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A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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adapts itself, with never-failing facility, to t',
rhythmical change in the verse.

The Sequence was a great favourite with tl
Polyphonic Composers, most of whom ha
treated it with marked success. The finest e
amples are the well-known settings by Pale
trina. [W.S.B

VIEUXTEMPS. The date of birth is pr
bably to be corrected to Feb. 20, on the authorii
of Paloschi and Riemann.

VIOLETTA MARINA. Add that the i
strument was invented by Castkucci.

VIOLIN-PLAYING. P. 287 a, 1. 7 fro:
bottom of text, ^or Cortigniano read Cortegian
P. 289, in the table of violinists, the follov
ing coiTCctions are to be made. In Group
the date of Leclair's birth should be given i
1687; that ofDeBeriot as 1802; that of Joi
HeUmesberger as 1828. Add date of death c
Alard, 1888.^ In Group II,/o)' Jn. Linley rta
Th. Linley. In Group III, KaUiwoda's date :
to be read 1 800, and that of A. Stamitz as 1 75,'
In Group IV, J. Becker's date should be 183,'
In Group V the date of Baltzar's death is 166;
In Group VI, Barthelemon's date is 1 741, an
that of the death of Aubert le vieux, 175^
P. 290 a, 1. 31, add that the Ciaccona ^S
attributed to G. B. Vitali, is the composititaiB
AxTOXio Vitali. The article on p. 3136,
this volume refers to this latter composer, not t
G. B. Vitali. P. 2906, 1. .7, after the words ee'
that article, add in Appendix. P. 292 a, 1. 2|
from bottom,/or about 1,700 read 1676. P. 2926
1. 20 from bottom, the last word belongs to thi
line above. Line 19 from bottom, for abow
1700 read 16S7. -P- ^9i^> ^^^^ 26 from bottom
for 1801 read 1861. Line 6 fi-om bottom, /w
1700 read 1698. P. 296 a, 1. 19 from bottom Jj-
for 1S36 read 1833. Line 13 from bottom, adc j j
date of Alard's death, 1888. P. 297 i, line 8;],
for born 1822 read 1822-1887; 1. 16, aftei
Dont, add dates, 1815-88. P. 298 a, I. H .
from bottom, for 1796 read 1797 ; 1. 7 fro™jj

I The news of the death of Jean Delphin Alabd, on Feb. 22,
arrived after the earlier sheets of this Appendix were in type.







torn, /br iSoi read iSoo ; 1. 4 from bottom,
1874 read 1S75. P. 298 &, 1. 24 from bottom,
about 1640-17CO read 1630-1679 ; 1. 19 from
bam, for died about 1742 read 1714-1742;
from bottom, ybr about 17S0 read i^jZ-
7I0LIN0 PICCOLO {Quart-geige, Halh-
je, Dreiviertel-geige, Three-quarter-fiddle). A
lin of small size, but of the ordinary parts
I proportions, differing in this respect from

pochette or kit. It was usually tuned
oinor third higher than the ordinary violin,
highest string having the same pitch as the
best string of the Quinton. Leopold Mozart
8 the Quart-geige is smaller than the oi'dinary
lin, and is used by children. 'Some years
»,' he continues, ' Concertos were written for
ae little violins, called by the Italians Violino
icolo : and as they have a much higher com-
than the ordinary violin, they were fre-
sntly used in open-air serenades {Nacht-
oke) with a flute, harp, and other similar
fcruments. Now, however [1756], the small
can be dispensed with. Everything is
jred on the common violin in the higher
itions.' ('Violinschule,' p. 2.) The'Three-
irter Fiddle' is still used by children, but is
ays abandoned as early as possible. Whether

'Violino piccolo' of Bach's first Cothen
icerto was of different pitch from the ordinary
lin 13 cloubtful. The term here possibly de-
nates a violin somewhat smaller, and strung
h. thinner strings, but of the ordinary pitch.
se Violoncello Piccolo.] [E. J.P.]

the ordinary pitch, but of smaller size and
ring thinner strings. According to Quantz
Hotenschule,' p. 212), it was generally used
solo-playing, the ordinary violoncello being
ployed for concerted music. Similarly, the
ila da Gamba used for solo-jjlaying was of
aller size than the six-stringed ' concert-bass.'
ch introduces the Violoncello piccolo in the
tatas ' Jesu nun sei gepreiset,' and ' Ich geh'
1 suche mit Verlangen.' The parts have the
al violoncello compass. The well-known
ligato part to * Mein glaubiges Herz ' is en-
:d ' Violoncello Piccolo,' though it is probable
1 its construction that it was originally
tten for the Viola da Gamba. [E. J.P.]

