diff options
Diffstat (limited to '16409-h/16409-h.htm')
| -rw-r--r-- | 16409-h/16409-h.htm | 2459 |
1 files changed, 2459 insertions, 0 deletions
diff --git a/16409-h/16409-h.htm b/16409-h/16409-h.htm new file mode 100644 index 0000000..6adb9af --- /dev/null +++ b/16409-h/16409-h.htm @@ -0,0 +1,2459 @@ +<!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 20.</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> + +Project Gutenberg's Notes and Queries, Number 20, March 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 20, March 16, 1850 + +Author: Various + +Release Date: August 1, 2005 [EBook #16409] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, NUMBER *** + + + + +Produced by Jon Ingram, Internet Library of Early Journals, +Jeremy Weatherford, and the Online Distributed Proofreading +Team at https://www.pgdp.net + + + + + + +</pre> + + <span class="pagenum"><a id="page313" name="page313"></a>{313}</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. 20.</b></td> + <td align="center" width="50%"><b>SATURDAY, MARCH 16, 1850.</b></td> + + <td align="right" width="25%"><b>Price Threepence.<br />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> +Alfred's Geography of Europe, by S.W. Singer +</td><td align="right"><a href="#page313">313</a></td></tr> + +<tr><td> </td><td> +The First Coffee Houses in England, by E.F. Rimbault, LL.D. +</td><td align="right"><a href="#page314">314</a></td></tr> + +<tr><td> </td><td> +True Tragedy of Richard III. +</td><td align="right"><a href="#page315">315</a></td></tr> + +<tr><td> </td><td> +Folk-Lore—Merry Lwyd—Deathbed Superstition +</td><td align="right"><a href="#page315">315</a></td></tr> + +<tr><td> </td><td> +Passage in L'Allegro—Milton's Minor Poems +</td><td align="right"><a href="#page316">316</a></td></tr> + +<tr><td> </td><td> +Doctor Dobbs—Golden Age of Magazines +</td><td align="right"><a href="#page316">316</a></td></tr> + +<tr><td> </td><td> +Use of Beaver Hats in England, by E.F. Rimbault, LL.D. +</td><td align="right"><a href="#page317">317</a></td></tr> + +<tr><td> </td><td> +Extracts from Old Records, by R. Cole +</td><td align="right"><a href="#page317">317</a></td></tr> + + +<tr><td colspan="2"> +QUERIES:— +</td></tr> + +<tr><td> </td><td> +Queries on Outline +</td><td align="right"><a href="#page318">318</a></td></tr> + +<tr><td> </td><td> +Christ's Hospital—Old Songs once popular there +</td><td align="right"><a href="#page318">318</a></td></tr> + +<tr><td> </td><td> +Watching the Sepulchre, &c. +</td><td align="right"><a href="#page318">318</a></td></tr> + +<tr><td> </td><td> +Minor Queries:—Conrad of Salisbury—Peruse or +Pervise—Cromlech—Meaning of Grummett—Vertue's +MSS.—Loscop—Ormonde House—As Morse caught +the Mare—Dustpot, Forthlot—Tracts attributed to +Eachard—Queen of Hearts—Guildhalls—Vox +Populi—Use of Coffins—Rococo—Howlet the +Engraver—The Bear, &c. +</td><td align="right"><a href="#page319">319</a></td></tr> + + +<tr><td colspan="2"> +REPLIES:— +</td></tr> + +<tr><td> </td><td> +Letter attributed to Sir R. Walpole +</td><td align="right"><a href="#page321">321</a></td></tr> + +<tr><td> </td><td> +College Salting +</td><td align="right"><a href="#page321">321</a></td></tr> + +<tr><td> </td><td> +Junius +</td><td align="right"><a href="#page322">322</a></td></tr> + +<tr><td> </td><td> +White Hart Inn, Scole +</td><td align="right"><a href="#page323">323</a></td></tr> + +<tr><td> </td><td> +Parkership, Porkership, Pokership +</td><td align="right"><a href="#page323">323</a></td></tr> + +<tr><td> </td><td> +Replies to Minor Queries:—Coleridge's Christabel—Sir +William Rider—God tempers the Wind—Complutensian +Polyglot—Tickhill—Bishop Blaise—Sangred—Judas +Bell—La Mer des Histoires +</td><td align="right"><a href="#page324">324</a></td></tr> + + +<tr><td colspan="2"> +MISCELLANIES:— +</td></tr> + +<tr><td> </td><td> +Tale of a Tub—A Genius—Dedications +</td><td align="right"><a href="#page326">326</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="#page326">326</a></td></tr> + +<tr><td> </td><td> +Notices to Correspondents +</td><td align="right"><a href="#page326">326</a></td></tr> + +<tr><td> </td><td> +Advertisements +</td><td align="right"><a href="#page327">327</a></td></tr> + +</tbody></table> + +<hr class="full" /> + +<h2>NOTES.