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diff --git a/13551-h/13551-h.htm b/13551-h/13551-h.htm new file mode 100644 index 0000000..e47dc95 --- /dev/null +++ b/13551-h/13551-h.htm @@ -0,0 +1,1974 @@ +<!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 50.</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 13551 ***</div> + +<span class="pagenum"><a id="page305" name= +"page305"></a>{305}</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. 50.</b></td> +<td align="center" width="50%"><b>SATURDAY, OCTOBER 12, +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">A Note on "Small Words"</td> +<td align="right"><a href="#page305">305</a></td> +</tr> +<tr> +<td align="left">Gray's Elegy, by Bolton Corney</td> +<td align="right"><a href="#page306">306</a></td> +</tr> +<tr> +<td align="left">Gray's Elegy in Portuguese</td> +<td align="right"><a href="#page306">306</a></td> +</tr> +<tr> +<td align="left">Further Notes on the Authorship of Henry +VIII.</td> +<td align="right"><a href="#page306">306</a></td> +</tr> +<tr> +<td align="left">Queen Elizabeth and Sir Henry Nevill, by Lord +Braybrooke</td> +<td align="right"><a href="#page307">307</a></td> +</tr> +<tr> +<td align="left">Minor +Notes:—Whales—Bookbinding—Scott's +Waverley—Satyayrata</td> +<td align="right"><a href="#page307">307</a></td> +</tr> +<tr> +<td align="left">QUERIES:—</td> +<td></td> +</tr> +<tr> +<td align="left">The Black Rood of Scotland</td> +<td align="right"><a href="#page308">308</a></td> +</tr> +<tr> +<td align="left">Minor Queries:—Trogus +Pompeius—Mortuary Stanzas—Laird of +Grant—Bastille, Records of,—Orkney under +Norwegians—Swift's Works—Pride of the +Morning—Bishop Durdent and the Staffordshire +Historians—Pope and Bishop Burgess—Daniel's Irish New +Testament—Ale Draper—Eugene Aram—Latin +Epigram—Couplet in Defoe—Books wanted to refer +to—Watermarks in Writing-paper—Puzzling +Epitaph—Cornish MSS.—Bilderdijk the Poet—Egyptian +MSS.—Scandinavian Priesthood—Thomas Volusemus</td> +<td align="right"><a href="#page309">309</a></td> +</tr> +<tr> +<td align="left">REPLIES:—</td> +<td></td> +</tr> +<tr> +<td align="left">Curfew</td> +<td align="right"><a href="#page311">311</a></td> +</tr> +<tr> +<td align="left">Engelmann's Bibliotheca Scriptorum +Classicorum</td> +<td align="right"><a href="#page312">312</a></td> +</tr> +<tr> +<td align="left">Crozier and Pastoral Staff, by Rev. M. +Walcott</td> +<td align="right"><a href="#page313">313</a></td> +</tr> +<tr> +<td align="left">Parsons, the Staffordshire Giant, by E.F. +Rimbault, L.L.D.</td> +<td align="right"><a href="#page314">314</a></td> +</tr> +<tr> +<td align="left">Wormwood Wine, by S.W. Singer, &c.</td> +<td align="right"><a href="#page315">315</a></td> +</tr> +<tr> +<td align="left">Replies to Minor Queries:—Feltham's +Works—Harefinder—Fool or a Physician—Papers of +Perjury—Pilgrim's Road—Capture of Henry +VI.—Andrew Beckett—Passage in Vida—Quem +Deus—Countess of Desmond—Confession—Cayell, +Meaning of,—Lord Kingsborough's +Mexico—Aërostation—Concolinel—Andrewes's +Tortura Torti, &c.</td> +<td align="right"><a href="#page315">315</a></td> +</tr> +<tr> +<td align="left">MISCELLANEOUS:—</td> +<td></td> +</tr> +<tr> +<td align="left">Notes on Books, Sales, Catalogues, &c.</td> +<td align="right"><a href="#page319">319</a></td> +</tr> +<tr> +<td align="left">Books and Odd Volumes Wanted</td> +<td align="right"><a href="#page319">319</a></td> +</tr> +<tr> +<td align="left">Notices to Correspondents</td> +<td align="right"><a href="#page319">319</a></td> +</tr> +<tr> +<td align="left">Advertisements</td> +<td align="right"><a href="#page320">320</a></td> +</tr> +</table> +<hr class="full" /> +<h2>NOTES.</h2> +<h3>A NOTE ON "SMALL WORDS."</h3> +<blockquote> +<p>"And ten small words creep on in one dull line."</p> +</blockquote> +<p>Most ingenious! most felicitous! but let no man despise little +words, despite of the little man of Twickenham. He himself knew +better, but there was no resisting the temptation of such a line as +that. Small words he says, in plain prosaic criticism, are +generally "stiff and languishing, but they may be beautiful to +express melancholy."</p> +<p>The English language is a language of small words. It is, says +Swift, "overstocked with monosyllables." It cuts down all its words +to the shortest possible dimensions: a sort of half-Procrustes, +which lops but never stretches. In one of the most magnificent +passages in Holy Writ, that, namely, which describes the death of +Sisera:—</p> +<blockquote> +<p>"At her feet he bowed, he fell: at her feet he bowed, he fell, +he lay down: where he bowed, there he fell down dead."</p> +</blockquote> +<p>There are twenty-two monosyllables to three of greater length, +or rather to the same dissyllable thrice repeated; and that too in +common parlance proncounced as a monosyllable. The passage in the +Book of Ezekiel, which Coleride is said to have considered the most +sublime in the whole Bible,—</p> +<blockquote> +<p>"And He said unto me, son of man, can these bones live? And I +answered, O Lord God, though knowest,"—</p> +</blockquote> +<p>contains seventeen monosyllables to three others. And in the +most grand passage which commences the Gospel of St. John, from the +first to the fourteenth verses, inclusive, there are polysyllables +twenty-eight, monosyllables two hundred and one. This it may be +said is poetry, but not verse, and therefore makes but little +against the critic. Well then, out of his own mouth shall he be +confuted. In the fourth epistle of his <i>Essay on Man</i>, a +specimen selected purely at random from his works, and extending +altogether to three hundred and ninety-eight lines, there are no +less than twenty-seven (that is, a trifle more than one out of +every fifteen,) made up <i>entirely</i> of monosyllables: and over +and above these, there are one hundred and fifteen which have in +them only one word of greater length; and yet there are few dull +creepers among the lines of Pope.</p> +<p>The early writers, the "pure wells of English undefiled," are +full of "small words."</p> +<p>Hall, in one of the most exquisite of his satires, speaking of +the vanity of "adding house to house, and field to field," has +these most beautiful lines,—</p> +<div class="poem"> +<div class="stanza"> +<p>"Fond fool! six feet shall serve for all thy store,</p> +<p>And he that cares for most shall find no more!"</p> +</div> +</div> +<p>"What harmonious monosyllables!" says Mr. Gifford; and what +critic will refuse to echo his exclamation? The same writer is full +of monosyllabic lines, and he is among the most energetic +<span class="pagenum"><a name="page306" id= +"page306"></a>{306}</span> of satirists. By the way, it is not a +little curious, that in George Webster's <i>White Devil, or +Vittoria Corombona</i>, almost the same thought is also clothed in +two monosyllabic lines:—</p> +<div class="poem"> +<div class="stanza"> +<p>"His wealth is summed, and this is all his store:</p> +<p>This poor men get, and great men get no more."</p> +</div> +</div> +<p>Was Young dull? Listen, for it is indeed a "solemn +sound:"—</p> +<div class="poem"> +<div class="stanza"> +<p>"The bell strikes one. We take no note of time</p> +<p>Save by its loss, to give it then a tongue</p> +<p>Was wise in man."</p> +</div> +</div> +<p>Was Milton tame? Hear the "lost archangel" calling upon Hell to +receive its new possessor:—</p> +<div class="poem"> +<div class="stanza"> +<p class="i6">"One who brings</p> +<p>A mind not to be chang'd by place or time.</p> +<p>The mind is its own place, and in <i>itself</i></p> +<p>Can make a heav'n of hell,—a hell of heav'n.</p> +<p>What <i>matter</i> where, if I be still the same,</p> +<p>And what I should be; all but less than he</p> +<p>Whom <i>thunder</i> hath made <i>greater</i>? Here at least</p> +<p>We shall be free; the <i>Almighty</i> hath not built</p> +<p>Here for his <i>envy</i>; will not drive us hence:</p> +<p>Here we may reign <i>secure</i>; and in my choice</p> +<p>To reign is worth <i>ambition</i>, though in hell:</p> +<p><i>Better</i> to reign in hell, than serve in heav'n!"</p> +</div> +</div> +<p>A great conjunction of little words! Are monosyllables +passionless? Listen to the widowed Constance:—</p> +<div class="poem"> +<div class="stanza"> +<p>"Thou mayst, thou shalt! I will not go with thee!</p> +<p>I will <i>instruct</i> my <i>sorrows</i> to be proud;</p> +<p>For grief is proud, and makes his <i>owner</i> stout;</p> +<p>To me, and to the state of my great grief,</p> +<p>Let kings <i>assemble</i>; for my grief's so great,</p> +<p>That no <i>supporter</i> but the huge firm earth</p> +<p>Can hold it up: here I and <i>sorrow</i> sit;</p> +<p>Here is my throne: bid kings come bow to it."</p> +</div> +</div> +<p>Six polysyllables only in eight lines!</p> +<p>The ingenuity of Pope's line is great, but the criticism false. +We applaud it only because we have never taken the trouble to think +about the matter, and take it for granted that all monosyllabic +lines must "creep" like that which he puts forward as a specimen. +The very frequency of monosyllables in the compositions of our +language is one grand cause of that frequency passing uncommented +upon by the general reader. The investigation prompted by the +criticism will serve only to show its unsoundness.</p> +<p class="author">K.I.P.B.T.</p> +<hr /> +<h3>ON GRAY'S ELEGY.</h3> +<p>If required to name the most popular English poem of the last +century, I should perhaps fix on the <i>Elegy</i> of Gray. +According to Mason, it "ran through eleven editions in a very short +space of time." If he means <i>separate</i> editions, I can point +out six other impressions in the life-time of the poet, besides +those in miscellaneous collections viz. In <i>Six Poems by Mr. T. +Gray</i>, London, 1753. Folio—1765. Folio—and in +<i>Poems by Mr. Gray</i>, London, 1768. small 8o.—Glasgow +1768. 4o.—London. A new edition, 1768. small 8o. A new +edition, 1770. small 8o. So much has been said of translations and +imitations, that I shall confine myself to the text.</p> +<p>Of the <i>first</i> separate edition I am so fortunate as to +possess a copy. It is thus entitled:—</p> +<blockquote> +<p>"<i>An elegy wrote in a country church-yard</i>. LONDON: printed +for R. Dodsley in Pal-mall; and sold by M. Cooper in +Pater-noster-row, 1751. Price six-pense. 4o six leaves.</p> +<p>"Advertisement.</p> +<p>"The following POEM came into my hands by accident, if the +general approbation with which this little piece has been spread, +may be call'd by so slight a term as accident. It is this +approbation which makes it unnecessary for me to make any apology +but to the author: as he cannot but feel some satisfaction in +having pleas'd so many readers already, I flatter myself he will +forgive my communicating that pleasure to many more.</p> +<p>"The EDITOR."</p> +</blockquote> +<p>The history of this publication is given by Gray himself, in a +letter to Walpole, dated in 1751, and needs no repetition; but I +must observe, as a remarkable circumstance, that the poem was +reprinted <i>anonymously</i>, in its separate form, as late as +1763.</p> +<p>I have collated the editions of 1751 and 1770, and find +variations in stanzas 1, 3, 5, 9, 10, 12, 23, 24, and 27. All the +amendments, however, were adopted as early as 1753, except the +correction of a grammatical peccadillo in the ninth stanza.</p> +<p>I make this communication in the shape of a note, as it may +interest men of the world not less than certain <i>hermits</i>.</p> +<p class="author">BOLTON CORNEY.</p> +<hr /> +<h3>GRAY'S ELEGY IN PORTUGUESE.</h3> +<p>In several numbers of the "NOTES AND QUERIES" mention is made of +various translations into foreign languages of GRAY'S <i>Elegy in a +Country Church-yard</i>. P.C.S.S. begs leave to add to the list a +very elegant translation into Portuguese, by the Chevalier Antonio +de Aracejo (afterwards Minister of Foreign Affairs at Lisbon and at +Rio de Janeiro), to whose friendship he was indebted many years ago +for a copy of it. It was privately printed at Lisbon towards the +close of the last century, and was subsequently reprinted at Paris +in 1802, in a work called <i>Traductions interlinéaires, en +six Langues</i>, by A.M.H. Boulard.