MAXWELLTOWN, a burgh of barony and police burgh of Kirkcudbrightshire, Scotland. Pop. (1901), 5796. It lies on the Nith, opposite to Dumfries, with which it is connected by three bridges, being united with it for parliamentary purposes. It has a station on the Glasgow & South-Western line from Dumfries to Kirkcudbright. Its public buildings include a court-house, the prison for the south-west of Scotland, and an observatory and museum, housed in a disused windmill. The chief manufactures are woollens and hosiery, besides dyeworks and sawmills. It was a hamlet known as Bridgend up till 1810, in which year it was erected into a burgh of barony under its present name. To the north-west lies the parish of Terregles, said to be a corruption of Tir-eglwys (_terra ecclesia_, that is, "Kirk land"). The parish contains the beautiful ruin of Lincluden Abbey (see DUMFRIES), and Terregles House, once the seat of William Maxwell, last earl of Nithsdale. In the parish of Lochrutton, a few miles south-west of Maxwelltown, there is a good example of a stone circle, the "Seven Grey Sisters," and an old peel-tower in the Mains of Hills. MAY, PHIL (1864-1903), English caricaturist, was born at Wortley, near Leeds, on the 22nd of April 1864, the son of an engineer. His father died when the child was nine years old, and at twelve he had begun to earn his living. Before he was fifteen he had acted as time-keeper at a foundry, had tried to become a jockey, and had been on the stage at Scarborough and Leeds. When he was about seventeen he went to London with a sovereign in his pocket. He suffered extreme want, sleeping out in the parks and streets, until he obtained employment as designer to a theatrical costumier. He also drew posters and cartoons, and for about two years worked for the _St Stephen's Review_, until he was advised to go to Australia for his health. During the three years he spent there he was attached to the _Sydney Bulletin_, for which many of his best drawings were made. On his return to Europe he went to Paris by way of Rome, where he worked hard for some time before he appeared in 1892 in London to resume his interrupted connexion with the _St Stephen's Review_. His studies of the London "guttersnipe" and the coster-girl rapidly made him famous. His overflowing sense of fun, his genuine sympathy with his subjects, and his kindly wit were on a par with his artistic ability. It was often said that the extraordinary economy of line which was a characteristic feature of his drawings had been forced upon him by the deficiencies of the printing machines of the _Sydney Bulletin_. It was in fact the result of a laborious process which involved a number of preliminary sketches, and of a carefully considered system of elimination. His later work included some excellent political portraits. He became a regular member of the staff of _Punch_ in 1896, and in his later years his services were retained exclusively for _Punch_ and the _Graphic_.