</h2> + +<h3>KING ALFRED'S GEOGRAPHY OF EUROPE.</h3> + +<p>There is no other printed copy of the A.-S. <i>Orosius</i> than the very +imperfect edition of Daines Barrington, which is perhaps the most +striking example of incompetent editorship which could be adduced. The +text was printed from a transcript of a transcript, without much pains +bestowed on collation, as he tells us himself. How much it is to be +lamented that the materials for a more complete edition are diminished +by the disappearance of the <i>Lauderdale MS.</i>, which, I believe, when Mr. +Kemble wished to consult it, could not be found in the Library at Ham.</p> + +<p>Perhaps no more important illustration of the Geography of the Middle +Ages exists than Alfred's very interesting description of the <i>Geography +of Europe</i>, and the <i>Voyages of Othere and Wulfstan</i>; and this portion +of the <i>Hormesta</i> has received considerable attention from continental +scholars, of which it appears Mr. Hampson is not aware. As long since as +1815 Erasmus Rask (to whom, after Jacob Grimm, Anglo-Saxon students are +most deeply indebted) published in the <i>Journal of the Scandinavian +Literary Society</i> (ii. 106. sq.) the Anglo-Saxon Text, with a Danish +translation, introduction, and notes, in which many of the errors of +Barrington and Forster are pointed out and corrected. This was reprinted +by Rask's son in the <i>Collection</i> he gave of his father's +<i>Dissertation</i>, in 2 vols. Copenhagen, 1834.</p> + +<p>Mr. Thorpe, in the 2nd edit. of his <i>Analecta</i>, has given "Alfred's +Geography," &c., no doubt accurately printed from the Cotton MS., and +has rightly explained <i>Apdrede</i> and <i>Wylte</i> in his Glossary, but does +not mention <i>Æfeldan</i>; and Dr. Leo, in his <i>Sprachproben</i>, has given a +small portion from Rask, with a few geographical notes. Dr. Ingram says: +"I hope on some future occasion to publish the whole of 'Alfred's +Geography,' accompanied with accurate maps."</p> + +<p>Rask has anticipated Mr. Hampson's correction respecting the <i>Wilti</i>, +and thus translates the passage: "men norden for Oldsakserne er +Obotriternes Land, og i Nordost Vilterne, som man kalder Æfelder." The +mistake of Barrington and Dr. Ingram is the more extraordinary when it +is recollected that no people are so frequently mentioned in the +chronicles of the Middle Ages as this Sclavonic tribe: citations might +be given out of number, in which their contests with their neighbours +the Obotriti, <i>Abodriti</i>, or <i>Apdrede</i> of Alfred are noticed. Why the +Wilti were sometimes called <i>Æfeldi</i> or <i>Heveldi</i>, will appear from +their location, as pointed out by Ubbo Emmius: "<i>Wilsos</i>, Henetorum +gentem, ad <i>Havelam</i> trans Albim sedes habentem." (Rer. Fris. Hist. l. +iv. p. 67.) Schaffarik remarks, "Die Stoderaner und <i>Havelaner</i> waren +ein und derselbe, nur durch zwei namen interscheiden zweige des +<i>Weleten</i> stammes;" and Albinus says: "Es sein aber die riehten <i>Wilzen</i> +Wender sonderlich an der <i>Havel</i> wonhaft." They were frequently +designated by the name of <i>Lutici</i>,<span class="pagenum"><a id="page314" name="page314"></a>{314}</span> as appears from Adam of Bremen, +Helmond, and others, and the Sclavonic word <i>liuti</i> signified <i>wild, +fierce</i>, &c. Being a <i>wild</i> and contentious people, not easily brought +under the gentle yoke of Christianity, they figure in some of the old +Russian sagas, much as the Jutes do in those of Scandinavia; and it is +remarkable that the names of both should have signified giants or +monsters. Notker, in his Teutonic paraphrase of Martianus Capella, +speaking of other Anthropophagi, relates that the <i>Wilti</i> were not +ashamed to say that they had more right to eat their parents than the +worms.