diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:48:21 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:48:21 -0700 |
| commit | db1c7bff0ec057fb9ccaa739f279cb2c40572379 (patch) | |
| tree | 7dfc997142429ae3157788257f2c0405e781a0d8 /16193-h | |
Diffstat (limited to '16193-h')
| -rw-r--r-- | 16193-h/16193-h.htm | 2974 |
1 files changed, 2974 insertions, 0 deletions
diff --git a/16193-h/16193-h.htm b/16193-h/16193-h.htm new file mode 100644 index 0000000..221ba8f --- /dev/null +++ b/16193-h/16193-h.htm @@ -0,0 +1,2974 @@ +<!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 http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <title>Notes And Queries, Issue 16.</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%;} + + .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.i10 {margin-left: 10em;} + .poem p.i16 {margin-left: 16em;} + .poem .caesura {vertical-align: -200%;} + + span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt;} + + p.author {text-align: right;} + --> + /*]]>*/ + </style> +</head> + +<body> + + +<pre> + +The Project Gutenberg EBook of Notes and Queries, Number 16, February 16, +1850, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes and Queries, Number 16, February 16, 1850 + +Author: Various + +Release Date: July 3, 2005 [EBook #16193] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, NUMBER *** + + + + +Produced by The Internet Library of Early Journals; Jon +Ingram, Jeremy Weatherford, and the Online Distributed +Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + <span class="pagenum"><a id="page241" name="page241"></a>{241}</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 width="100%" summary="Masthead"> + <tr> + <td align="left" width="25%"><b>No. 16.</b></td> + <td align="center" width="50%"><b>SATURDAY, FEBRUARY 16, 1850.</b></td> + + <td align="right" width="25%"><b>Price Threepence. Stamped Edition + 4d.</b></td> + </tr> + </table> + <hr class="full" /> + +<!-- end N&Q header --> + +<h2>CONTENTS.</h2> + +<table width="100%" summary="Contents"> + <tbody><tr> + <td align="left" width="94%" colspan="2"> + NOTES:— + </td> + <td align="right" width="5%"> + Page + </td> + </tr> + +<tr><td> </td><td> +Daniel Defoe and his Ghost Stories +</td><td align="right"><a href="#page241">241</a></td></tr> + +<tr><td> </td><td> +Pet Names, by Rev. B.H. Kennedy +</td><td align="right"><a href="#page242">242</a></td></tr> + +<tr><td> </td><td> +Lacedæmonian Black Broth +</td><td align="right"><a href="#page242">242</a></td></tr> + +<tr><td> </td><td> +A Hint to intending Editors +</td><td align="right"><a href="#page243">243</a></td></tr> + +<tr><td> </td><td> +Notes on Cunningham's London, by E.F. Rimbault +</td><td align="right"><a href="#page244">244</a></td></tr> + +<tr><td> </td><td> +Folk Lore—Easter Eggs—Buns—Gloucestershire +Custom—Curious Custom +</td><td align="right"><a href="#page244">244</a></td></tr> + +<tr><td colspan="2"> +QUERIES:— +</td></tr> + +<tr><td> </td><td> +White Hart Inn, Scole, by C.H. Cooper +</td><td align="right"><a href="#page241">245</a></td></tr> + +<tr><td> </td><td> +On Passages in Pope +</td><td align="right"><a href="#page241">245</a></td></tr> + +<tr><td> </td><td> +Belvoir Castle +</td><td align="right"><a href="#page241">246</a></td></tr> + +<tr><td> </td><td> +Minor Queries:—Dr. Hugh Todd's MSS.—French +Leave—Portugal—Tureen—Military Execution—Change of Name—Symbolism of Fir Cone—Kentish +Ballad—Monumental Brass—A Tickhill Man—Bishop Blaize—Vox et præterea Nihil—Cromwell +Relics—Lines on Woman's Will +</td><td align="right" valign="bottom"><a href="#page246">246</a></td></tr> + +<tr><td colspan="2"> +REPLIES:— +</td></tr> + +<tr><td> </td><td> +Ælfric's Colloquy, by S.W. Singer and C.W.G. +</td><td align="right"><a href="#page248">248</a></td></tr> + +<tr><td> </td><td> +Antony Alsop +</td><td align="right"><a href="#page249">249</a></td></tr> + +<tr><td> </td><td> +Replies to Minor Queries:—Origin of Snob—Bishop +Burnet—Circulation of the Blood—Genealogy of +European Sovereigns—Sir Stephen Fox—French +Maxim—Shipster—Spars—Cosmopolis—Complutensian +Polyglot—Christmas Hymn—Sir J. Wyattville—Peruse—Autograph Mottoes—Boduc—Annus +Trabeationis +</td><td align="right" valign="bottom"><a href="#page250">250</a></td></tr> + +<tr><td colspan="2"> +MISCELLANIES:— +</td></tr> + +<tr><td> </td><td> +Pursuits of Literature—Dr. Dobbs—Translation from +V. Bourne—St. Evona's Choice—Muffins and +Crumpets—Dulcarnon—Bishop Barnaby—Barnacles—Ancient Alms Dish, &c. +</td><td align="right" valign="bottom"><a href="#page253">253</a></td></tr> + +<tr><td colspan="2"> +MISCELLANEOUS:— +</td></tr> + +<tr><td> </td><td> +Notes on Books, Sales, Catalogues, &c. +</td><td align="right"><a href="#page254">254</a></td></tr> + +<tr><td> </td><td> +Books and Odd Volumes Wanted +</td><td align="right"><a href="#page255">255</a></td></tr> + +<tr><td> </td><td> +Notices to Correspondents +</td><td align="right"><a href="#page255">255</a></td></tr> + +<tr><td> </td><td> +Advertisements +</td><td align="right"><a href="#page256">256</a></td></tr> + +</tbody></table> + +<hr class="full" /> + +<h2>NOTES.</h2> + +<h3>DANIEL DE FOE AND HIS GHOST STORIES.</h3> + +<p>I feel obliged by your intelligent correspondent +"D.S." having ascertained that De Foe was the +author of the <i>Tour through Great Britain</i>. Perhaps +he may also be enabled to throw some light +on a subject of much curiosity connected with De +Foe, that appears to me well worth the inquiry.</p> + +<p>Mrs. Bray, in her General Preface prefixed to +the first volume of the reprint, in series, of her +<i>Novels and Romances</i>, when giving an account of +the circumstances on which she founded her very +graphic and interesting romance of <i>Trelawny of +Trelawne</i>, says—</p> + +<blockquote><p>"In Gilbert's <i>History of Cornwall</i>, I saw a brief but +striking account, written by a Doctor Ruddell, a +clergyman of Launceston, respecting a ghost which (in +the year 1665) he has seen and laid to rest, that in the +first instance had haunted a poor lad, the son of a Mr. +Bligh, in his way to school, in a place called the +'Higher Broom Field.' This grave relation showed, +I thought, the credulity of the times in which the +author of it lived; and so I determined to have doctor, +boy, and ghost in my story. But whereas, in the +worthy divine's account of the transaction, the ghost +appears to come on earth for no purpose whatever +(unless it be to frighten the poor boy), I resolved to +give the spirit something to do in such <i>post-mortem</i> +visitations, and that the object of them should be of +import to the tale. Accordingly I made boy, doctor, +and the woman (who is said after her death to have +appeared to the lad) into characters, invented a story +for them, and gave them adventures."</p></blockquote> + +<p>Mrs. Bray adds—</p> + +<blockquote><p>"Soon after the publication of <i>Trelawny</i>, my much +esteemed friend, the Rev. F.V.T. Arundell<a id="footnotetag01" name="footnotetag01"></a><a href="#footnote01"><sup>[1]</sup></a>, informed +me, that, whilst engaged in his antiquarian researches +in Cornwall, he found among some old and original +papers the manuscript account, in Dr. Ruddell's own +hand-writing, of his encounter with the ghost in question. +This he lent Gilbert, who inserted it in his <i>History +of Cornwall</i>; and there I first saw it, as stated above. +A few months ago, I purchased some of the +reprinted volumes of the <i>Works of Daniel De Foe</i>. Among +these was the <i>Life of Mr. Duncan Campbell</i>, a fortune-teller. +To my great surprise, I found inserted in the +Appendix (after verses to Mr. Duncan Campbell), +without either name of the author, reference, or introduction, +under the heading, 'A remarkable Passage +of an Apparition, 1665,' no other than Dr. Ruddell's +account of meeting the ghost which had haunted the +boy, so much the same as that I had read in Gilbert, +that it scarcely seemed to differ from it in a word. +The name of Mr. Bligh, the father of the boy, was, +however, omitted; and Dr. Ruddell could only be +known as the author of the account by the lad's father +calling the narrator Mr. Ruddell, in their discourse +about the youth. The account is so strangely inserted +in the Appendix to the volume, without comment or +reference, that, had I not previously known the circumstances +above names by Mr. Arundell, I should have +fancied it a fiction of De Foe himself, like the story <span class="pagenum"><a id="page242" name="page242"></a>{242}</span> +of the ghost of Mrs. Veal, prefixed to <i>Drelincourt on +Death</i>.</p> + +<p>"Aware that Mr. Arundell had no idea that Ruddell's +ghost story was to be found in any work previous +to Gilbert's, I lost no time in communicating to that +gentleman what I could not but deem a very curious +discovery. He assured me there could be no mistake +as to the genuineness of the ghost document he had +found, as he had compared the manuscript with Ruddell's +hand-writing in other papers, and saw it was one +and the same. Soon after, Mr. Arundell favoured me +with some further information on the subject, which I +here give, as it adds still more to the interest of the +story:—'Looking into Gilbert's <i>History of Cornwall</i>, +in the parish of South Petherwin, there is said to be +in the old mansion of Botathan five portraits of the +Bligh family; one of them is the likeness of the boy, +whose intimacy with the ghost of Dorothy Durant has +been spoken of in his first volume, where she is erroneously +called Dingley. If this be a fact, it is very +interesting; for it is strange that both Mr. Ruddell, +the narrator (whose manuscript I lent to Gilbert), and +De Foe, should have called her Dingley. I have no +doubt it was a fictitious name, for I never heard of it +Launceston or the neighbourhood; whereas Durant +is the name of an ancient Cornish family: and I remember +a tall, respectable man of that name in Launceston, +who died at a very advanced age; very probably +a connexion of the Ghost Lady. He must have been +born about 1730. Durant was probably too respectable +a name to be published, and hence the fictitious +one.' Mr. Arundell likewise says, 'In Launceston +Church is a monument to Charles Bligh and Judith +his wife, who died, one in 1716, and the other in 1717. +He is said to have been sixty years old, and was probably +the brother of Samuel, the hero of Dorothy +Dingley. Sarah, the wife of the Rev. John Ruddell, +died in 1667. Mr. Ruddell was Vicar of Aternon in +1684. He was the minister of Launceston in 1665, +when he saw the ghost who haunted the boy.'"</p></blockquote> + +<p>Such is Mrs. Bray's account of these very +curious circumstances. The ghost story inserted +in Gilbert, as mentioned above, is altogether so +much in the style of De Foe, that a doubt remains +whether, after all, he may not have been the +author of it. Can "D.S.," or any of your readers, +throw further light on the subject?</p> + +<p class="author">D.S.Y.</p> + +<blockquote class="footnote"> + <a id="footnote01" name="footnote01"></a> <b>Footnote 1</b>: + <a href="#footnotetag01">(return)</a> + + Of Landulph, Cornwall, the author of <i>Discoveries + in Asia Minor</i>, and the well-known <i>Visit to the Seven + Churches of Asia</i>. Mr. Arundell is now dead. +</blockquote> + +<hr /> + +<h3>PET-NAMES.