7IEGINAL MUSIC. P. 306 h, note 2, for
mwell read Cornwall. P. 3106, 1. 16 from
torn, correct the statement that the book has
ays been in the possession of Lord Aber-
'enny. It formerly belonged to Burney, and
I sold at hia sale for £11 os. 6d. According
Rimbault, it was at one time in his (Eim-
dt's) library. [W.B.S.]

VISETTI, Albert Anthony, was born (of
English mother) at Spalato in Dalmatia,
ly 13, 1846, and studied composition under Al-
to Mazzucato at the Conservatorio of Milan,
ere he gained two scholarships. His
sreise for his degree was a cantata to words
his friend Arrigo Boito. His first engage-



ment was as conductor at Nice. He then
went to Paris, where A. Dumas prepared speci-
ally for him a libretto for an opera from his
'Trois Mousquetaires.' The score was hardly
completed when it was burnt in the siege of the
Commune. Mr. Visetti then came to London,
where he has since resided, and has devoted him-
self chiefly to teaching singing. He is Pro-
fessor of Singing at the Royal College of Music,
at the Guildhall School, the Watford School, and
"various other institutions. He is also director
and conductor of the Bath Philharmonic Society,
to which he has devoted an immensity of time,
money, and ability. Mr. Visetti has published
translations of Hullah's ' History of Modern
Music,' of Dr. HuefFer's ' Musical Studies,' and
of other works. The King of Italy in 1880 con-
ferred on him unsolicited the order of the Corona
d' Italia. [G.]

VOCAL CONCERTS. Line 12 from end of
article, /or 1821 read 1822.

VOGLER, Abt. Line 12 from end of article,
add that Prof. Schafhautl has recently published
a monograph on ' Abt Georg Joseph Vogler '
(Augsburg, 1888), which supersedes aU other
works on the subject.

VOICES. P. 3346, 1. 15 from bottom, /or
1773 read 1764.

VOLKMANN, F. R. Add date of death,
Oct. 29-30, 1883.

VOPELIUS, Gottfried, bom at Herwigs-
dorf, near Zittau, in 1645, became cantor at St.
Nicholas, Leipzig, and died at Leipzig in 1715.
He wrote some original tunes to hymns pre-
viously set to other music, but is chiefly known
as a harmonizer of older melodies in four voice-
parts. He adopts the more modern form of
regular rhythm (generally 3-2"), and freely uses
the subdominant and major dominant even in
minor keys, and the accidental % and tj. He
published in 16S2 ' Neu Leipziger Gesangbuch,'
which contains besides other tunes 100 hymns
from Schein's ' Cantional oder Gesangbuch ' of
1627. [K-^J-]

VORAUSNAHME. See Anticipation.

VORHALT. See Suspension.

VOSS, Charles. See vol. ii. p. 731 5, and
add date of death, Aug. 29, 1882.

VOWLES, W. G., organ-builder in Bristol, is
the present owner of the business established in
1814 by John Smith. The latter died in 1847,
and was succeeded by his step-son Joseph Mon-
day. On the death of Monday in 1857 he was
succeeded by his son-in-law Vowles. Smith
built the organ in Bath Abbey, and Vowles
those of the Cathedral and St. Mary RedclifFe
in Bristol. [V. de P.]

VUILLAUME. P. 341 h, 1. 3 from bottom,
for brother read father.

VULPIUS, Melchiob, born at Wasingen, in
the Henneberg territory, about 1560, became
cantor at Weimar in 1600, and held this position



till Ills death in 1616. He composed some
chorales, notably ' Jesu Leiden, Pein und Tod,'
' Christus der ist mein Leben,' and ' Weltlieh
Ehr und zeitlich Gut,' the melodies of which are
bold and charming ; but accomplished much
more in harmonizing tunes for many voices, in
which he shows himself a sound contrapuntist.
He is addicted to the old style in the use of the
major and minor chords close together, even the
dominant having often the minor third, and in
the eniplo3'ment of chords without thirds. He
uses syncopation so freely that it is often difficult
to decide whether triple or quadruple rhythm is
intended. His contrapuntal skill is exhibited in
love of notes suspended as discords and after-
wards resolved. In the free use of the first in-