<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>[1]</sup></a> Mone wrote a Dissertation upon the Weleti, which is printed in +the <i>Anzeigen für Kunde des Mittelalters</i>, 1834, but with very +inconclusive and erroneous results; some remarks on these Sclavonic +people, and a map, will be found in Count Ossolinski's <i>Vincent +Kadlubek</i>, Warsaw, 1822; and in Count Potocki's <i>Fragments Histor. sur +la Scythie, la Sarmatie, et les Slaves</i>, Brunsw., 1796, &c. 4 vols. +4to.; who has also printed Wulfstan's <i>Voyage</i>, with a French +translation. The recent works of Zeuss, of Schaffarik, and above all the +<i>Geschichte der Deutschen Sprache</i>, of Jacob Grimm, throw much light on +the subject.</p> + +<p>On the names <i>Horithi</i> and <i>Mægtha Land</i> Rask has a long note, in which +he states the different opinions that have been advanced; his own +conclusions differ from Mr. Hampson's suggestion. He assigns reasons for +thinking that the initial <i>H</i> in <i>Horithi</i> should be <i>P</i>, and that we +should read <i>Porithi</i> for <i>Porizzi</i>, the old name for <i>Prussians</i>. Some +imagined that <i>Mægtha Land</i> was identical with <i>Cwen Land</i>, with +reference to the fabulous Northern Amazons; but Alfred has placed +Cwenland in another locality; and Rask conjectures that <i>Mægth</i> +signifies here <i>provincia, natio gens</i>, and that it stood for +<i>Gardariki</i>, of which it appears to be a direct translation.</p> + +<p>It appears to me that the <i>Horiti</i> of Alfred are undoubtedly the +<i>Croati</i>, or <i>Chrowati</i>, of Pomerania, who still pronounce their name +<i>Horuati</i>, the <i>H</i> supplying, as in numerous other instances, the place +of the aspirate <i>Ch</i>. Nor does it seem unreasonable to presume that the +<i>Harudes</i> of Cæsar (<i>De Bell. Gall.</i> b. i. 31. 37. 51.) were also +<i>Croats</i>; for they must have been a numerous and widely spread race, and +are all called <i>Ch</i>arudes, Αρουδες. The following passage from +the <i>Annales Fuldensis</i>, A. 852., will strengthen this +supposition:—"Inde transiens per Angros, <i>Harudos</i>, Suabos, et +Hosingos ... Thuringiam ingreditur."</p> + +<p>Mr. Kemble<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2"><sup>[2]</sup></a>, with his wonted acumen, has not failed to perceive that +our <i>Coritavi</i> derived their name in the same manner; but his derivation +of the word from Hor, <i>lutum</i>, Horilit, <i>lutosus</i>, is singularly at +issue with Herr Leo's, who derives it from the Bohemian Hora, a +mountain, Horet a mountaineer, and he places the <i>Horiti</i> in the Ober +Lanbitz and part of the Silesian mountains.</p> + +<p>Schaffarik again, says that <i>Mægtha Land</i> is, according to its proper +signification, unknown; but that as Adam of Bremen places Amazons on the +Baltic coast, probably from mistaking of the <i>Mazovians</i>? it is possible +that <i>Mægthaland</i> has thus arisen. In 1822 Dahlmann (<i>Forschungen auf +dem Gebiete der Geschichte</i>, t. i. 422.) gave a German version of King +Alfred's narration, where the passage is also correctly translated; but +as regards the illustration of the names of the people of Sclavonic +race, much yet remains to be done.</p> + +<p>It is to be hoped that some competent northern scholar among us may +still remove, what I must consider to be a national reproach—the want +of a correct and well illustrated edition of the <i>Hormesta</i>, or at any +rate of this singularly interesting and valuable portion of it.</p> + +<p class="author">S.W. SINGER.</p> + +<p>Feb. 21. 1850.</p> + +<blockquote class="footnote"> + <a id="footnote1" name="footnote1"></a> <b>Footnote 1</b>: + <a href="#footnotetag1">(return)</a> +<p> "Aber <i>Welitabi</i>, die in Germania sizzent, tie wir <i>Wilze</i> +heizen, die ni scáment sih niche ze chedenne, daz sih iro parentes mit +mêrem réhte ézen súlin danne die wurme." Albinus, in his <i>Meissnische +Chronicle</i>, says they had their name from their <i>wolfish</i> nature.