Communicated by Mr. James Waylen. 345 
Ditchley, Oxon., Bart., before William Yorke, Esq., one of the 
justices of peace for Wilts. This was in accordance with the 
marriage law just then in force, but the parties deemed it prudent 
to renew the contract in the orthodox form on reaching their Ox- 
fordshire home. To this lady her brother Henry, who died just 
before his father, had just bequeathed the great estate which he 
derived from his uncle, Earl Danby. What he thus left to his sister 
Anne would not legitimately be affected by that father’s attainder, 
seeing it had come direct to himself from his uncle. Apprehensions, 
nevertheless, as to the possible fate of sundry of the estates issued 
in the application in 1661 for a Crown grant conveying them to 
Henry Hyde, Lord Cornbury, and others, who thus became trustees 
to carry out young Henry’s intentions. This applied to sundry 
manors in Wilts, already recited, besides property in Northampton- 
shire and at Chelsea. Some of these eventually were divided between 
Lady Lee’s two sons-in-law, James, first Earl of Abingdon, and 
Thomas, fifth Lord Wharton. Sir John Danvers’s West Lavington 
estate, which he obtained with his second wife, Elizabeth Dauntesey, 
aforesaid, appears also to have escaped confiscation, and to have 
been shared between his two daughters, Viscountess Purbeck and 
Lady Lee. But the Dauntsey estate was entirely lost, being granted 
in 1662 to James Duke of York, afterwards James II. 
There are three Danvers portraits at Witham Abbey in Berks, 
the seat of the Earl of Abingdon, naturally attractive by the names 
they bear, but requiring a word or two of caution. The first to be 
noticed is that of Sir John Danvers the regicide. This, certainly, 
is a misnomer. Neither features, dress, nor apparent age, permit 
us for a moment to accept it as his likeness, Neither can it be the 
portrait of his son, John Danvers, Esq., if that son bore the 
slightest resemblance to his father. The engraved print repre- 
senting Sir John Danvers in youth, though it hardly sustains the 
reputation for manly beauty with which his friend, John Aubrey, 
credits him, has not a line in common with the Witham portrait. 
This latter is the effigy of a middle-aged man of vulgar type, 
crowned with a heavy peruke, and dressed in the costume of Charles 
the Second’s time—belonging, in fact, to a period when Sir John 