version of the common chord he is rather
advance of his age. His chief works are ' C;
tiones Sacrae cum 6, 7j 8 vocibus,' Jena, i6c
' Cantiones Sacrae 5, 6, et 8 vocum,' 2 pts., Jei
1603-4; ' Kirchengesange und geistliche Lie,
D. Lutheri und Anderer mit 4 und 5 Stimme
Leipzig, 1604, of which the second enlai:;
edition bears the title ' Ein schon geisthch I
sangbuch,' Jena, 1609, and has the
the discant, whereas most of his settings ha\-c
in the tenor ; ' Canticum B. V. Mariae 4, •;
et pluribus vocibus,' Jena 1605 ; ' Opusculi
novum,' 1610 ; and a Passion oratorio from t
four Gospels, in which the narrator has a tei
voice. [E.J


WAGNER, H. Johanna. P. 346 a, 1. 19,
for at (second time) read, of. Line 20,
for Walkiire and Norn read Schwertleite
and First Norn.

WAGNER, W. RiCHAKD. P. 346 a, last line
but one, /or 1811 read 1813. P. 365 a, 1. 20,
for is announced to be given again, etc. read
was repeated in 1886 and 1S88. P. 372 h, in
tlie chronological list, under Die Walkiire, for
June 26 read June 25. To the number of books
on the subject of Wagner should be added M.
JuUien's admirable ' Richard Wagner : sa vie et
ses oeuvres ' (Librairie de I'Art), Paris and Lon-
don, 1886. Add that Wagner's early opera,
' Die Feen ' (see vol. iv. p. 349), was produced at
Munich on June 29, 1SS8.

WAINWRIGHT. Line 7 of article,/ori797
read 1766. P. 375 «, 1. 16, for him read Ro-
bartt, since Schnetzlei-'s remark was made on
him. See vol. iii. p. 542 a.

WALDMADCHEN, DAS. Line 6 of article,
for in October read until December. Concern-
ing its being used uji in ' Silvana,' see vol. iv.
p. 41 2 b.

WALKELEY, Antony. Line 3 of article,
for 1700 read 1698.

WALLACE, W. Vincent. Line 2-3 of ar-
ticle, /or about 1 81 2 or 1814 read tTuIy I, 1814.
P. 377 b, 1. 10 from bottom, for Nov. 16 read
Nov. 3.

WALLISER, Christoph Thomas, born at
Strasburg about 1568, died there 164S. His
chief work is ' Ecclesiodae, das ist Kirchengesang,
nemblichen die gebrjiuchlichsten Psalmen Davids
so nicht allein viva voce, sondern auch zu musik-
alischen Instrumenten christlicli zu gebrauchen,
mit 4, 5, 6, Stimmencomponirt,' Strasburg 1614.
It consists of 50 German psalms set in the old
contrapuntal style on the melodies to which they
were wont to be sung in the Protestant services in
Strasburg. Two of these psalms are republished
in Schoberlein and Riegel's ' Scliatz des liturg-

ischen Chorgesangs,' and one (' Ein' feste Bm
Luther's verson of the 46th psalm) in Kad
Notenbeilagen to Ambros's 'Geschichte der ]M
sik.' In 1625 Walliser published ' Ecclesiot
Novae, darin die Catechismusgesang, and
Schrift und geistliche Lieder samt dem Te Deu
und der Litania .... mit 4, 5, 6, 7 Stimmen |
setzt.' Winterfeld also mentions a setting byh
of a chorus from the ' Clouds ' of Aristophan
and 3, 4, 5 to lo-part choruses to a drama on t
subject of 'Elias,' and to a tragi-come
' Chariclea.' [J.R.J

WALMISLEY, T. A. Add that a tab
has recently (18S8) been erected to his menu
in Trinity College Chapel, Cambridge.

