434 



NOTES AND QUERIES. 



[2^ S. IX. June 2. '60. 



OnpHANT (2 nd S. ix. 386.) — In a List of the 

 Society of Writers to the Signet (of Edinburgh), 

 given in Miege's State of Britain for 1711, part ii. 

 p. 171., will be found the name of "Mr. iEneas 

 Eliphant." G. 



"Rock of Ages" (2 nd S. ix. 387.) — Before 

 attempting to decide whether the priority is due 

 to Toplady's hymn, or to its Latin counterpart 

 forwarded by your Rev. correspondent, one would 

 wish to know whether the latter has ever appeared 

 in print, and, if so, when and where. It is 

 worthy of observation, however, that the first 

 stanza of the hymn, as will be evident on compa- 

 rison, very closely corresponds with a passage in 

 Daniel Brevint's learned and pious tractate en- 

 titled The Christian Sacrament and Sacrifice : — 

 " Rock of ages, cleft for me, 

 Let me hide myself in thee ! 

 Let the water and the blood, 

 From thy riven side which flow'd, 

 Be of sin the double cure, 

 Cleanse me from its guilt and pow'r! " 



Surely when Toplady wrote these well-known 

 lines, he must have had before him Brevint's de- 

 vout and solemn aspiration: — 



"0 Rock of Israel, Rock of Salvation, Rock struck and 

 cleft for me, let those two streams of blood and water, 



which once gushed out of thy side bring down 



with them salvation and holiness into my soul ! " (Ed. 

 1679, p. 17. A copy of this old edition, which is the 

 third, will be found in Dr. Williams's library, Redcross 

 Street.) 



Thomas Boys. 



William Robinson (2 nd S. ix. 331.) —I am 

 sorry to have delayed noticing the polite informa- 

 tion given by C. J. R. The only additional facts 

 I can at present furnish respecting this architect 

 are, that in 1755 he ivas " Clerk of the Works at 

 Whitehall, St. James's, and Westminster," an ap- 

 pointment held under " His Majesty's Board of 

 Works." In 1748 he was at Greenwich Hospital ; 

 I believe in the same capacity, under the same 

 Board. Could C. J. R. furnish a complete ac- 

 count of him, I should be glad to have a copy for 

 the use of the Dictionary now being issued by 

 the Architectural Publication Society. 



Wyatt Papworth, Architect. 



14a. Great Marlborough Street. 



Helmsley (2 nd S. ix. 234. 314. 373.) — The 

 tune called Helmsley is taken from a song be- 

 ginning — 



" Guardian angels now protect me," 

 printed in the first volume of The New Musical 

 and Universal Magazine, 8vo. 1774, p. 18. It is 

 there said to be " Sung by Mr. Mahon at Dublin, 

 and by Miss Catley in the Golden Pippin." 



The piece of this name was written by O'Hara, 

 and acted at Covent Garden, for the first time, 

 on the 6th of February, 1773. It seems probable 

 that the song was introduced by Miss Catley in 



the burletta. At any rate it became popular im- 

 mediately after this date, and in the subsequent 

 year was converted into a hornpipe, and pub- 

 lished by Thompson, of St. Paul's Churchyard. 



It was long a favourite with the public as "Miss 

 Catley's Hornpipe," and was subsequently known 

 as " Harlequin's Hornpipe," probably from its 

 introduction into some pantomime. 



The melody of Guardian Angels is not identi- 

 cally the same with Helmsley. Some alterations 

 were necessary to twist the formev into the shape 

 of the latter ; but that they are the same, I have 

 not the shadow of a doubt. 



I do not quite understand Mr. Sedgwick. 

 He says (ix. 314.), " The tune called Olivers 

 [i. e. Helmsley] was composed by Thomas Olivers 

 some time between the years 1762-1770." 



And immediately afterwards, " T. Olivers also 

 composed an hymn on the ' Last Judgment ' be- 

 fore the year 1759 to the same tune." How is this 

 to be reconciled ? 



Helmsley is attributed to the Rev. Martin 

 Madan in a large number of Psalm- tune books of 

 the latter part of the eighteenth century which I 

 have examined. 



However, it is not of much consequence who 

 had the merit (?) of concocting this precious-piece 

 of inspiration. I may be allowed to say that 

 Helmsley is one of the most disgracefully vulgar 

 tunes that has ever been suffered to creep into the 

 sanctuary. It is not a little gratifying to observe 

 that in all recent collections, of any authority, it 

 is universally discarded. Edward F. Rimbault. 



" The Throw for Life or Death " (2 nd S. 

 ix. 10.) — No authority has yet been adduced for 

 the particular fact here recorded : but for the 

 statement that " in former times it was often the 

 custom, in the application of military punishments, 

 &c," cf. the " Satire upon Gaming," in S. But- 

 ler's Genuine Remains, v. 13 — 18. : — 



" As if he were betray'd", and set 

 By his own stars to every cheat, 

 Or wretchedly condemn'd by Fate 

 To throw dice for his own estate ; 

 jLs mutineers, by fatal doom, 

 Do for their lives upon a drum.'" 



I should be glad of farther illustrations of this 

 alleged practice. Ache. 



Exeter Domesday (2 nd S. ix. 386.) — I take 

 for granted that your correspondent G. P. P. al- 

 ludes to an analysis of the Exon Domesday, 

 somewhat in the style of that of Norfolk, pub- 

 lished in 1858 by John Russell Smith. I am not 

 aware that any such work has ever come out. 

 But in the mean time, if my belief be right, and 

 if his search be on any antiquarian grounds, and 

 remain unsatisfied by other means, I shall be very 

 happy to place my address privately with you, 

 and give him the benefit {quantum valeal) of two 



