Part 4

The hereditary arms of Owen's paternal line, the Lords of Glyndwrdwy, are those of his ancestor, Griffith Maelor ap Madoc, of Dinas Bran, Lord of Bromfield, Yale, Chirk, Glyndwrdwy, &c., who died A.D. 1191, viz. "Paly of eight argent and gules, over all a lion rampant sable," thus differenced, apparently, from "The Black Lion of Powys" (Argent a lion rampant sable), the royal ensigns of his father, Madoc ap Meredith, last sovereign Prince of Powys, who died at Winchester in 1160. I am unable to refer to any seal of the Lords of Glyndwrdwy, or of the Lords of Bromfield, bearing the family arms of their line; but they are thus given invariably by the Cambrian heralds, and, so far, are susceptible of proof by the most authentic MS. authorities of the Principality. It is, however, remarkable, that the Heraldic Visitations of Wales of Lewis Dwnn, appointed in 1580 Deputy-Herald for all Wales, by Robert Cook Clarenceux, and William Flower Norroy King-at Arms, published in 1846 by the Welsh MSS. Society, contain no pedigree of the house of Glyndwrdwy. Of the descendants, if any, of Owen Glyndwr himself, beyond his children, I am not aware that there is any authentic pedigree, or other satisfactory proof; and there seems to be presumptive evidence that in 12 Henry VI., 1433--a period so recent as nineteen years from the last date, 19th February, 1 Henry V., 1414, on which Owen is ascertained to have been alive (Rymer's _Foedera_, ix. p. 330.),--his issue was limited to a daughter and heir, {291} Alice, wife of Sir John Scudamore, Knt., described in a petition of John, Earl of Somerset, to whom Owen's domains, on his attainder, had been granted by his brother, Henry IV., as

"Un John Skydmore, Chivaler, et Alice sa femme, pretendantz la dite Alice etre file _et heir_ au dit Owyn (Glyndwr)."--_Rot. Parl. 12 Hen. VI._

I have not found evidence to show that there were any children of Alice's marriage with Scudamore; and, assuming the failure of her issue, and also the extinction of Owen's other offspring, the representation of the three dynasties--

". . . . . . . the long line Of our old royalty"--

reverted to that of his only brother, Tudor ap Griffith Vychan, a witness, as "Tudor de Glyndore," in the Scrope and Grosvenor controversy, 3rd September, 1386, and then twenty-four years and upwards, who is stated to have been killed under Owen's banner at the battle of Mynydd Pwll-Melyn, near Grosmont, Monmouthshire, fought 11th March, 1405. Tudor's daughter and heir, Lowry [Lady] of Gwyddelwern in Edeirnion, "una Baron. de Edurnyon," became the wife of Griffith ap Einion of Corsygedol, living 1400 and 1415; and from this marriage descend the eminent Merionethshire House of Corsygedol (represented by the co-heirs of the late Sir Thomas Mostyn, Bart., of Mostyn and Corsygedol; namely, his nephew, the Honorable Edward Mostyn Lloyd Mostyn, of Mostyn and Corsygedol, M.P., Lord Lieutenant of Merionethshire, and Sir Thomas's sister, Anna Maria, Lady Vaughan, mother of Sir Robert Williames Vaughan, Bart., of Nannau) and its derivative branches, the Yales of Plas-yn-Yale, co. Denbigh, and the Rogers-Wynns of Bryntangor in the same county; the former represented by the Lloyds of Plymog, and the latter by the Hughes's of Gwerclas in Edeirnion, Lords of Kymmer-yn-Edeirnion, co. Merioneth, and Barons of Edeirnion. These families, co-representatives of the three Cambrian dynasties, all quarter, with the arms of South Wales and North Wales, the ensigns I have referred to as the hereditary bearings of the Lords of Glyndwrdwy. Independently of the adoption of these ensigns in the Welsh MSS. in the British Museum, College of Heralds, and other depositories, it may be mentioned that they are quartered in an ancient shield of the Vaughans of Corsygedol, suspended in the hall of Corsygedol,--one of the finest and most picturesque mansions in the Principality,--and that they appear in the splendid emblazoned Genealogy of the House of Gwerclas, compiled in 1650 by Robert Vaughan, Esq., of Hengwrt, the Camden and Dugdale united of Wales.[7] The arms in question are ascribed to the line of Bromfield and Glyndwrdwy, and, as quarterings to the families just named, by Mr. Burke's well-known _Armory_, the first and, indeed, only work, in conjunction with the Welsh genealogies in that gentleman's _Peerage and Baronetage_, and _Landed Gentry_, affording satisfactory, or any approach to systematic and complete, treatment of Cambrian heraldry and family history. Mr. Charles Knight also, highly and justly estimated, no less for a refined appreciation of our historic archæology, than for careful research, adopts these arms as the escutcheon of Owen in the beautiful artistic designs which adorn and illustrate the First Part of the drama of _King Henry IV._, in his Pictorial edition of Shakspeare. (_Histories_, vol. i. p. 170.)