</p> +<p class="author">P.C.S.S.</p> +<hr /> +<h3>FURTHER NOTES ON THE AUTHORSHIP OF SHAKSPEARE'S HENRY +VIII.</h3> +<p>The Gentleman's Magazine for the present month contains a letter +from Mr. Spedding, the author of the essay which appeared in the +August <span class="pagenum"><a name="page307" id= +"page307"></a>{307}</span> number of that magazine on the +authorship of <i>Henry VIII.</i> After expressing himself +"gratified but not surprised" by the coincidence between his views +and those of Mr. Hickson in "NOTES AND QUERIES" (Vol. ii., p. +198.), Mr. Spedding proceeds:</p> +<blockquote> +<p>"The resemblance of the style, in some parts of the play, to +Fletcher's, was pointed out to me several years ago by Alfred +Tennyson (for I do not know why I should not mention his name); and +long before that, the general distinctions between Shakspeare's +manner and Fletcher's had been admirably explained by Charles Lamb +in his note on the <i>Two Noble Kinsmen</i>, and by Mr. Spalding in +his Essay. And in respect to this I had myself derived additional +light, more, perhaps, than I am aware of, from Mr. Hickson himself, +if he be (as I suppose he is) the S.H. of the <i>Westminster +Review</i>. But having been thus put upon the scent and furnished +with principles, I followed the inquiry out by myself, without help +or communication. That two independent inquirers should thus have +arrived at the same conclusions upon so many particulars, must +certainly be considered very singular, except upon one supposition; +viz., that the conclusions are according to reason. Upon that +supposition, nothing is more natural; and I must confess, for my +own part, that I should have been more surprised if the coincidence +had been less exact."</p> +</blockquote> +<p>We will borrow one more paragraph from Mr. Spedding's +communication (which is distinguished throughout by the liberality +of tone of a true scholar), and we doubt not that the wish +expressed at its conclusion is one in which our readers join as +heartily as ourselves:—</p> +<blockquote> +<p>"I hope, however, that Mr. Hickson may be induced to pursue his +own investigation further, and to develop more fully the suggestion +which he throws out as to a difference of style discernible in the +scenes which he attributes to Shakspeare. If I understand him +rightly, he sees traces in this play of the earlier as well as the +later hand of both poets. I cannot say that I perceive any +indications of this myself, nor, if it be so, can I well make out +how it should have come to pass. But I should be glad to hear more +about it."</p> +</blockquote> +<p>It will be seen by the following extract from Mr. Emerson's +<i>Representative Men</i>, for which we are indebted to our +correspondent A.R., that the subject had attracted the attention of +that distinguished writer.—</p> +<blockquote> +<p>"In <i>Henry VIII.</i>, I think I see plainly the cropping out +of the original rock on which his (Shakspeare's) own finer stratum +was laid. The first play was written by a superior, thoughtful man, +with a vicious ear. I can mark his lines, and know well their +cadence. See Wolsey's Soliloquy, and the following scene with +Cromwell, where, instead of the metre of Shakspeare, whose secret +is, that the thought constructs the tune, so that reading for the +sense will best bring out the rhythm; here the lines are +constructed on a given tune, and the verse has even a trace of +pulpit eloquence. But the play contains, through all its length, +unmistakeable traits of Shakspeare's hand; and some passages, as +the account of the coronation, are like autographs. What is odd, +the compliment to Queen Elizabeth is in the bad rhythm."</p> +</blockquote> +<hr /> +<h3>QUEEN ELIZABETH AND SIR HENRY NEVILL.</h3> +<p>Many years ago I copied the following note from a volume of +Berkshire pedigrees in the British Museum, my reference to which is +unluckily lost.</p> +<blockquote> +<p>"Queen Elizabeth, in her first progress at Maidenhithe Bridge, +being mett by all the Nobility, Kn'ts, and Esquires of Berks, they +kneeling on both sides of her way, shee alighted at the bridge +foot, and walked on foote through the midst, and coming just +agaynst Sir Henry Nevill of Billingbear, made a stay, and leyd her +glove on his head, saying, 'I am glad to see thee, <i>Brother +Henry</i>.' Hee, not pleased with the expression, swore she would +make the court believe hee was a bastard, at which shee laughed, +and passed on."</p> +</blockquote> +<p>The masquing scene in <i>Henry VIII.</i>, as described by +Holinshed, perhaps furnishes a clue to the Queen's pleasantry, +though Shakspeare has omitted the particular incident relating to +Sir Henry Nevill. The old chronicler, after giving an account of +Wolsey's banquet, and the entrance of a noble troop of strangers in +masks, amongst whom he suspected that the king made one, proceeds +as follows:—</p> +<blockquote> +<p>"Then the Lord Chamberlain said to the Cardinal, Sir, they +confesse that among them there is such a noble personage whom, if +your Grace can appointe out 'from the rest, he is content to +disclose himself and to accept your place.' Whereupon the Cardinal, +taking good advisement among them, at the last quoth he, 'Me +seemeth the gentleman in the black beard should be even he.' And +with that he arose out of his chaire and offered the same to the +gentleman in the black beard, with his cap in his hand. The person +to whom he offered the chaire was Sir Edward Nevill, a comelie +knight, that much more resembled the king's person in that mask +than anie other. The King perceiving the Cardinal so deceived, +could not forbear laughing, and pulled down his visor and Maister +Nevill's too."</p> +</blockquote> +<p>Sir Edward Nevill of Aldington, in Kent, was the second +surviving son of George Nevill, Lord Abergavenny, and the father of +Sir Henry Nevill above mentioned, who laid the foundation-stone and +built the body and one wing of Billingbear House, which still +belongs to his descendant. Sir Edward Nevill was beheaded for high +treason in 1538, his likeness to Henry VIII. not saving him from +the fate which befell so many of that king's unhappy +favourites.</p> +<p class="author">BRATHBROOKE.</p> +<p>Audley End.</p> +<hr /> +<h3>MINOR NOTES.</h3> +<p><i>Whales.</i>—Tychsen thinks the stories of whales +mistaken for islands originated in the perplexities of +inexperienced sailors when first venturing from <span class= +"pagenum"><a name="page308" id="page308"></a>{308}</span> the +Mediterranean into a sea exposed to the tides. I think Dr. Whewell +mentions that in particular situations the turn of the current +occurs at a sufficient interval from the time of high or low water +to perplex even the most experienced sailors.</p> +<p class="author">F.Q.</p> +<p><i>Bookbinding.</i>—While the mischief of <i>mildew</i> on +the <i>inside</i> of books has engaged some correspondents to seek +for a remedy (Vol. ii., 103. 173.), a word may be put in on behalf +of the <i>outside</i>, the binding. The present material used in +binding is so soft, flabby, and unsound, that it will not endure a +week's service. I have seen a bound volume lately, with a name of +repute attached to it; and certainly the <i>workmanship</i> is +creditable enough, but the <i>leather</i> is just as miserable as +any from the commonest workshop. The volume cannot have been bound +many months, and yet even now, though in good hands, it is +beginning to rub <i>smooth</i>, and to look, what best expresses it +emphatically, <i>shabby</i>, contrasting most grievously with the +leather of another volume, just then in use, bound some fifty or +seventy years ago, and as sound and firm as a drum's +head—<i>common</i> binding too, be it observed—as the +modern <i>cover</i> is flabby and washy. Pray, sir, raise a voice +against this wretched <i>material</i>, for that is the thing in +fault, not the workmanship; and if more must be paid for undoctored +outsides, let it be so.</p> +<p class="author">NOVUS.</p> +<p><i>Scott's Waverley.</i>—Some years ago, a gentleman of my +acquaintance, now residing in foreign parts, told me the following +story:—</p> +<blockquote> +<p>"Once upon a time," the great unknown being engaged in a +shooting-match near his dwelling, it came to pass that all the +gun-wadding was spent, so that he was obliged to fetch <i>paper</i> +instead. After Sir Walter had come back, his fellow-shooter chanced +to look at the succedaneum, and was not a little astonished to see +it formed part of a tale written by his entertainer's hand. By his +friend's urgent inquiries, the Scotch romancer was compelled to +acknowledge himself the author, and to save the well nigh destroyed +manuscript of <i>Waverley</i>.</p> +</blockquote> +<p>I do not know whether Sir Walter Scott was induced by +<i>this</i> incident to publish the first of his tales or not; +perhaps it occurred after several of his novels had been printed. +Now, if any body acquainted with the anecdote I relate should +perchance hit upon my endeavour to give it an English garb, he +would do me a pleasure by noting down the particulars I might have +omitted or mis-stated. I never saw the fact recorded.</p> +<p class="author">JANUS DOUSA.</p> +<p><i>Satyavrata.</i>—Mr. Kemble, <i>Salomon and Saturn</i>, +p. 129., does not seem to be aware that the Satyavrata in question +was one of the forgeries imposed on, and afterwards detected, by +Wilford.</p> +<p class="author">F.Q.</p> +<hr class="full" /> +<h2>QUERIES.</h2> +<h3>BLACK ROOD OF SCOTLAND.</h3> +<p>Can any of your correspondents give me any information on the +following points connected with "the Black Rood of Scotland?"</p> +<p>1. What was the history of this cross before it was taken into +Scotland by St. Margaret, on the occasion of her marriage with +Malcolm, king of Scotland? Did she get it in England or in +Germany?</p> +<p>2. What was its size and make? One account describes it as made +of gold, and another (<i>Rites of Durham</i>, p. 16.) as of +silver.</p> +<p>3. Was the "Black Rood of Scotland" the same as the "Holy Cross +of Holyrood House?" One account seems to make them the same: for in +the <i>Rites of Durham</i>, p. 16., we read,—</p> +<blockquote> +<p>"At the east end of the south aisle of the choir, was a most +fair rood, or picture of our Saviour, <i>in silver</i>, called the +<i>Black Rood of Scotland</i>, brought out of Holyrood House by +King David Bruce, and was won at the battle of Durham, with the +picture of our Lady on the one side, and St. John on the other +side, very richly wrought in silver, all three having crowns of +gold," &c. &c.</p> +</blockquote> +<p>Another account, in p. 21 of the same work, seems to make them +different; for, speaking of the battle of Neville's Cross (18th +October, 1346), it says—</p> +<blockquote> +<p>"In which said battle a <i>holy Cross</i>, which was taken out +of Holyrood House, in Scotland, by King David Bruce, was won and +taken," &c., p. 21.</p> +</blockquote> +<p>And adds,—</p> +<blockquote> +<p>"In which battle were slain seven earls of Scotland.... and also +lost <i>the said cross</i>, and many other most worthy and +excellent jewels ... together with the Black Rood of Scotland (so +termed) with Mary and John, made of silver, being, as it were, +smoked all over," &c., p. 22.</p> +</blockquote> +<p>4. If they were the same, how is the legend concerning its +discovery by the king, upon Holyrood day, when hunting in a forest +near Edinburgh, to be reconciled with the fact of its being taken +by St. Margaret into Scotland? If they were not the same, what was +the previous history of each, and which was the cross of St. +Margaret?