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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:41:57 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:41:57 -0700 |
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diff --git a/13362-h/13362-h.htm b/13362-h/13362-h.htm new file mode 100644 index 0000000..5020643 --- /dev/null +++ b/13362-h/13362-h.htm @@ -0,0 +1,2315 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta name="generator" content= +"HTML Tidy for Windows (vers 1st March 2004), see www.w3.org" /> +<meta http-equiv="Content-Type" content= +"text/html; charset=UTF-8" /> +<title>Notes And Queries, Issue 38.</title> + +<style type="text/css"> + + /*<![CDATA[*/ + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + pre {font-size: 0.7em;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.adverts {width: 100%; height: 5px; color: black;} + html>body hr.adverts {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.short {text-align: center; width: 20%;} + html>body hr.short {margin-right: 40%; margin-left: 40%; width: 20%;} + + + .note, .footnote {margin-left: 10%; margin-right: 10%; + font-size: 0.9em;} + + .poem {margin-left:10%; margin-right:10%; + text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i8 {margin-left: 8em;} + .poem p.i10 {margin-left: 10em;} + .poem .caesura {vertical-align: -200%;} + + span.pagenum {position: absolute; left: 1%; right: 91%; + font-size: 8pt;} + + p.author {text-align: right;} + --> + /*]]>*/ +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 13362 ***</div> + +<span class="pagenum"><a id="page113" name= +"page113"></a>{113}</span> +<h1>NOTES AND QUERIES:</h1> +<h2>A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, +ANTIQUARIES, GENEALOGISTS, ETC.</h2> +<hr /> +<h3><b>"When found, make a note of."</b>—CAPTAIN CUTTLE.</h3> +<hr class="full" /> +<table summary="masthead" width="100%"> +<tr> +<td align="left" width="25%"><b>No. 38.</b></td> +<td align="center" width="50%"><b>SATURDAY, JULY 20, 1850</b></td> +<td align="right" width="25%"><b>Price Threepence.<br /> +Stamped Edition 4d.</b></td> +</tr> +</table> +<hr class="full" /> +<h2>CONTENTS</h2> +<table summary="^Contents" align="center"> +<tr> +<td align="left">NOTES:—</td> +<td align="right">Page</td> +</tr> +<tr> +<td align="left">Meaning of Delighted as used by Shakspeare, by S. +Hickson</td> +<td align="right"><a href="#page113">113</a></td> +</tr> +<tr> +<td align="left">Authors of "The Rolliad," by Lord Braybrooke</td> +<td align="right"><a href="#page114">114</a></td> +</tr> +<tr> +<td align="left">Notes on Milton</td> +<td align="right"><a href="#page115">115</a></td> +</tr> +<tr> +<td align="left">Derivation of Easter, by J. Sansom</td> +<td align="right"><a href="#page115">115</a></td> +</tr> +<tr> +<td align="left">Folk Lore—Passages of Death, by Dr. +Guest—Divination at Marriages</td> +<td align="right"><a href="#page116">116</a></td> +</tr> +<tr> +<td align="left">Francis Lenton the Poet, by Dr. Rimbault</td> +<td align="right"><a href="#page117">117</a></td> +<td></td> +</tr> +<tr> +<td align="left">Minor Notes:—Lilburn or Prynne—Peep of +Day— Martinet—Guy's Porridge Pot</td> +<td align="right"><a href="#page118">118</a></td> +</tr> +<tr> +<td align="left">QUERIES:—</td> +<td></td> +</tr> +<tr> +<td align="left">Nicholas Ferrar of Little Gidding, by John +Miland</td> +<td align="right"><a href="#page119">119</a></td> +</tr> +<tr> +<td align="left">Stukeley's "Stonehenge," by Henry Cunliffe</td> +<td align="right"><a href="#page119">119</a></td> +</tr> +<tr> +<td align="left">Athelstane's Form of Donation—Meaning of +"Somagia," by J. Sansom</td> +<td align="right"><a href="#page120">120</a></td> +</tr> +<tr> +<td align="left">Minor Queries:—Charade—"Smoke +Money"—"Rapido contrarius orbi"—Lord Richard +Christophilus— Fiz gigs—Specimens of Erica in +Bloom—Michael Scott the Wizard—Stone Chalices</td> +<td align="right"><a href="#page120">120</a></td> +</tr> +<tr> +<td align="left">REPLIES:—</td> +<td></td> +</tr> +<tr> +<td align="left">Ulrich von Hutten and the "Epistolæ +Obscurorum Virorum," by S.W. Singer</td> +<td align="right"><a href="#page121">121</a></td> +</tr> +<tr> +<td align="left">Caxton's Printing-office, by J.G. Nichols</td> +<td align="right"><a href="#page122">122</a></td> +</tr> +<tr> +<td align="left">The New Temple</td> +<td align="right"><a href="#page123">123</a></td> +</tr> +<tr> +<td align="left">Strangers in the House of Commons</td> +<td align="right"><a href="#page124">124</a></td> +</tr> +<tr> +<td align="left">Replies to Minor Queries:—Morganatic +Marriage— Umbrellas—Bands—Scarf—Jewish +Music—North Sides of Churchyards unconsecrated—"Men are +but Children" &c.—Ventriloquism—Cromwell's Estates +—Magor—Vincent Gookin—All-to brake</td> +<td align="right"><a href="#page125">125</a></td> +</tr> +<tr> +<td align="left">MISCELLANEOUS:—</td> +<td></td> +</tr> +<tr> +<td align="left">Notes on Books, Sales, Catalogues, Sales, +&c.</td> +<td align="right"><a href="#page127">127</a></td> +</tr> +<tr> +<td align="left">Books and Odd Volumes Wanted</td> +<td align="right"><a href="#page127">127</a></td> +</tr> +<tr> +<td align="left">Notices to Correspondents</td> +<td align="right"><a href="#page127">127</a></td> +</tr> +<tr> +<td align="left">Advertisements</td> +<td align="right"><a href="#page128">128</a></td> +</tr> +</table> +<hr class="full" /> +<h2>NOTES.</h2> +<h3>WHAT IS THE MEANING OF "DELIGHTED," AS SOMETIMES USED BY +SHAKSPEARE.</h3> +<p>I wish to call attention to the peculiar use of a word, or +rather to a peculiar word, in Shakspeare, which I do not recollect +to have met with in any other writer. I say a "peculiar word," +because, although the verb <i>To delight</i> is well known, and of +general use, the word, the same in form, to which I refer, is not +only of different meaning, but, as I conceive, of distinct +derivation the non-recognition of which has led to a misconception +of the meaning of one of the finest passages in Shakspeare. The +first passage in which it occurs, that I shall quote, is the well +known one from <i>Measure for Measure</i>:</p> +<div class="poem"> +<div class="stanza"> +<p>"Ay, but to die, and go we know not where;</p> +<p>To lie in cold obstruction, and to rot,</p> +<p>This sensible warm motion to become</p> +<p>A kneaded clod; and the <i>delighted</i> spirit</p> +<p>To bathe in fiery floods, or to reside</p> +<p>In thrilling regions of thick-ribbed ice;</p> +<p>To be imprison'd in the viewless winds</p> +<p>And blown with restless violence round about</p> +<p>The pendant world." Act iii. Sc. 1.</p> +</div> +</div> +<p>Now, if we examine the construction of this passage, we shall +find that it appears to have been the object of the writer to +separate, and place in juxtaposition with each other, the +conditions of the body and the spirit, each being imagined under +circumstances to excite repulsion or terror in a sentient being. +The mind sees the former lying in "cold obstruction," rotting, +changed from a "sensible warm motion" to a "kneaded clod," every +circumstance leaving the impression of dull, dead weight, deprived +of force and motion. The spirit, on the other hand, is imagined +under circumstances that give the most vivid picture conceivable of +utter powerlessness:</p> +<div class="poem"> +<div class="stanza"> +<p class="i2">"Imprison'd in the viewless winds,</p> +<p>And blown with restless violence round about</p> +<p>The pendant world."</p> +</div> +</div> +<p>To call the spirit here "delighted," in our sense of the term, +would be absurd; and no explanation of the passage in this sense, +however ingenious, is intelligible. That it is intended to +represent the spirit simply as <i>lightened</i>, made light, +relieved from the weight of matter, I am convinced, and this is my +view of the meaning of the word in the present instance.</p> +<p><i>Delight</i> is naturally formed by the participle <i>de</i> +and <i>light</i>, to make light, in the same way as "debase," to +make base, "defile," to make foul. The analogy is not quite so +perfect in such words as "define," "defile" (file), "deliver," +"depart," &c.; yet they all may be considered of the same +class. The last of these is used with us only in the sense of <i>to +go away</i>; in Shakspeare's time (and Shakspeare so uses it) it +meant also <i>to part</i>, or <i>part with</i>. A correspondent of +Mr. Knight's suggests <span class="pagenum"><a name="page114" id= +"page114"></a>{114}</span> for the word <i>delight</i> in this +passage, also, a new derivation; using <i>de</i> as a negation, and +<i>light (lux), delighted</i>, removed from the regions of light. +This is impossible; if we look at the context we shall see that it +not only contemplated no such thing, but that it is distinctly +opposed to it.</p> +<p>I am less inclined to entertain any doubt of the view I have +taken being correct, from the confirmation it receives in another +passage of Shakspeare, which runs as follows:</p> +<div class="poem"> +<div class="stanza"> +<p>"If virtue no <i>delighted</i> beauty lack,</p> +<p>Your son-in-law shows far more fair than black."</p> +</div> +</div> +<p><i>Othello</i>, Act i. Sc. 3.</p> +<p>Passing by the cool impertinence of one editor, who asserts that +Shakspeare frequently used the past for the present participle, and +the almost equally cool correction of another, who places the +explanatory note "*delightful" at the bottom of the page, I will +merely remark that the two latest editors of Shakspeare, having +apparently nothing to say on the subject, have very wisely said +nothing. Yet, as we understand the term "delighted," the passage +surely needs explanation. We cannot suppose that Shakspeare used +epithets so weakening as "delighting" or "delightful." The meaning +of the passage would appear to be this: If virtue be not wanting in +beauty—such beauty as can belong to virtue, not physical, but +of a higher kind, and freed from all material elements—then +your son-in-law, black though he is, shows far more fair than +black, possessing, in fact, this <i>abstract</i> kind of beauty to +that degree that his colour is forgotten. In short, "delighted" +here seems to mean, <i>lightened</i> of all that is gross or +unessential.</p> +<p>There is yet another instance in Cymbeline, which seems to bear +a similar construction:</p> +<div class="poem"> +<div class="stanza"> +<p>"Whom best I love, I cross: to make my gifts</p> +<p>The more delay'd, <i>delighted</i>."</p> +</div> +</div> +<p>Act v. Sc. 4.</p> +<p>That is, "the <i>more</i> delighted;" the longer held back, the +better worth having; lightened of whatever might detract from their +value, that is, refined or purified. In making the remark here, +that "delighted" refers not to the recipient nor to the giver, but +to the gifts, I pass by the nonsense that the greatest master of +the English language did not heed the distinction between the past +and the present participles, as not worth a second thought.</p> +<p>The word appears to have had a distinct value of its own, and is +not to be explained by any other single word. If this be so, it +could hardly have been coined by Shakspeare. Though, possibly, it +may never have been much used, perhaps some of your correspondents +may be able to furnish other instances from other writers.</p> +<p class="author">SAMUEL HICKSON.</p> +<p>St. John's Wood.</p> +<hr /> +<h3>AUTHORS OF "THE ROLLIAD."</h3> +<p>The subjoined list of the authors of <i>The Rolliad</i>, though +less complete than I could have wished, is, I believe, +substantially correct, and may, therefore, be acceptable to your +readers. The names were transcribed by me from a copy of the ninth +edition of <i>The Rolliad</i> (1791), still in the library at +Sunninghill Park, in which they had been recorded on the first page +of the respective papers.</p> +<p>There seems to be no doubt that they were originally +communicated by Mr. George Ellis, who has always been considered as +one of the most talented contributors to <i>The Rolliad</i>. He +also resided for many years at Sunninghill, and was in habits of +intimacy with the owners of the Park. Your correspondent C. (Vol. +ii., p. 43.) may remark that Lord John Townshend's name occurs only +twice in my list; but his Lordship may have written some of the +papers which are not in the Sunninghill volume, as they appeared +only in the editions of the work printed subsequently to 1791, and +are designated as <i>Political Miscellanies</i>.</p> +<table summary="Authors list" align="center"> +<tr> +<td align="left"><i>Names of the Authors of the Rolliad</i>.</td> +<td></td> +<td></td> +</tr> +<tr> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td align="left">Dedication to Kenyon</td> +<td align="left">Dr. Laurence.</td> +<td></td> +</tr> +<tr> +<td align="left">Family of the Rollos</td> +<td align="left">Tickell, &c.