</h3> + +<p>"Mary" is informed that "Polly" is one of those +"hypocorisms," or pet-names, in which our language +abounds. Most are mere abbreviations, as +Will, Nat, Pat, Bell, &c., taken usually from the +beginning, sometimes from the end of the name. +The ending <i>y</i> or <i>ie</i> is often added, as a more +endearing form: as Annie, Willy, Amy, Charlie, +&c. Many have letter-changes, most of which +imitate the pronunciation of infants. <i>L</i> is lisped +for <i>r</i>. A central consonant is doubled. <i>O</i> between +<i>m</i> and <i>l</i> is more easily sounded than <i>a</i>. An +infant forms <i>p</i> with its lips sooner than <i>m</i>; papa +before mamma. The order of change is: Mary, +Maly, Mally, Molly, Polly. Let me illustrate +this; <i>l</i> for <i>r</i> appears in Sally, Dolly, Hal <i>P</i> for +<i>m</i> in Patty, Peggy; vowel-change in Harry, Jim, +Meg, Kitty, &c; and in several of these the +double consonant. To pursue the subject: re-duplication +is used; as in Nannie, Nell, Dandie; +and (by substitution) in Bob. Ded would be of +ill omen; therefore we have, for Edward, Ned or +Ted, <i>n</i> and <i>t</i> being coheir to <i>d</i>; for Rick, Dick, +perhaps on account of the final <i>d</i> in Richard. +Letters are dropped for softness: as Fanny for +Franny, Bab for Barb, Wat for Walt. Maud is +Norman for Mald, from Mathild, as Bauduin for +Baldwin. Argidius becomes Giles, our nursery +friend Gill, who accompanied Jack in his disastrous +expedition "up the hill." Elizabeth gives +birth to Elspeth, Eliza (Eloisa?), Lisa, Lizzie, +Bet, Betty, Betsy, Bessie, Bess; Alexander +(<i>x</i>=<i>cs</i>) to Allick and Sandie. What are we to +say of Jack for John? It seems to be from +Jacques, which is the French for our James? +How came the confusion? I do not remember to +have met with the name James in early English +history; and it seems to have reached us from +Scotland. Perhaps, as Jean and Jaques were +among the commonest French names, John came +into use as a baptismal name, and Jaques or +Jack entered by its side as a familiar term. But +this is a mere guess; and I solicit further information. +John answers to the German Johann or +Jehann, the Sclavonic Ivan, the Italian Giovanni +(all these languages using a strengthening consonant +to begin the second syllable): the French +Jean, the Spanish Juan, James to the German +Jacob, the Italian Giacomo, the French Jacques, +the Spanish Jago. It is observable that of these, +James and Giacomo alone have the <i>m</i>. Is James +derived from Giacomo? How came the name +into Scotland?</p> + +<p>Of German pet-names some are formed by +abbreviation; some also add <i>s</i>, as Fritz for Frieds +from Friedrich, Hanns for Hann from Johann. +(To this answers our <i>s</i> or <i>c</i> in the forms Betsy, +Nancy, Elsie, &c.) Some take <i>chen</i> (our <i>kin</i>, as +<i>mannikin</i>) as Franschen, Hannchen. Thus Catskin +in the nursery ballad which appears in Mr. +Halliwell's Collection, is a corruption of Kätchen +Kitty. Most of our softened words are due to +the smooth-tongued Normans. The harsh Saxon +Schrobbesbyrigschire, or Shropshire, was by them +softened into le Comté de Salop, and both names +are still used.</p> + +<p class="author">BENJ. H. KENNEDY.</p> + +<p>Shrewsbury, Feb. 2. 1850.</p> + +<hr /> + +<h3>LACEDÆMONIAN BLACK BROTH.</h3> + +<p>If your readers are not already as much disgusted +with Spartan Black Broth as Dionysius was <span class="pagenum"><a id="page243" name="page243"></a>{243}</span> +with the first mouthful, I beg leave to submit a +few supplementary words to the copious indications +of your correspondents "R.O." and "W."</p> + +<p>Selden says:—</p> + +<blockquote><p>"It was an excellent question of Lady Cotton, when +Sir Robert Cotton was magnifying of a shoe, which +was Moses's or Noah's, and wondering at the strange +shape and fashion of it: 'But, Mr. Cotton,' says she, +'<i>are you sure it is a shoe?</i>'"</p></blockquote> + +<p>Now, from the following passage in Manso's +<i>Sparta</i>, it would seem that a similar question +might be put on the present occasion: <i>Are you +sure that it was broth?</i> Speaking of the <i>pheiditia</i>, +Manso says:—</p> + +<blockquote><p>"Each person at table had as much barley-bread as +he could eat; swine's-flesh, or some other meat, to eat +with it, with which the famous black-sauce<a id="footnotetag02" name="footnotetag02"></a><a href="#footnote02"><sup>[2]</sup></a> (whose +composition, without any loss to culinary art, is evidently +a mystery for us) was given round, and to close +the meal, olives, figs, and cheese."</p></blockquote> + +<p>In a note he continues:—</p> + +<blockquote><p>"Some imagined that the receipt of its composition +was to be found in Plutarch (<i>De Tuendâ Sanitate</i>, +t. vi. p. 487.), but apparently it was only imagination. +That ζωμος signified not broth, as it has been usually +translated, but <i>sauce</i>, is apparent from the connection +in which Athenæus used the word. To judge from +Hesychius, it appears to have borne the name βαφα +among the Spartans. How little it pleased the Sicilian +Dionysius is well known from Plutarch (<i>Inst. Lacon.</i> +t. v. 880.) and from others."</p></blockquote> + +<p>Sir Walter Trevelyan's question is soon answered, +for I presume the celebrity of Spartan +Black Broth is chiefly owing to the anecdote of +Dionysius related by Plutarch, in his very popular +and amusing <i>Laconic Apophthegms</i>, which Stobæus +and Cicero evidently followed; this, and what is to +be gathered from Athenæus and Julius Pollux, +with a few words in Hesychius and the <i>Etymologicon +Magnum</i>, is the whole amount of our information. +Writers since the revival of letters +have mostly copied each other, from Coelius +Rhodiginus down to Gesner, who derives his conjecture +from Turnebus, whose notion is derived from +Julius Pollux,—and so we move in a circle. We +sadly want a Greek Apicius, and then we might +resolve the knotty question. I fear we must give +up the notion of cuttle-fish stewed in their own +ink, though some former travellers have not spoken +so favourable of this Greek dish. Apicius, <i>De +Arte Coquinariâ</i>, among his fish-sauces has three +Alexandrian receipts, one of which will give some +notion of the incongruous materials admissible in +the Greek kitchen of later times:—</p> + +<blockquote><p>"JUS ALEXANDRINUM IN PISCE ASSO.</p> + +<p>"Piper, cepam siccam, ligusticum, cuminum, orignum, +apii semen, pruna damascena enucleata; passum, +liquamen, defrutum, oleum, et coques."</p></blockquote> + +<p>This question Vexata it seems had not escaped the +notice of German antiquaries. In Boettiger's <i>Kleine +Shriften</i>, vol. iii., Sillig has printed for the first +time a Dissertation, in answer to a question which +might have graced your pages: "Wherewith did +the Ancients spoon" [their food]? Which opens +thus:—</p> + +<blockquote><p>"Though about the composition and preparation of +Spartan Black Sauce we may have only so many +doubts, yet still it remains certain that it was a +<i>jus</i>—boiled flesh prepared with pig's blood, salt, and vinegar, +a <i>brodo</i>; and, when it was to a certain degree thickened +by boiling, though not like a <i>Polenta</i> or other dough-like +mass (<i>maza offa</i>), eaten with the fingers. Here, +then, arises a gastronomic question, of importance in +archæology; what table furniture or implements did +the Spartans make use of to carry this sauce to their +months? A spoon, or some substitute for a spoon, +must have been at hand in order to be able to enjoy +this Schwarzsauer."</p></blockquote> + +<p>It is certain at least that spoons and forks were +unknown to the Spartans, and some have conjectured +that a shell, and even an egg-shell, may +have served the purpose. Those who are desirous +of knowing more about the Table-Supellectile of +the ancients, may consult Casaubon's <i>Notes on +Athenæus</i>, iv. 13. p. 241.; "Barufaldo de Armis +Convivialibus," in Sallengre's <i>Thesaurus</i>, iii. 741.: +or Boettiger's <i>Dissertation</i> above referred to. How +little ground the passage in Plutarch, <i>De Sanitate +Tuendâ</i>, afforded for the composition will appear +from the passage, which I subjoin, having found +some difficulty in referring to it:</p> + +<blockquote><p>Οι Λακωνες υξος και 'αλας δοντες τω μαγειρω, τα λοιπα +κελευουσω εν τω ιερειω ζητειν.</p></blockquote> + +<p>This only expresses the simplicity of Spartan cookery +in general.</p> + +<p>To revert to the original question propounded, +however, I think we must come to the conclusion +that <i>coffee</i> formed no part of the μελας ζωμος.</p> + +<p class="author">S.W.S.</p> + +<blockquote class="footnote"> + <a id="footnote02" name="footnote02"></a> <b>Footnote 2</b>: + <a href="#footnotetag02">(return)</a> + + Manso's word is <i>Tunke.</i> +</blockquote> + +<hr /> + +<h3>A HINT TO INTENDING EDITORS.</h3> + +<p>Allow me to suggest, as an addition to the +sphere of usefulness of the "NOTES AND QUERIES," +that persons preparing new editions of old writers +should give an early intimation of the work on +which they are engaged to the public, through +your paper. Very many miscellaneous readers +are in the habit of making notes in the margins of +their books, without any intention of using them +themselves for publication, and would be glad to +give the benefit of them to any body to whom +they would be welcome; but as matters are now +arranged, one has no opportunity of hearing of an +intended new edition until it is advertised as being +in the press, when it is probably too late to send +notes or suggestions; and one is also deterred +from communicating with the editor from doubts <span class="pagenum"><a id="page244" name="page244"></a>{244}</span> +whether he will not think it an intrusion: doubts +which any editor who <i>did</i> wish for communications +might dispel by making such an announcement as +I have suggested.</p> + +<p class="author">R.R.</p> + +<p>Lincoln's Inn.</p> + +<hr /> + +<h3>NOTES UPON CUNNINGHAM'S HAND-BOOK OF LONDON.</h3> + +<p><i>St. Giles's Pound</i>.—The exact site of this +Pound, which occupied a space of thirty feet, was +the broad space where St. Giles's High Street, +Tottenham Court Road, and Oxford Street meet. +The vicinity of this spot was proverbial for its +profligacy; thus in an old song:—</p> + +<div class="poem"><div class="stanza"> +<p>"At Newgate steps Jack Chance was found,</p> +<p>And bred up near <i>St. Giles's Pound</i>."</p> +</div></div> + +<p><i>Dudley Court, St. Giles's</i>.—This spot was once +the residence of Alice Duchess of Dudley, in the +reign of Charles the Second; and afterwards of +the celebrated Lord Wharton. The mansion and +gardens were of considerable extent.</p> + +<p><i>St. Giles's Hospital</i>.—The celebrated Dr. +Andrew Boorde rented for many years the +Master's house. He is mentioned as its occupant +in the deed of transfer between Lord Lisle to Sir +Wymonde Carewe, dated in the last year of +Henry the Eighth's reign.</p> + +<p><i>Gray's Inn Lane</i>.—Anciently called <i>Portpoole</i>. +See the commission granted to the Master of the +Hospital of St. Giles's, &c. to levy tolls upon all +cattle, merchandize, &c., dated 1346, in Rymer's +<i>Foedera</i>.</p> + +<p><i>Great Queen Street, Lincoln's Inn</i>.—Lord Herbert +of Cherbury was one of the first inhabitants +of this street, residing at the south side, near the +east corner of Wild (or more properly <i>Weld</i>) +Street, where he died in 1648. The house is still +standing, and is one of fifteen built in the third +year of James the First. <i>Powlet</i> and <i>Conway</i> +houses, also still standing, are among the said +number. The celebrated Dr. Mead (D. 1754) +resided in this street.</p> + +<p><i>Turnstile Lane, Holborn</i>.—Richard Pendrell, +the preserver of Charles the Second, resided here +in 1668. It is supposed that Pendrell, after the +Restoration, followed the king to town, and settled +in the parish of St. Giles, as being near the court. +Certain it is that one of Pendrell's name occurs in +1702 as overseer, which leads to the conclusion +that Richard's descendants continued in the same +locality for many years. A great-granddaughter +of this Richard was living in 1818 in the neighbourhood +of Covent Garden. Richard Pendrell +died in 1674, and had a monument erected to his +memory on the south-east side of the old church +of St. Giles. The raising of the churchyard, subsequently, +had so far buried the monument as to +render it necessary to form a new one to preserve +the memory of this celebrated man. The black +marble slab of the old tomb at present forms the +base of the new one.</p> + +<p class="author">EDWARD F. RIMBAULT.</p> + +<p><i>Mrs. Cornelly's</i> is stated, in vol. ii. p. 753., <i>to +be</i> "the corner of Sutton Street," Soho Square, +"<i>now D'Almaines's</i>." Mrs. Cornelly's <i>was</i> at the +corner of Sutton Street, but has long been pulled +down: the Catholic chapel <i>in</i> Sutton Street was +Mrs. Cornelly's concert, ball, and masquerade-room; +and the arched entrance below the chapel, +and now a wheelwright's, was the entrance for +"chairs." D'Almaine's is two doors north of +Sutton Street, and was built by Earl (?) Tilney, +the builder of Wanstead House? The House in +Soho Square has a very fine banqueting-room, the +ceiling said to have been painted by Angelica +Kauffmann. Tilney was fond of giving magnificent +dinners, and here was always to be found +"the flesh of beeves, with Turkie and other small +Larks!"