C.W.D.

The Autograph of Titus Oates (Vol. ii., p. 464.).—­It may be seen in the Library of St. John’s College, Cambridge.  It is written at the end of every chapter in “A Confession of Faith, put forth by the Elders and Brethren of many Congregations of Christians (baptized upon profession of Faith) in London and the Country.” 12mo.  Lond. 1688.

J.R.

Cambridge.

Circulation of the Blood (Vol. ii., p. 475.).—­The passage in Venerable Bede referred to by J.MN. may have been in a tract De Minutione Sanguinis sive de Phlebotomia; (which occurs in the folio editions, Basle, vol. i. p. 472.; Colon., vol. i. p. 898.).  In the enumeration of the veins from which blood may be taken, he says,—­

    “De brachio tres, qui per totum corpus reddunt sanguinem, capitanea
    linea, matricia, capsale.”

The subject of bleeding is again referred to in Eccl.  Hist., vol. iii, but not to the purpose.

J. EASTWOOD.

Ecclesfield.

True Blue (Vol. ii., p. 494.).—­From documents relative to the wars of the Scottish Covenanters, in the seventeenth century, it appears that they assumed blue ribbons as their colours, and wore them as scarfs, or in bunches fastened to their blue bonnets and that the border English nicknamed them “blue caps” and “jockies.”  Hence the phrase, “True blue Presbyterian.”

G.F.G.

Cherubim and Seraphim.—­Why are the cherubim represented as a human head, with the wings of a bird?  And why have the seraphim no bodily representation?  What, in fact, is the supposed distinction between them?

OMEGA.

    [Our correspondent will find much curious information on this subject,
    accompanied by some exquisite woodcuts, in Mrs. Jameson’s Poetry of
    Sacred and Legendary Art.]

Darcy Lever Church (Vol. ii., p. 494.), which is referred to by your correspondent, is the first instance, I believe, of the application of a new material to the construction of an ecclesiastical edifice.  It is built throughout, walls, tower, and spire, benches and fittings, of terra cotta from the Ladyshore works.  The architect is that accomplished antiquary, Mr. Sharpe of Lancaster, who furnished the designs of every part, from which moulds were made, and in these the composition forming the terra cotta was prepared, and hardened by the application of fire.  The style is the purest and richest Second Pointed, and the effect of the pierced work of the spire is, as your correspondent observes, very fine when seen from a distance.  There is a rich colour, too, in the material, which has a remarkably pleasing result upon the eye.  But a nearer approach destroys the charm.  It is found to be a “sham.”  The lines of the mouldings, mullions, etc., are warped by the heat attendant upon the process of the manufacture.