</td> +<td></td> +</tr> +<tr> +<td align="left">Extract from Dedication</td> +<td align="left">General Fitzpatrick.</td> +<td></td> +</tr> +<tr> +<td align="left">Criticisms from the <i>Rolliad</i></td> +<td></td> +<td align="left">No.</td> +</tr> +<tr> +<td></td> +<td align="left">George Ellis</td> +<td align="left">1 & 2.</td> +</tr> +<tr> +<td></td> +<td align="left">Dr. Laurence</td> +<td align="left">3.</td> +</tr> +<tr> +<td></td> +<td align="left">Richardson</td> +<td align="left">4.</td> +</tr> +<tr> +<td></td> +<td align="left">General Fitzpatrick</td> +<td align="left">5.</td> +</tr> +<tr> +<td></td> +<td align="left">Dr. Laurence</td> +<td align="left">6, 7, 8.</td> +</tr> +<tr> +<td></td> +<td align="left">General Fitzpatrick</td> +<td align="left">9.</td> +</tr> +<tr> +<td></td> +<td align="left">Richardson</td> +<td align="left">10 & 11.</td> +</tr> +<tr> +<td></td> +<td align="left">General Fitzpatrick</td> +<td align="left">12.</td> +</tr> +<tr> +<td align="left">Criticisms not in the original, but probably +written by</td> +<td align="left">Dr. Laurence</td> +<td align="left">13 & 14.</td> +</tr> +<tr> +<td align="left">Criticisms, &c. Part. ii.</td> +<td align="left">George Ellis</td> +<td align="left">1 & 2.</td> +</tr> +<tr> +<td></td> +<td align="left">Richardson</td> +<td align="left">3 & 4.</td> +</tr> +<tr> +<td></td> +<td align="left">General Fitzpatrick</td> +<td align="left">5.</td> +</tr> +<tr> +<td align="left">Criticisms, not in the original</td> +<td align="left">Mr. Reid</td> +<td align="left">6.</td> +</tr> +<tr> +<td></td> +<td align="left">Dr. Laurence</td> +<td align="left">7.</td> +</tr> +<tr> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td align="left"><i>Political Eclogues</i>.</td> +<td></td> +<td></td> +</tr> +<tr> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td align="left">Rose</td> +<td align="left">Dr. Laurence.</td> +<td></td> +</tr> +<tr> +<td align="left">The Liars</td> +<td align="left">General Fitzpatrick.</td> +<td></td> +</tr> +<tr> +<td align="left">Margaret Nicholson</td> +<td align="left">Mr. Adair.</td> +<td></td> +</tr> +<tr> +<td align="left">Charles Jenkinson</td> +<td align="left">George Ellis.</td> +<td></td> +</tr> +<tr> +<td align="left">Jekyl</td> +<td align="left">Lord John Townshend.</td> +<td></td> +</tr> +<tr> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td align="left"><i>Probationary Odes</i>.</td> +<td></td> +<td></td> +</tr> +<tr> +<td></td> +<td></td> +<td></td> +</tr> +<tr> +<td align="left">All the Preliminaries</td> +<td align="left">Mr. Tickell.</td> +<td></td> +</tr> +<tr> +<td align="left">Irregular Ode</td> +<td align="left">Mr. Tickell</td> +<td align="left">No. 1.</td> +</tr> +<tr> +<td align="left">Ode to the New Year</td> +<td align="left">George Ellis</td> +<td align="left">2.</td> +</tr> +<tr> +<td align="left">Ode</td> +<td align="left">Rev. H. Bate Dudley</td> +<td align="left">3.</td> +</tr> +<tr> +<td></td> +<td align="left">Richardson</td> +<td align="left">4.</td> +</tr> +<tr> +<td align="left">Duan</td> +<td align="left">John Ellis</td> +<td align="left">5.</td> +</tr> +<tr> +<td align="left">Ossianade</td> +<td align="left">Unknown</td> +<td align="left">6.</td> +</tr> +<tr> +<td align="left">Irregular Ode</td> +<td align="left">Unknown</td> +<td align="left">7.</td> +</tr> +<tr> +<td align="left">Ode to the Attorney- General</td> +<td align="left">Mr. Brummell</td> +<td align="left">8.</td> +</tr> +<tr> +<td align="left">Laureate Ode</td> +<td align="left">Mr. Tickell</td> +<td align="left">9.</td> +</tr> +<tr> +<td align="left">New Year's Ode</td> +<td align="left">Mr. Pearce</td> +<td align="left">10.</td> +</tr> +<tr> +<td align="left">Ode by M.A. Taylor</td> +<td align="left">Mr. Boscawen</td> +<td align="left">11.</td> +</tr> +<tr> +<td align="left">—— by Major Scott</td> +<td align="left">Lord John Townshend</td> +<td align="left">12.</td> +</tr> +<tr> +<td align="left">—— Irregular(Dundas)</td> +<td align="left">Never known to the Club</td> +<td align="left">13.</td> +</tr> +<tr> +<td align="left">—— by Warton</td> +<td align="left">Bishop of Ossory (Hon. William Beresford)</td> +<td align="left">14.</td> +</tr> +<tr> +<td align="left">—— Pindaric</td> +<td align="left">General Fitzpatrick</td> +<td align="left">15.</td> +</tr> +<tr> +<td align="left">—— Irregular</td> +<td align="left">Dr. Laurence</td> +<td align="left">16.</td> +</tr> +<tr> +<td align="left">—— Prettyman</td> +<td align="left">General Burgoyne</td> +<td align="left">17.</td> +</tr> +<tr> +<td align="left">—— Graham</td> +<td align="left">Mr. Reid</td> +<td align="left">18.</td> +</tr> +<tr> +<td align="left">Letter, &c. and Mountmorres</td> +<td align="left">Richardson</td> +<td align="left">19.</td> +</tr> +<tr> +<td align="left">Birthday Ode</td> +<td align="left">George Ellis</td> +<td align="left">20.</td> +</tr> +<tr> +<td align="left">Pindaric Ode</td> +<td align="left">Unmarked</td> +<td align="left">21.</td> +</tr> +<tr> +<td align="left">Real Birthday Ode</td> +<td align="left">T. Warton</td> +<td align="left">22.</td> +</tr> +<tr> +<td align="left">Remaining prose</td> +<td align="left">Richardson.</td> +<td></td> +</tr> +</table> +<span class="pagenum"><a name="page115" id= +"page115"></a>{115}</span> +<p>I am not certain whether Mr. Adair, to whom "Margaret +Nicholson," one of the happiest of the Political Eclogues, is +attributed, is the present Sir Robert Adair. If so, as the only +survivor amongst his literary colleagues, he might furnish some +interesting particulars respecting the remarkable work to which I +have called your attention.</p> +<p class="author">BRAYBROOKE.</p> +<p>Audley End, July, 1850.</p> +<hr /> +<h3>NOTES ON MILTON.</h3> +<h4>(Continued from Vol. ii., p. 53.)</h4> +<p><i>Il Penseroso.</i></p> +<p>On l. 8 (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"Fantastic swarms of dreams there hover'd,</p> +<p>Green, red, and yellow, tawney, black, and blue;</p> +<p>They make no noise, but right resemble may</p> +<p>Th' unnumber'd moats that in the sun-beams play."</p> +</div> +</div> +<p><i>Sylvester's Du Bartas.</i></p> +<p>Cælia, in Beaumont and Fletcher's <i>Humorous +Lieutenant</i>, says,—</p> +<div class="poem"> +<div class="stanza"> +<p>"My maidenhead to a mote in the sun, he's jealous."</p> +</div> +</div> +<p>Act iv. Sc. 8.</p> +<p>On l. 35. (G.) Mr. Warton might have found a happier +illustration of his argument in Ben Jonson's <i>Every Man in his +Humour</i>, Act i. Sc. 3.:—</p> +<div class="poem"> +<div class="stanza"> +<p>"Too conceal such real ornaments as these, and shadow</p> +<p>their glory, as a milliner's wife does her wrought</p> +<p>stomacher, with a smoaky lawn, or a <i>black cyprus</i>."</p> +</div> +</div> +<p>—Whalley's edit. vol. i. p. 33.</p> +<p>On l. 39. (G.) The origin of this uncommon use of the word +"commerce" is from Donne:—</p> +<div class="poem"> +<div class="stanza"> +<p>"If this commerce 'twixt heaven and earth were not</p> +<p>embarred."</p> +</div> +</div> +<p>—<i>Poems</i>, p. 249. Ed. 4to. 1633.</p> +<p>On l. 43. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"That sallow-faced, sad, stooping nymph, whose eye</p> +<p>Still on the ground is fixed steadfastly."</p> +</div> +</div> +<p><i>Sylvester's Du Bartas</i></p> +<p>On l. 52. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"Mounted aloft on Contemplation's wings."</p> +</div> +</div> +<p><i>G. Wither</i>, P. 1. vol. i. Ed. 1633.</p> +<p>Drummond has given "golden wings" to Fame.</p> +<p>On l. 88. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>Hermes Trismegistus.</p> +</div> +</div> +<p>On l. 100. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"Tyrants' bloody gests</p> +<p>Of Thebes, Mycenæ, or proud Ilion."</p> +</div> +</div> +<p><i>Sylvester's Du Bartas.</i></p> +<hr /> +<p><i>Arcades.</i></p> +<p>On l. 23. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"And without respect of odds,</p> +<p>Vye renown with Demy-gods."</p> +</div> +</div> +<p><i>Wither's Mistresse of Philarete</i>, Sig. E. 5. Ed. 1633.</p> +<p>On l. 27. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"But yet, whate'er he do or can devise,</p> +<p>Disguised glory shineth in his eyes."</p> +</div> +</div> +<p><i>Sylvester's Du Bartas.</i></p> +<p>On l. 46. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"An eastern wind commix'd with <i>noisome airs</i>,</p> +<p>Shall <i>blast the plants</i> and the <i>young +sapplings</i>."</p> +</div> +</div> +<p><i>Span. Trag. Old Plays</i>, vol. iii. p. 222.</p> +<p>On l. 65. (G.) Compare Drunmond—speech of Endymion before +Charles:—</p> +<div class="poem"> +<div class="stanza"> +<p>"To tell by me, their herald, coming things,</p> +<p>And what each Fate to her stern distaff sings," &c.</p> +</div> +</div> +<p>On l. 84. (M.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"And with his beams enamel'd every greene."</p> +</div> +</div> +<p><i>Fairfax's Tasso</i>, b. i. st. 35.</p> +<p>On l. 97. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"Those brooks with lilies bravely deck't."</p> +</div> +</div> +<p><i>Drayton</i>, 1447.</p> +<p>On l. 106. (G.):—</p> +<div class="poem"> +<div class="stanza"> +<p>"Pan entertains, this coming night,</p> +<p>His paramour, the Syrinx bright."</p> +</div> +</div> +<p><i>Fletcher's Faithful Shepherdess</i>, Act i.</p> +<p class="author">J.F.M.</p> +<hr /> +<h3>DERIVATION OF EASTER.</h3> +<p>Southey, in his <i>Book of the Church</i>, derives our word +<i>Easter</i> from a <i>Saxon</i> source:—</p> +<blockquote> +<p>"The worship," he says, "of the goddess <i>Eostre</i> or +<i>Eastre</i>, which may probably be traced to the Astarte of the +Phoenicians, is retained among us in the word <i>Easter</i>; her +annual festival having been superseded by that sacred day."</p> +</blockquote> +<p>Should he not rather have given a <i>British</i> origin to the +name of our Christian holy day? Southey acknowledges that the +"heathenism which the <span class="pagenum"><a name="page116" id= +"page116"></a>{116}</span> Saxons introduced, bears no [very +little?] affinity either to that of the Britons or the Romans;" yet +it is certain that the Britons worshipped Baal and +<i>Ashtaroth</i>, a relic of whose worship appears to be still +retained in Cornwall to this day. The Druids, as Southey tells us, +"made the people pass through the fire in honour of Baal." But the +<i>festival</i> in honour of Baal appears to have been in the +<i>autumn</i>: for</p> +<blockquote> +<p>"They made the people," he informs us, "at the beginning of +<i>winter</i>, extinguish all their fires on one day and kindle +them again from the sacred fire of the Druids, which would make the +house fortunate for the ensuing year; and, if any man came who had +not paid his yearly dues, [Easter offerings, &c., date back as +far as this!] they refused to give him a spark, neither durst any +of his neighbours relieve him, nor might he himself procure fire by +any other means, so that he and his family were deprived of it till +he had discharged the uttermost of his debt."</p> +</blockquote> +<p>The Druidical fires kindled in the <i>spring</i> of the year, on +the other hand, would appear to be those in honour of +<i>Ashtaroth</i>, or <i>Astarte</i>, from whom the <i>British +Christians</i> may naturally enough have derived the name of +<i>Easter</i> for their corresponding season. We might go even +further than this, and say that the young ladies who are reported +still to take the chief part in keeping up the Druidical +festivities in Cornwall, very happily represent the ancient +<i>Estal</i> (or <i>Vestal</i>) virgins.</p> +<blockquote> +<p>"In times of Paganism," says O'Halloran, "we find in +<i>Ireland</i> females devoted to celibacy. There was in Tara a +royal foundation of this kind, wherein none were admitted but +virgins of the noblest blood. It was called Cluain-Feart, or the +place of retirement till death," &c ... "The duty of these +virgins was to keep up the fires of Bel, or the sun, and of +Sambain, or the moon, which customs they borrowed from their +Phoenician ancestors. They both [<i>i.e.</i> the Irish and the +Phoenicians] adored Bel, or the sun, the moon, and the stars. The +'house of <i>Rimmon</i>' which the Phoenicians worshipped in, like +our temples of Fleachta in Meath, was sacred to the <i>moon</i>. +The word '<i>Rimmon</i>' has by no means been understood by the +different commentators; and yet, by recurring to the Irish (a +branch of the Phoenician) it becomes very intelligible; for +'<i>Re</i>' is Irish for the moon, and '<i>Muadh</i>' signifies an +<i>image</i>, and the compound word '<i>Reamhan</i>,' signifies +<i>prognosticating by the appearance of the moon</i>. It appears by +the life of our great S. Columba, that the Druid temples were here +decorated with figures of the sun, the moon, and stars. The +Phoenicians, under the name of <i>Bel-Samen</i>, adored the +Supreme; and it is pretty remarkable, that to this very day, to +wish a friend every happiness this life can afford, we say in +Irish, 'The blessings of <i>Samen</i> and <i>Bel</i> be with you!' +that is, of the seasons; Bel signifying the sun, and Samhain the +moon."