</p> + +<p><i>Cock Lane</i>.—The house in Cock Lane famous +for its "Ghost" <i>is still</i> standing, and the back +room, where "scratching Fanny" lay surrounded +by princes and peers, is converted into a gas meter +manufactory.</p> + +<p class="author">NASO.</p> + +<hr /> + +<h3>FOLK LORE.</h3> + +<p><i>Easter Eggs</i>.—The custom of presenting eggs +at Easter is too well known to need description; +but perhaps few are aware that, like many other +customs of the early Church, it had its origin in +paganism.</p> + +<p>Sir R.K. Porter (<i>Travels</i>, vol. i. p. 316.) +mentions +that at a period of the year corresponding +to Easter, "the Feast of nooroose, or of the +waters," is held, and seems to have had its origin +prior to Mahometanism. It lasts for <i>six</i> days, and +is supposed to be kept in commemoration of the +Creation and the Deluge—events constantly +synchronised and confounded in pagan cosmogonies. +At this feast eggs are presented to friends, +in obvious allusion to the Mundane egg, for which +Ormuzd and Ahriman were to contend till the +consummation of all things.</p> + +<p>When the many identities which existed between +Druidism and Magianism are considered, +we can hardly doubt that this Persian commemoration +of the Creation originated our Easter-eggs.</p> + +<p class="author">G.J.</p> + +<p><i>Buns</i>.—It has been suggested by Bryant, +though, I believe, not noticed by any writer on +popular customs, that the Good Friday cakes, +called <i>Buns</i>, may have originated in the cakes +used in idolatrous worship, and impressed with +the figure of an ox, whence they were called βουν. +The cow or bull was likewise, as Coleridge (<i>Lit. +Rem</i>. vol. ii. p. 252.) has justly remarked, the <span class="pagenum"><a id="page245" name="page245"></a>{245}</span> +symbol of the <i>Cosmos</i>, the prolific or generative +powers of nature.</p> + +<p class="author">G.J.</p> + +<p><i>Gloucestershire Custom</i>.—It is a custom in +Gloucestershire, and may be so in other counties, +to place loose <i>straw</i> before the door of any man +who beats his wife. Is this a general custom?—and +if so, what is its origin and meaning?</p> + +<p class="author">B.</p> + +<p><i>Curious Custom</i>.—The custom spoken of by +"PWCCA" (No. 11 p. 173.) was also commonly +practised in one or two places in Lancashire some +ten or twelve years back, but is now, I believe, +obsolete. The horse was played in a similar way, +but the performer was then called "Old Balls." +It is no doubt a vestige of the old "hobby-horse,"—as +the Norwich "Snap," who kept his place in +the procession of the mayor of that good city till +the days of municipal reform, was the last representative +of his companion the dragon.</p> + +<p class="author">J.T.</p> + +<p class="note">[Nathan also informs us "that it is very common in +the West Riding of Yorkshire, where a ram's head often +takes the place of the horse's skull. Has it not an obvious +connection with the 'hobby-horse' of the middle +ages, and such mock pageants as the one described in +Scott's <i>Abbot</i>, vol. i. chap. 14.; the whole being a +remnant of the Saturnalia of the ancients?"]</p> + +<hr class="full" /> + +<h2>QUERIES.</h2> + +<h3>WHITE HART INN, SCOLE.</h3> + +<p>In <i>Songs and other Poems</i>, by Alex. Brome, +Gent. Lond. 12mo. 1661, there is (at p. 123.) +a ballad upon a sign-post set up by one Mr. Pecke, +at Skoale in Norfolk. It appears from this ballad, +that the sign in question had figures of Bacchus, +Diana, Justice, and Prudence, "a fellow that's +small, with a quadrant discerning the wind," +Temperance, Fortitude, Time, Charon and Cerberus. +This sign is noticed in the <i>Journal</i> of +Mr. E. Browne (Sir Thomas Browne's Works, ed. +Wilkin, i. 53.). Under date of 4th March, 1663-64, +he says:—"About three mile further I came +to Scoale, where is very handsome inne, and the +noblest sighne post in England, about and upon +which are carved a great many stories, as of +Charon and Cerberus, of Actæon and Diana, and +many other; the sighne it self is the white harte, +which hangs downe carved in a stately wreath." +Blomefield, in his <i>History of Norfolk</i> (8vo. edit. +i. 130.), speaking of Osmundestone or Scole, has +the following passage:—</p> + +<blockquote><p>"Here are two very good inns for the entertainment +of travellers; the <i>White Hart</i> is much noted in these +parts, being called, by way of distinction, <i>Scole Inn</i>; +the house is a large brick building, adorned with +imagery and carved work in several places, as big as +the life. It was built in 1655, by <i>John Peck</i>, Esq., +whose arms impaling his wife's, are over the porch +door. The sign is very large, beautified all over with a +great number of images of large stature carved in +wood, and was the work of one <i>Fairchild</i>; the arms +about it are those of the chief towns and gentlemen in +the county, viz. <i>Norwich, Yarmouth, Duke of Norfolk, +Earl of Yarmouth, Bacon of Garboldisham, Hobart, +Conwaleis</i>, impaling <i>Bukton, Teye, Thurston, Castleton</i>, +and many others; <i>Peck's</i> arms are <i>arg</i>. on a +chevron ingrailed, <i>gul</i>. three croslets pattee of the field; +his wife's are <i>arg</i>., a fess between two crescents in +chief, a lion rampant in base <i>gul</i>., which coat I think is +borne by the name of <i>Jetheston</i>. Here was lately a +very round large bed, big enough to hold fifteen or +twenty couple, in imitation (I suppose) of the +remarkable great bed at <i>Ware</i>. The house was in all things +accommodated, at first, for large business; but the +road not supporting it, it is in much decay at present; +though there is a good bowling-green and a pretty +large garden, with land sufficient for passengers' horses. +The business of these two inns is much supported by +the annual cock-matches that are here fought."</p></blockquote> + +<p>In Cruttwell's <i>Tour through the whole Island of +Great Britain</i> (Lond. 12mo. 1801), vol. v. 208., is +the following:—</p> + +<blockquote><p>"Osmondeston, or Schole. The inn here was once +remarkable for a pompous sign, with ridiculous +ornaments, and is said to have cost a thousand pounds; +long since decayed."</p></blockquote> + +<p>I shall be glad to be referred to any other +notices of this sign, and am desirous of knowing if +any drawing or engraving of it be extant.</p> + +<p class="author">C.H. COOPER.</p> + +<p>Cambridge, 21st Jan. 1850.</p> + +<hr /> + +<h3>PASSAGES FROM POPE.</h3> + +<p>In addition to the query of "P.C.S.S." (No. +13. p. 201.), in which I take great interest, I would +beg leave to ask what evidence there is that +Quarles had a <i>pension?</i> He had, indeed, a small +<i>place</i> in the household of James the First's queen, +Anne; and if he had a <i>pension</i> on her death, it +would have been from James, not from Charles.</p> + +<p>I would also, in reference to Pope, beg leave to +propound another query.</p> + +<p>In the "Imitation of the 2nd Sat. Book I. of +Horace," only to be found in modern editions, +but attributed, I fear, too justly to Pope, there is +an allusion to "poor E——s," who suffered by +"<i>the fatal steel</i>," for an intrigue with a royal +mistress. E——s is no doubt <i>John Ellis</i>, and the +royal mistress the <i>Duchess of Cleveland</i>. (See +Lord Dover's Introduction to the "Ellis Correspondence," +and "Anecdotes of the Ellis Family," +<i>Gent. Mag</i>. 1769. p. 328.) But I cannot discover +any trace of the circumstances alluded to by Pope. +Yet Ellis was a considerable man in his day;—he +had been Secretary to the Lord-Lieutenant of +Ireland in the reign of Charles II., and was Under-Secretary +of State under William III.; he is said +to have afterwards sunk into the humbler character <span class="pagenum"><a id="page246" name="page246"></a>{246}</span> +of a "London magistrate," and to have "died in +1788, at 93 or 95, immensely rich." I should be +glad of any clue to Pope's allusion.</p> + +<p class="author">J.W.C.</p> + +<p>Feb 12. 1850.</p> + +<hr /> +<div class="poem"><div class="stanza"> +<p>"Worth makes the man, and want of it the fellow;</p> +<p>The rest is all but leather and prunello."</p> +<p class="i16"><i>Essay on Man</i>, Epistle IV. 203.</p> +</div></div> + +<p>Will your correspondent "P.C.S.S." (No. 13), +evidently a critical reader of Pope, and probably +rich in the possession of various editions of his +works, kindly inform me whether any commentator +on the poet has traced the well-known +lines that I have quoted to the "Corcillum est, +quod homines facit, cætera quisquilia omnia" of +Petronius Arbiter, cap. 75.? Pope had certainly +both read and admired the <i>Satyricon</i>, for he +says:—</p> +<div class="poem"><div class="stanza"> +<p>"Fancy and art in gay Petronius please,</p> +<p>The scholar's learning with the courtier's ease."</p> +<p class="i16"><i>Essay on Criticism</i>, sect. 3</p> +</div></div> + +<p>I find no note on the lines either in the edition of +Warton, 9 vols. 8vo., London, 1797, or in Cary's +royal 8vo., London, 1839; but the similarity +strikes me as curious, and deserving further examination.</p> + +<p class="author">C. FORBES.</p> + +<p>Temple.</p> + +<hr /> + +<h3>BELVOIR CASTLE.</h3> + +<p>In Nichol's <i>History and Antiquities of the County +of Leicester</i>, vol. ii., part i., containing the Framland +Hundred, p. 45 of the folio ed. 1795, occurs +the following quotation, in reference to the rebuilding +of Belvoir castle by Henry, second Earl +of Rutland, in 1555:—</p> + +<blockquote><p>"That part of the more ancient building, which was +left by both unaltered, is included in the following +concise description by an ingenious writer, who visited +it in 1722:—</p> + +<div class="poem"><div class="stanza"> +<p>'Ædes in culmine montis sitæ, scilicet,</p> +<p class="i10">αιπεια κολωνεν</p> +<p>'Εν πεδιω απανευθε περιδρομος ενθα και ενθα'</p> +</div></div> + +<p>aditu difficilis circa montem; cujus latera omnia horti +50 acrarum circumeunt, nisi versus Aquilonem, quò +ascenditur ad ostium ædium ubi etiam antiqua jauna +arcuato lapide. Versus Occidentem 8 fenestræ et 3 +in sacello; et ulterior pars vetusta. Versus Aquilonem +10 fenestræ. Facies Australis et Turris de <i>Staunton</i>, +in qui archiva familiæ reponuntur, extructa ante annos +circa 400. Pars restat kernellata," &c. &c. &c.</p></blockquote> + +<p>The description goes on for a few more lines; +but it matters not to continue them. I should be +much obliged by any of your readers giving an +account of who this "ingenious writer" was, and +on what authority he founded the foregoing observations, +as it is a subject of much interest to +me and others at the present time.</p> + +<p class="author">ALYTHES.</p> + +<p>Jan. 28. 1850.</p> + +<hr /> + +<h3>MINOR QUERIES.</h3> + +<p><i>MSS. formerly belonging to Dr. Hugh Todd</i>.—I +shall feel most grateful to any of your correspondents +who can afford me any information, however +imperfect, respecting the MSS. of Dr. Hugh Todd, +Vicar of Penrith, and Prebendary of Carlisle, +in the beginning of the last century. In the <i>Cat. +MSS. Angliæ</i>, &c., 1697, is a catalogue of nineteen +MSS, then in his possession, five of which +are especially the subject of the present inquiry. +One is a Chartulary of the Abbey of Fountains, +in 4to; another is an Act Book of the Consistory +Court of York, in the fifteenth century, in folio; +the third is the Chapter Book of the Collegiate +Church of Ripon, from 1452 to 1506; the fourth +contains Extracts and Manuscripts from Records +relating to the Church of Ripon; and the last is +apparently a Book of the Acts of the Benefactors +to that foundation. In a letter to Humphrey +Lawley, dated in 1713, Dr. Todd says he was engaged +in a work relating to the province of York, +and the greater part of the MSS. in the catalogue +above mentioned appear to have been collected as +the materials.</p> + +<p class="author">JOHN RICHARD WALBRAN.</p> + +<p>Falcroft, Ripon, Jan 31. 1850.