WALTHER, JoHANN Jacob, violinist a
composer, was born in 1650 at Witterda,
village near Erfurt in Thuringia. The name
his teacher is unknown, but as he styles hinu
on the title of one of his works 'Italian Secrets
to the Elector of Mayence,' it appears proba'
that he had acquired his knowledge of the L
guage in Italy, and therefore had some connect
with the school of violin-players of that count
We find him first as a member of the band
the Elector of Saxony at Dresden, and later
attached to the court of the Elector of Mayen
The place and date of his death are unknov
Two sets of violin compositions of his have b«
preserved :

1. Scherzi da Violino solo, con II
Basso Continuo per i'Organo
d Cimbalo. accompagnabile
anche con una Viola 6 Liuto.
di Giovanni GiacomoWalther,
Prime Violinista di Camera
di sua Altezza Eleltorale di
Passonia MDCLXXTI.

'2. Hortulus Chelicus, uni Violino.
duabus, tribus et quatuor

subinde chordis simQl «01
tibus harmonia moduli
Studiosa varietate consit
Johanne Jacobo Wallb
Eminentiss. Celsitod. 1
tor. Slaguntin. Secret
Italico. Maguiitiae, ram
bus Lud. Bourgeat. Acadi
Bibliopol. 16JS8.

The musical interest of these compositions
but small. They consist chiefly of short prelud
pieces in dance-forms (gavottes, sarabandes, eti
and sets of variations. In some respects tl
remind us of the works of Farina (see tl



ide), who was his predecessor at Dresden.
:e Farina he appears fond of realistic tone-
tures — he imitates the cuckoo, the nightingale,
crowing of the cock, and other sounds of
inre. In a set of variations we meet with
Itations of the guitar by pizzicatos, of pipes
passages going up to the sixth position on
first string, of the trumpet by fanfares on
fourth string ; further on he introduces echo-
ects, the lyre, the harp, and winds up with a
toro' in full chords. Besides these childish
orts, it is true, we find some more serious
ices, which, as far as invention, harmonic and
itrical treatment go, are decidedly an advance
Farina's style. Still they are extremely
ansy and altogether inferior to the better pro-
ctions of Walther's Italian contemporaries,
alther's importance for the history of the de-
lopment of violin-playing consists exclusively
the advanced claims his writings make on
ecution. While the technique of the Italians
the same and even a later period was still
1 y limited — even Corelli does not exceed the
irJ position — some Germans, especially Eiber
ie that article), andWalther — appear as pioneers
execution on the fingerboard. Walther ascends
the sixth position, frequently employs diffi-
It double-stoppings, and uses a variety of
wiug. [P.D.]

WALTZ, GuSTAVUS. Line 8 of article, for
!'32 read 1732.

WALTZ. The paragraph (p. 385 a) beginning

I'rabb Robinson's account,' was inadvertently

serted by the editor in the wrong place. It

lould come in at p. 385 6, after 1. 8 from bottom,

id ihould read ' Crabb Robinson's account of the

ay in which he saw it danced at Frankfort

I 1800 agi-ees with the descriptions of the

mce when it found its wa}' to England. The

an, etc' At the end of the article the minims

lould be dotted minims. [W.B.S.]


rchestral society, founded in the year i860. It

probably the ovUy purely amateur full orches-

a in existence in this or any other country.

apt. the Hon. Seymour J. G. Egerton, 1st Life

iuards (now Earl of Wilton), was the first

resident and conductor, which post he held

IntU 1873, when he was succeeded by Lord

perald Fitzgerald, who in 1881 resigned in

lavour of Mr. Lionel Benson. The society has

levoted its efforts chiefly to charitable objects in

I'arious parts of the country, a nett sum of

iiearly £15,000, the result of concerts, having

)een handed over to various charities up to the

teginning of 1887. The meetings of the society

or the first twenty years took place at Lord

5erald Fitzgerald's house, to which he added a

;oncert room with orchestra for the exclusive

ise of the Society. The first ' smoking concerts '

n London were instituted by the Wandering

Vlinstrels. [M.]

WANHAL. Add that it seems, from the

act that some compositions of his were pub-

ished at Cambridge, that he may have visited



England. Further information concerning such

a visit is not forthcoming.

WARNOTS, Elisabeth (Ellt), born atLifege,
1862, not 1857, made her d^but Sept. 9, 1879,
as Anna (Dame Blanche). She remained there
two years and upwards, and gained great ap-
plause both as a comedian and as a bravura
singer. Among her parts were Catarina (Les
Diamans), Giralda, Prascovia, Denise (L'fipreuve
Villageoise), etc. Her compass ranges from A
below the line to F in alt. Miss Warnots is now
or was lately at the Op^ra Comique, Paris.