</p> +</blockquote> + +<blockquote class="footnote"> + <a id="footnote2" name="footnote2"></a> <b>Footnote 2</b>: + <a href="#footnotetag2">(return)</a> +<p> <i>The Saxons in England</i>, vol. i. p. 9. note.</p> +</blockquote> + +<hr /> + +<h3>THE FIRST COFFEE-HOUSES IN ENGLAND.</h3> + +<p>As a Supplement to your "NOTES ON COFFEE," I send you the following +extracts.</p> + +<p>Aubrey, in his account of Sir Henry Blount, (MS. in the Bodleian +Library), says of this worthy knight,</p> + +<blockquote><p>"When coffee first came in he was a great upholder of it, and hath + ever since been a constant frequenter of coffee-houses, especially + Mr. Farres at the Rainbowe, by Inner Temple Gate, and lately John's + Coffee-house, in Fuller's Rents. The first coffee-house in London + was in St. Michael's Alley, in Cornhill, opposite to the church, + which was set up by one —— Bowman (coachman to Mr. Hodges, a + Turkey merchant, who putt him upon it) in or about the yeare 1652. + 'Twas about 4 yeares before any other was sett up, and that was by + Mr. Farr. Jonathan Paynter, over against to St. Michael's Church, + was the first apprentice to the trade, viz. to Bowman.—Mem. The + Bagneo, in Newgate Street, was built and first opened in Decemb. + 1679: built by ... Turkish merchants."</p></blockquote> + +<p>Of this James Farr, Edward Hatton, in his <i>New View of London</i>, 1708, +(vol. i. p. 30) says:—</p> + +<blockquote><p>"I find it recorded that one James Farr, a barber, who kept the + coffee-house which is now the Rainbow, by the Inner Temple Gate, + (one of the first in England), was in the year 1657, prosecuted by + the inquest of St. Dunstan's in the West, for making and selling a + sort of liquor called coffee, as a great nuisance and prejudice to + the neighbourhood, &c., and who would then have thought London + would ever have had near three thousand such nuisances, and that + coffee would have been, as now, so much drank by the best of + quality and physicians."</p></blockquote> +<span class="pagenum"><a id="page315" name="page315"></a>{315}</span> +<p>Howel, in noticing Sir Henry Blount's <i>Organon Salutis</i>, 1659, observes +that—</p> + +<blockquote><p>"This coffe-drink hath caused a great sobriety among all nations: + formerly apprentices, clerks, &c., used to take their morning + draughts in ale, beer, or wine, which often made them unfit for + business. Now they play the good-fellows in this wakeful and civil + drink. The worthy gentleman, Sir James Muddiford, who introduced + the practice hereof first in London, deserves much respect of the + whole nation."</p></blockquote> + +<p>From these extracts it appears that the use of this berry was introduced +by other Turkey merchants besides Edwards and his servant Pasqua.</p> + +<p>Anthony Wood in his <i>Diary</i>, records, under the year 1654, that—</p> + +<blockquote><p>"Coffey, which had been drank by some persons in Oxon. 1650, was + this yeare publickly sold at or neare the Angel, within the Easte + Gate of Oxon., as also chocolate, by an outlander or Jew."</p></blockquote> + +<p>And in another place he says—</p> + +<blockquote><p>"This yeere Jacob a Jew opened a Coffey-house at the Angel, in the + parish of St. Peter in the East, Oxon., and there it was by some, + who delighted in noveltie, drank. When he left Oxon. he sold it in + Old Southampton Buildings in Holborne, near London, and was living + there 1671."</p></blockquote> + +<p class="author">EDWARD F. RIMBAULT.</p> + +<hr /> + +<h3>TRUE TRAGEDY OF RICHARD III.</h3> + +<p>In <i>The True Tragedy of Richard the Third</i>, the following passage—</p> + +<div class="poem"><div class="stanza"> +<p>"His treacherous father hath neglect his word,</p> +<p>And done imparshall past by dint of sword."