</p> + +<p><i>French Leave</i>—In No. 5. I perceive several +answers to the query respecting <i>Flemish Account</i>, +which I presume to be the same as <i>Dutch Account</i>. +Can you inform me how the very common expression +<i>French Leave</i> originated?</p> + +<p class="author">W.G.B.</p> + +<p><i>Portugal</i>.—Can any of your geographical readers +inform me if a Gazetteer of Portugal has been +published within these twenty years? If there +has been one, in what language, and where published? +Information of the title of any good +modern works on Portugal, giving an account +of the minor places, would be acceptable.</p> + +<p class="author">NORTHMAN.</p> + +<p><i>Tureen</i>—How and whence is the term "tureen" +derived?—and when was it introduced?</p> +<div class="poem"><div class="stanza"> +<p>"At the top there was tripe in a swinging tureen."</p> +<p class="i16">Goldsmith's <i>Haunch of Venison</i>.</p> +</div></div> + +<p class="author">G.W.</p> + +<p><i>Military Execution</i>.—I am very anxious to be +referred to the authority for the following anecdote, +and remark made on it:—</p> + +<blockquote><p>"Some officer, or state prisoner, on being led out to +be shot, refused either to listen to a confessor, or to +cover his eyes with a handkerchief."</p></blockquote> + +<p>The remark was, that "he refused a bandage +for either mind or body." It smacks somewhat of Voltaire.</p> + +<p class="author">MELANION.</p> + +<p><i>Change of Name</i>.—If, as it appears by a recent +decision, based, perhaps, on a former one by +Lord Tenterden, that a man may alter his name <span class="pagenum"><a id="page247" name="page247"></a>{247}</span> +as he pleases <i>without the royal license</i>, I wish to +know what then, is the use of the royal license?</p> + +<p class="author">B.</p> + +<p><i>The Symbolism of the Fir-Cone</i>. What does +the "fir-cone" in the Ninevite sculptures mean? +Layard does not explain it. Is it there as the +emblem of fecundity, as the pomegranate of Persia +and Syria? Has it altogether the same character +as the latter fruit? Then—was it carried +into Hindostan <i>viâ</i> Cashmir? When? By the +first wave of population which broke through the +passes of the Parapamisus?</p> + +<p class="author">B.C.</p> + +<p><i>Kentish Ballad</i>.—When I was a boy, I can +remember hearing a song sung in Kent, in praise +of that country, which I never could find in print, +and of which I am now glad to recollect the following +stanza:—</p> + +<div class="poem"><div class="stanza"> +<p>"When Harold was invaded,</p> +<p class="i2">And falling lost his crown,</p> +<p>And Norman William waded</p> +<p class="i2">Through gore to pull him down;</p> +<p class="i4">When countries round</p> +<p class="i4">With fear profound,</p> +<p>To help their sad condition,</p> +<p class="i2">And lands to save,</p> +<p class="i2">Base homage gave,</p> +<p>Bold Kent made no submission."</p> +</div></div> + +<p>Can any reader furnish the remainder, and state +who is the author?</p> + +<p class="author">F.B.</p> + +<p><i>Curious Monumental Brass</i>.—I have a rubbing +of a Brass, presenting some peculiarities which +have hitherto puzzled me, but which probably +some of your more experienced correspondents +can clear up.</p> + +<p>The Brass, from which the rubbing is taken +(and which was formerly in the Abbey church of +St. Albans, but when I saw it was detached and +lying at the Rectory), is broken off a little below +the waist; it represents an abbot, or bishop, clad +in an ornamented chasuble, tunic, stole, and alb, +with a maniple and pastoral staff. So far all is +plain; but at the back (i.e. on the surface hidden +when the Brass lay upon the floor) is engraved +a dog with a collar and bells, apparently as carefully +executed as any other part. Can you tell +me the meaning of this? I can find no mention +of the subject either in Boutell or any other +authority. The fragment is about 18 inches long, +and the dog about 6, more or less.</p> + +<p class="author">RAHERE.</p> + +<p>Jan. 26, 1850.</p> + +<p><i>Tickhill, God help me</i>.—Can any one tell why +A Tickhill man, when asked where he comes from, +says, "Tickhill, God help me." Is it because +the people at Tickhill are famed for misery, as the +neighbouring town of Blythe seems to have been +so called from its jolly citizens?</p> + +<p class="author">R.F. JOHNSON.</p> + +<p><i>Bishop Blaize</i>.—I should be much obliged by +any reference to information respecting Bishop +Blaize, the Santo Biagio of Agrigentum, and +patron saint of Ragusa. Butler says little but +that he was bishop of Sebaste, in Armenia, the +proximity of which place to Colchis appears to me +suspicious. Wonderful and horrible tales are told +of him; but I suspect his patronage of wool-combers +is founded on much more ancient legends. +His establishment at Agrigentum must have been +previous to Christianity. I have a vague remembrance +of some mention of him in Higgins's +<i>Anacalypsis</i>, but I have not now access to that +work. I wish some learned person would do for +other countries what Blunt has partly done for +Italy and Sicily; that is, show the connection between +heathen and Christian customs, &c.</p> + +<p class="author">F.C.B.</p> + +<p><i>Vox et præterea nihil.</i>—Whence come these +oft-quoted words? Burton, in <i>The Anatomy of +Melancholy</i> (not having the book by me, I am +unable to give a reference), quotes them as addressed +by some one to the nightingale. Wordsworth +addresses the cuckoo similarly, vol. ii. +p. 81.:—</p> + +<div class="poem"><div class="stanza"> +<p>"O, cuckoo! shall I call thee bird,</p> +<p>Or but a wandering voice?"</p> +</div></div> + +<p class="author">C.W.G.</p> + +<p><i>Cromwell Relics</i>.—In Noble's <i>Memorials of the +Protectorate House of Cromwell</i> it is stated, in the +Proofs and Illustrations, Letter N, that in 1784, +there were dispersed in St. Ives a great number +of swords, bearing the initials of the Protector +upon them; and, further, that a large barn, which +Oliver built there, was still standing, and went by +the name of Cromwell's Barn; and that the farmer +then renting the farm occupied by the Protector +circa 1630-36, marked his sheep with the identical +marking-irons which Oliver used, and which +had O.C. upon them.</p> + +<p>Can any of your correspondents inform me if +any of these relics are still in existence, and, if so, +where?</p> + +<p class="author">A.D.M.</p> + +<p><i>Lines on "Woman's Will</i>."—Many of your +readers will have heard quoted the following +stanza, or something like it:—</p> + +<div class="poem"><div class="stanza"> +<p>"The man's a fool who strives by force or skill</p> +<p>To stem the torrent of a woman's will;</p> +<p>For if she will, she will you may depend on't,</p> +<p>And if she won't, she won't, and there's an end on't."</p> +</div></div> + +<p>I have heard these lines confidently attributed to +Shakspeare, Byron, &c. by persons unable to +verify the quotation, when challenged so to do. +I can point out where the first two lines may be +found with some variation. In <i>The Adventures +of Five Hours</i>, a comedy translated from the +Spanish of Calderon, by Samuel Tuke, and <span class="pagenum"><a id="page248" name="page248"></a>{248}</span> +printed in the 12th volume of Dodsley's <i>Old Plays</i> +(edit. 1827), in the 5th act (p. 113.), the lines run +thus:—</p> + +<div class="poem"><div class="stanza"> +<p>"He is a fool, who thinks by force or skill</p> +<p>To turn the current of a woman's will."</p> +</div></div> + +<p>I should be glad if any one could inform me by +whom the latter lines were added, and where they +may be found in print.</p> + +<p class="author">C.W.G.</p> + +<p><i>Pity is akin to Love</i>.—Where are the following +words to be met with?—</p> + +<div class="poem"><div class="stanza"> +<p>"For Pity is akin to Love."</p> +</div></div> + +<p>I have found very similar expressions, but never +the exact words as above.</p> + +<p class="author">H.</p> + +<hr class="full" /> +<h2>REPLIES</h2> + +<h3>AELFRIC'S COLLOQUY, AND THE A.-S. WORD ÆGYPE +IN THE A.-S. PSALTER.</h3> + +<p>In reference to MR. THORPE'S note (No. 15. +p. 232.), I beg leave, with all possible respect and +deference, to suggest that his joke is not quite <i>ad +rem</i>.—What would do for a <i>beefsteak</i> does not +help his <i>mistake</i>; for it is quite evident that <i>sprote</i> +applies to fish-<i>swimming</i> and not to fish-<i>catching</i>; +and I presume that "useful and sagacious" auxiliary, +Dr. Kitchener himself, would hardly have +ventured to deny that <i>fish</i> may <i>swim quickly</i>?</p> + +<p>Now let us try how MR. THORPE'S proposed +<i>salice=wicker</i>, or <i>sallow</i>, with or without the +<i>basket</i>, will suit the context. The fisherman is +asked, "Quales pisces capias? = What fish do +you take?" The answer is Anguillos &c. &c. +et qualescunque in amne natant salu = Eels +&c. &c., and every sort whatever that in water +swimmeth +[wicker/sallow] basket! Let it be remembered +that the question here is not, "<i>How</i> dost thou +take fish?" which had been put and <i>answered +before</i>, but "<i>What</i> fish dost thou take?" and then +let common sense decide; for the fisherman having +already mentioned that he cast <i>nets</i> and <i>hooks</i>, and +[<i>spyrian</i>/spartas], i.e. <i>baskets</i>, now only replies as to the +<i>fish</i> he takes.</p> + +<p>MR. THORPE calls the A.-S. dialogue a <i>Gloss</i>; +is it not rather an <i>interlineary version</i>? like those +in use, in later times, of Corderius, and used for +the same purpose.</p> + +<p>I have no doubt that upon more mature consideration +MR. THORPE will see that it could not +be a substantive that was intended; and, as he +admits my conjecture to be <i>specious</i>, that he will, +in the course of his very useful labours, ultimately +find it not only specious but correct. Meanwhile, +I submit to his consideration, that beside the +analogy of the Gothic <i>sprauto</i>, we have in Icelandic +<i>spretta</i>, imperf. <i>spratt</i>, "subito movere, +repente salire, emicare;" and <i>sprettr</i>, "cursus +citatus," and I do think these analogies warrant +my conclusion.</p> + +<p>I embrace this opportunity of submitting another +<i>conjecture</i> respecting a word in MR. THORPE'S +edition of the <i>Anglo-Saxon Paraphrase of the +Psalms</i>. It occurs in Ps. cvi. ver. 10., "Quid +exacerbaverunt eloquium Domini," &c., which is +rendered: "Forthon hidydan Drihtnes spræce +ægwaes <i>ægype</i>." In a note MR. THORPE says: +"<i>ægype</i>, non intelligo," and gives a reason for +deeming the passage corrupt. To me it seems to +express the generally accepted sense of <i>exacerbaverunt</i>: +and here a cognate language will show +us the way. Icelandic <i>geip</i>, futilis exaggeratio; +<i>atgeipa</i>, exaggerare, effutire: <i>ægype</i>, then, means +to <i>mock</i>, to <i>deride</i>, and is allied to <i>gabban</i>, to gibe, +to jape. In the Psalter published by Spelman it +is rendered: hi <i>gremedon</i> spræce godes. In Notker +it is <i>widersprachen</i>, and in the two old Teutonic +interlinear version of the Psalms, published +by Graff, <i>verbitterten</i> and <i>gebittert</i>. Let us hear +our own interesting old satirist, Piers Plouhman +[Whitaker's ed. p. 365.]:</p> + +<blockquote><p>And God wol nat be gyled, quoth Gobelyn, ne be +<i>japed</i>.</p></blockquote> + +<p>But I cease, lest your readers should exclaim, +Res non verba. When I have more leisure for +<i>word-catching</i>, should you have space, I may +furnish a few more.</p> + +<p class="author">S.W. SINGER.</p> + +<p>Feb. 11. 1850.</p> + + +<p><i>Ælfric's Colloquy</i>.—I have my doubts whether +MR. SINGER'S ingenious suggestions for explaining +the mysterious word <i>sprote</i> can be sustained. The +Latin sentence appears clearly to end with the +word <i>natant</i>, as is not only the case in the St. +John's MS., mentioned in MR. THORPE'S note, +but in fact, also in the Cottonian MS. There is +a point after <i>natant</i>, and then follows the word +<i>Saliu</i> (not <i>salu</i>) with a capital <i>S</i>. Any person +who examines the handwriting of this MS. will +see that the word, whatever the transcriber may +have understood by it, was intended by him to +stand alone. He must, however, have written it +without knowing what it meant; and then comes +the difficulty of explaining how it got into the +MS. from which he copied. It has always appeared +to me probable that the name of some +fish, having been first interlined, was afterwards +inserted at random in the text, and mis-spelt by +a transcriber who did not know its meaning. +A word of common occurrence he would have +been less likely to mistake. Can <i>saliu</i> be a mistake +for <i>salar</i>, and <i>sprote</i> the Anglo-Saxon form of +the corresponding modern word <i>sprod</i>, i.e. the +salmon of the second year? The <i>salar</i> is mentioned +by Ausonius in describing the river Moselle +and its products (<i>Idyll</i>. 