68 
Recent Wiltshire Books, Pamphlets, and Articles. 
the house itself, in the parish of Kington St. Michael. Ten pages of the 
Records available for the History of the parish of Bratton, and four of 
Quaker Marriage Records—with the completion of Mr. Morres’ Notes on 
the Breeding of the Death’s Head Moth, occupy the bulk of the number. 
Of the shorter notes those on Page of Warminster—Edmund Stafford, 
Bishop of Exeter—“ A massive block of roughly-hewn sandstone with a 
deep socket cut in the centre,” which formerly stood on Battlesbury Hill, 
above Warminster—and the derivation of Wroughton, are the most im- 
portant. Mr. C. I. Elton has an interesting note on the derivation of the 
term “Smoak acre,’ which occurs in an eighteenth century terrier of the 
common lands of Clyffe Pypard. The word does not appear to be known 
elsewhere, but Mr. Elton says “I should feel pretty sure that it was an 
acre designed for the payment of the Church Scot or Peter’s-pence, which 
came to be called chimney money, fumagiwm, smoke farthings, &e. There 
were acres in some places for paying expenses of Church ales and other 
dues.’’ 
Ditto, No. 21, March, 1898. This number, with an illustration 
of the arms of Bayliffe impaling Norborne, contains continuations of 
“Kstcourt of Swinley,” by M. E. Light—Records of Bratton Parish—a 
calendar of feet of fines for Wiltshire—and Quaker Marriage Records— 
with a few shorter Notes and Queries, and a long review of the “ History 
of Pembroke College,” by the Rev. Douglas Macleane, noticing especially 
such members of the college as were in any way connected with Wiltshire. 
It is a good solid number. 
The Collection of Pictures at Longford Castle. The 
Art Journal, April to December, 1897, gave in six instalments an account 
by Claude Phillips of the principal pictures at Longford. The writer regards 
this collection as one of the five really “ great” collections now existing in 
England in private hands, the other four being those of Bridgewater House, 
Dorchester House, Panshanger, and Castle Howard—that of Hertford 
House having lately become the property of the Nation. Even after the 
loss of the three great pictures now in the National Gallery, ‘“‘ The gallery 
of Longford maintains its position as one of the finest and most represen- 
tative in England.” The various schools are dealt with separately, the early 
Netherlandish and German with illustrations of the Virgin and Child, by 
Mabuse; The Great Triptych of the Adoration of the Virgin and Child, 
with SS. John Baptist and John Evangelist, by Hendrick Bles; St. Sebastian, 
by an unknown sixteenth century painter, and the magnificent portraits of 
Petrius Egidius and Erasmus by Quinten Matsys and Hans Holbein the 
Younger. The Italian school is illustrated by Sebastiano del Piombo’s 
Portrait of a Lady—‘ Violante,” by Paris Bordone—the Portrait of a 
Venetian Nobleman, by Tintoretto (?), and the Virgin, Child, and Infant 
St. John, by Lodovico Carracci. Next follow the Spanish and French 
pictures, with Juan de Pareja, by Velasquez, and Claude’s Decline of the 
Roman Empire. The Netherlandish pictures of the seventeenth century are 
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