</p> +</blockquote> +<p>—(See O'Halloran's <i>Hist. of Ireland</i>, vol. i. P. +47.)</p> +<p class="author">J. SANSOM.</p> +<hr /> +<h3>FOLK LORE.</h3> +<p><i>Presages of Death</i>.—The Note by Mr. C. FORBES (Vol. +ii., p. 84.) on "High Spirits considered a Presage of impending +Calamity or Death," reminded me of a collection of authorities I +once made, for academical purposes, of a somewhat analogous +bearing,—I mean the ancient belief in the existence of a +power of prophecy at that period which immediately precedes +dissolution.</p> +<p>The most ancient, as well as the most striking instance, is +recorded in the forty-ninth chapter of Genesis:—</p> +<blockquote> +<p>"And Jacob called his sons and said, Gather yourselves together +<i>that I may tell you that which shall befall you in the last +days</i>.... And when Jacob had made an end of commanding his sons, +he gathered up his feet into his bed, and yielded up the ghost, and +was gathered unto his people."</p> +</blockquote> +<p>Homer affords two instances of a similar kind: thus, Patroclus +prophesies the death of Hector (Il. [Greek: p] 852.)<a id= +"footnotetag1" name="footnotetag1"></a><a href= +"#footnote1"><sup>1</sup></a>:—</p> +<div class="poem"> +<div class="stanza"> +<p>[Greek: "Ou thaen oud autos daeron beae alla toi aedae</p> +<p>Agchi parestaeke Thanatos kai Moira krataiae,</p> +<p>Chersi dament Achilaeos amnmonos Aiakidao."]<a id="footnotetag2" +name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a></p> +</div> +</div> +<p>Again, Hector in his turn prophesies the death of Achilles by +the hand of Paris (Il. [Greek: ch.] 358.):—</p> +<div class="poem"> +<div class="stanza"> +<p>[Greek: "Phrazeo nun, mae toi ti theon maenima genomai</p> +<p>Aemati to ote ken se Pharis kai phoibus Apollon,</p> +<p>Esthlon eont, olesosin eni Skaiaesi pulaesin."]<a id= +"footnotetag3" name="footnotetag3"></a><a href= +"#footnote3"><sup>3</sup></a></p> +</div> +</div> +<p>This was not merely a poetical fancy, or a superstitious faith +of the ignorant, for we find it laid down as a great physical truth +by the greatest of the Greek philosophers, the divine +Socrates:—</p> +<blockquote> +<p>[Greek: "To de dae meta touto epithumo humin chraesmodaesai, o +katapsaephisamenoi mou kai gar eimi aedae entautha en o malist +anthropoi chraesmodousin hotan mellosin apothaneisthai."]<a id= +"footnotetag4" name="footnotetag4"></a><a href= +"#footnote4"><sup>4</sup></a></p> +</blockquote> +<p>In Xenophon, also, the same idea is expressed, and, if possible, +in language still more definite and precise:—</p> +<span class="pagenum"><a name="page117" id= +"page117"></a>{117}</span> +<blockquote> +<p>[Greek: "Hae de tou anthropou psuchae tote daepou theiotatae +kataphainetai, kai tote ti ton mellonton proora."]<a id= +"footnotetag5" name="footnotetag5"></a><a href= +"#footnote5"><sup>5</sup></a></p> +</blockquote> +<p>Diodorus Siculus, again, has produced great authorities on this +subject:—</p> +<blockquote> +<p>[Greek: "Puthagoras ho Samios, kai tines heteroi ton palaion +phusikon, apephaenanto tas psuchas ton anthropon uparchein +athanatous, akolouthos de to dogmati touto kai progignoskein autas +ta mellonta, kath hon an kairon en tae teleutae ton apo tou somatos +chorismon poiontai."]<a id="footnotetag6" name= +"footnotetag6"></a><a href="#footnote6"><sup>6</sup></a></p> +</blockquote> +<p>From the ancient writers I yet wish to add one more authority; +and I do so especially, because the doctrine of the Stagirite is +therein recorded. Sextus Empiricus writes,—</p> +<blockquote> +<p>[Greek: "Hae psuchae, phaesin Aristotelaes, promanteuetai kai +proagoreuei ta mellonta—en to kata thanaton chorizesthai ton +somaton."]<a id="footnotetag7" name="footnotetag7"></a><a href= +"#footnote7"><sup>7</sup></a></p> +</blockquote> +<p>Without encroaching further upon the space of this periodical by +multiplying evidence corroborative of the same fact, I will content +myself by drawing the attention of the reader to our own great poet +and philosopher, Shakspeare, whose subtle genius and intuitive +knowledge of human nature render his opinions on all such subjects +of peculiar value. Thus in <i>Richard II</i>., Act ii. sc. 1., the +dying Gaunt, alluding to his nephew, the young and self-willed +king, exclaims,—</p> +<div class="poem"> +<div class="stanza"> +<p>"Methinks I am a prophet new inspired;</p> +<p>And thus, expiring, do foretel of him."</p> +</div> +</div> +<p>Again, in <i>Henry IV., Part I.</i>, Act v. sc. 4., the brave +Percy, when in the agonies of death, conveys the same idea in the +following words:—</p> +<div class="poem"> +<div class="stanza"> +<p class="i10">"O, I could prophesy,</p> +<p>But that the earthy and cold hand of death</p> +<p>Lies on my tongue."</p> +</div> +</div> +<p>Reckoning, therefore, from the time of Jacob, this belief, +whether with or without foundation, has been maintained upwards of +3500 years. It was grounded on the assumed fact, that the soul +became divine in the same ratio as its connection with the body was +loosened or destroyed. In sleep, the unity is weakened but not +ended: hence, in sleep, the material being dead, the immaterial, or +divine principle, wanders unguided, like a gentle breeze over the +unconscious strings of an Æolian harp; and according to the +health or disease of the body are pleasing visions or horrid +phantoms (<i>ægri somnia</i>, as Horace) present to the mind +of the sleeper. Before death, the soul, or immaterial principle, +is, as it were, on the confines of two worlds, and may possess at +the same moment a power which is both prospective and +retrospective. At that time its connection with the body being +merely nominal, it partakes of that perfectly pure, ethereal, and +exalted nature (<i>quod multo magis faciet post mortem quum omnino +corpore excesserit</i>) which is designed for it hereafter.</p> +<p>As the question is an interesting one, I conclude by asking, +through the medium of the "NOTES AND QUERIES," if a belief in this +power of prophesy before death be known to exist at the present +day?</p> +<p class="author">AUGUSTUS GUEST.</p> +<p>London, July 8.</p> +<blockquote class="footnote"><a id="footnote1" name= +"footnote1"></a><b>Footnote 1:</b><a href= +"#footnotetag1">(return)</a> +<p>For the assistance of the general reader, I have introduced +hasty translations of the several passages quoted.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote2" name= +"footnote2"></a><b>Footnote 2:</b><a href= +"#footnotetag2">(return)</a> +<p>(And I moreover tell you, and do you meditate well upon it, +that) you yourself are not destined to live long, for even now +death is drawing nigh unto you, and a violent fate awaits +you,—about to be slain in fight by the hands of Achilles, the +irreproachable son of Oacus.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote3" name= +"footnote3"></a><b>Footnote 3:</b><a href= +"#footnotetag3">(return)</a> +<p>Consider now whether I may not be to you the cause of divine +anger, in that day when Paris and Phoebus Apollo shall slay you, +albeit so mighty, at the Scaean gate.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote4" name= +"footnote4"></a><b>Footnote 4:</b><a href= +"#footnotetag4">(return)</a> +<p>Wherefore I have an earnest desire to prophesy to you who have +condemned me; for I am already arrived at that stage of my +existence in which, especially, men utter prophetic sayings, that +is, when they are about to die.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote5" name= +"footnote5"></a><b>Footnote 5:</b><a href= +"#footnotetag5">(return)</a> +<p>That time, indeed, the soul of man appears to be in a manner +divine, for to a certain extent it foresees things which are about +to happen.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote6" name= +"footnote6"></a><b>Footnote 6:</b><a href= +"#footnotetag6">(return)</a> +<p>Pythagoras the Samian, and some others of the ancient +philosophers, showed that the souls of men were immortal, and that, +when they were on the point of separating from the body, they +possessed a knowledge of futurity.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote7" name= +"footnote7"></a><b>Footnote 7:</b><a href= +"#footnotetag7">(return)</a> +<p>The soul, says Aristotle, when on the point of taking its +departure from the body, foretells and prophesies things about to +happen.</p> +</blockquote> +<hr /> +<p><i>Divination at Marriages</i>.—The following practices +are very prevalent at marriages in these districts; and as I do not +find them noticed by Brand in the last edition of his <i>Popular +Antiquities</i>, they may perhaps be thought worthy a place in the +"NOTES AND QUERIES."</p> +<p>1. Put a wedding ring into the <i>posset</i>, and after serving +it out, the unmarried person whose cup contains the ring will be +the first of the company to be married.</p> +<p>2. Make a common flat cake of flour, water, currants, &c., +and put therein a wedding ring and a sixpence. When the company is +about to retire on the wedding-day, the cake must be broken and +distributed amongst the unmarried females. She who gets the ring in +her portion of the cake will shortly be married, and the one who +gets the sixpence will die an old maid.</p> +<p class="author">T.T.W.</p> +<p>Burnley, July 9. 1850.</p> +<hr /> +<h3>FRANCIS LENTON THE POET.</h3> +<p>In a MS. obituary of the seventeenth century, preserved at +Staunton Hall, Leicestershire, I found the following:—</p> +<blockquote> +<p>"May 12. 1642. This day died Francis Lenton, of Lincoln's Inn, +Gent."</p> +</blockquote> +<p>This entry undoubtedly relates to the author of three very rare +poetical tracts: 1. <i>The Young Gallant's Whirligigg</i>, 1629; 2. +<i>The Innes of Court</i>, 1634; 3. <i>Great Brittain's +Beauties</i>, 1638. In the dedication to Sir Julius Cæsar, +prefixed to the first-named work, the writer speaks of having "once +belonged to the <i>Innes of Court</i>," and says he was "no usuall +poetizer, but, to barre idlenesse, imployed that little talent the +Muses conferr'd upon him in this little tract." Sir Egerton Brydges +supposed the copy of <i>The Young Gallant's Whirligigg</i> +preserved in the library of Sion College to be <i>unique</i>; but +this is not the case, as the writer knows of <i>two</i> +others,—one at Staunton Hall, and another at Tixall Priory in +Staffordshire. It has been reprinted by Mr. <span class= +"pagenum"><a name="page118" id="page118"></a>{118}</span> Halliwell +at the end of a volume containing <i>The Marriage of Wit and +Wisdom</i>, published by the Shakspeare Society. In his prefatory +remarks that gentleman says,</p> +<blockquote> +<p>"Besides his printed works, Lenton wrote the <i>Poetical History +of Queene Hester</i>, with the translation of the 83rd Psalm, +reflecting upon the present times. MS. dated 1649."</p> +</blockquote> +<p>This date must be incorrect, if our entry in the Staunton +obituary relates to the same person; and there is every reason to +suppose that it does. The <i>autograph</i> MS. of Lenton occurred +in Heber's sale (Part xi. No. 724.), and is thus described:</p> +<blockquote> +<p><i>Hadassiah</i>, or the <i>History of Queen Hester</i>, sung in +a sacred and serious poeme, and divided into ten chapters, by F. +Lenton, the Queen's Majesties Poet, 1638.</p> +</blockquote> +<p>This is undoubtedly the <i>correct</i> date, as it is in the +handwriting of the author. Query. What is the meaning of Lenton's +title, "the Queen's Majesties Poet"?</p> +<p class="author">Edward F. Rimbault.</p> +<hr /> +<h3>Minor Notes.</h3> +<p><i>Lilburn or Prynne?</i>—I am anxious to suggest in +"Notes and Queries" whether a character in the Second Canto of Part +iii. of <i>Hudibras</i> (line 421), beginning,</p> +<div class="poem"> +<div class="stanza"> +<p>"To match this saint, there was another,</p> +<p>As busy and perverse a brother,</p> +<p>An haberdasher of small wares,</p> +<p>In politics and state affairs,"</p> +</div> +</div> +<p>Has not been wrongly given by Dr. Grey to Lilburn, and whether +Prynne is not rather the person described. Dr. Grey admits in his +note that the application of the passage to Lilburn involves an +anachronism, Lilburn having died in 1657, and this passage being a +description of one among</p> +<div class="poem"> +<div class="stanza"> +<p>"The quacks of government who sate"</p> +</div> +</div> +<p>to consult for the Restoration, when they saw ruin +impending.</p> +<p class="author">CH.</p> +<p><i>Peep of Day.