10, l. 128.).</p> + +<hr /><span class="pagenum"><a id="page249" name="page249"></a>{249}</span> + +<div class="poem"><div class="stanza"> +<p>"Teque inter species geminas neutrumque et utrumque,</p> +<p>Qui necdum salmo, nec jam salar, ambiguusque</p> +<p>Amborum medio fario intercepte sub ævo."</p> +</div></div> + +<p>I throw out this conjecture to take its chance +of refutation or acceptance. Valeat quantum!</p> + +<p class="author">C.W.G.</p> + +<hr /> + +<h3>ANTONY ALSOP.</h3> + +<p>"R.H." (No. 14, p. 215.) will find all, I believe, +that is known respecting Antony Alsop, in that +rich storehouse of materials for the literary history +of the last century, Nichols's <i>Anecdotes</i>, or in +Chalmers (<i>Biog. Dict.</i>), who has merely transcribed +from it. The volume of <i>Latin Odes</i> your +correspondent mentions, was published by Sir +Francis Bernard, and printed by Bowyer. Some +notice of Sir Francis Bernard will also be found +in Nichols.</p> + +<p>The <i>Odes</i> were long circulated in MS.; and I +have a copy that once belonged to Thomas Warton, +which seems to have been written by G. Crochly, +of Christchurch College, in 1736. It contains, +however, nothing that is not to be found in the +printed volume. The Dedication to the Duke of +Newcastle was written by Bernard, who had intended +to have given a preface and copious notes, +as appears by the prospectus he published: but, +to our great regret, he was dissuaded from his +purpose.</p> + +<p>Alsop was a favourite with that worthy man +and elegant scholar Dean Aldrich, at whose instance +he published his pleasing little volume, +<i>Fabularum Æsopicarum Delectus</i>, Oxon. 1698. In +the preface Bentley is thus designated—"Richardum +quendam Bentleium Virum in volvendis +Lexicus satis diligentem:" and there is a severe +attack upon him in one of the fables, which was +not forgotten by the great scholar, who affects +to speak of Tony Alsop the fabulist with great +contempt.</p> + +<p>I have never seen the volume of <i>Latin and +English Poems</i> published in 1738; but, notwithstanding +the designation, "a gentleman of Trinity +College," it may be at least partly by Alsop, +though he undoubtedly was of Christchurch. +There are English poems by him, published both +in Dodsley's and Pearch's collection, and several +in the early volumes of the <i>Gentleman's Magazine</i>. +I have the authority of a competent judge for +saying, that the very witty, but not quite decent +verses in that miscellany, vol. v. p. 216—"Ad +Hypodidasculum quendam plagosum, alterum orbilium, +ut uxorem duceret, Epistola hortativa." +Subscribed "Kent, Lady-day, 1835"—are Alsop's. +He took the degree of M.A. in 1696, and +of B.D. in 1706, and, by favour of the Bishop of +Winchester, got a prebend in his cathedral, and +the rectory of Brightwell, Berks. He was accidentally +drowned in a ditch leading to his garden +gate, in 1726. There is good reason to believe +that a MS. life of him is to be found among the +Rawlinson MSS., which it may be worth while to +consult.</p> + +<p>It will be remembered that Christchurch was +the head-quarters of the phalanx of wits opposed to +Bentley.</p> + +<div class="poem"><div class="stanza"> +<p>"Nor wert thou, Isis, wanting to the day,</p> +<p>[Tho' Christchurch long kept prudishly away,"]</p> +</div></div> + +<p>is Pope's ironical banter; and he has not failed to +mention Alsop and Freind in Bentley's speech:—</p> + +<div class="poem"><div class="stanza"> +<p>"Let Freind affect to speak as Terence spoke,</p> +<p>And Alsop never but like Horace joke,"</p> +</div></div> + +<p>where the note says, "Dr. Antony Alsop, a happy +imitator of the Horatian style."</p> + +<p>Indeed, Alsop seems to have been duly esteemed +and appreciated by his contemporaries; and every +tasteful scholar will concur in the opinion that his +truly elegant Sapphics deserve a place among the +few volumes of modern Latin verse, which he +would place near Cowper's more extensively known +favourite, Vinny Bourne.</p> + +<p class="author">S.W.S.</p> + +<p>Antony Alsop, respecting whom a query appears +in No. 14. p. 215., was of Christchurch, under the +famous Dr. Aldrich, by whom the practice of +smoking was so much enjoyed and encouraged. +The celebrated Sapphic ode, addressed by Alsop +to Sir John Dolben, professes to have been written +with a pipe in his mouth:—</p> + +<div class="poem"><div class="stanza"> +<p>"Dum tubum, ut mos est meus, ore versans,</p> +<p>Martiis pensans quid agam calendas,</p> +<p>Pone stat Sappho monitisque miscet</p> +<p class="i6">Blanda severis."</p> +</div></div> + +<p>Ant. Alsop took his degree of M.A. March 23. +1696, B.D. Dec. 1706. He died June 10, 1726; +and the following notice of his death appears in +the <i>Historical Register</i> for that year:—</p> + +<p>"Dy'd Mr. Antony Alsop, Prebendary of Winchester, +and Rector of Brightwell, in the county of +Berks. He was killed by falling into a ditch that led +to his garden door, the path being narrow, and part of +it foundering under his feet."</p> + +<p>I believe Alsop was not the author of a volume +by a gentleman of Trinity College, and that he +never was a member of that society; but that +doubt is easily removed by reference to the entry +of his matriculation at Oxford.</p> + +<p class="author">W.H.C.</p> + +<p>Temple.</p> + +<p>"R.H." inquires, whether Antony Alsop was +at Trinity College before he became a student of +Christchurch? I have considered it to be my +duty to examine the Admission Registers of +Trinity College in my possession since the foundation +of the college; and I can only say, that I +do not find the name in any of them. That he +was at Christchurch, and admitted there as a student, +is recorded by his biographers. It is also <span class="pagenum"><a id="page250" name="page250"></a>{250}</span> +said, that he was elected at once from Westminster +to Christchurch, where he took the degree of M.A. +March 23. 1696, and that of B.D. Dec. 12. 1706. +He was soon distinguished by Dean Aldrich as +worthy of his patronage and encouragement. He +was consequently appointed tutor and censor, and +in course of time left college, on his promotion to +a prebendal stall in Winchesser Cathedral by Sir +Jonathan Trelawney, the then Bishop, with the +rectory of Brightwell, near Wallingford; at which +latter place he chiefly resided till the time of his +death, which happened by an accident, June 10. +1726. Sir Francis Bernard, Bart., who had himself +been a student of Christchurch, published the +4to. volume of <i>Latin Odes</i> mentioned by "R.H.," +Lond. 1753; for which he had issued <i>Proposals</i>, +&c., so early as July, 1748. In addition to these +<i>Odes</i>, four English poems by Alsop are said to be +in Dodsley's collection, one in Pearch's, several in +the early volumes of the <i>Gentleman's Magazine</i>, +and some in <i>The Student</i>. Dr. Bentley calls him, +rather familiarly, "Tony Alsop, editor of the +<i>Æsopian Fables</i>;" a work published by him at +Oxford, in 1698, 8 vo., in the preface to which he +took part against Dr. Bentley, in the dispute with +Mr. Boyle.</p> + +<p class="author">J.I.</p> + +<p>Trinity College, Oxford.</p> + +<hr /> + + +<h3>REPLIES TO MINOR QUERIES.</h3> + + +<p><i>Origin of the Word "Snob"</i>.—I think that +<i>Snob</i> is not an archaism, and that it cannot be +found in any book printed fifty years ago. I am +aware that in the north of England shoe-makers +are still sometimes called <i>Snobs</i>; but the word is +not in Brockett's <i>Glossary of North Country Words</i>, +which is against its being a genuine bit of northern +dialect.</p> + +<p>I fancy that <i>Snobs</i> and <i>Nobs</i>, as used in vulgar +parlance, are of classic derivation; and, most probably, +originated at one of the Universities, where +they still flourish. If a <i>Nob</i> be one who is <i>nobilis</i>, +a <i>Snob</i> must be one who is <i>s[ine] nob[ilitate]</i>. +Not that I mean to say that the <i>s</i> is literally a +contraction of <i>sine</i>; but that, as in the word slang, +the <i>s</i>, which is there prefixed to <i>language</i>, at once +destroys the better word, and degrades its meaning; +and as, in Italian, an <i>s</i> prefixed to a primitive +word has a privative effect—e.g. <i>calzare</i>, +"to put on shoes and stockings;" <i>scalzare</i>, "to +put them off:" <i>fornito</i>, "furnished;" <i>sfornito</i>, +"unfurnished," &c.; as also the <i>dis</i>, in Latin (from +which, possibly, the aforesaid <i>s</i> is derived), has the +like reversing power, as shown in <i>continue</i> and +<i>discontinue</i>—so <i>nob</i>, which is an abbreviation of +<i>nobilis</i>, at once receives the most ignoble signification +on having an <i>s</i> put before it.</p> + +<p>The word <i>Scamp</i>, meaning literally a fugitive +from the field, one <i>qui ex campo exit</i>, affords another +example of the power of the initial <i>s</i> to reverse +the signification of a word.</p> + +<p>All this, Mr. Editor, is only conjecture, in reply +to "ALPHA's" query (No. 12 p. 185.); but perhaps +you will receive it, if no better etymology of +the word be offered.</p> + +<p class="author">A.G.</p> + +<p>Ecclesfield, Jan. 21. 1850.</p> + +<p><i>Derivation(?) of "Snob" and "Cad."</i>—I am +informed by my son, who goeth to a Latin school, +that <i>Snob</i> (which is a word he often useth) cometh +of two Latin words; to wit, "<i>sine obolo</i>"—as +who should say, "one that hath not a cross to +bless himself." He saith, that the man behind the +omnibus is called "<i>Cad</i>," "<i>a non cadendo</i>." Your +humble servant,</p> + +<p class="author">THE GOVERNOR.</p> + +<hr /> + + +<p><i>Mr. Macaulay and Bishop Burnet</i>.—The passage +in which Mr. Macaulay calls Burnet "a rash and +partial writer," alluded to by your correspondent +in No. 3. p. 40., occurs towards the end of his +Essay on "Sir William Temple," p. 456. of the +new edition in one volume.</p> + +<p class="author">ETONIENSIS.</p> + +<hr /> + + +<p><i>Circulation of the Blood</i>.—"A.W." (No. 13. +p. 202.) is referred to Smith's <i>Dictionary of Biography</i>, +article NEMESIUS.</p> + +<p class="author">J.E.B. MAYOR.</p> + +<hr /> + + +<p><i>Genealogy of European Sovereigns</i>.—I send the +full title of a book which I would recommend to +your correspondent "Q.X.Z.," (No. 6. p. 92.):—</p> + +<blockquote><p>GÉNÉALOGIE ASCENDANTE,</p> + +<p>JUSQU'AU QUATRIÈME DÉGRÉ INCLUSIVEMENTS,</p> + +<p>De tous les Rois et Princes de Maisons souveraines +de l'Europe actuellement vivans; réduite +en CXIV. Tables de XVI. Quartiers, composées +selon les Principes du Blazon; avec une Table +Générale.</p> + +<hr /> + +<blockquote><p>"La noblesse, Daugaux, n'est point une chimère, +Quand sous l'étroite loi d'une vertu sévère, +Un homme, issu d'un sang fécond en demi-dieux, +Suit, comme toi, la trace où marchaient ses ayeux." + Boileau, S.v.</p></blockquote> + +<hr /> + + +<p>A BERLIN:</p> + +<p>Au Dépens de l'Autheur: se vend chez Etienne +de Bourdeaux, Libraire; imprimé chez Frédéric +Guillaume Birnstiel.</p> + +<p>MDCCLXVIII.</p></blockquote> + +<p>I presume that it is of some rarity, never having +met with any other copy than the one from which +I transcribed this title.</p> + +<p>Some of your correspondents may, perhaps, be +able to give the name of the Author who, as far +as I have had occasion to refer, seems to have done +his work carefully.</p> + +<p class="author">T.W.</p> + +<hr /> + + +<p><i>Sir Stephen Fox.</i>—I have seen it stated in +some biographical dictionary, that Sir Stephen +Fox was a younger brother of "John Fox, Esq.," +who was a devoted Royalist at the time of the +great Rebellion, and fought at the battle of Worcester, <span class="pagenum"><a id="page251" name="page251"></a>{251}</span> +and after the Restoration was Clerk of the +Acatry, in the household of Charles the Second.