where he was sold as a slave. He asserted that his sufferings in captivity made him grow taller. After many vicissitudes he found his way back to England, probably before the year 1658. In 1679, being a Roman Catholic, he was confined in the Gatehouse at Westminster, for supposed complicity with the Popish Plot. Mr. Inchbold points out, in the ‘Dictionary of National Biography,’ that he did not die there, as Scott and others have affirmed; for, ‘in June, 1680, and April, 1681, “Captain” Jefferey Hudson received respectively £50 and £20 from Charles II.’s secret service fund.’ He died in 1682. Three portraits of him were painted by Mytens, and he also figures in a portrait of Queen Henrietta Maria, by Vandyke, at Petworth. His waistcoat, breeches and stockings are, it is said, preserved. The sculptured stone sign of the Three Morris Dancers was formerly in front of a public-house numbered 36, Old Change, which is said to have been pulled down about the year 1801. An illustration of the sign exists: the central figure is a woman. A seventeenth-century trade-token issued from here reads thus: _O._ IOHN.LISLE.AT.THE = Three Morris Dancers. _R._ IN.Y^E OLD.CHANGE = I.A.L. The word ‘morris’ is derived from the Spanish ‘morisco,’ and is equivalent to Moorish. The Morris or Moorish pike was a weapon much used in England in the reign of Henry VIII.; Shakespeare refers to it in the ‘Comedy of Errors,’ Act iv., Scene 3. Elsewhere he uses the word in its commoner sense; thus, in ‘All’s Well that Ends Well’ he speaks of a morris for May Day, and in ‘King Henry V.,’ Act ii., Scene 4, the Dauphin is made to say: ‘And let us do it with no sign of fear; No, with no more than if we heard that England Were busied with a Whitsun morris-dance.’