</p> +<p>5. How is the account of Simeon of Durham, that the Black Rood +was bequeathed to Durham Priory by St. Margaret, to be reconciled +with the history of its being taken from the Scotch at the battle +of Neville's Cross?</p> +<p>6. May there not be a connexion between the legend of the +discovery of the "Holy Cross" between the horns of a wild hart +(<i>Rites of Durham</i>, p. 21.), and the practice that existed of +an offering of a stag annually made, on St. Cuthbert's day, in +September, by the Nevilles of Raby, to the Priory of Durham? May it +not have been an acknowledgement <span class="pagenum"><a name= +"page309" id="page309"></a>{309}</span> that the cross won at the +battle of Neville's Cross was believed to have been taken by King +David from the hart in the forest of Edinburgh? In the "Lament for +Robert Neville," called by Surtees "the very oldest rhyme of the +North" we read—</p> +<div class="poem"> +<div class="stanza"> +<p>"Wel, qwa sal thir hornes blaw</p> +<p class="i2">Haly rod thi day?</p> +<p>Nou is he dede and lies law</p> +<p class="i2">Was wont to blaw thaim ay."</p> +</div> +</div> +<p>7. Is it known what became of the "Holy Cross" or "Black Rood" +at the dissolution of Durham Priory?</p> +<p class="author">P.A.F.</p> +<p>Newcastle-on-Tyne.</p> +<hr /> +<h3>MINOR QUERIES.</h3> +<p><i>Trogus Pompeius.</i>—In Hannay and Dietrichsen's +<i>Almanuck for the Year</i> 1849, I find the following statement +under the head of "Remarkable Occurrences of the Year +1847:"—</p> +<blockquote> +<p>"July 21. A portion of the history of Trogus Pompeius (the +author abridged by Justin) is discovered in the library of +Ossolinski at Berlin."</p> +</blockquote> +<p>Not having noticed any contemporary account of this occurrence, +I should be glad of any information respecting the nature and +extent of the discovery.</p> +<p class="author">E.L.N.</p> +<p><i>Mortuary Stanzas.</i>—Could any of your readers supply +me with information respecting the practice of appending mortuary +stanzas to the yearly bills of mortality, published in many +parishes; whether there are any extant specimens of such stanzas +besides those memorable poems of Cowper written for the parish +clerk of Northampton; and whether, also, the practice is still kept +up in any parts of the country?</p> +<p class="author">[Greek: Philopatris].</p> +<p><i>Laird of Grant.</i>—In the north of England, I have +repeatedly heard the <i>auld wife</i> remark, on observing any +unwonted act of extravagance, such as burning more than the +ordinary number of candles, &c. &c.,—"Who is to be +Laird of Grant next year?" As this saying appears to be used only +in the north, I have no other medium at present than to seek a +reply through the aid of your valuable little work.</p> +<p class="author">SENEX.</p> +<p class="note">[A similar "saw" was formerly current in the +metropolis,—"What, three candles burning! we shall be Lord +Mayor next year."]</p> +<p><i>Bastille, MS. Records of.</i>—Are there amongst the +MSS. of the British Museum any documents relating to spies, or +political agents, employed by the French and English governments +from 1643 to 1715, who were incarcerated in the Bastille?</p> +<p class="author">M.V.</p> +<p><i>Orkney under the Norwegians.</i>—Torfæus +(<i>Orcades</i>), under the transactions of the year 1430 (p. +182-3.), has an incidental mention of the Orkneys as among the +forbidden islands, "vetitæ insulas," of which the commerce +was forbidden to strangers, and confined to the mother country, as +to this day it is with Denmark and her possessions of the Faroe +Islands and Iceland, both mentioned in the paragraph of the +historian among the islands whose commerce was restricted. It would +be very desirable to know of the social state of Orkney under the +government of Norway and its native Jarls of the Norwegian race, +and or its connexion with Norway and Denmark; and some of your +correspondents may take the trouble to point out sources of +information on the subject of this Query.</p> +<p class="author">W.H.F.</p> +<p>Kirkwall</p> +<p><i>Swift's Works.</i>—In Wilde's <i>Closing Years of Dean +Swift's Life</i> (2d edit. p. 78.) is mentioned an autograph letter +from Sir Walter Scott to C.G. Gavelin, Esq., of Dublin, in the MS. +library. T.C.D., in which he states he had nothing whatever to do +with the publication or revision of the second edition of the +<i>Works of Jonathan Swift</i>. This does not agree with the +statement given in Mr. Lockhart's <i>Life of Sir Walter Scott</i>, +2d edit. vol. vii. p. 215. Who was the editor, and in what does the +second edition differ from the first?</p> +<p class="author">W.H.F.</p> +<p>"<i>Pride of the Morning</i>."—Why is the small rain which +falls in the morning, at some seasons of the year, called "the +pride of the morning?"</p> +<p class="author">P.H.F.</p> +<p><i>Bishop Durdent and the Staffordshire Historians.</i>—It +is stated by Sampson Erdeswich, Esq., in his <i>Survey of +Staffordshire</i>, p. 164, 12mo. 1717, that—</p> +<blockquote> +<p>"Not far from Tame, Roger Durdent held Fisherwicke of the +bishop, 24 Ed. I. And 4 Ed. II. Nicholas Durdent was lord of it, +which I suppose was procured to some of his ancestors of the same +name by their kinsman Walter Durdent, Bishop of Litchfield, in +Henry II.'s time."</p> +</blockquote> +<p>but no authority is given for this statement.</p> +<p>In Shaw's <i>History of Staffordshire</i>, p. 365., fol., 1798, +it is further recorded that—</p> +<blockquote> +<p>"Walter Durdent, in the beginning of Henry II., appears to have +granted it (Fisherwicke) to some of his relations, for we find +William Durdent of Fisherwicke temp. Henry II.; and in the 40th of +Hen. III. Roger Durdent occurs, who held Fisherwicke of the bishop, +24 Ed. I. In the 4 Ed. II. Nicholas Durdent was lord of it."</p> +</blockquote> +<p>Shaw refers to Erdeswick, and to the <i>Annals of Burton +Abbey</i>, p. 364.</p> +<p>In Dr. Harwood's edition of Erdeswick, 8vo., 1844, the same +statements are repeated, but no authority is adduced. Could any of +your correspondents obligingly furnish me with the original +<span class="pagenum"><a name="page310" id= +"page310"></a>{310}</span> sources of information to which +Erdeswick had access, and also with any biographical notices of +Bishop Durdent besides those which are recorded in Godwin and Shaw? +The bishop had the privilege of coining money. (See Shaw's +<i>Staffordshire</i>, pp. 233. 265.) Are any of his coins known to +numismatists?</p> +<p class="author">F.R.R.</p> +<p><i>Pope and Bishop Burgess.</i>—To what passage in Pope's +writings does the conclusion of the following extract refer?<a id= +"footnotetag1" name="footnotetag1"></a><a href= +"#footnote1"><sup>1</sup></a></p> +<blockquote> +<p>"Digammaticæ doctrinæ idem accidit. In his +<i>Popius</i> eam in ludibrium vertit, &c. Sed eximius Poeta +neque in veteribus suæ ipsius linguæ, nedum +Græcæ monumentis versatus, tantum scilicet de antiqua +illa litera vidit, quantum <i>de Shakespearii</i> SAGITTARIO."</p> +</blockquote> +<p class="author">W.W.</p> +<blockquote class="footnote"><a id="footnote1" name= +"footnote1"></a><b>Footnote 1:</b><a href= +"#footnotetag1">(return)</a> +<p>3d ed. of Dawes's <i>Mis. Critic</i>, p. xviii, note x.</p> +</blockquote> +<p><i>Daniel's Irish New Testament.</i>—F.G.X. will be much +obliged for information on the following points:—</p> +<p>1. Which is the most correct edition, as to printing and +orthography, of Daniel's Irish New Testament?</p> +<p>2. Does the edition now on sale by the Bible Society bear the +character for incorrectness as to these points, which, judged by +itself, it appears to deserve, or is it really, though "bad, the +best?"</p> +<p>3. F.G.X. is far advanced with an Irish Testament Concordance. +Can any one possessed of the requisite information give him hope of +the acceptableness of such a publication? He should expect it to be +chiefly useful to clerical Irish students in acquiring a knowledge +of words and construction; but the lists of Irish Bibles disposed +of of late years would lead to the supposition of its being +desirable also as pointing out the place of passages to the native +reader.</p> +<p>4. Does the Cambridge University Library contain a copy of the +first edition of Daniel's translation?</p> +<p><i>Ale Draper—Eugene Aram.</i>—In Hargrove's +well-known history of Eugene Aram, the hero of Bulwer's still +better known novel, one of the guilty associates of the +Knaresborough murderer is designated as an "Ale Draper." As this +epithet never presented itself in my reading, and as I am not aware +that <i>draper</i> properly admits of any other definition than +that given by Johnson, "one who deals in cloth," may I ask whether +the word was ever in "good use" in the above sense?</p> +<p>My main purpose in writing, is to propound the foregoing Query; +but while I have the pen in hand permit me to ask,—</p> +<p>1. Whether it be possible to read the celebrated "defence," so +called, which was delivered by Aram on his trial at York, without +concurring with the jury in their verdict, and with the judge in +his sentence? In short, without a strong feeling that the prisoner +would not have been hanged, but for that over-ingenious, and +obviously evasive, address, in which the plain averment of "not +guilty" does not occur.</p> +<p>2. Has not the literary character, especially the philological +attainments, of this noted malefactor been vastly over-rated? +And</p> +<p>3. Ought not the "memoirs" of "this great man" by Mr. Scatcherd +to be ranked among the most remarkable attempts ever made, and +surely made</p> +<div class="poem"> +<div class="stanza"> +<p>"—in vain,</p> +<p>To wash the murderer from blood-guilty stain?"</p> +</div> +</div> +<p class="author">D.</p> +<p>Rotherfield</p> +<p><i>Latin Epigram.</i>—Can any of your correspondents +inform me who was the author of the following epigram:—</p> +<div class="poem"> +<div class="stanza"> +<p>IN MEMORIAM G.B.M.D.</p> +</div> +<div class="stanza"> +<p>"Te tandem tuus Oreus habet, quo civibus Orei</p> +<p>Gratius haud unquam misit Apollo caput;</p> +<p>Quippe tuo jussu terras liquere, putantque</p> +<p>Tartara se jussu linquere posse tuo."</p> +</div> +</div> +<p>The person alluded to was Sir W. Browne, M.D., the founder of +the Browne medals in the University of Cambridge. Some old fellow +of King's College may be able to inform me.</p> +<p>The medals were first given about the year 1780, and in the +first year, I presume, out of respect to the memory of the donor, +no subject was given for Epigrams. It has occurred to me, that +perhaps some wag on that occasion sent the lines as a quiz.</p> +<p class="author">W.S.</p> +<p>Richmond, Surrey</p> +<p><i>Couplet in De Foe</i>—</p> +<div class="poem"> +<div class="stanza"> +<p>"Restraint from ill is freedom to the wise,</p> +<p>And good men wicked liberties despise."</p> +</div> +</div> +<p>This couplet is at the end of the second letter in De Foe's +<i>Great Law of Subordination</i>, p. 42. Is it his own? If not, +where did he get it?</p> +<p class="author">N.B.</p> +<p><i>Books wanted to refer to</i>.—</p> +<blockquote> +<p>"Hollard's Travels (1715), by a French Protestant Minister, +afterwards suppressed by the author."</p> +<p>"Thomas Bonnell, Mayor of Norwich, Life of."</p> +<p>"Canterbury, Letters and Memoirs on the Excommunication of two +Heretics, 1698."</p> +<p>"The Book of Seventy-seven French Protestant Ministers, +presented to Will'm III."</p> +</blockquote> +<p>If any of your readers can refer me to the above works I shall +be glad. They may be in the British Museum, although I have +searched there in vain for them.</p> +<p class="author">J.S.B.</p> +<p><i>Water-marks in Writing-paper.