</p> + +<p>Mr. Suckling, in his <i>History of Suffolk</i>, claims +for a family some time seated at Stradbrook, in +that county, a consanguinity with the descendants +of Sir Stephen.</p> + +<p>On an altar-tomb in Stadbrook churchyard +are inscribed notices of many members of this +family, but without dates. One is rather extraordinary, +making the lives of a father and son +together to amount to 194 years. Amongst them +is this:—</p> + +<blockquote><p>"Here is hourly expected, Simon the next descendant, +with his son Simon, who died young, tho' still +preserved to be interr'd with his father at the earnest +request of his pious mother the Lady Hart. And also +Major John Fox, with his issue, who during the late +rebellion loyally behav'd himself, undergoing with +great courage not only the danger of the field, but +many severe imprisonments."</p></blockquote> + +<p>The arms on this tomb differ from those of +Lords Ilchester and Holland, being simply three +foxes' heads erased.</p> + +<p>Should this note supply a clue for your correspondent +"VULPES" to identify Major John Fox +with the brother of Sir Stephen, on knowing that +he has found the scent I shall be able to assist +him in unearthing the whole litter.</p> + +<p class="author">VENATOR.</p> + +<p><i>French Maxim</i>.—The maxim inquired after +by "R.V." (No. 14. p. 215.) undoubtedly belongs +to Rochefoucault. I have met with a somewhat +similar passage in Massillon:—</p> + +<blockquote><p>"Le vice rend hommage à la vertu en s'honorant de +sus apparences."</p></blockquote> + +<p class="author">J.B.M.</p> + +<p>Feb. 5. 1850.</p> + +<p><i>Shipster</i>.—A <i>scip-steora</i> among our Anglo-Saxon +ancestors was a pilot ("<i>ship-steerer</i>"). The +word has descended to our own times in the surname +of the family Shipster. As a common +noun it was not obsolete in the days of Wynkyn +de Worde, who printed that curious production +"<i>Cock Lorelle's Bote</i>," one line of which runs +thus:—</p> + +<blockquote><p>"With gogle-eyed Tomson, <i>shepster</i> of Lyn."</p></blockquote> + +<p>It is pretty certain, however, that this masculine +occupation was not the one followed by "Marie +Fraunceys de Suthwerk!"</p> + +<p>Pray accept this "Reply" for what it is worth. +Perhaps I might have done better by meeting +Mr. John R. Fox's "Query" (No. 14. p. 216.) +with another. Should not the designation of +Marie F. be <i>Spinster</i> instead of Shipster?</p> + +<p class="author">MARK ANTONY LOWER.</p> + +<p>Lewes, Feb. 2.</p> + +<p><i>Sparse</i>.—Permit me to refer your correspondent +"C. FORBES" for a reply to his query, +p. 215. of your last Number, to the article "Americanism" +in the <i>Penny Cyclopædia</i>, the author of +which observes:—</p> + +<blockquote><p>"<i>Sparse</i> is, for any thing we know, a new word, and +well applied; the Americans say a <i>sparse</i> instead of a +scattered population; and we think the term has a +more precise meaning than scattered, and is the proper +correlative of <i>dense</i>."</p></blockquote> + +<p>In the <i>Imperial Dictionary</i> (avowedly based +upon Webster's American work, which I cannot +at this moment refer to in its original form), the +word in question is given both as an adjective and +as a verb, and the derivatives "sparsed," "sparsedly," +"sparsely," and "sparseness," are also +admitted. The reference given for the origin of +"sparse" is to the Latin "<i>sparsus</i>, scattered, from +<i>spargo</i>;" and the definitions are, 1. "Thinly scattered, +set or planted here and there; as, a <i>sparse</i> +population:" and, 2., as a botanical term, "not +opposite, not alternate, nor in any regular order; +applied to branches, leaves, peduncles, &c."</p> + +<p class="author">J.T. STANESBY.</p> + +<p><i>Cosmopolis—Complutensian Polyglot</i>.—Though +in considerable haste, I must send replies to the +fourth and eighth queries of my friend Mr. Jebb, +No. 14. p. 213.</p> + +<p><i>Cosmopolis</i> was certainly Amsterdam. That +the <i>Interpretationes paradoxæ quatuor Evangeliorum</i>, +by Christophorus Christophori Sandius, +were there printed, appears from this writer's +<i>Bibliotheca Anti-Trinitarionum</i>, p. 169., Freistad, +1684. I may add that "Coloniæ" signifies "Amstelædami" +in the title-page of Sandius's <i>Nucleus +Historiæ Ecclesiasticæ</i>, 1676, and in the <i>Appendix +Addendorum</i>, 1678, 4to.</p> + +<p>With regard to the MSS. used in the formation +of the text of the <i>Complutensian Polyglot</i>, Mr. Jebb +will find an account of their discovery in a letter +addressed by Dr. James Thompson to the editor of +<i>The Biblical Review</i>. See also <i>The Irish Ecclesiastical +Journal</i> for April 1847.</p> + +<p class="author">R.G.</p> + +<p><i>Complutensian Polyglot</i>.—The following extract +from "The Prospectus of a Critical Edition of the +New Testament," by the learned Mr. S. Prideaux +Tregelles, affords a satisfactory reply to Mr. +Jebb's query, No. 14. p. 212.:—</p> + +<blockquote><p>"However there is now more certainty as to the +MSS. belonging to the University of Alcala. Dr. +James Thompson has published (<i>Biblical Review</i>, +March, 1847), the result of inquiries made thirty years +ago by Dr. Bowring, and more recently by himself. +Hence it appears that all the MSS. which formerly +were known as belonging to Cardinal Ximenes, and +which were preserved in the library of Alcala, are now +with the rest of that library, at Madrid....Dr. José +Gutierrez, the present librarian at Madrid, communicated +to Dr. J. Thomson a catalogue of the Complutensian +MSS., and from this it appears that the +principal MSS. used in the Polyglott are all safely +preserved."</p></blockquote> + +<p class="author">J. MILNER BARRY.</p> + +<p>Totnes, Feb. 6. 1850.</p> + +<hr /><span class="pagenum"><a id="page252" name="page252"></a>{252}</span> + +<p><i>Christmas Hymn.</i>—Your correspondent "E.V." +(No. 13. p. 201.) asks for the author of the +Christmas Hymn—</p> + +<blockquote><p>"Hark! the Herald Angels sing."</p></blockquote> + +<p>I believe it to be the composition of the Rev. +Charles Wesley, the younger brother of the celebrated +John Wesley: he was born in 1708, and +died in 1788. He was the author of many of the +hymns in his brother's collection, which are distinguished +for their elegance and simplicity. I am +not able to find out, for certain, whether he had +another name; if he had, it was probably the +occasion of the initials (J.C.W.) your correspondent +mentions.</p> + +<p class="author">J.K.R.W.</p> + +<p><i>Sir Jeffery Wyattville.</i>—Sir Jeffery Wyattville, +respecting whom "J.P." inquires (No. 14. p. 215.), +was knighted at Windsor Castle, Dec. 9, 1828., on +the king entering into possession after the restoration.</p> + +<p class="author">S.G.</p> + +<p class="note">[To which may be added, on the information of our +valued correspondent "C.," "that it was about 1824 that +Mr. Wyatt, being appointed by George IV. to conduct +the improvements at Windsor Castle, had the absurd +ambition of distinguishing himself from the other architects +of his name by changing it to <i>Wyattville</i>. This +produced the following epigram in, I think, the <i>Morning +Chronicle</i>:—</p> + +<div class="poem"><div class="stanza"> +<p>"'Let GEORGE whose restlessness leaves nothing quiet,</p> +<p>Change, if he will, the good old name of <i>Wyatt</i>;</p> +<p>But let us hope that their united skill</p> +<p>May not make <i>Windsor Castle—Wyattsville!</i>'"]</p> +</div></div> + + +<p><i>"Peruse."</i>—In reply to the question of "H.W." +(No. 14. p. 215.), although from want of minute +reference I have been unable to find, in the original +edition, the quotation from Frith's works, +I beg leave to suggest that the word "Peruse" is +a misprint, and that the true reading is "Pervise." +To this day the first examination at Oxford, commonly +called the "Little-Go," is "Responsiones +in <i>Parviso</i>." It must not, however, be supposed +that "Pervise," or "Parvise," is derived from the +Latin "Parvus;" the origin, according to Spelman +and succeeding etymologists, is the French "Le +Parvis," a church porch.</p> + +<p>In London the Parvis was frequented by serjeants +at law: see Chaucer, <i>Prol. Cant. Tales</i>. +There is a difference of opinion where it was +situated: see Tyrwhitt's <i>Gloss</i>. The student in +ecclesiastical history may compare <i>Leo Allatius de +Templis Græcorum</i>, p. 44.</p> + +<p class="author">T.J.</p> + +<p><i>Autograph Mottoes of Richard Duke of Gloucester +and Harry Duke of Buckingham</i>. (No. 9. +p. 138.)—There can be no doubt that "Mr. NICOLS" +is somewhat wrong in his interpretation of +the Duke of Buckingham's Motto. It is evident +that both mottoes are to be read continuously, +and that "souene" is the third person singular of a +verb having "loyaulte" for its nominative case. It +appears to me that the true reading of the word +is "soutienne," and that the meaning of the motto +is "My feelings of loyalty often sustain me in my +duty to the King when I am tempted to join those +who bear no good feeling towards him." So that +we shall have in English,</p> + +<div class="poem"><div class="stanza"> +<table summary="Motto"><tbody> + <tr><td>Loyalty binds me</td><td>}</td></tr> + <tr><td>Richard Gloucester.</td><td>}</td></tr> + <tr><td> </td></tr> + <tr><td>Often sustains me</td><td>}</td></tr> + <tr><td>Harry Buckingham.</td><td>}</td></tr> +</tbody></table> +</div></div> + +<p class="author">ARUN.</p> + +<p><i>Boduc.</i>—Your correspondent "P." (No. 12, +p. 185.) seems to consider the "prevailing opinion," +that <i>Boduc</i> or <i>Boduoc</i> on the British coin +must be intended for our magnanimous Queen +Boadicea, to be merely a "pleasing vision," over +which he is "<i>sorry</i> to cast a cloud." Yet his own +remark, that the name Budic (a mere difference +in spelling) is often found among families of the +Welsh in Brittany, and that the name was once +common in England, serves only to confirm the +common opinion that <i>Boduoc</i> on the coins was +intended as the name of the British Queen.</p> + +<p>Dio expressly writes her name in Greek Boudouica, +which approaches nearly to Budic. In +Cornwall we still find Budock, the name of a +parish and of a saint. In Oxford there was a +church formerly called from St. Budoc, long +since destroyed. Leland mentions a Mr. Budok, +and his manor place, and S. Budok Church. His +opinion was, that "this Budocus was an Irisch +man, and cam into Cornewalle, and ther dwellid." +Whether there was a Regulus of Britain of this +name, is not material. I am not prepared to +cast a cloud over it, if it should be found. Our +motto should be, "ex fumo dare lucem," &c.</p> + +<p class="author">ANTINEPHELEGERETA.</p> + +<p>Oxford.</p> + + +<p><i>Annus Trabeationis</i>.—I am sure that you will +allow me to correct an oversight in your reply to +a query of "G.P.," in No. 7. p. 105. You have +attributed to Du Cange a sentence in the Benedictine +addition to his explanation of the term +<i>Trabeatio</i>. (<i>Glossar</i>. tom. vi. col. 1158. Venet. +1740.) This word certainly signifies the Incarnation +of Christ, an not his Crucifixion. Besides +the occurrence of "trabea carnis indutus," at the +commencement of a sermon on S. Stephen by S. +Fulgentius Ruspensis, I have just now met with +the expressions, "trabea carnis velatus," and +"carnis trabea amicti," in a copy of the <i>editio +princeps</i> of the Latin version of Damascen's books +in defence of Image-worship, by Godefridus Tilmannus, +fol. 30 b. 39 a, 4to. Paris, 1555.</p> + +<p class="author">R.G.</p> + +<hr class="full" /> +<span class="pagenum"><a id="page253" name="page253"></a>{253}</span> + +<h2>MISCELLANIES.</h2> + +<p><i>Pursuits of Literature.</i>—The lines upon the +pursuits of literature, quoted by you at p. 212., +remind me of some others, which I have heard +ascribed to Mr. Grattan, and are as follows:—</p> + +<div class="poem"><div class="stanza"> +<p>"'Tis well, Pursuits of Literature!</p> +<p>But who, and what is the pursuer,</p> +<p>A Jesuit cursing Popery:</p> +<p>A railer preaching charity;</p> +<p>A reptile, nameless and unknown,</p> +<p>Sprung from the slime of Warburton,</p> +<p>Whose mingled learning, pride, and blundering,</p> +<p>Make wise men stare, and set fools wondering."