WARTEL, p. F. Add date of death, August
1882. Line 6 from end of article, for Patti
read Piatti. Add that Mme. Wartel died
Nov. 6, 1865,

WAYLETT, Haeeiett, whose maiden name
was Cooke, born in 1797 at Bath, was taught
singing by Loder. She married Mr. Waylett in
1S19, and made her debut at Drury Lane as
Madge in ' Love in a Village,' Nov. 4, 1824, was
well known as an actress and ballad singer at the
' patent' theatres, at the Strand, and elsewhere.
She married a second time Alexander Lee the
singer and composer, and died at Kennington,
April 26, 1 85 1. [A.C.]

WEBER, C. M. VON. P. 403 a, 1. 12 from
bottom,/or 1881 read 1818. P. 427 in list of
compositions, under No. 7 of the operas, 'Die
Drei Pintos,' add that it has recently been
completed by the composer's grandson, C. von
Weber, and August Mahler, of Leipzig, and
was produced at Leipzig, Jan. 20, 18S8. The
following certificate of Weber's death was among
the papers of Sir Julius Benedict : — ' On ex-
amining the body of Carl M. von Weber we
found an ulcer on the left side of the larynx.
The lungs almost universally diseased, filled with
tubercles, of which many were in a state of sup-
puration, with two vomicae, one of them about
the size of a common egg, the other smaller,
which was a quite suflacient cause of death.
(Signed) F. Tencken, M.D. ; Chas. F. Forbes,
M.D.; P. M. Kind, M.D. ; Wm. Robinson,
Surgeon. 91 Great Portland Street, June 5,
1826, 5 o'clock.'

WEBER, GoTTFKiED, Doctor of Laws and
Philosophy, composer, theorist and practical
musician, was born in 1779 at Freiesheim near
Mannheim, and studied and travelled untU, in
1S02 he settled in Mannheim as a lawyer and
holder of a Government appointment. It was
here that his namesake, Carl Maria von Weber,
sought a refuge after Lis banishment from Wiir-
temberg (1810), that, in the house of Gottfried's
father an asylum was found for old Franz Anton
until his death in 181 2, and that a lasting friend-
ship was formed between Gottfried Weber, then
aged 31, and Carl Maria, eight years his junior.
A year previously the lawyer, proficient on the
piano, flute, violoncello, and well versed in the
scientific branches of musical knowledge, had
founded, out of two existing societies, the
' Museum,' a band and chorus of amateurs who,
under his able direction and with some professional



help, did excellent work. Gottfried's influence
o-ained for the young composer a hearing in
Mannheim, and the artists and amateurs, carried
away by the spirit and fire of their conductor,
did much towards establishing Carl Maria's fame
in their city. For a lengthy account of the
relations, both lively and severe, between these
distinguished men, their influence on each other's
work, their pleasant wanderings in company with
other choice spirits, singing their newest songs
to the guitar as serenades; their establishment
of a so-called secret society (with high aims)
of Composer-literati, in which Gottfried adopted
the pseudonym of Giusto ; and of their merry
meetings at the ' Drei Konige ' or at Gottfried's
house — the reader may be refeiTed to Max v.
Weber's life of his father (Carl Maria). "N^Tien
circumstances had parted them, constant corre-
spondence showed the strength and quality of
their mutual sympathy. Some of Gottfried's
best songs had been inspired by this intercourse,
and were no doubt exquisitely interpreted by
his (second) wife, nde v. Dusch. Besides these
songs, strophic in form and sometimes provided
with guitar accompaniment, Weber's composi-
tions include three Masses, other sacred music,
sonatas, and concerted pieces for various in-
struments. In the intervals of founding the
Mannheim Conservatoire, superintending the
Court Church musical services, and doing oc-
casional duty as conductor at Mainz, the genial
lawyer laid the basis of his reputation by
a profound study of the theory of music, the
result of whicli appeared in the ' Versuch einer
geordneten Theorie ' (about 1815), of which
translations have since appeared in Trench,
Danish and English (Warner, Boston, 1846, and
J. Bishop, London, 1851); 'Allgemeine Musik-
lehre'; and other volumes, and articles published
in ' Caecilia,' the musical periodical published
by Schott in Mainz, and edited by Gottfried
Weber from its beginning in 1824 until his death,
September 21, 1839.^ [See vol. i. 294.] Weber's
examination of musical theories led to his work
on time-measurements and the 'tempo-inter-
preter' [see vol. ii. 319 a], and his -study of
acoustics to certain improvements or inventions
in wind-instrument making. A full list of
his writings and compositions is given in Men-
del's Lexicon xi. 297. [L.M.M.]
WEBER'S LAST WALTZ. In the second
bar of the musical example, the fourth note
should be F, not Db.