The shield of the Lords of Glyndwrdwy, as marshalled by Welsh heralds, displays quarterly the arms assigned to their direct paternal ancestors, as successively adopted previous to the period when armorial bearings became hereditary. Thus marshalled, the paternal arms of Owen Glyndwr are as follows: 1st and 4th, "Paly of eight, argent and gules, over all a lion rampant sable," for Griffith Maelor, Lord of Bromfield, son of Madoc ap Meredith, Prince of Powys-Fadog; 2nd, "Argent, a lion rampant sable" ("The Black Lion of Powys") for Madoc, Prince of Powys-Fadog, son of Meredith, Prince of Powys, son of Bleddyn, King of Powys; 3rd, "Or, a lion rampant gules," for Bleddyn ap Cyfnfyn, King of Powys.[8] None {292} of these ensigns is referable to a period anterior to that within which armorial bearings are attributed to the Anglo-Norman monarchs.

The lion rampant is common to all branches of the line of Powys; but the bearing peculiar to its last monarch, Madoc ap Meredith, "The _Black_ Lion of Powys," without a difference, has been transmitted exclusively to the Hughes's, Baronial Lords of Kymmer-yn-Edeirnion, and the other descendants of Owen Brogyntyn, Lord of Edeirnion, younger son of Madoc; of whom, with the exception of the family just named, it is presumed there is no existing male branch. The same arms were borne by Iorwerth Goch, Lord of Mochnant, also a younger son of Madoc; but they are now only borne subordinately in the second quarter by that chief's descendant, Sir John Roger Kynaston of Hardwick, Bart., and by the other branches of the Kynastons; the first quarter having been yielded to the arms of (Touchet) Lord Audley, assumed by Sir Roger Kynaston of Hordley, Knt., after the battle of Blore in 1459, at which Lord Audley is said to have fallen by the hand of Sir Roger. As already stated, Griffith Maelor, Madoc's eldest son, bore the black lion differenced, as did also the twin sons of the latter, viz. Cynric Efell, Lord of Eglwys Egle, ancestor of the distinguished line of Davies of Gwysaney in Flintshire, whose ensigns were "Gules, on a bend, argent, a lion passant sable;" and Einion Efell, progenitor of the Edwards's of Ness Strange, and of other North Wallian families, who bore "Party per fess, sable and argent, a lion rampant counterchanged." The ancestor of the Vaughans of Nannau, Barts.,--Cadwgan (designated by Camden "the renowned Briton"), younger son of Blyddyn, king of Powys, sometime associated in the sovereignty with his elder brother Meredith, exhibited, it is stated, on his banner an azure lion on a golden ground; ensigns transmitted to the early Lords of Nannau and their descendants, with the exception--probably the only one--of the Vaughans of Wengraig and Hengwrt, represented paternally by the Vaughans of Nannau and Hengwrt, Baronets, who, transferring these arms to the second quarter, bear in the first, "Quarterly, or and gules, four lions rampant counterchanged." The Wenwynwyn branch of the dynasty of Powys continued, or at a later period resumed, the red lion rampant on a gold ground, ascribed to Blyddyn ap Cynfyn; and it is not a little interesting, that recently a beautiful silver seal, in perfect preservation, of Hawys Gadarn, heiress of that princely line, who by the gift of Edward II. became the wife of John de Cherlton, was found near Oswestry, representing her standing, holding two shields: the one in her right hand charged with her own arms, the lion rampant; that in the left with those of Cherlton, two lions passant. The legend around the seal is "S'HAWISIE DNE DE KEVEOLOC."

The original seal is now in the Museum of Chester, and was exhibited, I believe, by the Honorary Curator, the Rev. William Massie, at a recent meeting of the Society of Antiquaries. Of this venerable relic I possess an impression in wax; and of the great and privy seals of Owen Glyndwr, beautiful casts in sulphur; and I shall have pleasure in leaving them with the editor of "N. & Q." for the inspection of MR. WOODWARD, should that gentleman desire it.