</i>—Can any of your +correspondents indicate any guide to the dating of <span class= +"pagenum"><a name="page311" id="page311"></a>{311}</span> paper by +the water-mark. I think I have read of some work on that subject, +but have no precise recollection about it. I have now before me +several undated MSS. written on paper of which it would be very +desirable to fix the exact date. They evidently belonged to Pope, +Swift, and Lady M.W. Montague, as they contain their autographs. +They are all of that size called <i>Pro Patria</i>, and two of them +have as water-mark a figure of Britannia with a lion brandishing a +sword within a paling, and the motto <i>Pro Patria</i> over the +sword. Of one of these the opposite page has the initials GR, and +the other has IX; but the paper has been cut off in the middle of +the water-mark and only exhibits half the figure IV. Another sheet +has the royal arms (1. England and Scotland impaled, 2. France, 3. +Ireland, 4. the white horse of Hanover,) within the garter, and +surmounted by the crown, and on the opposite page GR. within a +crowned wreath. There is no doubt that they were all manufactured +between 1715 and 1740; but is there any means of arriving at a more +precise date?</p> +<p class="author">C.</p> +<p><i>Puzzling Epitaph.</i>—The following curious epitaph was +found in a foreign cathedral:—</p> +<div class="poem"> +<div class="stanza"> +<p>EPITAPHIUM.</p> +</div> +<div class="stanza"> +<p>"O quid tuæ</p> +<p>be est biæ;</p> +<p>ra ra ra</p> +<p>es et in</p> +<p>ram ram ram</p> +<p>ii."</p> +</div> +</div> +<p>The following is plainly the solution of the last four +lines:—</p> +<div class="poem"> +<div class="stanza"> +<p><i>ra, ra, ra</i>, is thrice <i>ra</i>, i.e. +<i>ter-ra=terra</i>.</p> +<p><i>ram, ram, ram</i>, is thrice <i>ram</i>, i.e. +<i>ter-ram=terram</i>.</p> +<p><i>ii</i> is <i>i</i> twice, <i>i.e. i-bis=ibis</i>.</p> +</div> +</div> +<p>Thus the last four lines are,—</p> +<div class="poem"> +<div class="stanza"> +<p>"Terra es et in terram ibis."</p> +</div> +</div> +<p>Can any one furnish a solution of the two first lines?</p> +<p class="author">J. BDN.</p> +<p class="note">[We would suggest that the first two lines are to +be read "O <i>super</i> be, quid <i>super</i> est, tuæ +<i>super</i> biæ," and the epitaph will then be—</p> +<div class="poem"> +<div class="stanza"> +<p>"O superbe quid superest tuæ superbiæ</p> +<p>Terra es, et in terram ibis."—ED.]</p> +</div> +</div> +<p><i>MSS. of Cornish Language.</i>—Are there any ancient +MSS. of the Cornish language, or are there any works remaining in +that language, besides the <i>Calvary</i> and <i>Christmas +Carol</i> published by the late Davies Gilbert?</p> +<p class="author">J.A. GILES.</p> +<p><i>Bilderdijk the Poet.</i>—Banished from his native +country, disowned by his own countrymen, the Dutch poet Willem +Bilderdijk pitched his tent for a while on the hospitable soil of +Old England. Prince William V. residing in 1795 at Hampton Court, +he resolved to stay there; but, possessing no income at all, and, +like the sage of antiquity, having saved nothing from the shipwreck +but his genius, he shifted his dwelling-place to London, where he +gave lessons in drawing, languages, and various, even medical, +sciences. He was married in England to Katharine Wilhelmina +Schweickhardt, on the 18th of May, 1797. His residence in the +birthplace of "NOTES AND QUERIES" makes me ask, if there be still +persons living, who remember him as teacher, friend, or poet? A +presentation-copy of Mrs. Bilderdijk's translation of <i>Rodrick, +the Last of the Goths</i>, was offered to Southey, accompanied by a +Latin letter from her spouse. The poet-laureate visiting Leyden in +the summer of 1825, Bilderdijk would not suffer him to remain +lodged in the inn, where an injury to his leg urged him to favour +the landlord with a protracted stay. Southey was transported +accordingly to the Dutch poet's house; and did not leave it before +he was cured, several weeks having elapsed in the meanwhile. +Mention of this fact is made in a poem the British bard addresses +to Cuninghame. I do not know whether it is alluded to in Southey's +<i>Life</i>.</p> +<p>Bilderdijk's foot was crushed accidentally, in the sixth year of +his age, by one of his play-fellows; and thus he, who, by his +natural disposition seemed to be destined to a military career, was +obliged to enlist in the <i>militia togata</i>. He fought the good +fight in verse. It is remarkable that Byron and Sir Walter Scott, +his cotemporaries, were also lame or limping.</p> +<p class="author">JANUS DOUSA.</p> +<p><i>Egyptian MSS.</i>—What is the age of the oldest MS. +found in Egypt? Are there any earlier than the age of +Alexander?</p> +<p class="author">J.A. GILES.</p> +<p><i>Scandinavian Priesthood.</i>—Will one of your +correspondents do me the favour to let me know the best authority I +can refer to for information as to the priesthood of the +Scandinavians; the mode of their election, the rank from which they +were generally chosen, whether they were allowed to marry, +&c.?</p> +<p class="author">MAX BRANDESON.</p> +<p><i>Thomas Volusemus (or Wilson?).</i>—Is anything known of +Thomas Volusemus (Wilson?) who edited the works of his +father-in-law, Patrick Adamson, titular Archbishop of St. Andrew's, +which were published in London A.D. 1619?</p> +<p class="author">H.A.E.</p> +<hr class="full" /> +<h2>REPLIES.</h2> +<h3>CURFEW.</h3> +<p>We have received the following Replies to NABOC'S inquiry (Vol. +ii., p. 103.) as to where the custom of ringing the curfew still +remains.</p> +<p><i>Bingley in Yorkshire.</i>—In the town of Bingley, +<span class="pagenum"><a name="page312" id= +"page312"></a>{312}</span> in Yorkshire, the custom of ringing the +curfew existed in the year 1824. It may have been discontinued +since that year, but I do not know that it has.</p> +<p>It is also the custom at Blackburn, in Lancashire; and it was, +if it is not now, at Bakewell in Derbyshire.</p> +<p class="author">H.J.</p> +<p><i>Bromyard, Herefordshire.</i>—The curfew is still rung +at Bromyard, Herefordshire, at nine P.M., from the 5th of November, +until Christmas Day; and the bell is afterwards tolled the number +of the day of the month. Why it is merely confined to within the +above days, I could never ascertain.</p> +<p class="author">G.F.C.</p> +<p><i>Waltham-on-the-Wolds.</i>—The curfew is still rung at +Waltham-on-the-Wolds, Leicestershire, at five A.M., eight P.M. in +summer, and at six A.M., seven P.M. in winter; the bell also +tolling the day of the month.</p> +<p class="author">R.J.S.</p> +<p><i>Oxfordshire.</i>—I see that NABOC's inquiry about the +curfew is answered at p. 175. by a reference to the <i>Journal of +the British Archæological Association</i>. The list there is +probably complete: but lest it should omit any, I may as well +mention, from my own knowledge, Woodstock, Oxon, where it rings +from eight to half-past eight in the evening, from October to +March; Bampton and Witney, Oxon, and Stow, in Gloucester; at some +of which places it is also rung at four in the morning.</p> +<p class="author">C.</p> +<p><i>Chertsey, Surrey.</i>—In the town of Chertsey in +Surrey, the curfew is regularly tolled for a certain time at eight +every evening, but only through the winter months. There is also a +curious, if not an uncommon, custom kept up with regard to it. +After the conclusion of the curfew, and a pause of half a minute, +the day of the month is tolled out: one stroke for the 1st, two for +the 2nd, and so on.</p> +<p class="author">H.C. DE ST. CROIX.</p> +<p><i>Penrith.</i>—The curfew bell continues to be rung at +Penrith, in Cumberland, at eight o'clock in the evening, and is the +signal for closing shops, &c.</p> +<p><i>Newcastle-upon-Tyne.</i>—The curfew is still rung by +all the churches of Newcastle-upon-Tyne at eight in the evening; +and its original use may be said to be preserved to a considerable +extent, for the greater bulk of the shops make it a signal for +closing.</p> +<p class="author">G. BOUCHIER RICHARDSON.</p> +<p><i>Morpeth.</i>—The curfew bell is still rung at eight +P.M. at Morpeth in Northumberland.</p> +<p class="author">E.H.A.</p> +<p><i>Exeter.</i>—The curfew is rung in Exeter Cathedral at +eight P.M.</p> +<p>The present practice is to toll the bell thirty strokes, and +after a short interval to toll eight more; the latter, I presume, +denoting the hour.</p> +<p class="author">G.T.</p> +<p><i>Winchester.</i>—Curfew is still rung at Winchester.</p> +<p class="author">AN OLD COMMONER PREFECT.</p> +<p><i>Over, near Winsford, Cheshire.</i>—The custom of +ringing the curfew is still kept up at Over, near Winsford, +Cheshire; and the parish church, St. Chads, is nightly visited for +that purpose at eight o'clock. This bell is the signal amongst the +farmers in the neighbourhood for "looking up" their cattle in the +winter evenings; and was, before the establishment of a public +clock in the tower of the Weaver Church at Winsford, considered the +standard time by which to regulate their movements.</p> +<p class="author">A READER.</p> +<p class="note">[We are indebted to the courtesy of the Editor of +the <i>Liverpool Albion</i> for this Reply, which was originally +communicated to that paper.]</p> +<p><i>The Curfew</i>, of which some inquiries have appeared in the +"NOTES AND QUERIES," is generally rung in the north of England. But +then it is also common in the south of Scotland. I have heard it in +Kelso, and other towns in Roxburghshire. The latter circumstance +would appear to prove that it cannot have originated with the +Norman conqueror, to whom it is attributed.</p> +<p class="author">W.</p> +<hr /> +<h3>ENGELMANNS BIBLIOTHECA SCRIPTORUM CLASSICORUM.</h3> +<h4>(Vol. ii., p. 296.)</h4> +<p>The shortest reply to MR. DE MORGAN'S complaint against a +foreign bookseller would be, that <i>Engelmann himself</i> printed +for any of the purchasers of a large number of his Catalogues the +titles to which MR. DE MORGAN objects so much.</p> +<p>Will you allow me to add one or two remarks occasioned by MR. DE +MORGAN'S strictures?</p> +<p>1. Engelmann is not, strictly speaking, a bookseller, and his +catalogues are not booksellers' catalogues in the sense in which +that term is generally received here. He is a publisher and +compiler (and an admirable one) of general classified catalogues +for the use of the trade and of students, without any reference to +his stock, or, in many instances, to the possibility of easily +acquiring copies of the books enumerated: and although he +<i>might</i> execute an order from his catalogues, getting orders +is <i>not</i> the end for which <i>he</i> publishes them.</p> +<p>2. Some foreign houses in London, as well as in other countries, +bought a large number of his Catalogues, not as a <i>book</i> but +as a <i>catalogue</i>, to be supplied to their customers at the +bare cost, or, where it appears advisable, to be delivered gratis +to purchasers of a certain amount.</p> +<p>3. It appears to me pardonable if, under these circumstances, a +notice is inserted on the title, that orders may be directed to the +house which has purchased a number, and supplies them without any +immediate profit; and I may add that I do <span class= +"pagenum"><a name="page313" id="page313"></a>{313}</span> not +believe any of the houses concerned would object to a notice being +taken of such a proceeding in your paper.</p> +<p>4. The error in omitting the words "from 1700" on the +title-page, is one to which MR. DE MORGAN'S notice first directed +my attention, classics printed before that date not being commonly +in demand among foreign booksellers.</p> +<p>5. The practice of compiling catalogues for general use, with +the names of the purchasers of any number of copies of the +catalogue inserted on the title or wrapper, is very common in +Germany.