</i>—Jacob Grimm, in his <i>Deutsche +Mythologie</i>, p. 428., ed. 1., remarks that the ideas of light +and sound are sometimes confounded; and in support of his +observation he quotes passages of Danish and German poets in which +the sun and moon are said to <i>pipe</i> (pfeifen). In further +illustration of this usage, he also cites the words "the sun began +to peep," from a Scotch ballad in Scott's <i>Border Minstrelsy</i>, +vol. ii. p. 430. In p. 431. he explains the words "par son l'aube," +which occur in old French poets, by "per sonitum auroræ;" and +compares the English expression, "the peep of day."</p> +<p>The Latin <i>pipio</i> or <i>pipo</i>, whence the Italian +<i>pipare</i>, and the French <i>pépier</i>, is the ultimate +origin of the verb <i>to peep</i>; which, in old English, bore the +sense of chirping, and is so used in the authorised version of +Isaiah, viii. 19., x. 14. Halliwell, in his <i>Archaic +Dictionary</i>, explains "peep" as "a flock of chickens," but cites +no example. <i>To peep</i>, however, in the sense of taking a rapid +look at anything through a small aperture, is an old use of the +word, as is proved by the expression <i>Peeping</i> Tom of +Coventry. As so used, it corresponds with the German <i>gucken</i>. +Mr. Richardson remarks that this meaning was probably suggested by +the young chick looking out of the half-broken shell. It is quite +certain that the "peep of day" has nothing to do with sound; but +expresses the first appearance of the sun, as he just looks over +the eastern hills.</p> +<p class="author">L.</p> +<p><i>Martinet.</i>—Will the following passage throw any +light on the origin of the word <i>Martinet</i>?</p> +<blockquote> +<p>Une discipline, devenue encore plus exacte, avait mis dans +l'armée un nouvel ordre. Il n'y avait point encore +d'inspecteurs de cavalerie et d'infanterie, comme nous en avons vu +depuis, mais deux hommes uniques chacun dans leur genre en fesaient +les fonctions. <i>Martinet mettait alors l'infanterie sur le pied +de discipline où elle est aujourd'hui.</i> Le Chevalier de +<i>Fourilles</i> fesait la même change dans la cavalerie. Il +y avait un an que <i>Martinet</i> avait mis la baionnette en usage +dans quelque régimens, &c.—Voltaire, +<i>Siècle de Louis XIV.</i> c. 10.</p> +</blockquote> +<p class="author">C. Forbes.</p> +<p>July 2.</p> +<p><i>Guy's Porridge Pot.</i>—In the porter's lodge at +Warwick Castle are preserved some enormous pieces of armour, which, +<i>according to tradition</i>, were worn by the famous champion +"Guy, Earl of Warwick;" and in addition (with other marvellous +curiosities) is also exhibited Guy's porridge pot, of bell metal, +said to weigh 300 lbs., and to contain 120 gallons. There is also a +flesh-fork to ring it.</p> +<p>Mr. Nichols, in his <i>History of Leicestershire</i>, Part ii. +vol. iii., remarks,</p> +<blockquote> +<p>"A turnpike road from Ashby to Whitwick, passes through Talbot +Lane. Of this lane and the famous large pot at Warwick Castle, we +have an old traditionary couplet:</p> +</blockquote> +<div class="poem"> +<div class="stanza"> +<p>"'There's nothing left of Talbot's name,</p> +<p>But Talbot's Pot and Talbot's Lane.'</p> +</div> +</div> +<blockquote> +<p>"Richard Beauchamp Earl of Warwick, died in 1439. His eldest +daughter, Margaret, was married to John Talbot Earl of Shrewsbury, +by whom she had one son, John Viscount Lisle, from whom the Dudleys +descended, Viscount Lisle and Earl of Warwick."</p> +</blockquote> +<p>It would therefore appear that neither the armour nor the pot +belonged to the "noble Guy"—the armour being comparatively of +modern manufacture, and the pot, it appears, descended from the +Talbots to the Warwick family: which pot is generally filled with +punch on the birth of a male heir to that noble family.</p> +<p class="author">W. Reader.</p> +<hr class="full" /> +<span class="pagenum"><a name="page119" id= +"page119"></a>{119}</span> +<h2>Queries.</h2> +<h3>NICHOLAS FERRAR OF LITTLE GIDDING.</h3> +<p>Dr. Peckard, in his Preface to the <i>Life of Nicholas Ferrar of +Little Gidding</i>, says the memoir he published was edited or +compiled by him from "the original MS. still in my possession" (p. +xi.); and in the Appendix adds, that "Mr. John Ferrar," the elder +brother of Nicholas, was the author of it (p. 279.).</p> +<p>How he compiled or edited "the original MS." he states with much +candour in his Preface (p. xv.):</p> +<blockquote> +<p>"The editor's intention," in altering the narrative, "was to +give what is not observed in the original, a regular series of +facts; and through the whole a sort of evenness and simplicity of +stile equally free from meanness and affectation. In short, to make +the old and the new, as far as he could, uniform; that he might not +appear to have sewed a piece of new cloth to an old garment, and +made its condition worse by his endeavours to mend it."</p> +</blockquote> +<p>Again, at page 308., he says,</p> +<blockquote> +<p>"There is an antient MS. in folio, giving an account of Mr. N. +Ferrar, which at length, from Gidding, came into the hands of Mr. +Ed. Ferrar of Huntingdon, and is now in the possession of the +editor. Mr. Peck had the use of this MS. as appears by several +marginal notes in his handwriting; from this and some loose and +unconnected papers of Mr. Peck.... the editor, as well as he was +able, has made out the foregoing memoirs."</p> +</blockquote> +<p>Can any of your numerous correspondents inform me if this +"antient MS." is still in existence, and in whose possession?</p> +<p>Peckard was related to the Ferrars, and was Master of Magdalen +Coll., Cambridge.</p> +<p>In "A Catalogue of MSS. (once) at Gidding," Peckard, p. 306., +the third article is "Lives, Characters, Histories, and Tales for +moral and religious Instruction, in five volumes folio, neatly +bound and gilt, by Mary Collet." This work, with five others, +"undoubtedly were all written by N. Ferrar, Sen.," says Dr. +Peckard; and in the Memoir, at page 191., he gives a list of these +"short histories," ninety-eight in number, "which are still +remaining in my possession;" and adds further, at p. 194.,</p> +<blockquote> +<p>"These lives, characters, and moral essays would, I think, fill +two or three volumes in 8vo., but <i>they are written in so +minute</i> a character, that I cannot form any conjecture to be +depended upon."</p> +</blockquote> +<p>I have been thus particular in describing these "histories", +because the subjects of them are identical with those in Fuller's +<i>Holy and Profane State</i>, the first edition of which was +published at Cambridge, in 1642. "The characters I have conformed," +says Fuller in his Preface, "to the then standing laws of the realm +(a twelvemonth ago were they sent to the press), since which time +the wisdom of the King and state hath" altered many things. +Nicholas Ferrar died December 2, 1637, and the Query I wish to ask +is, Did Fuller compose them (for that he was really the author of +them can hardly be doubted) at the suggestion and for the benefit +of the community at Gidding, some years before he published them; +and is it possible to ascertain and determine if the MS. is in the +handwriting of Ferrar or Fuller?</p> +<p>Is there any print or view in existence of the "Nunnery," at +Little Gidding?</p> +<p>In the <i>Life of Dr. Thomas Fuller</i>, published anonymously +in 1661, it is stated, that at his funeral a customary sermon was +preached by Dr. Hardy, Dean of Rochester, "which hath not yet +(though it is hoped and much desired may) passe the presse," p. +63.</p> +<p>Query. Was this sermon ever published? and secondly, who was the +author of the <i>Life</i> from which the above passage is +quoted?</p> +<p class="author">John Miland.</p> +<hr /> +<h3>STUKELEY'S "STONEHENGE."</h3> +<p>May I request a space in your periodical for the following +Queries, drawn from Dr. Stukeley's <i>Stonehenge and Abury</i>, p. +31.?</p> +<blockquote> +<p>1st. "But eternally to be lamented is the loss of that tablet of +tin, which was found at this place (Stonehenge) in the time of King +Henry VIII., inscribed with many letters, but in so strange a +character that neither Sir Thomas Elliott, a learned antiquary, nor +Mr. Lilly, master of St. Paul's school, could make any thing out of +it. Mr. Sammes may be right, who judges it to have been +<i>Punic</i>. I imagine if we call it Irish we shall not err much. +No doubt but what it was a memorial of the founders, wrote by the +Druids and had it been preserved till now, would have been an +invaluable curiosity."</p> +</blockquote> +<p>Can you or any of your contributors give me any further +information about this inscription?</p> +<p>2. The Doctor continues,</p> +<blockquote> +<p>"To make the reader some amends for such a loss I have given a +specimen of supposed Druid writing, out of Lambecius' account of +the Emperor's library at Vienna. 'Tis wrote on a very thin plate of +gold with a sharp-pointed instrument. It was in an urn found at +Vienna, rolled up in several cases of other metal, together with +funeral exuviæ. It was thought by the curious, one of those +epistles which the Celtic people were wont to send to their friends +in the other world. The reader may divert himself with trying to +explain it."</p> +</blockquote> +<p>Has this inscription ever been explained, and how? Stukeley's +book is by no means a rare one; therefore I have not trusted myself +to copy the inscription: and such as feel disposed to help me in my +difficulty would doubtless prefer seeing the Doctor's own +illustration at p. 31.</p> +<p class="author">Henry Cunliffe.</p> +<p>Hyde Park Street.</p> +<span class="pagenum"><a name="page120" id= +"page120"></a>{120}</span> +<h3>ATHELSTANE'S FORM OF DONATION.—MEANING OF "SOMAGIA."</h3> +<p>Tristram Risdon, in his quaint <i>Survey of the Co. of +Devon</i>, after mentioning the foundation of the church of High +Bickington by King Athelstane,</p> +<blockquote> +<p>"Who," he says, "gave to God and it one hide of land, as +appeareth by the donation, a copy whereof, for the antiquity +thereof, I will here insert: 'Iche Athelstane king, grome of this +home, geve and graunt to the preist of this chirch, one yoke of mye +land frelith to holde, woode in my holt house to buyld, bitt grass +for all hys beasts, fuel for hys hearth, pannage for hys sowe and +piggs, world without end,'"—</p> +</blockquote> +<p>adds presently afterwards, that</p> +<blockquote> +<p>"Sir John Willington gave <i>Weeksland</i> in this tything, unto +Robert Tolla, <i>cum 40 somagia annuatim capiend in Buckenholt</i> +(so be the words of the grant) in the time of K. Edw. I."</p> +</blockquote> +<p>The Willingtons were lords of the manor of Umberleigh, where +Athelstane's palace stood, with its chapel dedicated to the Holy +Trinity, formerly rich in ancient monuments, and having a chantry +near to it. Some of the monuments from this chapel are still +preserved in the neighbouring church of Atherington.</p> +<p>My Queries upon this Note are:</p> +<p>1. Whence did Risdon derive his copy of King Athelstane's form +of donation? 2. What is the precise meaning of the word +<i>Somagia</i>?</p> +<p>In <i>Ducange</i> (ed. Par. 1726, tom. vi. col. 589.) I +find:</p> +<blockquote> +<p>"<i>Somegia</i>. Præstatio, ut videtur <i>ex summis</i>, +v. gr. bladi, frumenti. Charta Philippi Reg. Franc. an. 1210. Idem +etiam Savaricus detinet sibi census suos, et venditiones, et +quosdam reditus, qui <i>Somegiæ</i> vocantur, et avenam, et +<i>captagia</i> hominum et foeminarum suarum, qui reditus cum una +Somegiarum in festo B. Remigii persolverentur; deinde secunda +Somegia in vicesima die Natalis Domini, et tertia in Octabis +Resurrectionis Dominicæ, ei similiter persolventur; caponum +etiam suorum in crastino Natalis Domini percipiet solutionem: +unaquæque vero somegiarum quatuor denarios bonæ +monetæ valet."</p> +</blockquote> +<p>Ducange refers also to some kindred words; but, instead of +clearing up my difficulty in the word <i>somagia</i>, he presents +me with another in <i>captagia</i>, the meaning of which I do not +clearly understand. Perhaps some of your more learned contributors +will obligingly help me to the true import of these words?</p> +<p class="author">J. Sansom.</p> +<hr /> +<h3>Minor Queries.</h3> +<p><i>Charade</i>.—Can any one tell who is the author of the +following charade? No doubt, the lines are well known to many of +your readers, although I have never seen them in print. It has been +said that Dr. Robinson, a physician, wrote them. It strikes me that +the real author, whoever he be, richly deserves to be named in +"Notes and Queries."</p> +<div class="poem"> +<div class="stanza"> +<p>"Me, the contented man desires,</p> +<p>The poor man has, the rich requires;</p> +<p>The miser gives, the spendthrift saves,</p> +<p>And all must carry to their graves."