</p> +</div></div> + +<p>is considered by Mr. Baron Field as unintelligible. It seems to me that +the correction of it is obvious, and the explanation probable, though +not exactly fitting what had been said before, which is merely that Lord +Stanley had refused to come to Richard, not that he had actually joined +Richmond, much less fought for him. I read—</p> + +<div class="poem"><div class="stanza"> +<p>"And dome imparshall;"</p> +</div></div> + +<p><i>i.e.</i> and <i>doom impartial</i>, and interpret, "pass'd upon himself impartial +judgment," or rather on his son, as is said just before:—</p> + +<div class="poem"><div class="stanza"> +<p>"The father's fact condemns the son to die."</p> +</div></div> + +<p>It is possible that doom by dint of sword may mean, to be executed by +dint of sword; that is, on the son. The <i>doom</i> in the Scotch court, in +the <i>Heart of Mid Lothian</i>, is not the verdict, but the punishment.</p> + +<p>Immediately before, we have this passage, also described as +unintelligible:—</p> + +<blockquote><p>"<i>King.</i> Did not your selves, in presence, see the bondes sealde + and assignde?</p> + +<p> "<i>Lo.</i> What tho my lord, the <i>vardits own</i>, the titles doth resign.</p> + +<p> "<i>King.</i> The bond is broke, and I will sue the fine."</p></blockquote> + +<p>I see no emendation for this but the <i>vardits own</i> to mean, "the party +who has the verdict in his favour," and the speech to be a question. The +King tries to persuade himself that there is, <i>ipso facto</i>, no room for +forgiveness. Lovel answers, upon the principle of the rule of law, "Qui +vis potest renunciare juri pro se introducto."</p> + +<p class="author">C.B.</p> + +<hr /> + +<h3>FOLK LORE.</h3> + +<p><i>Merry-Lwyd.</i>—My attention has been called to an inquiry in No. 11. p. +173., as to the origin and etymology of the Merry-Lwyd, still kept up in +Wales.</p> + +<p>I believe that all these mummings may be traced to the disguisings which +formed so popular an amusement in the Middle Ages, and that the name +applied in Wales to this remnant of our ancient pastimes is nothing more +than a compound of our English adjective "merry" and a corruption of the +Latin word "Ludi," which these masquings were formerly termed.</p> + +<p>Strutt, in his <i>Sports and Pastimes</i>, Book iii. chap. 13., speaks of +Christmas Spectacles in the time of Edward III., as known by the name of +Ludi; and in Warton's <i>History of English Poetry</i>, it is said of these +representations that "by the ridiculous and exaggerated oddity of the +Vizors, and by the singularity and splendour of the dresses, every thing +was out of nature and propriety." In Strutt's 16th Plate, specimens will +be found of the whimsical habit and attire in which the mummers were +wont to appear.</p> + +<p>My impression that the Merry-Lwyd was by no means a diversion +exclusively Welsh is corroborated by the fact noticed in your Number of +the 23rd of Feb., of its being found to exist in Cheshire. And we know +that many ancient customs lingered in the principality long after they +fell into disuse in England.</p> + +<p class="author">GWYNN AB NUDD.</p> + +<p>Glamorganshire, March 1. 1850.</p> + +<p><i>Death-bed Superstition.</i>—When a curate in Exeter I met with the +following superstition, which I do not remember to have seen noticed +before. I had long visited a poor man, who was dying of a very painful +disease, and was daily expecting his death. Upon calling one morning to +see my poor friend, his wife informed me that she thought he would have +died during the night, and consequently she and her friends unfastened +<i>every lock in the house</i>. On my inquiring the reason, I was told that +any bolt or lock fastened was supposed to cause uneasiness to, and +hinder the departure of the soul, and consequently upon the approach of +death all the boxes, doors, &c., in the house were unlocked. Can any of +your readers tell me whether this is in any way a general superstition +amongst the lower orders, or is it confined to the West of England?</p> + +<p class="author">R.H.