</p> +<p>Hinrichs of Leipsic issues—</p> +<p>1. A Six-monthly Alphabetical Catalogue, with a systematic +index;</p> +<p>2. A Quarterly Catalogue, systematically arranged, with an +alphabetical index;</p> +<p>Vandenhoeck of Gottigen issues <i>half-yearly</i>—</p> +<p>1. A Bibliotheca Medico-Chirurgica et Pharmaceuto-Chemica;</p> +<p>2. A Bibliotheca Theologica, for Protestant theology;</p> +<p>3. A Bibliotheca Classica et Philologica;</p> +<p>4. A Bibliotheca Juridica;</p> +<p>and Engelmann, from time to time, numerous general +catalogues;—</p> +<p>all of which are not only supplied to London houses, with +English titles, but may be had all over Germany, with the firms of +different booksellers inserted as publishers of the catalogue.</p> +<p>Will you make use of the above in any way in which you may think +it of advantage to your readers?</p> +<p class="author">ANOTHER FOREIGN BOOKSELLER.</p> +<hr /> +<h3>CROZIER AND PASTORAL STAFF.</h3> +<h4>(Vol. ii., p. 248.)</h4> +<p>A correspondent inquires what was the difference between a +crozier and a pastoral staff. The crozier (<i>Crocia</i>, +Mediæval Latin), Fr. <i>Crosse</i>, Ital. <i>Rocco +Pastorale</i>, German. <i>Bischofstab</i>, is the ornamental staff +used by archbishops and legates, and derives its name from the +cross which surmounts it. A crozier behind a pall is borne on the +primatial arms of Canterbury. The use of the crozier can only be +traced back to the 12th century. <i>Cavendish</i> mentions "two +great crosses of silver, whereof one of them was for his +archbishoprick and the other for his legatry, always before" +Cardinal Wolsey. The fact did not escape Master <i>Roy</i>, who +sings thus:—</p> +<div class="poem"> +<div class="stanza"> +<p>"Before him rydeth two Prestes stronge,</p> +<p>And they beare two Crosses right longe,</p> +<p class="i2">Gapinge in every man's face."</p> +</div> +</div> +<p><i>Hall</i> says that he removed from Whitehall "with one +cross." In the Eastern Church patriarchs only have a crozier; a +patriarch has two transverse bars upon his crozier, the Pope +carries three.</p> +<p>The pastoral staff was the ensign of bishops. Honorius describes +it as in the form of a shepherd's crook, made of wood or bone, +united by a ball of gold or crystal, the lower part of the staff +being pointed.</p> +<blockquote> +<p>"In Evangelio Dominus Apostolis præcepit, ut in +prædcatione nihil præter virgam tollerent. Et +quià Episcopi pastores gregis Dominici sunt, ideò +baculum in custodiâ præferunt: per baculum, quo infirmi +sustentatur, auctoritas doctrinæ designatur; per virgam, +quà improbi emendantur, potestas regiminis figuratur. +Baculum ergò Pontifices portant, ut infirmos in Fide per +doctrinam erigant. Virgam bajulant, ut per potestatem inquietos +corrigant: quæ virga vel baculus est recurvus, ut aberrantes +à grege docendo ad poenitetiam trabat; in extremo est +acutus, ut rebelles excommunicando retrudat; hæreticos, velut +lupos, ab ovili Christi potestativè exterreat."—<i>In +Gemmâ Animæ</i>, lib. i. cap. 218, 219., <i>apud +Hitterpium</i>.</p> +</blockquote> +<p>In its primitive form it appears to have been a staff shaped +like a T, and used to lean upon. It was gradually lengthened, and +in some cases was finished at the top like a mace. The pastoral +staff is mentioned in the <i>Life of S. Cæsarius of +Arles</i>. Gough says that the pastoral staff found in the coffin +of Grostete, Bp. of Lincoln, who died in 1254, was made of red wood +ending in a rudely shaped ram's horn. It was inscribed:</p> +<div class="poem"> +<div class="stanza"> +<p>"Per baculi formam</p> +<p>Prælati discite normam."</p> +</div> +</div> +<p>In the first prayer-book of the Reformed English Church, 2 +Edward VI., at the time of the holy communion the bishop is +directed to have "<i>his pastoral staff in his hand, or else borne +by his chaplain</i>." It was used in solemn benedictions; and so +lately as at the coronation of Queen Elizabeth. The second book of +King Edward VI., published A.D. 1552, being revived in that reign, +the use of the staff was discontinued, as we find by the +consecration service of Archbishop Parker.</p> +<blockquote> +<p>"Postq' hæc dixissent, ad reliqua Communionis solemnia +permit Cicestren. nullu. Archie'po tradens Pastorale +baculum."—<i>Bramhall</i>, vol. iii. p. 205., Part i. Disc. +5. App., Oxon. 1844.</p> +</blockquote> +<p>A crozier was borne at the funerals of Brian Duppa, of Winton, +A.D. 1662; Juxon of London, 1663; Frewen of York, 1664; Wren of +Ely, 1667; Cosin of Dunelm, 1671; Trelawney of Winton, 1721; +Lindsay of Armagh, 1724. It is engraven on the monuments of +Goodrich of Ely, 1552; Magrath of Cashel, 1622; Hacket of +Lichfield, 1670; Creggleton of Wells, Lamplugh of York, 1691; +Sheldon, 1677; Hoadley of Winton, and Porteus of London. Their +croziers (made of gilt metal) were suspended over the tombs of +Morley, 1684, and Mews, 1706. The bishop's staff had its crook bent +outwards to signify that his jurisdiction extended over his +diocese; that of the abbot inwards, as his authority was limited to +his house. The crozier of Matthew Wren was of silver <span class= +"pagenum"><a name="page314" id="page314"></a>{314}</span> with the +head gilt. When Bp. Fox's tomb was opened at Winchester some few +years since, his staff of oak was found in perfect preservation. A +staff of wood painted in azure and gilt, hangs over Trelawney's +tomb in Pelynt Church, Cornwall. The superb staff of the pious and +munificent founder of the two St. Marie Winton Colleges is still +preserved at Oxford, as is also that of the illustrious Wykehamist, +Bp. Fox, to whose devotion we owe Corpus Christi College in that +university. One of the earliest tombs bearing a staff incised, is +that of Abbot Vitalis, who died in 1082, and may be seen in the +south cloister of St. Peter's Abbey in Westminster. There were +croziered as well as mitred abbots: for instance, the superior of +the Benedictine abbey at Bourges had a right to the crozier, but +not to the mitre. The Abbot of Westminster was croziered and +mitred. I intended to write a reply, but have enabled with a +note.</p> +<p class="author">MACKENZIE WALCOTT, M.A.</p> +<p>7. College Street, Westminster</p> +<p>J.Z.P. will find a fully satisfactory answer to his Query, in +regard to the real difference between the crozier and the pastoral +staff, on referring to the article headed "Crozier," in the +<i>Glossary of Architecture</i>. It is there stated, that "the +crozier of an archbishop is surmounted by a cross; but it was only +at a comparatively late time, about the 12th century, that the +archbishop laid aside the pastoral staff, to assume the cross as an +appropriate portion of his personal insignia." From which it may be +inferred, that the only existent real difference between the +crozier and the pastoral staff is, that the former is surmounted by +a cross, and the latter is as it was before the 12th century, viz., +surmounted by "a head curled round something in the manner of a +shepherd's crook;" and the difference in regard to their use, that +the crozier pertains to the archbishops, and the pastoral staff to +the bishops.</p> +<p class="author">R.W. ELLIOT</p> +<p>Cheltenham, Sept. 16. 1850.</p> +<hr /> +<h3>PARSONS, THE STAFFORDSHIRE GIANT.</h3> +<h4>(Vol. ii., p. 135.)</h4> +<p>Harwood's note in Erdeswick's <i>Staffordshire</i>, quoted by +your correspondent C.H.B., is incorrect, inasmuch as the writer has +confused the biographies of two distinct "giants"—WALTER +PARSONS, porter to King James I., and WILLIAM EVANS, who filled the +same office in the succeeding reign.</p> +<p>The best account of these two "worthies" is that found in +Fuller, and which I extract from the original edition now before +me:—</p> +<blockquote> +<p>WALTER PARSONS, born in this county [Staffordshire], was first +apprenticed to a smith, when he grew so tall in stature, that a +hole was made for him in the ground to stand therein up to the +knees, so to make him adequate with his fellow-workmen. He +afterwards was porter to King <i>James</i>; seeing as gates +generally are higher than the rest of the building, so it was +sightly that the porter should be taller than other persons. He was +proportionable in all parts, and had strength equal to height, +valour to his strength, temper to his valour, so that he disdained +to do an injury to any single person. He would make nothing to take +two of the tallest <i>yeomen</i> of the <i>guard</i> (like the +<i>Gizard</i> and <i>Liver</i>) under his arms at once, and order +them as he pleased.</p> +<p>"Yet were his parents (for aught I do understand to the +contrary) but of an ordinary stature, whereat none will wonder who +have read what <i>St. Augustine</i> (<i>De Civitate Dei</i>, lib. +xv. cap. 23.) reports of a woman which came to <i>Rome</i> (a +little before the sacking thereof by the <i>Goths</i>), of so +giant-like a height, that she was far above all who saw her, though +infinite troopes came to behold the spectacle. And yet he addeth, +<i>Et hoc erat maximæ admirationis, quod ambo parentes ejus, +&c</i>. This made men most admire, that both her parents were +but of ordinary stature. This <i>Parsons</i> is produced for proof, +that all ages afford some of extraordinary height, and that there +is no general decay of mankind in their <i>dimensions</i>, which, +if there were, we had ere this time shrunk to be lower than +<i>Pigmyes</i>, not to instance in a lesse proportion. This +<i>Parsons</i> died Anno Dom. 1620."—Fuller's <i>History of +the Worthies of England</i>, 1662 (<i>Staffordshire</i>), p. +48.</p> +<p>"WILLIAM EVANS was born in this county [Monmouthshire], and may +justly be accounted the <i>Giant</i> of our age for his stature, +being, full two yards and a half in height. He was porter to King +<i>Charles I.</i>, succeeding, <i>Walter Persons</i> [sic] in his +place, and exceeding him two inches in height, but far beneath him +in an equal proportion of body; for he was not onely what the +<i>Latines</i> call <i>compernis</i>, knocking his knees together, +and going out squalling with his feet, but also haulted a little; +yet made a shift to dance in an antimask at court, where he drew +little Jeffrey, the dwarf, out of his pocket, first to the wonder, +then to the laughter, of the beholders. He dyed <i>Anno Dom</i>. +1630." <i>Ibid. (Monmouthshire)</i>, p. 54.</p> +</blockquote> +<p>From these extracts it will be seen that the Christian name of +Parsons was <i>Walter</i>, not William, as stated by Harwood. +<i>William</i> was the Christian name of Evans, Parsons' successor. +The bas-relief mentioned by the same writer represents William +Evans and Jeffrey Hudson, his diminutive fellow-servant. It is over +the entrance of <i>Bull-head Court</i>, Newgate Street; not "a +bagnio-court," which is nonsense. On the stone these words are cut: +"The King's Porter, and the Dwarf," with the date 1660. This +bas-relief is engraved in Pennant.</p> +<p>There is a picture of Queen Elizabeth's giant porter at Hampton +Court but I am not aware that any portrait of Parsons is preserved +in the Royal Collections.</p> +<p class="author">EDWARD F. RIMBAULT.</p> +<hr /> +<span class="pagenum"><a name="page315" id= +"page315"></a>{315}</span> +<h3>EISELL AND WORMWOOD WINE.</h3> +<h4>(Vol. ii., p. 249.)</h4> +<p>If Pepys' friends actually did <i>drink up</i> the two quarts of +<i>wormwood wine</i> which he gave them, it must, as LORD +BRAYBROOKE suggests, have been rendered more palatable than the +<i>propoma</i> which was in use in Shakspeare's time. I have been +furnished by a distinguished friend with the following, among other +Notes, corroborative of my explanation of <i>eisell</i>:</p> +<blockquote> +<p>"I have found no better recipe for making wormwood wine than +that given by old Langham in his <i>Garden of Health</i>; and as he +directs its use to be confined to 'Streine out a <i>little</i> +spoonful, and drinke it with a draught of ale or wine,' I think it +must have been so atrociously unpalatable, that to <i>drink it +up</i>, as Hamlet challenged Laertes to do, would have been as +strong an argumentum ad stomachum as to digest a crocodile, even +when appetised by a slice of the loaf."