</p> +</div></div> + +<p class="author">X.</p> + +<p><i>Doctor Dobbs and his Horse Nobbs</i>.—I remember +having read somewhere of "Doctor Dobbs +and his horse Nobbs," but where I cannot now +recall. I only remember one anecdote. The horse +Nobbs was left, one cold night, outside a cottage, +whilst the Doctor was within officiating as accoucheur +(I believe); when he was ready to start, +and came out, he found the horse apparently dead. +The Doctor was miles from home, and, as the +horse was dead, and the night dark, in place of +walking home, he, with his host, dragged the +horse into the kitchen, and skinned him, by way +of passing the time profitably. But, lo! when +the skinning was finished, the horse gave signs of +returning animation. What was to be done? +Doctor Dobbs, fertile in resources, got sheepskins +and sewed them on Nobbs, and completely +clothed him therein; and—mirabile dictu!—the +skins became attached to the flesh, Nobbs recovered, +and from thenceforward carried a <i>woolly</i> coat, +duly shorn every summer, to the profit of +Doctor Dobbs, and to the wonder and admiration +of the neighbourhood.</p> + +<p>I have also read somewhere that Coleridge told +the story of "Doctor Dobbs and his horse Nobbs" +to Southey at Oxford.</p> + +<p class="author">J.M.B.</p> + +<p><i>Dr. Dobbs and his Horse Nobbs</i>.—Although of +small moment, it is, perhaps, worth recording, +that a Doctor Daniel Dove, of Doncaster, and his +horse Nobbs, form the subjects of a paper in "The +Nonpareil, or the Quintessence of Wit and +Humour," published in 1757, and which, there +can be little doubt, was the source whence +Southey adopted, <i>without alteration</i>, the names so +well known to all readers of the <i>Doctor</i>.</p> + +<p class="author">JNO. SUDLOW.</p> + +<p>Manchester.</p> + + +<p>Seeing the communication of "P.C.S.S." +(p. 73.), reminds me of a note taken from our +Parish Register:—</p> + +<blockquote><p>"1723. Feb. 10. 'Dorothy Dove, gentlewoman, bur.'"</p></blockquote> + +<p>I have never seen the name in connection with +Doncaster before or since the above date.</p> + +<p class="author">J.S.</p> + +<p>Doncaster, Jan. 15.</p> + + +<div class="poem"><div class="stanza"> +<p class="i2">——SI PROPIUS STES,</p> +<p class="i2">TE CAPIET MINUS.</p> +</div><div class="stanza"> +<p><i>(From the Latin of Vincent Bourne.)</i></p> +</div><div class="stanza"> +<p>Glide down the Thames by London Bridge, what time</p> +<p>St. Saviour's bells strike out their evening chime;</p> +<p>Forth leaps the ompetuous cataract of sound,</p> +<p>Dash'd into noise by countless echoes round.</p> +<p>Pass on—it follows—all the jarring notes</p> +<p>Blend in celestial harmony, that floats</p> +<p>Above, below, around: the ravish'd ear</p> +<p>Finds all the fault its own—it was TOO NEAR.</p> +</div></div> + +<p class="author">RUFUS.</p> + +<p><i>St. Evona's Choice.</i>—To your citation of Ben +Jonson's exceptional case of the Justice Randall +as "a lawyer an honest man," in justice add the +name of the learned and elegant author of +<i>Eunomus</i>; for Mr. Wynne himself tells the story +of St. Evona's choice (Dialogue II. p. 62. 3rd ed. +Dublin, 1791), giving his authority in the following +note:—</p> + +<blockquote><p>"The story here dressed up is told in substance in a +small book published in 1691, called a <i>Description of +the Netherlands</i>," p. 58.</p></blockquote> + +<p>In strict law, Sir, the profession may in courts +of Momus be held bound by the act of the respectable +but unlucky St. Evona; but in equity, +let me respectfully claim release, for Evona was a +<i>churchman</i>.</p> + +<p class="author">A TEMPLAR.</p> + +<p class="note">[We gladly insert our correspondent's "claim to release," +but doubt whether he can establish it; inasmuch +as St. Ivo or Evona, canonized on account of his great +rectitude and profound knowledge both of civil and +canon law, was both lawyer and churchman, like the +CLERICUS so recently discussed in our columns; and +clearly sought for and obtained his patron saint in his +legal character.]</p> + +<p><i>Muffins and Crumpets, &c.</i>—Not being quite +satisfied with the etymology of "muffin," in p. +205., though brought by Urquhart from Phoenicia +and the Pillars of Hercules, I am desirous of +seeking additional illustration. Some fancy that +"coffee" was known to Athenæus, and that he +saw it <i>clearly</i> in the "black broth" of the Lacedæmonian +youth. In the same agreeable manner +we are referred to that instructive and entertaining +writer for the corresponding luxury of +"muffins." <i>Maphula</i>, we are told, was one of +those kinds of bread named as such by Athenæus; +that is to say, "a cake baked on a hearth or +griddle." If we need go so far, why not fetch our +muffins from Memphis, which is <i>Môph</i> in Hebrew? +(See <i>Hosea</i>, ix. 6.) It is, perhaps, <i>mou-pain</i>, in +old French, <i>soft bread</i>, easily converted into +<i>mouffin</i>. So "crumpet" may be a corruption of +<i>crumpâte</i> a paste made of fine flour, slightly +baked. The only difficulty would then be in the <span class="pagenum"><a id="page254" name="page254"></a>{254}</span> +first syllable, concerning, which the ingenuity of +your various correspondents, Mr. Editor, may be +exercised to some effect. Is it connected with +the use of the <i>crimping</i> irons in producing these +delicacies?</p> + +<p class="author">HYPOMAGIRUS.</p> + +<p>Oxford.</p> + +<p><i>Dulcarnon</i>.—Dulcarnon is one of those words +in Chaucer which Tyrwhitt professes that he does +not understand. It occurs in <i>Trolius and Creseide</i>, +book iii. 931.933. Creseide says:—</p> + +<div class="poem"><div class="stanza"> +<p>"I am, til God me better minde sende,</p> +<p>At <i>Dulcarnon</i>, right at my witt'is ende.</p> +<p class="i2">Quod Pandarus ye nece, wol ye here,</p> +<p><i>Dulcarnon</i> clepid is fleming<a id="footnotetag03" name="footnotetag03"></a><a href="#footnote03"><sup>[3]</sup></a> of wretches."</p> +</div></div> + +<p>This passage of <i>Trolius and Creseide</i> is quoted +in the life of Sir Thomas More, given in Wordsworth's +<i>Ecclesiastical Biography</i>. More's daughter +said to him, when he was in prison, "Father, I +can no further goe; I am come, as Chaucer said of +Cressid Dulcarnon, to my witt's end."</p> + +<p>Has this passage been satisfactorily explained +since Tyrwhitt's time? The epithet "Dulcarnon" +is mentioned in a note to the translation of +Richard de Bury's <i>Philobiblon</i>, London, 1832. I +give the note in full. It is in reference to the +word "Ellefuga":—</p> + +<blockquote><p>"This word was a pons asinorum to some good +Grecians,—but that is probably its meaning<a id="footnotetag04" name="footnotetag04"></a><a href="#footnote04"><sup>[4]</sup></a>; at +least making it the name of a problem gets over all +difficulty. The allusion is to the flight of Helle, who +turned giddy in taking a flying leap, mounted on a +ram, and fell into the sea;—so weak a head fails in +crossing the pons. The problem was invented by +Pythagoras, 'and it hath been called by barbarous +writers of the latter time Dulcarnon,'—<i>Billingsley</i>. +This name may have been invented after our author's +time. Query δολκαρηνον."</p></blockquote> + +<p>If we take the words "Dulcarnon" in this +sense, it will help to explain the passage in the +<i>Troilus and Creseide</i>.</p> + +<p class="author">E.M.B.</p> + + +<p><i>Bishop Barnaby</i>.—The origin of the term +"Bishop Barnaby," as applied to the Lady-bird, +is still unexplained.</p> + +<p>I wish to observe, as having some possible connexion +with the subject, that the word "Barnaby" +in the seventeenth century appears to have had a +particular political signification.</p> + +<p>For instance, I send you a pamphlet (which +you are welcome to, if you will accept of it) called +"<i>The Head of Nile, or the Turnings and Windings +of the Factious since Sixty, in a dialogue between +Whigg and Barnaby</i>," London, 1681. In this +dialog, Whigg, as might be expected, is the +exponent of all manner of abominable opinions, +whilst Barnaby is represented as the supporter of +orthodoxy.</p> + +<p>Again, in the same year was published Durfey's +comedy, "<i>Sir Barnaby Whigg</i>," the union of the +two names indicating that the knight's opinions +were entirely regulated by his interest.</p> + +<p class="author">Q.D.</p> + +<p>P.S. The pamphlet above alluded to affords +another instance of the use of the word "Factotum," +at page 41.: "before the Pope had a great +house there, and became Dominus Factotum, +Dominus Deus noster Papu."</p> + +<p><i>Barnacles</i>.—In <i>Speculum Mundi, or a Glass +representing the Face of the World</i>, by John Swan, +M.A., 4th edit., 1670, is the following mention of +the Barnacle goose (pp. 243, 244.):—</p> + +<blockquote><p>"In the north parts of <i>Scotland</i>, and in the places +adjacent, called <i>Orchades</i>, are certain trees found, +whereon there groweth a certain kind of shell-fish, of a +white colour, but somewhat tending to a russet; +wherein are contained little living creatures. For in +time of maturity the shells do open, and out of them +by little and little grow those living creatures; which +falling into the water when they drop out of their +shells, do become fowls, such as we call <i>Barnacles</i> or +<i>Brant Geese</i>; but the other that fall upon the land, +perish and come to nothing."</p></blockquote> + +<p>The author then quotes the passage from Gerard +where mention is made of the Barnacle.</p> + +<p class="author">HENRY KERSLEY.</p> + +<p><i>Ancient Alms-Dishes</i>.—I have one of these +dishes; diameter 1 foot 4-3/4 inches, and its height +1-1/2 inch. The centre is plain, without any device, +and separated from the circle of inscription +by a bold embossed pattern.</p> + +<p>The inscription is <i>Der infrid gehwart</i>, in raised +(not engraved) capital letters, 1 inch long, repeated +three times in the circle. Mine is a handsome +dish of mixed metal; yielding, when struck, +a fine sound like that of a gong. It has devices +of leaves, &c. engraved on the broad margin, but +no date.</p> + +<p>I have seen another such dish, in the collection +of the late William Hooper, Esq., of Ross, part +of which (and I think the whole of the under side) +had been enamelled, as part of the enamel still +adhered to it. In the centre was engraved the +temptation in Eden; but it was without legend or +date.</p> + +<p class="author">P.H.F.</p> + +<p><i>Why the American Aborigines are called Indians</i>. +—I have often wondered how the aborigines of +America came to be called Indians; and for a +considerable time I presumed it to be a popular +appellation arising from their dark colour. Lately, +however, I fell in with a copy of <i>Theatrum Orbis +Terrarum</i>. Antwerp, 1583, by Abraham Ortelius, +geographer to the king; and, in the map entitled +<i>Typus Orbis Terrarum</i>. I find America called +<i>America, sive India Nova</i>. How it came to get <span class="pagenum"><a id="page255" name="page255"></a>{255}</span> +the name of <i>India Nova</i> is of course another question, +and one which at present I cannot answer.</p> + +<p class="author">NORTHMAN.</p> + + +<blockquote class="footnote"> + <a id="footnote03" name="footnote03"></a> <b>Footnote 3</b>: + <a href="#footnotetag03">(return)</a> + + Fleming; banishing? from <i>fleme</i>, A.S. to banish. +</blockquote> + +<blockquote class="footnote"> + <a id="footnote04" name="footnote04"></a> <b>Footnote 4</b>: + <a href="#footnotetag04">(return)</a> + "Helleflight," as given in the translation, p. 178. +</blockquote> + +<hr class="full" /> + +<h2>MISCELLANEOUS.</h2> + +<h3>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</h3> + +<p>The arrangements for the <i>Exhibition of Works +of Ancient and Mediæval Art</i> at the rooms of the +Society of Arts in the Adelphi, are proceeding +most satisfactorily. Her MAJESTY and PRINCE +ALBERT have manifested the interest they feel in +its success, by placing at the disposal of the Committee +for the purposes of the approaching Exhibition +a selection from the magnificent collection +of such objects which is preserved at Windsor.