But this is probably a mistake, as, in a short account of his life by Anthony à Wood (vol. ii. col. 820., _Athen. Oxon._, edited by Bliss), I find it stated, that "on the death of Rob. Sylvester about the beginning of Queen Mary's reign, he was made Archdeacon of Nottingham, and suffragan Bishop of Hull, under the Archbishop of York." Wood afterwards adds: "After Queen Elizabeth had been settled in the throne for some time, the oath of supremacy was offered to him, but he denying to take it, was deprived of his archdeaconry and other spiritualities." TYRO. It appears, from Dugdale's _Warwickshire_, that Pursglove assented to the suppression of Gisburne in December, 1540, and became a commissioner for persuading other abbots and priors to do the same. It is doubtful at what time he was appointed to the see of Hull; whether in the last year of Edward VI. or in Queen Mary's reign, though it is certain, in 1559, he refused to take the oath of supremacy to Elizabeth. The hospital and schools mentioned in the epitaph are Gisborough and Tideswell. R. J. SHAW. * * * * * THE GREGORIAN TONES. (Vol. vi., pp. 99. 178.) I have neither time nor inclination to expose all the errors and fallacies of MR. MATTHEW COOKE'S article on "Gregorian Tones;" but I cannot resist pointing out certain statements which are calculated to mislead the readers of "N. & Q." in no trifling degree. The writer says: "The most ancient account we have is, that St. Ambrose of Milan knew of _four_ tones in his day, and that he added _four_ others to them; the former being those termed authentic, the latter the plagal modes." Now the fact is, that St. Ambrose, Bishop of Milan (A.D. 374 to 397), chose from the ancient Greek modes four series or successions of notes, and called them simply the first, second, third, and fourth tones; laying completely aside the ancient heathen names of Doric, Phrygian, Lydian, Ionic, &c. St. Gregory the Great, who governed the Christian Church from A.D. 591 to 604, added the _four additional_ tones. These eight ecclesiastical successions or scales, which still exist as such in the music of the Roman Liturgy, are called Gregorian after their founder. Thus the old Ambrosian chant is known at present only through the medium of the Gregorian. The writer continues his statement in these words-- "Some years since, the renowned French theorist, Mons. Fetis, went to Milan for the express purpose of consulting the celebrated _Book of Offices_, written by St. Ambrose _in his own handwriting, which is there preserved_ [the Italics are added]; and in his work, published in Belgium, he says that he collated them with those known and received amongst us; and that the variations were of the slightest possible character, the tones being ostensibly the same."