</p> +</div> +</div> +<p>It can scarcely be necessary to add that the answer is, +<i>nothing</i>.</p> +<p class="author">Alfred Gatty.</p> +<p>July 1. 1850.</p> +<p>"<i>Smoke Money</i>."—Under this name is collected every +year at Battle, in Sussex, by the Constable, one penny from every +householder, and paid to the Lord of the Manor. What is its origin +and meaning?</p> +<p class="author">B.</p> +<p>"<i>Rapido contrarius orbi</i>."—What divine of the +seventeenth century adopted these words as his motto? They are part +of a line in one of Owen's epigrams.</p> +<p class="author">N.B.</p> +<p><i>Lord Richard Christophilus</i>.—Can any of your readers +give any account of Lord Richard Christophilus, a Turk converted to +Christianity, to whom, immediately after the Restoration, in July, +1660, the Privy Council appointed a pension of 50<i>l.</i> a-year, +and an additional allowance of 2<i>l.</i> a-week.</p> +<p class="author">CH.</p> +<p><i>Fiz-gigs</i>.—In those excellent poems, Sandys's +<i>Paraphrases on Job and other Books of the Bible</i>, there is a +word of a most destructive character to the effect. Speaking of +leviathan, he asks,</p> +<blockquote> +<p>"Canst thou with <i>fiz-gigs</i> pierce him to the quick?"</p> +</blockquote> +<p>It may be an ignorant question, but I do not know what fiz-gigs +are.</p> +<p class="author">C.B.</p> +<p><i>Specimens of Erica in Bloom</i>.—Can any of your +correspondents oblige me by the information where I can procure +specimens in bloom of the following plants, viz. Erica crescenta, +Erica paperina, E. purpurea, E. flammea, and at what season they +come into blossom in England? If specimens are not procurable +without much expense and trouble, can you supply me with the name +of a work in which these plants are figured?</p> +<p class="author">E.S.</p> +<p>Dover.</p> +<p><i>Michael Scott, the Wizard</i>.—What works by Michael +Scott, the reputed wizard, (Sir Walter's <i>Deus ex Machina</i> in +<i>The Lay of the Last Minstrel</i>), have been printed?</p> +<p class="author">X.Y.A.</p> +<p><i>Stone Chalices</i>.—Can any of the readers of "Notes +and Queries" inform me whether the use of <i>stone chalices</i> was +authorised by the ancient constitutions of the Church; and, if so, +at what period, and where the said constitutions were enacted?</p> +<p class="author">X.Y.A.</p> +<hr class="full" /> +<span class="pagenum"><a name="page121" id= +"page121"></a>{121}</span> +<h2>Replies.</h2> +<h3>ULRICH VON HUTTEN AND THE "EPISTOLÆ OBSCURORUM +VIRONUM."</h3> +<h4>(Vol. ii., p. 55.)</h4> +<p>I have never seen the article in the <i>Quarterly Review</i> to +which your correspondent H.B.C. alludes: he will probably find it +by reference to the index, which is not just now within my reach. +The neat London edition, 1710, of the <i>Epistolæ</i> was +given by Michael Mattaire. There are several subsequent +reimpressions, but none worth notice except that by Henr. Guil. +Rotermund, Hanover, 1827, 8vo.; and again, with improvements, "cum +nova præfatione, nec non illustratione historica circa +originem earum, atque notitia de vita et scriptis virorum in +Epistolis occurentium aucta," 1830, both in 8vo.</p> +<p>The best edition, however, is that given by Dr. Ernst +Münch, Leipsic, 1827, 8vo., with the following title:</p> +<blockquote> +<p>"Epistolæ Obscurorum Virorum aliaque Ævi Decimi +sexti Monimenta Rarissima. Die Briefe der Finsterlinge an Magister +Ortuinus von Deventer, nebst andern sehr seltenen Beiträgen +zur Literatur-Sitten-und-Kirchengeschichte des xvi'n +Jahrhunderts."</p> +</blockquote> +<p>This contains many important additions, and a copious historical +introduction. Both the editors write in German.</p> +<p>That this admirable satire produced an immense effect at the +period of its publication, there can be no doubt; but that it has +ever been thoroughly understood and relished among us may be +doubted. Mr. Hallam, in his <i>Literature of Europe</i>, vol. i., +seems to have been disgusted with the monkish dog-Latin and bald +jokes, not recollecting that this was a necessary and essential +part of the design. Nor is it strange that Steele, who was perhaps +not very well acquainted with the history of literature, should +have misconceived the nature of the publication, when we learn from +an epistle of Sir Thomas More to Erasmus, that some of the stupid +theologasters themselves, who were held up to ridicule, received it +with approbation as a serious work:</p> +<blockquote> +<p>"<i>Epist. Obs. Viror</i>. operæ pretium est videre +quantopere placeant omnibus, et doctis joco, et indoctis serio, qui +dum ridemus, putant rideri stylum tantum, quem illi non defendunt, +sed gravitate sententiarum dicunt compensatum, et latere sub rudi +vagina pulcherrimum gladium. Utinam fuisset inditus libello alius +titulus! Profecto intra centum annos homines studio stupidi non +sensissent nasum, quamquam rhinocerotico longiorem."<a id= +"footnotetag8" name="footnotetag8"></a><a href= +"#footnote8"><sup>8</sup></a></p> +</blockquote> +<p>Erasmus evidently enjoyed the witty contrivance, though he +affects to disapprove it as an anonymous libel. Simler, in his life +of Bullinger, relates that on the first reading Erasmus fell into +such a fit of laughter as to burst an abscess in his face with +which he was at that time troubled, and which prevented the +necessity of a surgical operation.</p> +<p>The literary history of the <i>Epistolæ</i> and the +<i>Dialogue</i> is involved in obscurity. That Ulrich von Hutten +had a large share in their concoction there can be no doubt; and +that he was assisted by Crotus Rubianus and Hermann von Busch, if +not by others, seems highly probable. The authorship of +<i>Lamentationes Obscurorum Virorum</i> is a paradox which has not +yet been solved. They are a parody, but a poor one, of the +<i>Epistolæ</i>, and in the second edition are attributed to +Ortuinus Gratius. If they are by him, he must have been a dull dog +indeed; but by some it has been thought that they are the work of a +Reuchlinist, to mystify the monks of Cologne, and render them still +more ridiculous; yet, as the Pope's bull against the +<i>Epistolæ</i>, and Erasmus's disapproving letter, find a +prominent place, and some other well-grounded inculpations occur, +it appears to me that some slender-witted advocate of the enemies +of learning has here shown his want of skill in handling the +weapons of the adversary.</p> +<p>How much Sir Thomas More was pleased with the writings of Hutten +we may gather from the opening of a letter which Erasmus addressed +to Hutten, giving an interesting account of his illustrious friend, +in August, 1519:</p> +<blockquote> +<p>"Quod Thomæ Mori ingenium sic deamas, ac penè +dixerim deperis, nimirum scriptis illius inflammatus, quibus (ut +verè scribis) nihil esse potest neque doctius neque +festivius; istue mibi crede, clarissime Huttene tibi cum multis +commune est, cum Moro mutuum etiam. Nam is vicissim adeò +scriptorum tuorum genio delectatur, ut ipse tibi plopemodum +invideam."</p> +</blockquote> +<p>The Dialogue (Mire Festivus), which in the edition of 1710 +occurs between the first and second parts of the +<i>Epistolæ</i>, bears especial marks of Hutten's manner, and +is doubtless by him. The interlocutors are three of the illustrious +obscure, Magisters Ortuinus, Lupoldus, and Gingolphus, and the +first act of the comedy consists in their observations upon the +promoters of learning, Reuchlin, Erasmus, and Faber Stapulensis, +who afterwards make their appearance, and the discussion becomes +general, but no impression can be made upon the stupid and +prejudiced monks. The theme is, of course, the inutility of the new +learning, Hebrew and Greek and correct Latinity. One short passage +seems to me admirable:</p> +<span class="pagenum"><a name="page122" id= +"page122"></a>{122}</span> +<blockquote> +<p>"<i>M. Ging</i>. Et Sanctus Ambrosius, Sanctus Augustinus, et +alii omnes zelossimi doctores non sciebant ipsi bene tot, sicut +iste Ribaldi? <i>M. Ort</i>. Ipsi deberent interponere suis. <i>M. +Lup</i>. Non bene indigemus de suo Græco. <i>M. Ging</i>. +Videtur eis, qui sciunt dicere <i>tou, tou, logos, monsotiros, +legoim, taff, hagiotatos</i>, quod ipse sciunt plus quam Deus. +<i>M. Ort</i>. Magister noster Lupolde, creditis, quod Deus curat +multum de iste Græco? <i>M. Lup</i>. Certe non, Magister +noster Ortuine, ego credo, quod Deus non curat multum."</p> +</blockquote> +<p>Ranke, in his <i>History of the Reformation</i>, has very justly +estimated the merits and character of these remarkable +productions:</p> +<blockquote> +<p>"We must not look for the delicate apprehension and tact, which +can only be formed in a highly polished state of society, nor for +the indignation of insulted morality expressed by the ancients: it +is altogether a caricature, not of finished individual portraits, +but of a single type;—a clownish sensual German priest, his +intellect narrowed by stupid wonder and fanatical hatred, who +relates with silly <i>naïveté</i> and gossiping +confidence the various absurd and scandalous situations into which +he falls. These letters are not the work of a high poetical genius, +but they have truth, coarse strong features of resemblance, and +vivid colouring."</p> +</blockquote> +<p>Ranke mentions another satire, which appeared in March, 1520, +directed against John Eck, the opponent of Luther, the latter being +regarded in the light of a successor of Reuchlin, under the title +of <i>Abgehobelte Eck</i>, or <i>Eccius dedolatus</i>, "which, for +fantastic invention, striking and crushing truth, and Aristophanic +wit, far exceeded the <i>Literæ Obsc. V.</i>, which it +somewhat resembled." I have not yet been able to meet with this; +but such high praise, from so judicious a critic, makes me very +desirous to see and peruse it.</p> +<p class="author">S.W. Singer.</p> +<p>Mickleham, July 3. 1850.</p> +<blockquote class="footnote"><a id="footnote8" name= +"footnote8"></a><b>Footnote 8:</b><a href= +"#footnotetag8">(return)</a> +<p>"Ubi primum exissent <i>Ep. Ob. V.</i> miro Monachorum applausu +exceptæ sunt apud Britannos a Franciscanis ac Dominicanis, +qui sibi persuadebant, eas in Reuchlini contumeliam, et Monachorum +favorem, serio proditus: quamque quidam egregie doctus, sed +nasutissimus, fingeret se nonnihil offendi stylo, consulati sunt +hominem."—<i>Erasm. Epist.</i> 979.</p> +</blockquote> +<p><i>Epistolæ Obscurorum Virorum</i>.—Your Querist +H.B.C. (Vol. ii., pp. 55-57.) will find, in the 53rd vol. <i>Edinb. +Rev.</i> p. 180., a long article on these celebrated letters, +containing much of the information required. It is worthy of +remark, that in page 195. we are told</p> +<blockquote> +<p>"In 1710 there was printed in London the <i>most elegant</i> +edition that has ever appeared of these letters, which the editor, +Mich. Mattaire, gravely represents as the productions of their +ostensible authors."</p> +</blockquote> +<p>Now this edition, though neat, has no claim to be termed most +elegant, which is hardly to be reconciled with what the reviewer +says in a note, p. 210., "that the text of this ed. of 1710 is of +no authority, and swarms with typographical blunders."</p> +<p>The work on its first appearance produced great excitement, and +was condemned by Pope Leo X. See <i>Dict. des Livres +Condamnés, &c.</i>, par Peignot, tom. ii. p. 218.</p> +<p>Many amusing anecdotes and notices are to be found in Bayle's +<i>Dict</i>. See particularly sub nomine Erasmus. Burton, in his +<i>Anatomy of Mel.</i> pt. i. sec. 2. Mem 3 sub 6. citing Jovius in +Elogiis, says,</p> +<blockquote> +<p>"Hostratus cucullatus adeo graviter ob Reuchlini librum qui +inscribitur, Epistolæ Obscurorum Virorum dolore simul et +pudore sauciatus, et scipsum interfecerit."</p> +</blockquote> +<p>See also <i>Nouv. Diction. Historique</i> in the account of +Gratius, O.</p> +<p>There is also a good article on these letters in a very +excellent work entitled <i>Analectabiblion</i>, or <i>Extraits +Critique de divers Livres rares, &c., tiréz du Cabinet +du Marq. D. R. (oure)</i>. Paris, 1836. 2 tomes 8vo.</p> +<p class="author">F.R.A.</p> +<p><i>Epistolæ Obscurorum Virorum</i>.—The article +inquired for by H.B.C. (Vol. ii, p. 55) is probably one in the +<i>Edinburgh Review</i>, vol. liii. p. 180., attributed to Sir +William Hamilton, the distinguished Professor of Logic in the +university of Edinburgh.</p> +<p class="author">CH.</p> +<hr /> +<h3>CAXTON'S PRINTING-OFFICE.</h3> +<h4>(Vol. ii., p. 99.)