64 



NOTES AND QUERIES. 



i:2»«» S. VIL Jan. 22. '69. 



Now the letter of Victor to Garrick (Oct. 1 745), 

 quoted by Mr, Chappell, declares 



" The stage, at both hoases, is the most pious, as well as 

 the most loyal place in the three kingdoms. Twenty men 

 appear at the end of every play ; and one, stepping for- 

 ward from the rest, with uplifted hands and eyes, begins 

 singing, to an old anthem tune, the following words : 

 ' O Lord, our God, arise ; 



Confound the enemies 

 Of George the King ! 



Send him victorious, 



Happy and glorious, 



Long to reign over us, 

 God save the King ! ' 

 which are the very words and music of AN old anthem 

 that was sung at St. James's Chapel for King James II. 

 when the Prince of Orange landed to deliver us from po- 

 pery and slavery ; which God Almighty, in His goodness, 

 was pleased not to grant." 



The composer of " the Royal Anthem," in the 

 reign of James II., is said to be an organist of All 

 Hallows, Barking, one Anthony Young, the father 

 of Miss Young whom Dr. Arne made his wife. 

 The daughter, the issue of this marriage, was mar- 

 ried to Barthelemon the violinist, and Miss Bar- 

 thelemon, afterwards Mrs. Captain Henslowe, 

 actually received lOOl. on the death of Mrs. Arne, 

 her grandmother, as "the accumulated amount of 

 a yearly pension of 30^. awarded to Mrs. Arne as 

 the eldest descendant of A. Young, the composer 

 of the Royal Anthem." But Dr. Arne is stated 

 to have said " he had not the least knowledge, nor 

 could he guess at all, who was either the author or 

 composer, but that it was a received opinion that 

 it was written for the Catholic chapel of James 

 II." 



Dr. Burney writes also, " we believe that It was 

 written for King James II. while the Prince of 

 Orange was hovering over the coast; and, when 

 he became King, who durst own it, or sing it ? " 

 From these facts It is clear — 



1. The tune, being in Bull's MSS., Is of the 

 time of James I. 



2. That A. Young united it to a •' God save the 

 King " in the time of James II. 



3. That it slept until George II., 1745. 



4. That Young's granddaughter received a pen- 

 sion for its composition. 



5. That her granddaughter. In 1789, received 

 100/., the proceeds thereof. 



I beg to Inquire if there be any records of the 

 music or words sung In the Royal Chapel of St. 

 James's now in the library of that chapel ? or any 

 entry of Young's name in any of the account- 

 books still extant ? The Daily Advertiser (Sept. 

 30, 1745) noticed its performance thus : "On Sa- 

 turday night last, the audience at the Theatre 

 Royal, Drury Lane, were agreeably surprised by 

 the gentlemen belonging to that house performing 

 THE anthem of God save our noble King" Sfc. 

 And a writer in the GerdlemurCs Magazine (1796), 

 says, " The first time I ever heard the anthem of 



'God save the King' was about the year 1740, 

 on some public occasion, at a tavern in Cornhill." 



But it is claimed for Henry Carey. If Carey 

 had put It together, Drs. Arne and Burney must 

 have known of this fact ; for the one harmonised 

 it for Drury Lane, the other for Covent Garden, 

 and both declare it of the time of James II. 

 Again, it is averred Carey wrote the melody, but 

 could not put a proper bass to it, which was done 

 for him by Handel's copyist, J. C. Smith. This Is 

 absurd, for the man who could write the melody, 

 could well harmonise it. Carey died In 1743, and 

 it is alleged he wrote It, and sang it at a tavern in 

 Cornhill in 1740, for the victory of Vernon at 

 Portobello. There was ample time for Carey to 

 get it out before his death ; two years afterwards 

 it becomes known and popular, and then Arne and 

 Burney class It of the time of James II. I think 

 It plain he did not write it. 



Mr. Chappell prints from the Harmonia Angli- 

 eana, afterwards the Thesaurus Mitsicus, this 

 " loyal song, sung at the Theatres Royal, for two 

 voices," The score of Arne is for equal voices, 

 accompanied by horns, violins, tenor, and bass. 

 For the honour of the English musician of 1745, 

 I am glad to write the duet copy is music, without 

 blot or vulgarity. I wish I could write as much 

 of the versions of the present day. 



H, J. Gauntlett. 



BURIAL-PLACE OP ROBERT DUKE OF NORMANDT. 



"During some restorations which have been recently 

 made in the Chapter-house at Glocester, some discoveries 

 were made possessing considerable antiquarian interest. 

 Leland states that several persons of great eminence were 

 buried in the Chapter-house, and mentions the names of 

 six persons painted in black letter on the walls. A corres- 

 pondent of the Glocestershire Chro7iicle sa.ys : 'It is seldom 

 that obliterated land-marks of antiquarian research are 

 verified after a lapse of more than 300 years of dirt, white- 

 wash, and neglect, but such in the present instance has 

 been the fact.' Leland died in 1552, and in 1858 judicious 

 and careful restoration has not only confirmed the truth 

 of his statements, but even added to their importance. 

 Whitewash had evidently been resorted to before the old 

 antiquary paced the time-worn floors of our Cathedral 

 with inkhorn and note-book, for we find, in addition to 

 the inscriptions which he recorded, one in particular that 

 his searching eye failed to discover. On the north wall, 

 in one of the niches, by the removal of the calcareous crust, 

 there can now be traced, though very faintly, the following 

 inscriptions: 'Hie jacet Rogerus Comes de Hereford' — 

 *Hic jacet Barnardus de Novo Mercato' — 'Hie jacet 

 Paganus de Cadurcis.' In the adjoining panel, ' Hie jacet 

 Robart Cortus ' — ' Hie jacet Adam de Cadurcis.' Of 

 these inscriptions only three are to be found in the old 

 record, but the additional ones contain the most interest- 

 ing name of all, — we mean that of Robart Cortus — most 

 likely a contraction for Robert Courthose, or Robert Duke 

 of Normandy, Tradition is uncertain as to his place of 

 burial. It is true that his effigy, in Irish oak, used to 

 stand before the high altar, and that afterwards, being 

 broken to pieces by the Parliamentary army, the pieces 

 were collected by Sir Humphry Tracy, of Stanway, who 