</p> +</blockquote> +<p>It is evident, therefore, that but small doses of this +nauseously bitter medicament were taken at once, and to take a +large draught, <i>to drink up</i> a quantity, "would be an extreme +pass of amorous demonstration sufficient, one would think, to have +satisfied even Hamlet." Our ancestors seem to have been partial to +medicated wines; and it is most probable that the wormwood wine +Pepys gave his friends had only a slight infusion of the bitter +principle; for we can hardly conceive that such "pottle draughts" +as two quarts could be taken as a treat, of such a nostrum as the +<i>Absinthites</i>, or wormwood wine, mentioned by Stuckius, or +that prescribed by the worthy Langham.</p> +<p class="author">S.W. SINGER.</p> +<p>Mickleham, Sept. 30. 1850.</p> +<p><i>Eisell</i> (Vol. ii., p. 242.).—The attempt of your +very learned correspondent, MR. SINGER, to show that "eisell" was +<i>wormwood</i>, is, I fear, more ingenious than satisfactory. It +is quite true that wormwood wine and beer were ordinary beverages, +as wormwood bitters are now; but Hamlet would have done little in +challenging Laertes to a draught of wormwood. As to "eisell," we +have the following account of it in the "Via Recta ad Vitam longam, +or a Plaine Philosophical Discourse of the Nature, Faculties, and +Effects of all such Things as by way of Nourishments, and +Dieteticale Observations make for the Preservation of Health, +&c. &c. By Jo. Venner, Doctor of Physicke at Bathe in the +Spring and Fall, and at other Times in the Burrough of +North-Petherton, neere to the Ancient Haven Towne of Bridgewater in +Somersetshire. London, 1620."</p> +<blockquote> +<p>"Eisell, or the vinegar which is made of cyder, is also a good +sauce, it is of a very penetrating nature and is like to verjuice +in operation, but it is not so astringent, nor altogether so cold," +p. 97.</p> +</blockquote> +<p class="author">J.R.N.</p> +<hr /> +<h3>REPLIES TO MINOR QUERIES.</h3> +<p><i>Feltham's Works</i> (Vol. ii., p. 133.).—In addition to +the works enumerated by E.N.W., Feltham wrote <i>A Discourse upon +Ecclesiastes</i> ii. 11.; <i>A Discourse upon St. Luke</i> xiv. +20.; and <i>A Form of Prayer composed for the Family of the Right +Honourable the Countess of Thomond</i>. These two lists, I believe, +comprise the whole of his writings. The meaning of the passage in +his <i>Remarks on the Low Countries</i>, appears to be this, that a +person "courtly or gentle" would receive as little kindness from +the inhabitants, and show as great a contrast to their boorishness, +as the handsome and docile merlin (which is the smallest of the +falcon tribe, anciently denominated "noble"), among a crowd of +noisy, cunning, thievish crows; neither remarkable for their beauty +nor their politeness. The words "after Michaelmas" are used because +"the merlin does not breed here, but visits us in October." +<i>Bewick's British Birds</i>, vol. i. p. 43.</p> +<p class="author">T.H. KERSLEY.</p> +<p>King William's College, Isle of Man.</p> +<p><i>Harefinder</i> (Vol. ii., p. 216.).—The following lines +from Drayton's <i>Polyolbion</i>, Song 23., sufficiently +illustrates this term:—</p> +<div class="poem"> +<div class="stanza"> +<p>"The man whose vacant mind prepares him to the sport</p> +<p>The <i>Finder</i> sendeth out, to seeke out nimble +<i>Wat</i>,—</p> +<p>Which crosseth in the field, each furlong every flat,</p> +<p>Till he this pretty beast upon the form hath found:</p> +<p>Then viewing for the course which is the fairest ground,</p> +<p>The greyhounds forth are brought, for coursing then in case,</p> +<p>And, choycely in the slip, one leading forth a brace;</p> +<p>The Finder puts her up, and gives her coursers' law,"</p> +<p>&c.</p> +</div> +</div> +<p>In the margin, at the second line, are the words, <i>The +Harefinder</i>. What other instances are there of <i>Wat</i>, as a +name of the hare? It does not occur in the very curious list in the +<i>Reliquiæ Antiquæ</i>, i. 133.</p> +<p class="author">K.</p> +<p><i>Fool or a Physician—Rising and Setting Sun</i> (Vol. +i., p. 157.).—The inquiry of your correspondent C. FORBES, +respecting the authorship of the two well-known sayings on these +subjects, seems to have received no reply. He thinks that we owe +them both to that "imperial Macchiavel, Tiberius." He is right with +respect to the one, and wrong with regard to the other. The saying, +"that a man after thirty must be either a fool or a physician," +had, as it appears, its origin from Tiberius; but the observation +that "more worship the rising than the setting sun," is to be +attributed to Pompey.</p> +<p>Tacitus says of Tiberius, that he was "solitus eludere medicorum +artes, atque eos qui post tricesimum ætatis annum ad +internoscenda corpori <span class="pagenum"><a name="page316" id= +"page316"></a>{316}</span> suo utilia vel noxia alieni consilia +indigerent." <i>Annal</i>. vi. 46. Suetonius says: "Valetudine +prosperrimâ usus est,—quamvis a tricesimo ætatis +anno arbitratu eam suo rexerit, sine adjumento consiliove +medicorum." <i>Tib.</i> c. 68. And Plutarch, in his precepts <i>de +Valetudine tuendâ</i>, c. 49., says—</p> +<blockquote> +<p>[Greek: "Aekousa Tiberion pote Kaisara eipein, hos anaer huper +hexaekonta [sic vulgò, sed bene corrigit Lipsius ad Tac. +loc. cit. triakonta] gegonos etae, kai proteinon iatro cheira, +katagelastos estin."]</p> +</blockquote> +<p>These passages sufficiently indicate the origin of the saying; +but who first gave it the pointed form in which we now have it, by +coupling <i>fool</i> with <i>physician</i>, I am not able to +tell.</p> +<p>The authority for giving the other saying to Pompey, is +Plutarch, who says that when Pompey, after his return from Africa, +applied to the senate for the honour of a triumph, he was opposed +by Sylla, to whom he observed, [Greek: "Oti ton aelion anatellonta +pleiones ae duomenon proskunousin,"] that more worship the rising +than the setting sun—intimating that his own power was +increasing, and that of Sylla verging to its fall. (<i>Vit. +Pomp</i>. c. 22.)</p> +<p class="author">J.S.W.</p> +<p>Stockwell, Sept. 7.</p> +<p><i>Papers of Perjury</i> (Vol. ii., p. 182.).—In the +absence of a "graphic account," it may interest your correspondent +S.R. to be referred to the two following instances of "perjurers +wearing papers denoting their crime." In <i>Machyn's Diary</i>, +edited by the accomplished antiquary, John Gough Nichols, Esq., and +published by the Camden Society, at p. 104. occurs the +following:—</p> +<blockquote> +<p>"A.D. 1556, April 28th.... The sam day was sett on the pelere in +Chepe iij. [men; two] was for the preuerment of wyllfull perjure, +the iij. was for wyllfull perjure, with <i>paper sett over their +hedes</i>."</p> +</blockquote> +<p>In the same works at p. 250., we have also this additional +illustration:</p> +<blockquote> +<p>"A.D. 1560—I. The xij. day of Feybruary xj. men of the +North was of a quest; because they gayff a wrong evyde [nee, and] +thay ware paper <i>a-pon their hedes</i> for perjure."</p> +</blockquote> +<p class="author">J. GOODWIN.</p> +<p>Birmingham.</p> +<p><i>Pilgrims' Road to Canterbury.</i>—Being acquainted with +the road to which your correspondent S.H. (Vol. ii., p. 237.) +alludes, he will, perhaps, allow me to say, that in the +neighbourhood of Kemsing a tradition is current, that a certain +line of road, which may be traced from Otford to Wrotham, was the +pilgrims' road from <i>Winchester</i> to Canterbury. How far this +may be correct I know not.</p> +<p>I have not been able to discover any road in the neighbourhood +of this city which goes by the name of the <i>pilgrims'</i> +road.</p> +<p>If any of your correspondents would furnish any particulars +respecting this road, I shall feel much obliged.</p> +<p class="author">R.V.</p> +<p>Winchester.</p> +<p><i>Capture of Henry VI.</i> (Vol. ii., p. 228.).—In his +correction of your correspondent, CLERICUS CRAVENSIS, MR. NICHOLS +states:—</p> +<blockquote> +<p>"Both Sir John Tempest and Sir James Harrington of Brierley, +near Barnesley, were concerned in the king's capture, and each +received 100 marks reward; but the fact of Sir Thomas Talbot being +the chief actor, is shown by his having received the larger reward +of 100<i>l.</i>"</p> +</blockquote> +<p>In this statement appears entirely to have been overlooked the +grant of lands made by King Edward IV. to Sir James +Harrington—</p> +<blockquote> +<p>"For his services in taking prisoner, and withholding as such in +diligence and valour, his enemy Henry, lately called King Henry +VI."</p> +</blockquote> +<p>This grant, which was confirmed in Parliament, embraced the +castle, manor, and domain of Thurland; a park, called Fayzet Whayte +Park, with lands, &c. in six townships in the county of +Lancaster; lands at Burton in Lonsdale, co. York; and Holme, in +Kendal, co. Westmoreland, the forfeited lands of Sir Richard +Tunstell, and other "rebels." So considerable a recognition of the +services of Sir James Harrington would seem to demand something +more than the second-rate position given to them by your +correspondent. The order to give Sir James Harrington possession of +the lands under his grant will be found in Rymer. The grant itself +is printed in the <i>Nugæ Antiquæ</i>, by Henry +Harrington, 1775 (vol. ii. p. 121.), and will, I believe, be found +in Baines' <i>Lancashire</i>. Mr. Henry Harrington observes that +the lands were afterwards lost to his family by the misfortune of +Sir James and his brother being on the wrong side at Bosworth +Field; after which they were both attainted for serving Richard +III. and Edward IV., "and commanding the party which seized Henry +VI. and conducted him to the Tower."</p> +<p class="author">H.K.S.C.</p> +<p>Brixton.</p> +<p><i>Andrew Becket</i> (Vol. ii., p. 266.), about whom A.W. +HAMMOND inquires, when I knew him, about twelve years ago, was a +strange whimsical old gentleman, full of "odd crotchets," and +abounding in theatrical anecdote and the "gossip of the +green-room." But as to his ever having been "a <i>profound</i> +commentator on the dramatic works of Shakspeare," I must beg leave +to express my doubts. At one period he filled the post of +sublibrarian to the Prince Regent; and that he was "ardently +devoted to the pursuits of literature" cannot be a question.</p> +<p>His published works, as far as I can learn, are as +follows:—</p> +<span class="pagenum"><a name="page317" id= +"page317"></a>{317}</span> +<blockquote> +<p>1. A Trip to Holland, 1801.</p> +<p>2. Socrates, a dramatic poem, 8vo. 1806.</p> +<p>3. Lucianus Redivivus, or Dialogues concerning Men, Manners, and +Opinions, 8vo. 1812.</p> +<p>4. Shakspeare's Himself, or the Language of the Poet asserted; +being a full but dispassionate Examin of the Readings and +Interpretations of the several Editors, 2 vols. 8vo. 1815.</p> +</blockquote> +<p class="author">EDWARD F. RIMBAULT.</p> +<p><i>Passage in Vida</i> (Vol. i., p. 384.).—Your +correspondent A.W. asks for some light on the lines of Vida, +<i>Christiad</i>, i. 67.:</p> +<div class="poem"> +<div class="stanza"> +<p>"Quin age, te incolumi potius....</p> +<p>...</p> +<p>Perficias quodcumque tibi nunc instat agendum."</p> +</div> +</div> +<p>He cannot construe "te incolumi." No wonder. Will not all be set +right by reading, "Quin age, et incolumi," &c.?</p> +<p class="author">J.S.W.</p> +<p>Stockwell, Sept. 7.</p> +<p>"<i>Quem Deus vult perdere</i>" (Vol. i., p. 347., +&c.).—To the illustrations of the saying "<i>Quem Deus +vult perdere prius dementat</i>," which have been given, may be +added the following from the <i>Fragments of Constantinus +Manasses</i> (edited with <i>Nicet. Eugen</i>., by Boissonade. +Paris, 1819), book viii. line 40.:—</p> +<div class="poem"> +<div class="stanza"> +<p>[Greek: "Ho gar theos aptomenos anthropou dianoias</p> +<p>Haenika to dusdaimoni kirnaesi penthous poma,</p> +<p>Ouden pollakis sugchorei bouleusasthai sumpheron."]