</p><span class="pagenum"><a id="page316" name="page316"></a>{316}</span> + +<p class="note">[This remarkable superstition forms the subject of a communication of +the <i>Athenæum</i> (No. 990.) of 17th Oct. 1846: in a comment upon which it +is there stated "that it originates from the belief which formerly +prevailed that the soul flew out of the mouth of the dying in the +likeness of a bird."]</p> + +<hr /> + +<h3>PASSAGE IN L'ALLEGRO—NOTES ON MILTON'S MINOR POEMS.</h3> + +<p>The suggestion of your correspondent B.H.K. (No. 18. p. 286.) has been +anticipated by Mr. Warton, who, in his 1st edition of <i>Milton's Poems</i>, +notices a similar interpretation of the passage, as the suggestion of an +unknown correspondent. In the 2nd edition this correspondent is +mentioned to have been Mr. Headley; and the editor discusses the point +in a note of upwards of a page, illustrating it with parallel passages, +and an analysis of the context. As the book is one of ready access, I +need not trouble you with a quotation; but I may mention that Mr. +Gilchrist has added, in a MS. note in my copy, that "Among the poems +appended to those of Lord Surrey and Sir Thomas Wyatt, is one of +considerable elegance in the same measure as those of Milton, nor is it +unlike in its subject: the following lines may throw some light on the +present inquiry (p. 200. ed. 1717):—</p> + +<div class="poem"><div class="stanza"> +<p>'On hills then shewe the ewe and lambe</p> +<p>And every young one with his damme;</p> +<p>Then lovers walke and <i>tell their tale</i></p> +<p>Both of their bliss and of their bale.'"</p> +</div></div> + +<p class="note">[The passage is at p. 57. of the 1st vol. of Dr. Nott's edition.]</p> + +<p>I am glad of the present opportunity of mentioning, for the benefit of +all whom it may concern, that my copy of the 1st edition of Warton's +<i>Milton</i> is enriched with numerous notes and parallel passages by Mr. +Gilchrist; and a copy of the 2nd edition has been similarly, but less +copiously, illustrated by Mr. Dunston. I shall be glad if my mention of +them should lead to their being made useful—or, if you wish it, I shall +be happy to transcribe the notes for occasional insertion in your +Journal.</p> + +<p>May I be allowed to suggest that similar notifications <i>to</i> intending +editors would have some tendency to do the same good results which may +be expected from the announcements <i>by</i> intending editors suggested by +your correspondent R.R. at p. 243? There must be hundreds of volumes +enriched by the notes of scholars, such as those I have had occasion to +mention, which are dispersed in private libraries, and might, by means +of similar announcements, be made available to the cause of literature.</p> + +<p class="author">J.F.M.</p> + +<p class="note">[We are much indebted to our valued correspondent for the offer he has +so kindly made us of the MS. Notes in question, which we shall gladly +receive; and also for his extremely useful suggestion of the advantage +of such notifications to intending editors, as he describes.]</p> + +<p><i>Milton's L'Allegro.</i>—Your correspondent (No. 18. p. 286.) has been +anticipated by Headley, who suggested, long ago, that the word <i>tale</i> +here implied the <i>numbering</i> sheep. When Handel composed his beautiful +air, "Let me wander not unseen," he plainly regarded this word in the +more poetical sense. The song breathes the shepherd's tale of <i>love</i> +(perhaps addressed to "the milkmaid singing blithe") far more than it +conveys a dull computation of the <i>number</i> of "his fleecy care." Despite +of that excellent commentator, Tom Warton, who adopted Headley's +suggestion, it is to be hoped that readers will continue, though it may +be in error, to understand the line as your correspondent <i>used</i> to do: +an amatory <i>tête-à-tête</i> is surely better suited to "the hawthorn in the +dale," than either mental arithmetic, or the study of Cocker.</p> + +<p class="author">J.H.M.