Thus the languages of the priest, Portuguese and Tamil, were both classed as "Moors" by the worthy pensioner, though I may say that his wife's complexion bore evidence of Tamil being familiar to her, if not her mother-tongue; so that he must have been fully aware of the difference between Tamil and Hindustānī.
Nancy Day, Lady Fenhoulet. (See 5 S. v. 216, 479; vii. 350, 438, 497.)—One or two ambiguities have been left in these interesting notes. Apparently, the statement in Townsend's 'Calendar of Knights,' to the effect that Sir Peter Fenhoulet died in 1774 is correct, for it is corroborated by The Town and Country Magazine, vi. 448, which chronicles the death of "Sir Peter Fennulhet at Exeter" on 3 Aug., 1774. Evidently the Peter Fenouillet or Fenouillette, Esq., of Hackney Road, who died on 11 May, 1776, was another person.
Sir Peter is said to have received his knighthood on 24 Sept., 1761, at the coronation of George III., as senior ensign of the Yeomen of the Guard. On the previous 10th of May his first wife had died (Gent. Mag., xxxi. 237); and on Saturday, 27 July, 1762, he married Nancy Day (London Chronicle, 29-31 July, 1762), mistress of the late Richard, second Baron Mount Edgcumbe, whose death, strangely enough, took place on the same date as that of Mrs. Fenhoulet. According to all accounts. Sir Peter and Nancy soon agreed to separate, and the following paragraph from The Public Advertiser, 25 July, 1768, is significant: "On Saturday last Lady Fenhoulet and her daughters set out for Calais, the place of her residence."
A short account of Lady Fenhoulet appeared in The Town and Country Magazine for November, 1770 (ii. 570); and another in The Macaroni; or, Theatrical Magazine for October, 1772 (i. 308). She is said to have been born near Plymouth.
"Liberté, Égalité, Fraternité."—I have carefully looked through the Indexes to ' N. & Q.,' but can find no reference to this well-known phrase. The subjoined cutting from The Pall Mall Gazette of 12 September may therefore be worth republication:—
"M. Aulard, Professor of the History of the French Revolution at the University of Paris, has just published the result of an inquiry into the famous device, 'Liberté, Egalité, Fraternité,' in the Revue Bleue. Until its revival by the word-mongers of 1848, it seems to have been by no means popular, its public use having been first decreed by the Paris Directoire in 1791, and dropped under the Consulate eight years later. That its adherents meant by it—as democrats all the world over generally do mean—liberty and the rest of it for the governors, and its converse for the governed, was pretty plain from the beginning; but the only people who seem to have understood this at the time were the Dutch. This hard-headed people, with a longer and more thorough acquaintance with the working of representative institutions than their livelier neighbours, detected the hook in the bait, and orders were given to the officials of the Batavian Republic to cut out the motto from public documents wherever found. M. Aulard attributes its genesis to a speech of the ex-Marquis de Girardin to the Club of the Cordeliers in May, 1791; but there is little doubt that, like many other things in the French Revolution, it first came out of a Freemasons' Lodge. The craft in France then as now always possessed a fine stock of noble and philanthropic sentiments."
Perhaps some correspondent of 'N. & Q.' may be able to throw further light on the origin of the "device."
J. Henry Martin, Artist.—Mr. Jennings's note (ante, p. 246) on the 'Newlyn Colony of Artists,' is not quite accurate. Martin first exhibited at the Royal Academy in 1874, where he had three pictures hung; his last exhibit recorded in Mr. A. Graves's dictionary of Royal Academy exhibitors is 1894.
Whilst on this subject I would point out that almost all the exhibits 1874-94 appear under Henry Martin; but under John H. Martin Mr. Graves records in 1889 two works which were evidently by the same man, as in that year there is nothing under Henry Martin. The subjects of the two pictures sufficiently indicate this. W. Roberts.
Harewood House, Hanover Square.—The demolition of this interesting residence has to be recorded. Although of no great age (it was built by Robert Adam for the great Duke of Roxburghe), it retained, even to the last, enough of its internal decorations and original appearance to occasion regret for its loss. Considerable information respecting its successive occupiers is supplied in Mr. Beresford Chancellor's 'History of the Squares of London,' p. 65; the late Mr. Baillie's 'The Oriental Club and Hanover Square,' p. 19; and a pamphlet, 'Notes and Jottings on Hanover Square and the St. George's Club.'
A fine aquatint by T. Malton of 'The West Front of Lord Harewood's House,' 1800, and two smaller prints of 1800 and 1810, are in portfolio xxix. of the Crace