</p> + +<p>Messrs. Puttick and Simpson, of 191. Piccadilly, +will sell on Thursday next, and five following +days, the extensive and valuable Library of a well +known and eminent Collector; comprising some +very early printed books of extreme rarity, numerous +French, Spanish, and Italian early Romances, +an extensive series of ancient Italian Books +quoted by the <i>Academia della Crusea,</i> ancient and +modern Books of Travels, and Oriental Books +and MSS.; amongst which latter are the original +MSS. of the celebrated M. Jules de Klaproth.</p> + +<p>We have received the following Catalogues:—</p> + +<blockquote><p>"A Catalogue of Scientific and Mathematical Books, +comprising Architecture, Astrology, Magic, Chess, +and other Games; Fine Arts, Heraldry, Naval and +Military, Numismatics, Penmanship and Short Hand, +Typography, and Miscellaneous Books now selling at +the reduced prices affixed by William Brown, 130. and +131. Old Street, St. Luke's, London."</p> + +<p>"Catalogue (Part I. Feb. 1. 1850) of Choise, Useful +and Curious Books in most departments of Literature, +on Sale, at the very low prices affixed, by John Russell +Smith, 4, Old Compton Street, Soho Square."</p> + +<p>"William Dobson Reeves' Catalogue of Books +(Many Rare and Curious), now on Sale at 98. +Chancery Lane."</p> + +<p>"Catalogue of very Cheap Books, chiefly Divinity, +with a Selection of Miscellaneous Literature, on Sale, +for Ready Money, by T. Arthur, No. 496. New +Oxford street."</p> + +<p>"A Catalogue of Fathers of the Church, and Ecclesiastical +Writers to the Fifteenth Century, arranged in +Chronological Order, with Collections, Analyses and +Selections, Illustrative and Introductory Works, and +an Alphabetical Index of Authors; on Sale at the +Low Prices affixed, for Ready Money, by C.J. +Stewart, 11. King William Street, West Strand."</p></blockquote> + +<p>We had occasion in a former Number (No. 5. +p. 78) to speak in terms of high and deserved +praise of Mr. Stewart's "Catalogue of Bibles and +Biblical Literature;" the present is no less deserving +of commendation, in as much as it gives +not only the Fathers and Ecclesiastical Writers in +Chronological order, according to Centuries (to +each of which, by the way, Mr. Stewart affixes its +distinctive character, Apostolic, Gnostic, &c., as +given by Cave); but also marking the precise +period in which they severally flourished, so as to +show their succession in each century. So that this +Catalogue, with its Index, and its tempting quotations +from Cranmer and Bishop Hall, which we +regret we have not room to quote, will really be +most useful to all Students of Theology and +Ecclesiastical History.</p> + +<hr /> + +<h3>BOOKS AND ODD VOLUMES</h3> + +<center>WANTED TO PURCHASE.<br /> +(<i>In continuation of Lists in former Nos</i>.)</center> + +<p>GLAMORGANSHIRE PEDIGREES, from the MSS, of Sir Isaac Heard, +Knt. By SIR THOMAS PHILLIPS, Bart. 1845.</p> + +<p>A LITTLE WELSH ACCOUNT OF THE PRINCIPALITY OF WALES. +By D.T. First printed about the year 1720.</p> + +<p>RICHARDS' (WM.) REVIEW OF THE MEMOIRS OF THE PROTECTURAL +HOUSE OF CROMWELL. By Rev. MARK NOBLE. 1787.</p> + +<p>HEARNE'S RICHARD II.; to which is subjoined, SIR RICHARD +WYNNE'S NARRATIVE OF HIS JOURNEY INTO SPAIN.</p> + +<p>A LETTER TO THE RIGHT HON. SIR CHARLES LONG, ON THE +IMPROVEMENT PROPOSED AND NEW CARRYING ON IN THE WESTERN +PART OF LONDON, A Pamphlet, 8vo. 1825 or 1826.</p> + +<p>LORD FARNBOROUGH'S PAMPHLET UPON THE IMPROVEMENT OF +WESTMINSTER. Published the latter end of 1826, or January +1827.</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>We are again compelled, by want of space, to omit +many Articles that are in type; among others, one by +Mr. Hampson, on <i>King Alfred's Geography of Europe</i>; +<i>Extracts from Accounts of St. Antholin's</i>, The Rev. +Dr. Todd <i>On the Etymology of Armagh</i>; as well as +many NOTES, QUERIES, and REPLIES; and our +acknowledgments of COMMUNICATIONS RECEIVED. We are for +the same reason under the necessity of abridging our +usual weekly NOTES ON BOOKS, &c.</p> + +<p>R.M. JONES, Chesea. To the queries of this correspondent +(No. 14. p. 217.), who inquired for the best +Treatise on the Microscope, and where to purchase the +most perfect instrument, we have received many replies, +all agreeing in one point—namely, that Mr. Queckett's is +the best work on the subject—but differing mostly as to +who is the best maker. Mr. Jones is recommended to join +the Microscopical Society, 21. Regent Street, where he +will see some of the best-constructed and most valuable +microscopes ever made; and then can make his choice.</p> + +<p>To correspondents inquiring as to the mode of procuring +"<i>NOTES AND QUERIES</i>," we have once more to explain, +that every bookseller and newsman will supply it regularly +<i>if ordered</i>; and that gentlemen residing in the country, who +may find a difficulty in getting it through any bookseller +in their neighbourhood, may be supplied regularly with the +<i>stamped</i> edition, by giving their orders direct to the publisher, +Mr. GEORGE BELL., 186. Fleet Street, accompanied +by a Post Office order, for a quarter, 4<i>s</i>. 4<i>d</i>.; a half year, +8<i>s</i>. 8<i>d</i>.; or one year, 17<i>s</i>. 4<i>d</i>.</p> + +<p>Errata.—No. 15 p. 232 vol. 1 l. 24., dele full stop after Gloss; +same page, col. 2. lines 21, 22., for "Historia" read "Historica," +and for "Herveio" read "Heroico." P. 236. l. 12., for "varieties" +read "vanities."</p> + +<span class="pagenum"><a id="page256" name="page256"></a>{256}</span> + +<hr class="adverts" /> + +<center>Just published,</center> + +<p>HOLY MEN OF OLD; being Short Notices +of such as are named in the Calendar of the English +Church. Demy 18mo. Cloth, price 3<i>s</i>.</p> + +<p>POETRY, PAST AND PRESENT: a Collection +for Every-day Reading and Amusement, by the Editor of +"Church Poetry" and "Days and Seasons." Demy 18mo. cloth, +price 4<i>s</i>. 6<i>d</i>.; or bound in morocco, 7<i>s</i>. 6<i>d</i>.</p> + +<p>JOHN AND CHARLES MOZLEY, 6. Paternoster Row; and +JOSEPH MASTERS, 78. New Bond Street.</p> + +<hr /> + +<center>Just published, gratis.</center> + +<p>SCIENTIFIC AND MATHEMATICAL +BOOKS.—W. BROWN'S Catalogue of Books, on the Arts, +Sciences, and various Branches of the Mathematics, is just +published, and may be had gratis on application, or by post on +sending 4 penny stamps. It includes many works on Architecture, +Astrology, Chess, and other Games, The Fine Arts, Heraldry, +Naval and Military Affairs, Numismatics, Penmanship, Typography, +&c. &c., marked at greatly reduced prices.</p> + +<p>London: W. BROWN, 130. and 131. Old Street.</p> + +<hr /> + +<center>8vo., cloth, with 18 Illustrations, price 12<i>s</i>. 6<i>d</i>.</center> + +<p>CHRONICLES OF CHARTERHOUSE. By a CARTHUSIAN.</p> + +<blockquote><p>"An effort of one of the Carthusians who has recently left +the walls of the School, and is creditable alike to his taste and +industry."—<i>Spectator</i>.</p></blockquote> + +<blockquote><p>"Conceived in the spirit and after the rules of the old Antiquary, +but in its execution there are many signs of the earnest +feeling of the modern Ecclesiologist."—<i>Ecclesiologist</i>.</p></blockquote> + +<p>GEORGE BELL, 186. Fleet Street.</p> + +<hr /> + +<center>12mo., cloth, 3<i>s</i>. 6<i>d</i>.</center> + +<p>THOUGHTS ON THE RELATIONS OF MAN TO THE EXTERNAL WORLD.</p> + +<blockquote><p>"A modest volume, containing an amount of thought and philosophy +to which only a very elaborate analysis would do justice. +It is a book of very high merit. We hope its reception will be +such as to induce the author to continue it. Its neglect would be +a mark of the shallowness of the age and its indifference to serious +subjects."—<i>Guardian</i>.</p></blockquote> + +<p>London: GEORGE BELL, 186. Fleet Street.</p> + +<hr /> + +<center>Folio, price 30<i>s</i>.</center> + +<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 thirteen 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>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£. 11<i>s</i>. 6<i>d</i>.</p> + +<center>London: GEORGE BELL, 186. Fleet Street.</center> + +<hr /> + +<h3>Exhibition of Works of Ancient and Mediæval Art</h3> + +<center>COMMITTEE.</center> + +<center>PRESIDENT AND CHAIRMAN,</center> + +<h4>H.R.H. PRINCE ALBERT, K.G., F.R.S., F.S.A.</h4> + +<center>VICE-PRESIDENTS.</center> + +<p>THE EARL OF ENNISKILLEN.<br /> +RIGHT HON. SIDNEY HERBERT, M.P.<br /> +SIR JOHN P. BOILEAU, Bart., F.R.S.<br /> +HENRY THOMAS HOPE, Esq., M.P.</p> + +<p>The Duke of Bucclough, K.G.<br /> +The Duke of Northumberland, F.R.S., F.S.A.<br /> +The Marquis of Northhampton, F.R.S., F.S.A.<br /> +The Earl of Jersey.<br /> +The Earl of Ellesmere, F.S.A.<br /> +The Bishop of Oxford, F.R.S., V.P.S.A.<br /> +Lord Albert Denison, M.P., K.C.H., F.S.A.<br /> +Hon. Robert Curzon, Jun.<br /> +Hon. James Talbot, M.R.I.A.<br /> +Sir Philip de Malpas Grey-Egerton, Bart., M.P., F.R.S.<br /> +The Very Rev. the Dean of Westminster, F.R.S.<br /> +J.Y. Akerman, Esq., Sec. S.A.<br /> +Beriah Botfield, Esq., F.R.S., F.S.A.<br /> +John Bruce, Esq., Treas. S.A.<br /> +Henry Cole, Esq.<br /> +J. Payne Collier, Esq., V.P.S.A.<br /> +William R. Drake, Esq., F.S.A.<br /> +Augustus W. Franks, Esq., B.A., Hon. Sec.<br /> +Henry Farrer, Esq.<br /> +Peter le Neve Foster, Esq. M.A.<br /> +Edward Hailstone. Esq. F.S.A.<br /> +M. Rohde Hawkins, Esq.<br /> +A.J. Beresford Hope, Esq., M.P.<br /> +Rev. Joseph Hunter, F.S.A.<br /> +H. Bowyer Lane, Esq.<br /> +Hollingsworth Magnise, Esq.<br /> +Octavius S. Morgan, Esq. M.P., F.S.A.<br /> +Frederic Ouvry, Esq., F.S.A.<br /> +James Robinson Planche, Esq., F.S.A.<br /> +Samuel Redgrave, Esq.<br /> +Henry Shaw, Esq., F.S.A.<br /> +Edward Smirke, Esq., F.S.A.<br /> +C. Roach Smith, Esq., F.S.A.<br /> +Captain W.H. Smyth, R.N., F.R.S., Dir. S.A.<br /> +William J. Thoms, Esq., F.S.A.<br /> +William Tite, Esq. F.R.S., F.S.A.<br /> +John Webb, Esq.<br /> +Digby Wyatt, Esq.</p> + +<p>The above COMMITTEE has been formed for the purpose of +organizing an EXHIBITION OF WORKS OF ANCIENT AND +MEDIÆVAL ART. The SOCIETY OF ARTS having considered +that such an Exhibition is not only likely to be interesting to the +public, but also to be especially useful to Manufacturers (with +reference to the Exhibition of Works of Industry of all Nations +to be held in the year 1851), have placed a portion of their Rooms +at the disposal of the Committee, and have agreed to adopt the +Exhibition as part of that annually made by the Society, thereby +taking all the expenses connected with it upon themselves. The +Committee, regarding the Exhibition in the twofold character +contemplated by the Society of Arts, have resolved that the +objects of ancient and mediæval art of which the Exhibition is to +be composed, shall, as far as possible, be selected with reference +to their beauty and the practical illustration which they are likely +to afford of processes of manufacture; and now beg to invite the +possessors of Works deemed suitable for such an exhibition to +assist the Committee in their very important office, by entering +into communication with them, respecting the nature of any +objects which they may be willing to offer for exhibition.</p> + +<p>It is requested that all Works proposed for exhibition be punctually +sent to the Rooms of the SOCIETY OF ARTS, John Street, +Adelphi, on or before the 20th of February, it being imperative +that the Exhibition should open early in March.</p> + +<p>Letters and Communications should be addressed to AUGUSTUS +W. FRANKS, Esq. Honorary Secretary of the Committee, Society +of Arts, John Street, Adelphi.</p> + +<p>By order of the Committee,</p> + +<p class="author">AUGUSTUS W. FRANKS.<br /> +Hon. Sec.</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, February 16. 1850.</p> + +<hr class="full" /> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 16, February +16, 1850, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, NUMBER *** + +***** This file should be named 16193-h.htm or 16193-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/1/9/16193/ + +Produced by The Internet Library of Early Journals; Jon +Ingram, Jeremy Weatherford, and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +*** END: FULL LICENSE *** + + + +</pre> + +</body> +</html> |