
would be interesting if any one could suggest
what the book is which appears in such
incongruous surroundings.
JOHN R. MAGRATH.
Queen's College, Oxford.
" AVIATIK." Is this word of German or Russian formation ? Has it a generic or specific sense ? N. W. HILL.
FINLAY, WHITE, AND RLXON FAMILIES. George Finlay, admitted a Freeman of Dublin, " by grace especial," Michaelmas, 1780 ; churchwarden, St. Audcen's, 1791 ; married Susannah White of Lucan, 1766-7 ; buried Dec. 25, 1805, in St. Kevin's Church- yard, Dublin. Susannah had a cousin or aunt Dorothea White, married John Rixon (Wrixon) of Mooretown, 1770. Ancestry desired, also origin and meaning of the name Rixon. E. C. FINLAY.
San Francisco.
LILIAN ADELAIDE NEILSON.
(12 S. i. 329.)
SUCH mystery as enshroiids the birth and parentage of this beautiful and gifted act less, who died, after a few hours' illness, in Paris on Aug., 14, 1880, is due to the conflicting statements which her many biographers have placed on record, both before and after her death, and which may be briefly summarized.
In The Theatre of April, 1879, Portrait No. XVII., which dealt at some length with her theatrical career, commenced as follows :
" It was in the ancient city of Saragossa interesting alike from its historical associations, the architectural beauty of many of its buildings, and the wealth of olive groves and vineyards which surround it that Lilian Adelaide Neilson first saw the light. Her father was a Spanish artist, her mother an Englishwoman of gentle birth. The scenes amidst which her early life was passed were directly calculated to stir her imagination. During the greater part of that period, her parents resided in Italy^the picturesque haunt of art, song, and romance."