JOHN AP WILLIAM AP JOHN.

Inner Temple. March 7, 1853.

[Footnote 3: This supporter, and the crest, as also the supporter which I shall mention presently, attached to the respective shields of Arthur Prince of Wales, and of Henry Prince of Wales, sons of Henry VII., is in fact a Wyvern, having, like the dragon, a tail resembling that of a snake, but differing from the dragon in the omission of the two hind legs. The supporter in respect of Wales, afterwards alluded to as assumed by the English monarchs of the House of Tudor, was a dragon strictly.]

[Footnote 4: Mathraval, in the vale of Meifod, in Montgomeryshire, the palace of the sovereigns of Powys, erected by Rhodri Mawr, King of Wales:

"Where Warnway [Vwrnwy] rolls its waters underneath Ancient Mathraval's venerable walls, Cyveilioc's princely and paternal seat." Southey's _Madoc_.

[Footnote 5: Cynfyn, father of Bleddyn, King of Powys, by his consort Angharad, Queen of Powys, derived from Mervyn, King of Powys, third son of Rhodri Mawr (the Great), King of all Wales, progenitor of the three Dynasties of North Wales, South Wales, and Powys:

"... chi fu di noi E de' nostri avi illustri il ceppo vechio."

[Footnote 6: "His [Owen Glyndwr's] father's name was Gryffyd Vychan: his mother's, Elena, of royal blood, and from whom he afterwards claimed the throne of Wales. She was eldest daughter of Thomas ap Llewelyn ap Owen, by his wife Elinor Goch, or Elinor the Red, daughter and heiress to Catherine, one of the daughters of Llewelyn, last Prince of Wales, and wife to Philip ap Ivor of Iscoed."--_A Tour in Wales_ [by Pennant]: Lond. 4to. 1778, p. 302.]

[Footnote 7: Of this celebrated antiquary, the author of _British Antiquities Revived_, and other valuable antiquarian works, the friend of Archbishop Ussher, Selden, Sir Simon d'Ewes, Sir John Vaughan, &c., it is observed in the _Cambrian Register_, "In genealogy he was so skilled, and his knowledge on that subject derived from such genuine sources, that Hengwrt became the Heralds' College of the Principality, and no pedigree was current until it had obtained his sanction."

His MSS. and library, formerly at Hengwrt, have been transferred to Rûg in Edeirnion, the present seat of his descendant, Sir Robert Vaughan of Nannau; and it may be confidently stated, that in variety, extent, rarity, and value, they surpass any existing collection, public or private, of documents relating to the Principality. Many of them are unique, and indispensable for the elucidation of Cambrian literature and antiquities; and their possessor, by entrusting, to some gentleman competent to the task, the privilege of preparing a catalogue _raisonnée_ of them, would confer a public benefit which could not be too highly appreciated.

To the noble collections of Gloddaeth, Corsygedol, and Mostyn, now united at Mostyn, as also to that of Wynnstay, the same observation might be extended.]

[Footnote 8: The golden lion on a red field may have been displayed on the standard of Bleddyn ap Cynfyn, but, from analogy to the arms assigned to the English monarchs of a corresponding period, it can, as armorial bearings, be only regarded, it is apprehended, as attributive. Of the armorial bearings of the English monarchs of the House of Normandy, if any were used by them, we are left totally without contemporary evidences. The arms of William the Conqueror, which have been for ages attributed to him and the two succeeding monarchs, are taken from the cornice of Queen Elizabeth's monument, in the north aisle of Henry VII.'s Chapel at Westminster. The arms assigned to Stephen are adopted on the authority of Nicholas Upton, in his treatise _De Militari Officio_, b. iv. p. 129., printed in 1654. For those of Henry II., there is no earlier authority than the cornice of Queen Elizabeth's monument, and it is on the second seal used by Richard I. after his return from captivity, that, for the first time, we find his shield distinctly adorned with the three lions passant guardant in pale, as they have been borne by subsequent English monarchs. (Willement's _Regal Heraldry_.)]

* * * * *

COLERIDGE'S CHRISTABEL--"CHRISTOBELL, A GOTHIC TALE."

(Vol. vii., p. 206.).

