48
NOTES AND QUERIES.
[12 a. V. FEB., 1919.
in his conversation, he fell into the singular
habit which he had acquired, and pulled him
by the ear.
After his brief stay in Elba Lord John continued his tour to Civita Vecchia and Rome. WILLOUGHBY MAYCOCK.
Lord John Russell went to Italy in December, 1814, for the sake of his health. Being there, he was doubtless attracted to Elba by a young man's curiosity. I believe that the fullest account of his interview with Napoleon will be found in Mr. Stuart J. Reid's 'Lord John Russell,' 1895, p. 28 ("The Prime Ministers of Queen Victoria" series). DAVID SALMON.
Swansea.
[MB. W. A. HUTCHISON and MR. A. S. WHIT- FIELD also thanked for replies.]
"SONS OF ICHWE " (12 S. iv. 216). Is not " Sons of Ichwe " in Prince Lichnow- sky's memoirs a misprint for sons of Jahveh or lahve, the modern way of writing Jehovah ? The explanation of the reference is to be found in Prof. Cramb's lectures on
- Germany and England,' which attracted so
much attention at the beginning of the War. In describing " the faith of Young Germany in 1913 " he quotes a passage from Nietzsche which ends thus : " Blessed are the war-makers, for they shall be called, if not the children of Jahve, the children of Odin, who is greater than Jahve." What the Prince evidently meant was that the future of the world is not with the war- makers, the children of Odin, but with the children of Jahve, the God of righteousness and peace a prediction which recent events have proved is likely to come true.
E. MONTEITH MACPHAIL.
Madras.
DEVILS BLOWING HORNS OB TRUMPETS (12 S. iv. 134, 201, 308). In the course of his most interesting and valuable reply H. C. raises two points which call for par- ticular comment.
The first is whether Betton & Evans's copy of the original glazing of Winchester College Chapel can be relied upon. I am of opinion that, on the whole, it can be, and that it is really a painstaking and careful copy (for its date, 1822-8) of the original.
The removal and destruction of Wyke- ham's splendid glass, followed by the sub- stitution of a modern copy, was, of course, absolutely indefensible, but it seems to have been Messrs. Betton & Evans's idea of restoration. The same firm "restored" the east window of Ludlow Church, the glass
of which, representing the life and martyr-
dom of St. Laurence, was given by Bishop
Spoford of Hereford about 144f> (see ' Ancient
Painted Glass in England,' by Dr. Philip
Nelson). The " restoration " was carried
out in much the same manner as at Win-
chester, with the result that very little of the
original glass remains.
The present glazing of Winchester College Chapel retains so many typically mediaeval ideas that it is impossible not to believe that Betton & Evans made a close copy of the glass they were supposed to restore. Archaeological knowledge was at a low ebb in the early nineteenth century, and it is difficult to think that some of the details of costume and armour (such as the camel's skull attached to the robe of St. John Baptist, the various ecclesiastical vestments of the bishops and deacons, the demon blowing a horn, and the pilgrim's robe or " slavyn " worn by St. James the Great, to quote but a few instances) could have been intimately known to the glass-painters of that period. It is true that the general details of the Winchester ' Last Judgment ' agree more or less closely with others both of this and of a later period. The yawning hellmouth, shown here as blue with a red eye, may be compared with those in the wall paintings at South Leigh, Oxfordshire, and at St. Thomas's Church, Salisbury ; also with that depicted in the panel painting at Wenhaston Church, Suffolk. It is in- teresting to note that the last-named example has a similar detail to that at Winchester College, namely, a demon seated upon the upper lip, blowing upon a trumpet- like instrument.
The second point of interest whether most, if not all, of the souls depicted in the Winchester College ' Last Judgment ' were intended to represent particular personages is more open to question. Figures of kings, bishops, and Popes, among both the saved and the lost, are to be found in practically every mediaeval representation of this subject. They are simply accessory details. The artist wished to show that no evildoer, however high he or she might rank in this world, could hope to escape God's final judgment and punishment in the life to come. Hence certain figures are distinguished by their headgear the only thing about them by which they can be identified. Examples of these representa- tions of kings and ecclesiastics may be cited indefinitely ; a few will suffice here.
At Fairford, in the great west window which contains perhaps the finest repre-