</p> +</div> +</div> +<p class="author">J.E.B. MAYOR.</p> +<p>Marlborough College.</p> +<p><i>Countess of Desmond</i> (Vol. ii., pp. 153. 186.).—R. +is referred to Smith's <i>History of Cork</i>, and <i>European +Magazine</i>, vol. viii., for particulars respecting the Countess +of Desmond. They show her picture at Knowle House, Kent, or +Penshurst (I forget which); and tell the story of the fall from the +cherry (or plum) tree, adding that she cut three sets of teeth!</p> +<p class="author">WEDSECNARF.</p> +<p><i>Confession</i> (Vol. ii., p. 296.).—The name asked for +by U.J.B. of the Catholic priest, who, sooner than break the seal +of confession, suffered death, is John of Nepomuc, Canon of Prague. +By order of the Emperor Wenceslas, he was thrown off a bridge into +the Muldaw, because he would not tell that profligate prince the +confession of his religious empress. This holy man is honoured as +St. John Nepomucen on the 16th of May, in the kalendar of +Saints.</p> +<p class="author">D. ROCK.</p> +<p class="note">[U.J.B., if desirous of further particulars +respecting St. John Nepomuc, may consult Mrs. Jameson's interesting +<i>Legends of the Monastic Orders</i>, pp. 214. 217.—ED.]</p> +<p><i>Cavell, meaning of</i> (Vol. i., p. 473.).—I concur +entirely with the etymology of the word <i>cavell</i> given at p. +473. A lake having been drained in my country, the land is still +divided into <i>Kavelingen</i>; as lots of land were formerly +measured by strings of cord, <i>kavel</i>, <i>kabel</i>, +<i>cable</i>. Vide Tuinman <i>Trakkel</i>, d. n. t. p. 165. +<i>Kavelloten</i> is to receive a cavell by <i>lot.</i> cf. +<i>Idem, Verrolg</i>, p. 97.</p> +<p class="author">JANUS DOUSA.</p> +<p><i>Lord Kingsborough's Antiquities of Mexico.</i>—Has Lord +Kingsborough's splendid work on Mexican hieroglyphics ever been +completed or not?</p> +<p class="author">J.A. GILES.</p> +<p class="note">[This magnificent work has been recently completed +by the publication of the eighth volume, which may, we believe, be +procured from Mr. Henry Bohn.—ED.]</p> +<p><i>Aërostation</i> (Vol. ii., p. 199.).—The article +BALLOON, in the <i>Penny Cyclopædia</i>, would give C.B.M. a +good many references. The early works there mentioned are those of +Faujas de St. Fond, Bourgeois, and Cavallo; to which I add the +following: Thomas Baldwin, <i>Airopaidia, containing the Narrative +of a Balloon Excursion from Chester, Sept</i>. 8. 1785. Chester, +1786, 8vo. (pp. 360.).</p> +<p>Vincent Lunardi published the account of his voyage (the first +made in England) in a series of letters to a friend. The title is +torn out in my copy. The first page begins, "An Account of the +First Aërial Voyage in England. Letter I. London, July 15. +1784." (8vo. pp. 66 + ii. with a plate.) It ends with a poetical +epistle to Lunardi by "a gentleman well known in the literary +world" (query, the same who is thus cited in our day?) from which +the following extracts are taken as a specimen of the original +balloon jokes:—</p> +<div class="poem"> +<div class="stanza"> +<p>"The multitude scarcely believed that a man,</p> +<p>With his senses about him could form such a plan,</p> +<p>And thought that as Bedlam was so very nigh,</p> +<p>You had better been there than turned loose in the sky.</p> +</div> +<div class="stanza"> +<hr /></div> +<div class="stanza"> +<p>"In their own way of thinking, all felt and all reasoned,</p> +<p>Greedy aldermen judged that your flight was ill-seasoned,</p> +<p>That you'd better have taken a good dinner first,</p> +<p>Nor have pinched your poor stomach by hunger or thirst.</p> +</div> +<div class="stanza"> +<p>"In perfect indifference the beau yawned a blessing,</p> +<p>And feared before night that your hair would want dressing;</p> +<p>But the ladies, all zeal, sent their wishes in air,</p> +<p>For a man of such spirit is ever their care.</p> +</div> +<div class="stanza"> +<p>"Attornies were puzzled how now they could sue you,</p> +<p>Underwriters, what premium they'd now take to do you;</p> +<p>While the sallow-faced Jew, of his monies so fond,</p> +<p>Thanked Moses he never had taken your bond."</p> +</div> +</div> +<p>Mr. Baldwin ascended in Lunardi's balloon, the latter being +present at the start, though not taking part in the voyage.</p> +<p class="author">M.</p> +<p><i>Concolinel</i> (Vol. ii., p. 217.).—I have been many +years engaged in researches connected with <span class= +"pagenum"><a name="page318" id="page318"></a>{318}</span> the +<i>original</i> music of Shakspeare's Plays, but it has not been my +good fortune to meet with the air of <i>Concolinel</i>. The +communication of your correspondent R. is of the greatest interest, +and I should be for ever grateful if he would allow me to see the +manuscript in question, in order that I might test the +<i>genuineness</i> of the air "stated, in a recent hand, to be the +tune of <i>Concolinel</i> mentioned by Shakspeare."</p> +<p>This air has double claims on our attention, as its existence, +in any shape, is placed amongst the "doubtful" points by the +following note extracted from the Rev. J. Hunter's <i>New +Illustrations of Shakspeare</i>, vol. i. p. 268.:—</p> +<blockquote> +<p>"Concolinel. In the absence of any thing like sufficient +explanation or justification of this word, if word it is, I will +venture to suggest the possibility that it is a corruption of a +stage direction, <i>Cantat Ital.</i>, for <i>Cantat +Italicé</i>; meaning that here Moth sings an Italian song. +It is quite evident, from what Armado says, when the song was +ended, 'Sweet air!' that a song of some sort was sung, and one +which Shakespeare was pleased with, and meant to praise. If Moth's +song had been an English song, it would have been found in its +place as the other songs are."</p> +</blockquote> +<p>I, for one, cannot subscribe to Mr. Hunter's suggestion that our +great poet intended an <i>Italian</i> song to be sung in his play +and for this reason, that Italian music for a <i>single voice</i> +was almost unknown in this country in 1597, at which date we know +<i>Love's Labour's Lost</i> was in existence. Surely +<i>Concolinel</i> is just as likely to be the burden of a song as +<i>Calen o Custure me</i>, mentioned in <i>Henry the Fifth</i> (Act +iv. sc. 4.), of which there is now no doubt.</p> +<p>I may just mention, in passing, that I have discovered the air +of <i>Calen o Custure me</i> in a manuscript that once belonged to +Queen Elizabeth, and have ample proof that it was an especial +favourite with her maiden majesty. The commentators were at fault +when they pointed out the more modern tune of the same name in +Playford's <i>Musical Companion</i>, 1667.</p> +<p class="author">EDWARD F. RIMBAULT.</p> +<p>S. Augustus Square, Regent's Park.</p> +<p><i>Andrewes's Tortura Torti</i> (Vol. ii., p. 295.).—On +what forms Mr. Bliss's third quotation, which <i>does</i> appear in +some shape in Bernard, <i>De Consid. ad Eugen.</i>, iii. 4. 18., +the <i>Bibliotheca Juridica</i>, &c., of Ferraris observes, +under the head of <i>Dispensatio</i>: "Hinc dispensatio sine justa +causa non dispensatio sed dissipatio dicitur communiter a +doctoribus, ut observant et tenent Sperell;" then referring to +several Romish canonists, &c., the last being Reiffenstuel, +lib. i., <i>Decretal</i>, tit. 2., n. 450., of which I give the +full reference, his volumes being accessible in the British Museum, +if not elsewhere.</p> +<p class="author">NOVUS.</p> +<p><i>Swords worn in Public</i> (Vol. ii., p. 218.)—A very +respected and old friend of mine, now deceased, used to relate that +he had often seen the celebrated Wilkes, of political notoriety, +walking in the public streets, dressed in what is usually termed +court dress, wearing his sword. Wilkes died in 1797. In connexion +with this subject it may be interesting to your readers to know +that in 1701 it was found necessary to prohibit footmen wearing +swords. An order was issued by the Earl Marshal in that year, +declaring that—</p> +<blockquote> +<p>"Whereas many mischiefs and dangerous accidents, tending not +onely to the highest breach of the peace, but also to the +destruction of the lives of his Ma'ties subjects, have happend and +been occasioned by Footmen wearing of Swords, for the prevention of +the like evill accidents and disturbance for the future, I doe +hereby order that no Foot-man attending any of the Nobilitye or +Gentry of his Ma'ties Realms, during such time as they or any of +them shall reside or bee within the Cities of London or Westm'r, +and the Liberties and Precincts of the same, shall wear any Sword, +Hanger, Bagonet, or other such like offensive weapon, as they will +answer the Contempt hereof." Dated 30th Dec. 1701.</p> +</blockquote> +<p class="author">F.E.</p> +<p><i>Speech given to Man to conceal his Thoughts</i> (Vol. i., p. +83.).—The maxim quoted by your correspondent F.R.A. was +invented, if I may rely upon the <i>notebook</i> of memory, by the +Florentine Machiavelli. The German writer Ludwig Börne +says:—</p> +<blockquote> +<p>"Macchiavelli, der die Freiheit liebte, schrieb seinem Prinzen +so, dass er alle rechtschaffenen Psychologen in Verlegenheit und in +solche Verwirrung gebracht, dass sie gar nicht mehr wussten, was +sie sprachen und sie behaupteten, Macchiavelli habe eine politische +Satyre geschrieben."</p> +</blockquote> +<p>Le style c'est l'homme!</p> +<p class="author">JANUS DOUSA.</p> +<p><i>The Character "&,", and Meaning of "Parse"</i> (Vol. ii., +pp. 230. 284.).—This character, being different from any of +the twenty-four letters, was placed at the end of the alphabet, and +children, after repeating their letters, were taught to indicate +this symbol as <i>and-per-se-and</i>. Instead of spelling the word +<i>and</i>, as composed of three letters, it was denoted by a +special symbol, which was "<i>and by itself, and</i>." Hence the +corruption, an <i>ampussy and</i>.</p> +<p>The word <i>parse</i> is also derived from the Latin <i>per +se</i>. To <i>parse</i> a sentence is to take the words <i>per +se</i>, and to explain their grammatical form and etymology.</p> +<p class="author">L.</p> +<p><i>Wife of Edward the Outlaw</i> (Vol. ii., p. 279.).—With +reference to the Query of E.H.Y. (Vol. ii., p. 279.), there seems +to be much confusion in all the accounts of Edward's marriage. I +think it is evident, from an attentive consideration of the various +authorities, that the Lady Agatha was <span class= +"pagenum"><a name="page319" id="page319"></a>{319}</span> either +sister to Giselle, wife of <i>Stephen</i>, King of Hungary (to whom +the young princes must have been sent, as <i>he</i> reigned from +A.D. 1000 till A.D. 1038), and sister also to the Emperor Henry +II., or, as some writers seem to think, she was the daughter of +Bruno, that emperor's brother. (See a note in Dr. Lingard's +<i>History</i>, vol. i. p. 349.)</p> +<p>That she was not the <i>daughter</i> of either Henry II., Henry +III., or Henry IV., is very certain; in the first case, for the +reason stated by your correspondent; and in the second, because +Henry III. was only twelve years old when he succeeded his father +Conrad II. (in the year 1039), which of course puts his son Henry +IV. quite out of the question, who was born A.D. 1049. It strikes +me (and perhaps some of your correspondents will correct me if I am +wrong) that the two English princes <i>may</i> have respectively +married the two ladies to whom I have referred, and that hence may +have arisen the discrepancies in the different histories: but that +the wife of Edward the Outlaw was <i>one</i> of these two I have no +doubt.</p> +<p class="author">O.P.Q.</p> +<p><i>Translations of the Scriptures</i> (Vol. ii., p. +229.).