</h4> +<p>Mr. Rimbault is wrong in giving to Abbot Milling the honour of +being the patron of Caxton, which is due to Abbot Esteney. Mr. C. +Knight in his <i>Life of Caxton</i>, which appropriately formed the +first work of his series of <i>Weekly Volumes</i>, has the +following remarks upon the passage from Stow, quoted by Mr. +Rimbault:</p> +<blockquote> +<p>"The careful historians of London here committed one error; John +Islip did not become abbot of Westminster till 1500. John Esteney +was made abbot in 1474, and remained such until his death in 1498. +His predecessor was Thomas Milling. In Dugdale's <i>Monasticon</i> +we find, speaking of Esteney, 'It was in this abbot's time, and not +in that of Milling, or in that of Abbot Islip, that Caxton +exercised the art of printing at Westminster.'"—p. 140.</p> +</blockquote> +<p>I have no work at hand to which I can refer for the date of +Milling's death, but if 1492 be correct, perhaps he may have been +promoted to a bishoprick.</p> +<p>With reference to Mr. Rimbault's remark, that Caxton first +mentions the place of his printing in 1477, so that he must have +printed some time without informing us where, I may be allowed to +observe that it seems highly probable he printed, and indeed +learned the art, at Cologne. At the end of the third book of his +translation of the <i>Recuyell of the Historyes of Troye</i>, +Caxton says:</p> +<blockquote> +<p>"Thus end I this book which I have translated after mine author, +as nigh as God hath given me cunning, to whom be given the laud and +praises ... I have practised and learned, at my great charge and +dispense, to ordain this said book in print, after the manner and +form as you may here see."</p> +</blockquote> +<span class="pagenum"><a name="page123" id= +"page123"></a>{123}</span> +<p>And on the title-page he informs us:</p> +<blockquote> +<p>"Whyche sayd translacion and werke was begonne in Brugis in +1468, and ended in the holy cyte of Colen, 19 Sept. 1471."</p> +</blockquote> +<p>This may refer to the translation only; but as Caxton was both +translator and printer, it does not seem unreasonable to regard it +as indicating when his entire labour upon the work was brought to a +close. I might support the view that Caxton printed at Cologne by +other arguments which would make the matter tolerably certain (see +<i>Life of Caxton</i>, p. 125., &c.); but as the excellent +little work to which I am indebted for these particulars is so well +known, and so easily accessible, I should not be justified in +occupying more of your space, and I will therefore conclude with +noting that the parochial library at Shipdham, in Norfolk, is said +to contain books printed by Caxton and other early printers. +Perhaps some one of your correspondents would record, for the +general benefit, of what they consist.</p> +<p class="author">Arun.</p> +<p>Dr. Rimbault has evidently not seen a short article on Caxton's +printing at Westminster, which I inserted in the <i>Gentleman's +Magazine</i> for April, 1846, nor the reference made to it in the +magazine for June last, p. 630., or he would have admitted that his +objections to Dr. Dibdin's conjectures on this point had been +already stated; moreover, I think he would have seen that the +difficulty had been actually cleared up. In truth, the popular +misapprehension on this subject has not been occasioned by any +obscurity in the colophons of the great printer, or in the survey +of Stow, but merely by the erroneous constricted sense into which +the word abbey has passed in this country. Caxton himself tells us +he printed his books in "th' abbay of Westminstre," but he does not +say in the church of the abbey. Stow distinctly says it was in the +almonry of the abbey; and the handbill Dr. Rimbault refers to +confirms that fact. The almonry was not merely "within the +precincts of the abbey," it was actually a part of the abbey. Dr. +Rimbault aims at the conclusion that "the old chapel of St. Anne +was doubtless the place where the first printing-office was erected +in England." But why so? Did not the chapel continue a chapel until +the Reformation, if not later? And Caxton would no more set up his +press in a chapel than in the abbey-church itself. Stow says it was +erected in the almonry. The almonry was one of the courts of the +abbey, (situated directly west of the abbey-church, and not east, +as Dr. Dibdin surmised); it contained a chapel dedicated to St. +Anne, and latterly an almshouse erected by the Lady Margaret. The +latter probably replaced other offices or lodgings of greater +antiquity, connected with the duties of the almoner, or the +reception and relief of the poor; and there need be no doubt that +it was one of these buildings that the Abbot of Westminster placed +at the disposal of our proto-typographer. There was nothing very +extraordinary in his so doing if we view the circumstance in its +true light; for the <i>scriptoria</i> of the monasteries had ever +been the principal manufactories of books. A single press was now +to do the work of many pens. The experiment was successful; "after +which time," as Stow goes on to say, "the like was practised in the +Abbeys of St. Augustine, at Canterbury, St. Alban's, and other +monasteries." The monks became printers instead of scribes; but +they would not ordinarily convert their churches or chapels into +printing-houses. The workmen, it is true, term the meetings held +for consultation on their common interests or pleasures, their +<i>chapels</i>; and whether this may have arisen from any +particular instance in which a chapel was converted into a +printing-house, I cannot say. In order to ascertain the origin of +this term these Queries may be proposed:—Is it peculiar to +printers and to this country? Or is it used also in other trades +and on the Continent?</p> +<p class="author">John Gough Nichols.</p> +<hr /> +<h3>THE NEW TEMPLE.</h3> +<p>Although I am unable to give a satisfactory reply to Mr. Foss's +inquiries, such information as I have is freely at his service. It +may, at all events, serve as a finger-post to the road.</p> +<p>My survey gives a most minute extent, of 35 preceptories, 23 +"cameræ" of the Hospitallers, 13 preceptories formerly +commandries of the Templars, 74 limbs, and 70 granges, +impropriations, &c., and, among them all, not a single one of +the valuation of the New Temple itself. <i>Reprises</i> of that +establishment are entered, but no <i>receipts</i>.</p> +<p>The former are as follows:</p> +<blockquote> +<p>"In emendationem et sustentationem ecclesie Novi Templi, London, +et in vino, cera, et oleo, et ornamentis ejusdem ... x m.</p> +<p>"In uno fratri [<i>sic</i>] Capellano et octo Capellanis +secularibus, deservientibus ecclesiam quondam Templariorum apud +London, vocatam Novum Templum, prout ordinatum est per totum +consilium totius regni, pro animabus fundatorum dicti Novi Templi +et alia [<i>sic</i>] possessionum alibi ... lv m.</p> +<p>"Videlicet, frati Capellano, pro se et ecclesia, xv m., et +cuilibet Capellano, v m., ubi solebant esse, tempore Templariorum, +unus Prior ecclesie et xij Capellani seculares.</p> +<p>"Item in diversis pensionibus solvendis diversis personis per +annum, tam in Curia domini Regis, quam Justiciariis Clericis, +Officiariis, et aliis ministris, in diversis Curiis suis, ac etiam +aliis familiaribus magnatum, tam pro terris tenementis, redditibus, +et libertatibus hospitalis, quam Templariorum, et maxime pro terris +Templariorum manutenendis, videlicet, Baronibus in Scaccario domini +Regis Domino Roberto de Sadyngton, militi, Capitali baroni de +Scaccario, xl." &c. &c.</p> +</blockquote> +<span class="pagenum"><a name="page124" id= +"page124"></a>{124}</span> +<p>enumerating pensions to the judges, clerks, &c., in all the +courts, to the amount of above 60<i>l.</i> per annum. To</p> +<blockquote> +<p>"Magnatibus, secretariis, et familiaribus domini Regis et +aliorum;"</p> +</blockquote> +<p>the pensions enumerated amount to about 440<i>l.</i> per +annum.</p> +<p>Then, to the treasurer, barons, clerks, &c., of the +Exchequer (140 persons):</p> +<blockquote> +<p>"Bis in anno, videlicet, tempore yemali, pilliola furrata +pellura minuti varii et bogeti, et quedam non furrata; et tempore +estivali totidem pilliola lineata de sindone, et quedam non +lineata, unicuique de Curia Scaccarii predicti, tam minoribus quam +majoribus, secundum gradus, statum, et officium personarum +predictarum, que expense se extendunt annuatim ad ... x ii."</p> +<p>"Item sunt alie expense facte in Curiis Regis annuatim pro +officio generalis procuratoris in diversis Curiis Regis, que de +necessitate fieri oportet, pro brevibus Regis, et Cartis +impetendis, et aliis, negociis in eisdem Curiis expediendis, que ad +minus ascendunt per annum, prout evidencius apparet, per compotum +et memoranda dicti fratris de Scaccario qui per capitulum ad illud +officium oneratur ... lx m."</p> +<p>"Item in donis dandis in Curiis domini Regis et aliorum magnatum +<i>pro favore habendo</i> et pro placitis defendendis, et expensis +parlialmentorum, ad minus bis per annum ... cc m."</p> +</blockquote> +<p>I have made these extracts somewhat more at length than may, +perhaps, be to the point in question, because they contain much +that is highly interesting as to the apparently questionable mode +in which the Hospitallers obtained the protection of the courts +(and probably they were not singular in their proceedings); annual +pensions to judges, besides other largesses, and much of this "pro +favore habendo," contrasts painfully with the "spotless purity of +the ermine" which dignifies our present age.</p> +<p>In the "extent" we have occasionally a grange held rent free for +life by a judge. Chief Justice Geffrey de Scrop so held that of +Penhull in Northumberland.</p> +<p>Putting all these facts together, and bearing in mind that, +throughout this elaborate "extent," there are neither profits nor +rent entered, as for the Temple itself, so that it seems to have +then been neither in the possession nor occupation of the +Hospitallers, is it not possible that they had alienated it to the +lawyers, as a discharge for these heavy annual +incumbrances,—<i>prospectively</i>, perhaps, because by the +entry of these charges among the "reprise," the life interests, at +all events, were still paid; or perhaps the alienation was itself +made to them "pro favore habendo" in some transaction that the +Hospitallers wished to have carried by the Courts; or it may have +been made as a <i>bonâ fide</i> bribe for future protection. +At all events, when we see such extensive payments made annually to +the lawyers, their ultimate possession of the fee simple is no +unnatural result. But, as I am altogether ignorant of the history +of the New Temple, I must refrain from suggestions, giving the +simple facts as I find them, and leaving the rest to the learning +and investigation of your correspondent.</p> +<p class="author">L.B.L.</p> +<hr /> +<h3>STRANGERS IN THE HOUSE OF COMMONS.</h3> +<h4>(Vol. ii., pp. 17. 83.)</h4> +<p>Mr. Ross is right in saying that "no alteration has taken place +in the <i>practice</i> of the House of Commons with respect to the +admission of strangers." The practice was at variance with the old +sessional order: it is consistent with the new standing order of +1845. I do not understand how any one can read these words of the +new standing order, "that the sergeant-at-arms ... do take into his +custody any stranger whom he may see ... in any part of the house +or gallery appropriated to the members of the House: and also any +stranger <i>who, having been admitted into any other part of the +house or gallery</i>," &c., and say that the House of Commons +does not now recognise the presence of strangers; nor can I +understand how Mr. Ross can doubt that the old sessional order +absolutely prohibited their presence. It did not keep them out +certainly, for they were admitted in the teeth of it; but so long +as that sessional order was in force, prohibition to strangers was +the theory.</p> +<p>Mr. Ross refers to publication of speeches. Publication is still +prohibited in theory. Mr. Ross perhaps is not aware that the +prohibition of publication of speeches rests on a foundation +independent of the old sessional order against the presence of +strangers,—on a series of resolutions declaring publication +to be a breach of the privileges of Parliament, to be found in the +Journals of 1642, 1694, 1695, 1697, 1703, 1722, and 1724.</p> +<p>We unfortunately cannot settle in your columns whether, as Mr. +Ross asserts, "if a member in debate should inadvertently allude to +the possibility of his observations being heard by a stranger, the +Speaker would immediately call him to order;" but my strong belief +is, that he would not: and I hope, if there are any members of the +House of Commons who have time to read "Notes and Queries," that +one of them may be induced to take a suitable opportunity of +obtaining the Speaker's judgment.