WEHLI, Karl. Add that he died Jan. 2K,

WEINLIG, C. T. Line 8 of article, for he
was followed by Hauptmann read he was fol-
lowed by Pohlenz, who in September of the
same year was succeeded by Hauptmann,

WEITZMANN", Karl Feiedeich, a learned
and excellent writer on musical subjects, born
at Berlin, Aug. 10, 1808, was a pupil of Henning
Klein, Spohr and Hauptmann. He rose by

„,i "i^.PPef " that vol. IX. of July 1639 was foHowed only in 1842 by
vol. XXI., the first edited by Dehn.

WHYTE. . ,


various posts and labours, till in 1848 he eS
blished himself as a teacher and writer in Berl
where he resided till his death, Nov. 7, 18;
His publications are various : — ' History
Harmony' (1849); 'The Diminished Sevenl
(1854) ; * History of the Chord of the Sevent
(do.) etc ; but especially ' History of Claw
playing and Literature ' (ist ed. 1863, and i
much enlarged, and with a history of the
strument itself, 1880), a very valuable
interesting work. For further details see R
mann's 'Musik Lexikon,' 18S7. [(

WELCH, J. B. Add date of death, Jnly


WELSH MUSIC. P. 441 a, second music
example, the first bar-line should be betwe
the second and third sets of triplets, not befc
the first set. P. 441 b, note 2, for Ottoma
Luscinio read Othmar Luscinius.

WENNERBERG, Gunnae, a Swedish '■^
and composer, born 181 7, in Lidkoping, jk
educated at the Upsala university. For sevei
years past he has been a member of the Swedt
legislature. As a musician he was entirely a& i
taught, and he published his first compositii fe
' Frihetssanger ' (Songs of Freedom), in 184 -i;
This was followed by several works of whii :rr:
the best known is ' Gluntarne ' (recollections T^tf
student life in Upsala). He subsequently wio femi
an oratorio entitled ' The Birth of Christ ' ; m fe
set the 'Psalms of David' in a simple ai^aie
melodious form for soli and chorus with accor is.^
paniment. These Psalms are universally pop |^
lar in Sweden, and they are sung both in Norl 1"'
Germany and Scotland. [A.H.W ^

WESLEY, Chaeles. Add that he wrolP
a hymn on the death of Dr. Boyce, beginnin,'
' Father of Heroes, farewell.' P. 446 b, in list (
S. Wesley's compositions, for Antiphons
Motets, and add an asterisk (showing pul
tion) to ' Omnia Vanitas.'

WESLEY, S. S., Mus. D. P. 447 i, 1
for in April read April 19. Line 33, fi
Exeter read in the old cemetery at Exeter,

WHITE, or WHYTE, Robert. Se f i
vol. iv. p. 451. Add that he died at West
minster between Nov. 7 and Nov. 11, 157-1 feBi
The fairdly seem to have been probably visite* ati
by the plague, which raged with great severit; lij
that year. White made his will on Nov. 7
1574. In it he is styled 'Bacheler of Musickt 10^
and Master of the Queristers of the Cathedral jdj
Churche of St. Peter in the Cittie of West
minster.' He directs that he shall be buriec
at St. Margaret's, Westminster ' nere vnto mj
children.' Amongst the bequests is one to bi
daughter Margerj' White of ' six syluer spones
and a mazer w'^'' was her late graundmothers,
and to his father, Robert White ' the some of
three poundes . . . and all such his household
stufe and goodes w'^'' he did bringe unto me at
or before his cominge to me.' He also mentions
two other daughters, Anne and Prudence White,
and his wife, Ellen. He also mentions some

list 1 1



|erty he possessed called Swallowfield, at
liurst, Sussex, and leaves 'to every of my

iers to eche of them iiii'i.' The registers of
Margaret's show that "White ' M"" of the
ng children' -was buried on Nov. ii, and
inil was proved on Dec. 8, the widow having
in the meantime. Prudence "White, the
Ijhter, was buried on the day that her father's

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 192 of 194)