—C.F.S. may perhaps find <i>The Bible of every +Land</i>, now publishing by Messrs. Bagster, serviceable in his +inquiries respecting Roman Catholic translations of the Scriptures. +The saying of the Duke of Lancaster is found in the first edition +of Foxe's <i>Acts and Monuments</i>, and in the modern reprint, iv. +674.; the original of the treatise from which it is taken being in +C.C. College, Cambridge. (See Nasmith's <i>Catalogue</i>, p. +333.)</p> +<p class="author">NOVUS.</p> +<p><i>Scalping</i> (Vol. ii., p. 220.).—W.B.D. confounds +beheading with scalping. In the American war many British soldiers, +it was said, walked about without their <i>scalps</i>, but not +without their heads.</p> +<p class="author">SANDVICENSIS.</p> +<hr class="full" /> +<h2>MISCELLANEOUS.</h2> +<h3>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</h3> +<p>No one branch of antiquarian study has been pursued with greater +success during the last few years than that of Gothic Architecture; +and, to this success, no single work has contributed in any +proportion equal to that of the <i>Glossary of Terms used in +Grecian, Roman, Italian, and Gothic Architecture</i>. Since the +year 1836, in which this work first appeared, no fewer than four +large editions, each an improvement upon its predecessor, have been +called for and exhausted. The fifth edition is now before us; and, +we have no doubt, will meet, as it deserves, the same extended +patronage and success. When we announce that in this fifth edition +the text has been considerably augmented by the enlargement of many +of the old articles, as well as by the addition of many new ones, +among which Professor Willis has embodied a great part of his +<i>Architectural Nomenclature of the Middle Ages</i>; that the +number of woodcuts has been increased from eleven hundred to +seventeen hundred; and lastly, that the Index has been rendered far +more complete, by including in it the names of places mentioned, +and the foreign synonyms; we have done more to show its increased +value than any mere words of commendation would express. While the +only omission that has been made, namely, that of the utensils and +ornaments of the Mediæval Church (with the exception of the +few such as altars, credences, piscinas, and sedilias, which belong +to architectural structure and decoration), is a portion of the +work which all must admit to have been foreign to a Glossary of +Architectural Terms, and must therefore agree to have been wisely +and properly left out. The work in its present form is, we believe, +unequalled in the architectural literature of Europe, for the +amount of accurate information which it furnishes, and the beauty +of its illustrations; and as such, therefore, does the highest +credit both to its editor and to its publisher; if, indeed, the +editor and publisher be not identical.</p> +<p>Mr. L.A. Lewis, of 125. Fleet Street, has commenced a series of +weekly Book Sales, to take place every Friday during the months of +October and November, and has arranged that parties sending large +or small parcels of books for sale during the one week, may have +them sold on the Friday in the week following.</p> +<p>We have received the following Catalogues:—Bernard +Quaritch's (16. Castle Street, Leicester Square) Catalogue No. 19. +for 1850 of Oriental Literature, Manuscripts, Theology, Classics, +&c.; John Miller's (43. Chandos Street) Catalogue No. 12. for +1850 of History, Antiquities, Heraldry, &c., and Conchology, +Geology, and other popular Sciences.</p> +<hr /> +<h3>BOOKS AND ODD VOLUMES</h3> +<h4>WANTED TO PURCHASE.</h4> +<p>An early Edition of the HISTORY OF JACK AND THE GIANTS.</p> +<h4>Odd Volumes</h4> +<p>TURNER'S SACRED HISTORY. Vol. III. First Edition, 8vo.</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>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><i>The Monthly Part for September, being the Fourth of Vol. II., +is also now ready, price 1s.</i></p> +<p>NOTES AND QUERIES <i>may be procured by the Trade at noon on +Friday: so that our country Subscribers ought to experience no +difficulty in receiving it regularly. Many of the country +Booksellers are probably not yet aware of this arrangement, which +enables them to receive Copies in their Saturday parcels</i>.</p> +<p><i>As the Suggestion we threw out in our last week's Paper of +publishing an extra Number for the purpose of clearing off our +accumulation of REPLIES, seems to have given general satisfaction, +we shall, on Saturday next, issue a Double Number, to be devoted +chiefly, if not entirely, to REPLIES.</i></p> +<hr class="adverts" /> +<span class="pagenum"><a name="page320" id= +"page320"></a>{320}</span> +<p>THE QUARTERLY REVIEW, No. CLXXIV., is published THIS DAY.</p> +<p>CONTENTS</p> +<blockquote> +<p>I. TICKNOR'S HISTORY OF SPANISH LITERATURE. II. CHURCH AND +EDUCATION IN WALES. III. FORMS OF SALUTATION. IV. SIBERIA AND +CALIFORNIA. V. MURE ON THE LITERATURE OF GREECE. VI. METROPOLITAN +WATER SUPPLY. VII. ANECDOTES OF THE PROVISIONAL GOVERNMENT. VIII. +COCHRANE'S YOUNG ITALY. IX. LAST DAYS OF LOUIS-PHILIPPE.</p> +</blockquote> +<p>JOHN MURRAY, Albemarle Street.</p> +<hr /> +<p>Published this day Saturday, October 12th,</p> +<p>KNIGHT'S PICTORIAL SHAKSPEARE. The NATIONAL EDITION. Part 1., +containing THE TWO GENTLEMEN OF VERONA, with Forty Illustrations, +Price 1<i>s.</i></p> +<p>London: CHARLES KNIGHT, 90. Fleet Street.</p> +<hr /> +<p>KNIGHT'S CYCLOPÆDIA OF THE INDUSTRY OF ALL NATIONS. Number +I., price 2<i>d.</i></p> +<p>KNIGHT'S CYCLOPÆDIA OF LONDON. Number 1., price 2<i>d.</i> +The above will be published on Saturday, November 2, and continued +Weekly.</p> +<p>London: CHARLES KNIGHT, 90. Fleet Street.</p> +<p>And sold by all Booksellers in Town and Country.</p> +<hr /> +<p>INDIA OVERLAND MAIL.—DIORAMA. GALLERY OF ILLUSTRATION, 14. +Regent Street, Waterloo Place.—A Gigantic MOVING DIORAMA of +the ROUTE of the OVERLAND MAIL to INDIA, exhibiting the following +Places, viz. Southampton Docks, Isle of Wight, Osbourne, the +Needles, the Bay of Biscay, the Berlings, Cintra, the Tagus, Cape +Trafalgar, Tarifa, Gibraltar, Algiers, Malta, Alexandria, Cairo, +the Desert of Suez, the Central Station, Suez, the Red Sea, Aden, +Ceylon, Madras, and Calcutta—is now OPEN +DAILY.—Mornings at Twelve; Afternoons at Three; and Evenings +at Eight.—Admission, 1<i>s.</i>; Stalls, 2<i>s.</i> +6<i>d.</i>; Reserved Seats, 3<i>s.</i> Doors open half an hour +before each Representation.</p> +<hr /> +<p>On the 1st of October, No. 12, price 5<i>s.</i>, published +Quarterly,</p> +<p>THE JOURNAL OF SACRED LITERATURE. Edited by JOHN KITTO, D.D., +F.S.A.</p> +<blockquote> +<p>CONTENTS. Genesis and Geology. The Bible and Josephus. On the +Authorship of the Acts of the Apostles. Jewish Commentaries on +Isaiah. Voices of the Night. On the Literal Interpretation of +Prophecy. Ramathaim Zephim and Rachel's Sepulchre. The Life of Hugh +Heugh, D.D. Reconsidered Texts. Miscellanea.</p> +</blockquote> +<p>Correspondence.—Notices of Books.—Biblical +Intelligence—List of Publications.</p> +<p>London: SIMPKIN, MARSHALL, and CO., Stationer's Hall Court. +Edinburgh: OLIVER and BOYD. Dublin: J. ROBERTSON, Grafton +Street.</p> +<hr /> +<p>Second Edition, with illustrations, 12mo., 3<i>s.</i> cloth.</p> +<p>THE BELL; its Origin, History, and Uses. By the Rev. ALFRED +GATTY, Vicar of Ecclesfield.</p> +<p>"A new and revised edition of a very varied, learned, and +amusing essay on the subject of bells."—<i>Spectator</i>.</p> +<p>GEORGE BELL, 186. Fleet Street.</p> +<hr /> +<p>JOURNAL FRANCAIS, publié à Londres.—Le +COURRIER de l'EUROPE, fondé en 1840 paraissant le Samedi, +donne dans chaque numéro les nouvelles de la semaine, les +meilleurs articles de tous les journaux de Paris, la Semaine +Dramatique par Th. Gautier ou J. Janin, la Révue de Paris +par Pierre Durand, et reproduit en entier les romans, nouvelles, +etc., en vogue par les premiers écrivains de France. Prix +6<i>d.</i></p> +<p>London: JOSEPH THOMAS, 1. Finch Lane.</p> +<hr /> +<p>IMPORTANT TO AUTHORS.—Gentlemen about to PRINT and PUBLISH +either BOOKS or PAMPHLETS, will save nearly ONE HALF by employing +HOPE & CO., Publishers, 16. Great Marlborough Street. A +Specimen Pamphlet of Bookwork, with Prices, a complete Author's +Guide, sent post free for 4<i>d.</i></p> +<hr /> +<p>MEMOIRS OF MUSICK. By the Hon. ROGER NORTH, Attorney-General to +James I. Now first printed from the original MS. and edited, with +copious Notes, by EDWARD F. RIMBAULT, LL.D., F.S.A., &c. +&c. Quarto; with a Portrait; handsomely printed in 4to.; +half-bound in morocco, 15<i>s.</i></p> +<p>This interesting MS., so frequently alluded to by Dr. Burney in +the course of his "History of Music," has been kindly placed at the +disposal of the Council of the Musical Antiquarian Society, by +George Townshend Smith, Esq., Organist of Hereford Cathedral. But +the Council, not feeling authorised to commence a series of +literary publications, yet impressed with the value of the work, +have suggested its independent publication to their Secretary, Dr. +Rimbault, under whose editorial care it accordingly appears.</p> +<p>It abounds with interesting Musical Anecdotes; the Greek Fables +respecting the origin of Music; the rise and progress of Musical +Instruments; the early Musical Drama; the origin of our present +fashionable Concerts; the first performance of the Beggar's Opera, +&c.</p> +<p>A limited number having been printed, few copies remain for +sale: unsold copies will shortly be raised in price to 1<i>l.</i> +10<i>s.</i> 6<i>d.</i></p> +<p>Folio, price 30<i>s.</i></p> +<p>THE CHORAL RESPONSES AND LITANIES OF THE UNITED CHURCH OF +ENGLAND AND IRELAND. Collected from Authentic Sources. By the Rev. +JOHN JEBB, A.M., Rector of Peterstow.</p> +<p>The present Work contains a full collection of the harmonized +compositions of ancient date, including nine sets of pieces and +responses, and fifteen litanies, with a few of the more ancient +Psalm Chants. They are given in full score, and in their proper +cliffs. In the upper part, however, the treble is substituted for +the "cantus" or "medius" cliff: and the whole work is so arranged +as to suit the library of the musical student, and to be fit for +use in the Choir.</p> +<p>London: GEORGE BELL, 186. Fleet Street.</p> +<hr /> +<p>Just Published, Octavo Edition, plain, 15<i>s.</i>, Quarto +Edition, having the Plates of the Tesselated Pavements all +coloured, 1<i>l.</i> 5<i>s.</i></p> +<p>REMAINS of ROMAN ART in Cirencester, the Site of Ancient +Corinium; containing Plates by De la Motte, of the magnificent +Tesselated Pavements discovered in August and September, 1849, with +copies of the grand Heads of Ceres, Flora, and Pomona; reduced by +the Talbotype from facsimile tracings of the original; together +with various other plates and numerous wood engravings.</p> +<p>In the Quarto edition the folding of the plates necessary for +the smaller volume is avoided.</p> +<p>"These heads (Ceres, Flora, and Pomona) are of a high order of +art, and Mr. De la Motte, by means of the Talbotype, has so +successfully reduced them that the engravings are perfect +facsimiles of the originals. They are, perhaps, the best of the +kind, every tessella apparently being represented.</p> +<p>"Our authors have very advantageously brought to their task a +knowledge of geology and chemistry, and the important aid which an +application of these sciences confers on archæology, is +strikingly shown in the chapter on the materials of the +tessellæ, which also includes a valuable report by Dr. +VOELCKER, on an analysis of ruby glass, which formed part of the +composition of one of the Cirencester pavements. This portion of +the volume is too elaborate and circumstantial for any justice to +be done to it in an extract."—<i>Gentleman's Mag., +Sept.</i></p> +<p>London: GEORGE BELL, 186. Fleet Street.</p> +<hr /> +<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, +October 12. 1850.</p> +<hr class="full" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 13551 ***</div> +</body> +</html> |