</p> +<p>"Yet at other times," Mr. Ross goes on to say, "the right +honourable gentlemen will listen complacently to discussions +arising out of the complaints of members that strangers will not +publish to the world all that they hear pass in debate." If this be +so, I suppose the Speaker sees nothing disorderly in a complaint, +that what has been spoken in Parliament has <i>not</i> been +published: but I read frequently in my newspaper that the Speaker +interrupts <span class="pagenum"><a name="page125" id= +"page125"></a>{125}</span> members who speak of speeches having +been published. "This is one of the inconsistencies," Mr. Ross +proceeds, "resulting from the determination of the House not +expressly to recognise the presence of strangers." Inconsistency +there certainly is,—the inconsistency of making publication a +breach of privilege, and allowing it to go on daily.</p> +<p>As strangers may be admitted into the House to hear debates, and +not allowed to publish what they hear, so they may he admitted, +subject to exclusion at certain times, or when the House chooses. +And this is the case. The House, of course, retains the power of +excluding them at any moment. They are always made to withdraw +before the House goes to a division. This is a matter of practice, +founded probably on some supposed reasons of convenience. Again, on +any member desiring strangers to be excluded, the Speaker desires +them to withdraw, without allowing any discussion.</p> +<p>I have only to notice one other observation of Mr. Ross's, which +is the following:</p> +<blockquote> +<p>"When I speak of strangers being admitted, it must not be +supposed that this was done by order of the House. No, everything +relating to the admission of strangers to, and their accommodation +in the House of Commons, is effected by some mysterious agency, for +which no one is directly responsible. Mr. Barry has built galleries +for strangers in the new house; but if the matter were made a +subject of inquiry, it probably would puzzle him to state under +what authority he has acted."</p> +</blockquote> +<p>I do not think there is anything mysterious as regards +admission. I am fond of hearing the debates, and my parliamentary +friends are very kind to me. Sometimes I content myself with an +order from a member, which takes me into the hinder seats of the +non-reporting strangers' gallery; sometimes, when I know beforehand +of an interesting debate, I get one of my friends to put my name on +the "Speaker's list," and I then take my seat on one of the two +front rows of the strangers' gallery; sometimes, again, I go down +on the chance, while the House is sitting; and if I am fortunate +enough to find any one of any friends there, he generally brings +me, in a few moments, an order from the Sergeant-at-arms, which +takes me also to the front row of the strangers' gallery. Some +benches under the strangers' gallery are reserved for peers, +ambassadors, and peers' eldest sons. The Speaker and the +Sergeant-at-arms give permission generally to foreigners, and +sometimes to some other persons, to sit in these benches. I do not +know which officer of the House of Commons superintends the +admission of reporters. Ladies are admitted to the Black Hole +assigned to them, by orders from the Sergeant-at-arms. I have no +doubt that the Speaker and Sergeant-at-arms are responsible to the +House for everything relating to the admission of strangers, and +without taking upon myself to say what is the authority under which +Mr. Barry has acted, I have no doubt that, in building galleries +for strangers in the new house, he has done what is consistent not +only with the long established practice, but, under the new order +of 1845, with the theory of the House of Commons.</p> +<p>As regards the passage quoted by Mr. Jackson from the +<i>Edinburgh Review</i>, the reviewer would probably allow that he +had overlooked the new standing order of 1845; and Mr. Jackson will +perceive that the recognition of the presence of strangers does not +legalise the publication of speeches. The supposed difficulty in +the way of legalising publication is, that the House of Commons +would then make itself morally responsible for the publication of +any libellous matter in speeches. I do not see the force of this +difficulty. But the expediency of the existing rule is not a proper +subject for discussion in your columns.</p> +<p class="author">CH.</p> +<p>Whatever the present practice of the House of Commons with +respect to strangers may be, it does not seem probable that it will +soon undergo alteration. In the session of 1849 a Select Committee, +composed of fifteen members, and including the leading men of all +parties, was appointed "to consider the present practice of this +House in respect of the exclusion of strangers." The following is +the Report of the Committee <i>in extenso</i> (<i>Parl. Pap.</i>, +No. 498. Sess. 1849):</p> +<blockquote> +<p>"That the existing usage of excluding strangers during a +division, and upon the notice by an individual Member that +strangers are present, has prevailed from a very early period of +parliamentary history; that the instances in which the power of an +individual Member to exclude has been exercised have been very +rare: and that it is the unanimous opinion of your committee, that +there is no sufficient ground for making any alteration in the +existing practice with regard to the admission or exclusion of +strangers."</p> +</blockquote> +<p>This Report confirms the statement of Mr. Ross (p. 83., +<i>antè</i>), that within his experience of thirty-one years +no change has been made in the present rule of the House upon this +matter, which, it would seem, dates very far back. The Speaker was +the only witness examined before the Committee, and his evidence is +not printed.</p> +<p class="author">Arun.</p> +<hr /> +<h3>REPLIES TO MINOR QUERIES.</h3> +<p><i>Morganatic Marriage</i> (Vol. ii., p. 72.).—According +to M., Ducange has connected this expression with <i>morgingab</i>; +but I have looked in vain for such connection in my edition of the +<i>Glossary</i> (Paris, 1733). The truth most probably is, that +<i>morganatic</i>, in the phrase "matrimonium ad morganaticam," +<span class="pagenum"><a name="page126" id= +"page126"></a>{126}</span> was akin to the Gothic <i>maurgjan</i>, +signifying, "to procrastinate," "to bring to an end," "to shorten," +"to limit." This application of the word would naturally rise out +of the restrictions imposed upon the wife and children of a +morganatic marriage.</p> +<p class="author">C.H.</p> +<p><i>Umbrellas</i> (Vol. i., p. 415. 436.; ii. 25.).—In +Swift's description of a city shower (<i>Tatler</i>, No. 238., +October 17. 1710), umbrellas are mentioned as in common use by +women:</p> +<div class="poem"> +<div class="stanza"> +<p>"Now in contiguous drops the flood comes down,</p> +<p>Threatening with deluge the devoted town;</p> +<p>To shops, in crowds, the daggled females fly,</p> +<p>Pretend to cheapen goods, but nothing buy;</p> +<p>The Templar spruce, while every spout's abroach,</p> +<p>Stays till 'tis fair, yet seems to call a coach;</p> +<p>The tucked-up sempstress walks with hasty strides,</p> +<p>While streams run down her oiled umbrella's sides."</p> +</div> +</div> +<p class="author">H.B.C.</p> +<p>U.U. Club, July 2.</p> +<p><i>Bands</i> (Vol. ii., pp. 23. 76.)—<i>Scarf</i>.—I +was glad to read Arun's explanation of the origin of the bands now +worn by the clergy; which, however, seems merely to amount to their +being an adoption of a Genevan portion of clerical costume. That +they are the descendants of the ruff, there can be no doubt, just +as wrist-bands have more recently succeeded to ruffles.</p> +<p>I cannot resist mentioning that an ingenious friend suggested to +me, that the broad, stiff, laid-down collar, alluded to in the +former part of Arun's communication, possibly gave rise to the +modern band in the following manner:—When the scarf, still in +use, was drawn over the shoulders and hung down in front, that part +of the broad collar which was left visible, being divided up the +middle, presented a shape and appearance exactly like our common +bands. Hence, it was imagined, this small separate article of dress +might have originated.</p> +<p>Is it Butler, Swift, or who, that says,</p> +<div class="poem"> +<div class="stanza"> +<p>"A Chrysostom to smoothe his band in"?</p> +</div> +</div> +<p>Whenever this was written, it must have referred to our modern +bands.</p> +<p>Who amongst the clergy are <i>entitled</i> to wear a scarf? Is +it the badge of a chaplain only? or what circumstances justify its +being worn?</p> +<p class="author">Alfred Gatty.</p> +<p>July 1. 1850.</p> +<p><i>Bands</i> (Vol. ii., p. 76.).—An early example of the +collar, approaching to the form of our modern bands, may be seen in +the portrait of Cardinal Beatoun, who was assassinated in 1546. The +original is in Holyrood Palace, and an engraving in Mr. Lodge's +<i>Portraits</i>. The artist is unknown, but from the age of the +face one may infer that it was painted about 1540.</p> +<p class="author">C.H.</p> +<p><i>Jewish Music</i> (Vol. ii., p. 88.).—See a host of +authorities on the subject of Hebrew music and musical instruments +in Winer's <i>Realwörterbuch</i> vol. ii., pp. 120. +<i>seq.</i>, 3d edit. There is a good abstract respecting them in +Jahn's <i>Hebrew Antiquities</i>, sect. 92-96.</p> +<p class="author">C.H.</p> +<p><i>North Sides of Churchyards unconsecrated</i> (Vol. ii., p. +55.).—In illustration of, not in answer to, Mr. Sansom's +inquiry, I beg to offer the following statement. During a long +series of years an average of about 150 corpses has been annually +deposited in Ecclesfield churchyard, which has rendered it an +extremely crowded cemetery. But, notwithstanding these frequent +interments, my late sexton told me that he remembered when there +was scarcely one grave to the north of the church, it being +popularly considered that only suicides, unbaptised persons, and +still-born children ought to be buried there. However, when a vicar +died about twenty-seven years ago, unlike his predecessors, who had +generally been buried in the chancel, he was laid in a tomb on the +north side of the churchyard, adjoining the vicarage. From this +time forward the situation lost all its evil reputation amongst the +richer inhabitants of the parish, who have almost entirely occupied +it with family vaults.</p> +<p>Whether the prejudice against the north side of our churchyard +arose from an idea that it was unconsecrated, I cannot tell but I +suspect that, from inherited dislike, the poor are still indisposed +towards it. When the women of the village have to come to the +vicarage after nightfall, they generally manage to bring a +companion, and hurry past the gloomy end of the north transept as +if they knew</p> +<div class="poem"> +<div class="stanza"> +<p>"that close behind</p> +<p>Some frightful fiend did tread."</p> +</div> +</div> +<p>I cannot help fancying that the objection is attributable to a +notion that evil spirits haunt the spot in which, possibly from +very early times, such interments took place as my sexton +described. As a suggestion towards a full solution of this popular +superstition, I would ask whether persons who formerly underwent +ecclesiastical excommunication were customarily buried on the north +side of churchyards?</p> +<p class="author">Alfred Gatty.</p> +<p>Ecclesfield, June 28. 1850.</p> +<p>I can only give from recollection a statement of a tradition, +that when Jesus Christ died he turned his head towards the south; +and so, ever since, the south side of a church has the +pre-eminence. There generally is the bishop's throne, and the south +aisle of ancient basilicas was appropriated to men. Simple +observation shows that the supposed sanctity extends to the +churchyard,—for there the tombstones lie thickest.</p> +<p>I find that my source of information for the <span class= +"pagenum"><a name="page127" id="page127"></a>{127}</span> tradition +was Cockerell's last lecture on Architecture, <i>Athenæum</i> +for 1843, p. 187. col. 3.</p> +<p class="author">A.J.H.</p> +<p>"<i>Men are but Children</i>," &c.—R.G. (Vol. ii., p. +22.) will find the line about which he inquires in Dryden's <i>All +for Love; or, The World well Lost</i>, Act iv. Sc. 1.</p> +<div class="poem"> +<div class="stanza"> +<p>Dolabella (<i>loq.</i>):</p> +<p>"Men are but children of a larger growth,</p> +<p>Our appetites as apt to change as theirs,</p> +<p>And full as craving too, and full as vain."</p> +</div> +</div> +<p class="author">J.R.M.</p> +<p>King's College, London, July 12. 1850.</p> +<p><i>Ventriloquism</i> (Vol. ii., p. 88.).—Mr. SANSOM will +find some curious information touching the words [Hebrew: 'or], +[Greek: eggastrimuthos], &c., in Dr. Maitland's recent +<i>Illustrations and Enquiries relating to Mesmerism</i>, pp. 55. +81. The Lexicons of Drs. Lee and Gesenius may also be consulted, +under the word [Hebrew: 'or]. The former of these lexicographers +would rank the Pythian priestess with "our modern conjurers."