Your correspondent S. Y. ought not to have charged the editors of Coleridge's _Poems_ with negligence, until he had shown that the lines he quotes were inserted in the original edition of _Christabel_. They have not the musical flow of Coleridge's versification, but rather the dash and vivacity of Scott. At all events, they are not to be found in the second edition of _Christabel_ (1816), nor in any subsequent edition. Indeed, I do not think that Coleridge made any alteration in the poem since its composition in 1797 and 1800. I referred to two reviews of Coleridge's _Poems_ published in Blackwood in 1819 and 1834; but found no trace of S. Y.'s lines. "An old volume of Blackwood" is rather a vague mode of reference. It is somewhat curious that, previous to the publication of _Christabel_, there appeared a _conclusion_ to that splendid fragment. It was entitled "Christobell, a Gothic Tale," and was published in the _European Magazine_ for April, 1815. It is dated "March, 1815," and signed "V.;" and was reprinted in _Fraser's Magazine_ for January, 1835. It is stated to be "written as a sequel to a beautiful legend of a fair lady and her father, deceived by a witch in {293} the guise of a noble knight's daughter." It commences thus:

"Whence comes the wavering light which falls On Langdale's lonely chapel-walls? The noble mother of Christobell Lies in that lone and drear chapelle."

The writer of the review in Blackwood (Dec. 1839) of Mr. Tupper's lame and impotent conclusion to _Christabel_, remarks that--

"Mr. Tupper does not seem to know that _Christabel_ was continued many years ago, in a style that perplexed the public, and pleased even Coleridge. The ingenious writer meant it for a mere _jeu d'esprit_."

Query: Who was this "ingenious writer?"

While on the subject of _Christabel_, I may note a parallelism in reference to a line in Part I.:

"Her face, oh call it fair, not pale!"

"E smarrisce il bel _volto in un colore,_ _Che non è pallidezza, ma candore_." _Tasso_, _G. Lib._ c. ii. st. 26.

J. M. B.

S. Y. is "severe _over_ much" and _under_ informed, in his strictures on the editors of Coleridge's _Works_ (1852), when he blames them for not giving Coleridge the credit of lines which _did not belong to him_. The lines which S. Y. quotes, and a "great many more,"--in fact, a "third part of _Christabel_,"--were sent to _Blackwood's Magazine_ in 1820, by the late Dr. William Maginn, as a first fruits of those _imitations_ and _parodies_ for which he afterwards became so famous. The success of his imitation of Coleridge's style is proved by the indignation of your correspondent. It is no small honour to the memory and talents of the gifted but erratic Maginn, that the want of his lines should be deemed a defect or omission in "one of the most beautiful poems in the English language." But in future, before he condemns editors for carelessness, S. Y. should be sure that he himself is correct.

A. B. R.

Belmont.

* * * * *

PHOTOGRAPHIC NOTES AND QUERIES.

_Economical Way of Iodizing Paper._--The extravagant price of the salt called iodide of potassium has led me to experiments as to whether paper could not be iodized in another form; and having been successful, I offer the process to the readers of "N. & Q." Having verified it three times, I can safely say that it is quite as effectual as using the above salt.

The first solution to be made, is a saturated solution of iodine. Put about sixty grains of iodine (the quantity is not of importance) into an ounce bottle, and add proof spirits of wine; set it near the fire "on the hob;" and when it is nearly boiling, agitate, and it will soon become a concentrated essence: take now a bottle of clear glass, called a quart bottle, and put in it about two ounces of what is called carbonate of potash (nothing more than purified pearlash); fill up with water to within an inch of the neck, and agitate; when it is dissolved, add any of the other approved sensitives, in discretionable doses, such as fluoride or bromide of potassa, ammoniac salt, or common salt--it may have about sixty grains of the latter; and when all are dissolved, add the iodine. This is added by degrees, and shaken; and when it is a pale yellow, it may be considered to be ready for iodizing: from some experiments, I am led to believe that a greater quantity of iodine may, if necessary, be added, only the colour should not be dark. And should the operator reach this point, a few drops of solution of cyanide of potassium may be added, until the pale colour returns. Bromine water I believe may be added, but that I have not used hitherto, and therefore cannot answer for its effects. The paper then having its usual wash of nitrate of silver, is then floated on the solution about one minute, and the accustomed process gone through as described by most photographers. It is only disposed to require a pretty strong solution of silver, say thirty grains to the ounce of water. This I attribute to the potash being in a little more caustic condition than when recrystallised with iodine. And the only difference in the above formula between the two states is, that the iodine in the medical preparation is incorporated by means of iron filings with the water, which I only interpret into being a cheaper method; which makes its high price the more scandalous, and I hope this method will save photographers from the imposition: the price of a quart of iodide of potassium would be about six shillings, by the above about ten-pence. And I can safely say, it is quite as effectual: theoretically, it appears to be better, because iodine is exceedingly difficult to preserve after being dissolved and recrystallised. And much of it is lost in the preparing iodized paper: as, for instance, the usual way generally requires floating on free iodine at the last; and with the formula here given, after using once, some small quantity of tincture of iodine should be added before putting away, as the silver laid upon the surface of the paper absorbs more of the iodine than the potash. Therefore, a very pale yellow may be its usual test for efficiency, and the equivalent will be maintained.