</p> +<p class="author">C.H.</p> +<p>St. Catharine's Hall, Cambridge.</p> +<p><i>Cromwell's Estates—Magor</i> (Vol. i., p. 277. +389.).—As the South Wales line is now open as far as +Chepstow, it may not be uninteresting to V. to know, that it +diverges from the coast between Chepstow and Newport, in order to +pass Bishopston and <i>Magor</i>, the last of which he rightly +placed in Monmouthshire.</p> +<p class="author">SELEUCUS.</p> +<p><i>Vincent Gookin</i> (Vol. i., pp. 385. 473. 492.; Vol. ii. p. +44.) is described in a <i>Narrative of the late Parliament</i> +(Cromwell's Parliament, d. 1656), in the <i>Harleian +Miscellany</i>, as</p> +<blockquote> +<p>"One of the letters of land in Ireland, receiving three hundred +pounds per annum."</p> +</blockquote> +<p>He and three other Irish members, Colonel Jephson, Ralph King, +and Bice, are classed together in this tract, which is hostile to +Cromwell, as</p> +<blockquote> +<p>"Persons not thought meet to be in command, though they much +desire it, and are of such poor principles and so unfit to make +rulers of as they would not have been set with the dogs of the +flock, if the army and others who once pretended to be honest had +kept close to their former good and honest principles."</p> +</blockquote> +<p>Vincent Gookin voted for the clause in the "Petition and Advice" +giving the title of "King" to Cromwell.</p> +<p class="author">CH.</p> +<p><i>All-to brake</i> (Vol. i., p. 395.).—The interpretation +given is incorrect. "All-to" is very commonly used by early writers +for "altogether:" <i>e.g.</i>, "all-to behacked," Calfhill's +<i>Answer to Martiall's Treatise of the Cross</i>, Parker Society's +edition, p. 3.; "all-to becrossed," <i>ibid.</i> p. 91.; "all-to +bebatted," <i>ibid.</i> p. 133., &c. &c. The Parker Society +reprints will supply innumerable examples of the use of the +expression.</p> +<hr class="full" /> +<h2>MISCELLANEOUS.</h2> +<h3>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</h3> +<p>The two of Mr. Hunter's <i>Critical and Historical Tracts</i>, +which we have had the opportunity of examining, justify to the +fullest the expectations we had formed of them. The first, +<i>Agincourt; a Contribution towards an authentic List of the +Commanders of the English Host, in King Henry the Fifth's +Expedition, in the Third Year of his Reign</i>, Mr. Hunter +describes as "an instalment," we venture to add "a very valuable +instalment," from evidence which has been buried for centuries in +the unknown masses of national records, towards a complete list of +the English Commanders who served with the King in that expedition, +with, in most cases, the number of the retinue which each Commander +undertook to bring into the field, and, in some instances, notices +of events happening to the contingents. The value of a work based +upon such materials, our historical readers will instantly +recognise. The lovers of our poetry will regard with equal +interest, and peruse with equal satisfaction, Mr. Hunter's brochure +entitled <i>Milton; a Sheaf of Gleanings after his Biographers and +Annotators</i>, and admit that he has bound up the new biographical +illustrations and critical comments, which he has gathered in that +pleasant field of literary inquiry, the life and writings of +Milton, into a goodly and a pleasant sheaf.</p> +<p>Messrs. Sotheby and Co. will commence on Monday, the 29th of +this month, a three days' Sale of Greek Roman, and English Coins, +English and Foreign Medals, Cabinets, &c., the property of a +Gentleman leaving England.</p> +<hr /> +<h3>BOOKS AND ODD VOLUMES</h3> +<h4>WANTED TO PURCHASE.</h4> +<h4>(In continuation of Lists in former Nos.)</h4> +<p><i>Odd Volumes.</i></p> +<p>MOULTRIE'S POEMS. Vol. I.</p> +<p>Letters, stating particulars and lowest price, <i>carriage +free</i>, to be sent to Mr. BELL, Publisher of "NOTES AND QUERIES," +186. Fleet Street.</p> +<hr /> +<h3>NOTICES TO CORRESPONDENTS.</h3> +<p>C.J.S. <i>The Inscription from the brass in Chinnor Church, +Oxon, is</i> Mouns. Esmoun de Malyns fitz Mouns. Reynald de Malyns +Chr. et Isabelle sa femme gisoient icy Dieu de ses ailmes eit +mercy, <i>being in memory of Esmond de Malyns and his wife. The +father</i>, Renald de Malyns, <i>was interred in the same +church.</i></p> +<p>VOLUME THE FIRST OF NOTES AND QUERIES, <i>with Title-page and +very copious Index, is now ready, price 9s. 6d., bound in cloth, +and may be had, by order, of all Booksellers and Newsmen.</i></p> +<p>Errata. In No. 37., p. 98., col. 2., 1. 16., for "1625" read +"1695"; p. 101., l. 31., "Inchi<i>g</i>uin" should be +"Inchi<i>q</i>uin"; p. 106., col. 2., 1. 26. should be—</p> +<div class="poem"> +<div class="stanza"> +<p>"And disappoints the Queen, poor little Chuck."</p> +</div> +</div> +<span class="pagenum"><a name="page128" id= +"page128"></a>{128}</span> +<hr class="adverts" /> +<h3>COMMITTEE FOR THE REPAIR OF THE TOMB OF GEOFFREY CHAUCER.</h3> +<div class="poem"> +<div class="stanza"> +<p>JOHN BRUCE, esq., Treas. S.A.</p> +<p>J. PAYNE COLLIER, Esq., V.P.S.A.</p> +<p>PETER CUNNINGHAM, Esq., F.S.A.</p> +<p>WILLIAM RICHARD DRAKE, Esq., F.S.A.</p> +<p>THOMAS W. KING, Esq., F.S.A.</p> +<p>SIR FREDERICK MADDEN, K.H.</p> +<p>JOHN GOUGH NICHOLS, Esq., F.S.A.</p> +<p>HENRY SHAW, Esq., F.S.A.</p> +<p>SAMUEL SHEPERD, Esq., F.S.A.</p> +<p>WILLIAM J. THOMS, Esq., F.S.A.</p> +</div> +</div> +<p>The Tomb of Geoffrey Chaucer in Westminster Abbey is fast +mouldering into irretrievable decay. A sum of One Hundred Pounds +will effect a perfect repair. The Committee have not thought it +right to fix any limit to the subscription, they themselves have +opened the list with a contribution from each of them of Five +Shillings; but they will be ready to receive any amount, more or +less, which those who value poetry and honour Chaucer may be kind +enough to remit to them.</p> +<p>Subscriptions have been received from the Earls of Carlisle, +Ellesmere, and Shaftesbury, Viscounts Strangford and Mahon, Pres. +Soc. Antiq., The Lords Braybrooke and Londesborough, and many other +noblemen and gentlemen.</p> +<p>Subscriptions are received by all the members of the Committee, +and at the Union Bank, Pall Mall East. Post-Office orders may be +made payable at the Charing Cross Office, to William Richard Drake, +Esq., the Treasurer, 46. Parliament Street, or William J. Thoms, +Esq., Hon. Sec., 25. Holy-Well Street, Millbank.</p> +<hr /> +<p>Now Ready, in demy 8vo., with Portraits, price 12<i>s.</i></p> +<p>SOME ACCOUNT OF THE CORPS OF GENTLEMEN AT ARMS.</p> +<p>By JAMES BUNCE CURLING, Clerk of the Checque.</p> +<p>"Mr. Curling has succeeded in producing a book of much lively +and curious historic interest."—<i>Naval and Military +Gazette</i>.</p> +<p>"The author has made the most of his subject, introducing +anecdotes of the members of the corps from its first +institution."—<i>Atlas</i>.</p> +<p>RICHARD BENTLEY, Publisher in Ordinary to her Majesty.</p> +<hr /> +<p>TO ALL WHO HAVE FARMS OR GARDENS. THE GARDENERS' CHRONICLE AND +AGRICULTURAL GAZETTE,</p> +<p>(The HORTICULTURAL PART edited by PROF. LINDLEY)</p> +<p>Of Saturday, July 6. contains Articles on</p> +<div class="poem"> +<div class="stanza"> +<p>Agricultural Society of England, Prof. Way's lecture on +water</p> +<p>Agriculture of Lancaster</p> +<p>Annuals, English names of</p> +<p>Ash, to propagate</p> +<p>Balsams</p> +<p>Bee, remedy for sting of</p> +<p>Botanical names</p> +<p>Butter, rancid</p> +<p>Calendar, Horticultural</p> +<p>Calendar, Agricultural</p> +<p>Carts, Cumberland</p> +<p>Cattle, to feed</p> +<p>Clover crops</p> +<p>College, agricultural</p> +<p>Cropping, table of</p> +<p>Cuckoo, note of</p> +<p>Diseases of plants</p> +<p>Drainage reports</p> +<p>Evergreens, to transplant, by Mr. Glendinning</p> +<p>Farming in Norfolk, high</p> +<p>Farming, Mr. Mechi's, by Mr. Wilkins</p> +<p>Farming, rule of thumb, by Mr. Wilkins</p> +<p>Fruit trees, to root prune</p> +<p>Gardeners' Benevolent Institution, by Mr. Wheeler</p> +<p>Gardening, villa and suburban</p> +<p>Grapes in pots</p> +<p>Guano frauds</p> +<p>Highland Patriotic Society</p> +<p>Kew, Victoria Regia at</p> +<p>Peel, Sir R., death of</p> +<p>Pike, voracity of, by Mr. Lovell</p> +<p>Plants, diseases of</p> +<p>Plants, names of</p> +<p>Potato disease</p> +<p>Reviews, miscellaneous</p> +<p>Rhododendrons, on Himalayas, by Mr. Munro, Belfast</p> +<p>Root pruning</p> +<p>Rosa Manettii, by Mr. Paul</p> +<p>Royal Botanic Society, report of the Exhibition for July</p> +<p>Seeding, thin, by Mr. Mechi</p> +<p>Slough Carnation show</p> +<p>Slough Pink show</p> +<p>Statice armeria, by Mr. Forman</p> +<p>Swans, food of</p> +<p>Thin seeding, by Mr. Mechi</p> +<p>Timber felling</p> +<p>Toads' skins, by Prof. Henslow</p> +<p>Transplanting evergreens, by Mr. Glendinning</p> +<p>Trees, to root prune</p> +<p>Trees, to transplant, by Mr. Glendinning</p> +<p>Villa and suburban gardening</p> +<p>Vine, to summer prune, by Mr. Levell</p> +<p>Viper, the, by Mr. Chaytor</p> +<p>Water, Prof. Way's lecture on</p> +</div> +</div> +<p>THE GARDENERS' CHRONICLE AND AGRICULTURAL GAZETTE contains, in +addition to the above, the Covent-garden, Mark-lane, and Smithfield +prices, with returns from the Potato, Hop, Hay, and Seed Markets, +and a <i>complete Newspaper, with a condensed account of all the +transactions of the week</i>.</p> +<p>Order of Any Newsvender.—OFFICE for Advertisements, 5. +Upper Wellington-street, Covent-garden, London.</p> +<hr /> +<p>Now Ready, in small 8vo., price 3<i>s.</i> 6<i>d.</i>,</p> +<p>ANONYMOUS POEMS.</p> +<p>"The elegant version of Greek epigrams contained in this volume +shows the scholarship as well as the taste of the +writer."—<i>Britannia</i>.</p> +<p>"Many of the pieces have a very classical air, and all are +marked with an unusual degree of elegance and +power."—<i>Guardian</i>.</p> +<p>RICHARD BENTLEY, New Burlington-street.</p> +<hr /> +<p>In Crown 8vo., elegantly bound in gilt cloth, price 7<i>s</i>. +6<i>d.</i></p> +<p>MEMORIALS OF THE CASTLE OF EDINBURGH.</p> +<p>By JAMES GRANT; author of "Memoirs of Kirkaldy of Grange," "The +Romance of War," "The Scottish Cavalier," &c. With Twelve +Illustrations, engraved on Wood by BRANSTON.</p> +<p>"Of the different books of this nature that have fallen, in our +way, we do not remember one that has equalled Mr. +Grant's."—<i>Spectator</i>.</p> +<p>"Mr. Grant's very interesting history of the Castle of +Edinburgh—a work equally distinguished by research, accuracy, +and pictorial interest."—<i>Alison's Essays</i>.</p> +<p>"We have been much amused with this little book, which abounds +in pleasant and interesting episodes, and we recommend it as an +excellent specimen of local +history."—<i>Athenæum</i>.</p> +<p>WILLIAM BLACKWOOD and Sons, Edinburgh And London.</p> +<hr /> +<p>Preparing for publication, in 2 vols. small 8vo.</p> +<p>THE FOLK-LORE Of ENGLAND.</p> +<p>By WILLIAM J. THOMS, F.S.A., Secretary of the Camden Society, +Editor of "Early Prose Romances," "Lays and Legends of all +Nations," &c. One object of the present work is to furnish new +contributions to the History of our National Folk-Lore; and +especially some of the more striking Illustrations of the subject +to be found in the Writings of Jacob Grimm and other Continental +Antiquaries.</p> +<p>Communications of inedited Legends, Notices of remarkable +Customs and Popular Observances, Rhyming Charms, &c. are +earnestly solicited, and will be thankfully acknowledged by the +Editor. They may be addressed to the care of Mr. BELL, Office of +"NOTES AND QUERIES," 186. Fleet Street.</p> +<hr /> +<p>Vols. I. and II. 8vo., price 28<i>s.</i> cloth.</p> +<p>THE JUDGES OF ENGLAND; from the TIME of the CONQUEST. By EDWARD +FOSS, F.S.A.</p> +<p>"A work in which a subject of great historical importance is +treated with the care, diligence, and learning it deserves; in +which Mr. Foss has brought to light many points previously unknown, +corrected many errors, and shown such ample knowledge of his +subject as to conduct it successfully through all the intricacies +of a difficult investigation, and such taste and judgment as will +enable him to quit, when occasion requires, the dry details of a +professional inquiry, and to impart to his work, as he proceeds, +the grace and dignity of a philosophical history."—<i>Gent. +Mag.</i></p> +<p>London: LONGMAN, BROWN, GREEN, and LONGMANS.</p> +<hr class="full" /> +<p>Printed by THOMAS CLARK SHAW, of No. 8. New Street Square, at +No. 5. New Street Square, in the Parish of St. Bride, in the City +of London; and published by GEORGE BELL, of No. 186. Fleet Street, +in the Parish of St. Dunstan in the West, in the City of London, +Publisher, at No. 186. Fleet Street aforesaid.—Saturday, July +20. 1850.</p> +<hr class="full" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 13362 ***</div> +</body> +</html> |