N.B.--Potash varying much in its alkaline property, some samples will remain colourless with addition of iodine; in which case the judgment must guide as to the quantity of iodine. It should not exceed the ounce of tincture: about two drachms may be added after using it for paper.

WELD TAYLOR.

7. Conduit Street West.

{294}

_Queries on Sir W. Newton's Process._--The process of SIR W. NEWTON is nearly similar to one I have successfully used for some years, and I can recommend it as effective and simple.

A difficulty I have lately found, has been with my iodized paper, which, when freshly used, is well enough; but if kept a month or two, will only allow of the paper being prepared to take views just before using. I should much like to know how this occurs.

If SIR W. NEWTON would answer the following Queries, he would add to the obligations that many others besides myself are under to him:

1. What paper does he use for positives, and what for negatives?

2. Is it not better to dissolve the silver and iodide of potassium in three ounces of water each instead of one (see "N. & Q.," Vol. vii., pp. 151. 277.)?

3. Is spring water fit for washing the iodized paper; if it contains either sulphate or bicarbonate of lime or muriate of soda?

4. How long ought the iodized paper to keep good?

5. How long should the negative paper (on a moderately warm day) keep after being made sensitive, before exposing to the action of light; and how soon after that should it be developed?

JOHN STEWART.

Brighton.

_Suggestion to Photographers._--The Rev. Charles Forster, in his _One Primeval Language_ (p. 96.), speaks of the desirableness of obtaining copies of two great inscriptions in the Djebel Mokatteb,--one in forty-one, the other in sixty-seven lines, supposed to have been written by the Israelites during their exode. In the words, however, of the Comte d'Antraigues, which he quotes in p. 84: "Il faudroit six mois d'un travail opiniâtre, pour dessiner la totalité de ces caractères." Is not this a temptation to some of your photographic friends, who may be turning their steps to the East during the ensuing season, to possess themselves of a treasure which by the application of their art they might acquire almost in as many minutes?

VERBUM SAT.

* * * * *

Replies to Minor Queries.

_Portrait of Pope_ (Vol. vii., p. 180.).--I cannot at this movement reply to MR. J. KNIGHT'S Query, but perhaps can correct an error in it. There was no _White_ of Derby; but Edward[9] _Wright_ of that city, was an artist of high repute. And I have in my possession a portrait of Pope done by him. On the back of this portrait is the following inscription:

"Edward Wright, the painter of this picture, was an intimate friend of Mr. Richardson, and obtained leave from him to copy the portrait of Mr. Pope; which Mr. R. was then painting, and had nearly finished. When the outline was sketched out by E. Wright, he happened to meet Mr. Pope at dinner, and on mentioning to him how he was employed, Mr. Pope said: 'Why should you take a copy, when the original is at your service? I will come and sit to you.' He did so, and this picture was finished from Mr. Pope himself. This account I had from the late William Wright, Esq., my honoured uncle, who had the picture from the painter himself. At Mr. Wright's death, it came to his widow, who gave it to my brother[10]; at whose decease, it came to me.

"WILLIAM FALCONER, M.D., F.R.S.

"Bath, March 21, 1803."

The size of the picture is two feet five inches and a quarter by two feet one-eighth of an inch. It is a profile. It has never been engraved, and is in good condition.

R. W. F.

Bath.

[Footnote 9: [_Joseph_ was the Christian name of the celebrated painter usually styled Wright of Derby.--ED.]]

[Footnote 10: Thomas Falconer, Esq., of Chester.]

_Conundrum_ (Vol. vi., p. 602.).--Though I cannot answer the Query of RUFUS, as to the manner in which the species of conundrum communicated by him may be designated, I beg to inclose an answer to it, thinking you might perhaps deem it worthy of insertion:

Cold, sinful, sorrowful, this _earth_, And all who seek in it their rest; But though such mother gives us birth, Let us not call ourselves unblest.

Though weak and earthly be our frame, Within it dwells a nobler part; A holy, heavenly, living flame Pervades and purifies the _heart_.