</p> + +<hr /> + +<h3>DOCTOR DANIEL DOVE OF DONCASTER AND HIS HORSE NOBS—GOLDEN AGE OF +MAGAZINES.</h3> + +<p>It appears from the preface to the last edition of <i>The Doctor, &c.</i> +that the story of Dr. Daniel Dove and his horse was one well known in +Southey's domestic circle.</p> + +<p>A letter is there quoted from Mrs. Southey (then Miss Caroline Bowles), +in which she says:—</p> + +<blockquote><p>"There is a story of Dr. D.D. of D. and of his horse Nobs, which + has I believe been made into a Hawker's Book. Coleridge used to + tell it, and the humour lay in making it as long-winded as + possible; it suited, however, my long-windedness better than his, + and I was frequently called upon for it by those who enjoyed it, + and sometimes I volunteered it, when Coleridge protested against + its being told."</p></blockquote> + +<p>While upon the subject of <i>The Doctor</i>, may I direct your attention to +the following passage on p. 269. of the one volume edition, which you +will admit in many respects accurately describes your "NOTES AND +QUERIES"?</p> + +<blockquote><p>"Our Doctor flourished in the golden age of magazines, when their + pages were filled with voluntary contributions from men who never + aimed at dazzling the public, but each came with his scrap of + information or his humble question, or his hard problem, or his + attempt in verse.</p> + +<p> "In those days A was an antiquary, and wrote articles upon altars + and abbeys, and architecture. B made a blunder, which C corrected. + D demonstrated that E was in error, and that F was wrong in + philology, and neither philosopher nor physician, though he + affected to be both. G was a genealogist. H was an herald who + helped him. I was an inquisitive inquirer who found reason for + suspecting J to be a Jesuit. M was a mathematician. N noted the + weather. O observed the stars. P was a poet who peddled in + pas<span class="pagenum"><a id="page317" name="page317"></a>{317}</span>torals, and prayed Mr. Urban to print them. Q came in the + corner of the page with his query. R arrogated to himself the right + of reprehending every one who differed from him. S sighed and sued + in song. T told an old tale, and when he was wrong, U used to set + him right. V was a virtuoso. W warred against Warburton. X excelled + in algebra. Y yearned for immortality in rhyme, and Z in his zeal + was always in a puzzle."</p></blockquote> + +<p>Surely, Sir, you have revived the Golden Age of magazines, and long may +you flourish.</p> + +<p class="author">Q.D.</p> + +<hr /> + +<h3>THE USE OF BEAVER HATS IN ENGLAND.</h3> + +<p>The notice from Fairholt's <i>Costume in England</i>, concerning the earliest +use of a beaver hat in England, is not very satisfactory. Beaver hats +were certainly used in this country long before Stubbes's time. They +were originally, like many other articles of dress, manufactured abroad, +and imported here. Indeed, this was a great source of complaint by the +English artizan until a comparatively late period. The author of <i>A +Brief Discourse of English Poesy</i>, n.d. (temp. Eliz.) says:—</p> + +<blockquote><p>"I merveil no man taketh heed to it, what number of trifles come + hither from beyond the seas, that we might clean spare, or else + make them within our realme. For the which we either pay + inestimable treasure every year, or else exchange substantial wares + and necessaries for them, for the which we might receive great + treasure."</p> + +<p> "The <i>beaver</i> or felt hats (says J.H. Burn, in his interesting + <i>History of the Foreign Refugees</i>, p. 257.) worn in the reign of + Edward III., and for a long time afterwards, were made in Flanders. + The refugees in Norfolk introduced the manufacture of felts and + thrummed hats into that country; and by a statute of 5 and 6 Edward + VI., that trade was confined to Norwich, and all other corporate + and market towns in the country."</p> + +<p> "About that time (says a <i>History of Trade</i>, published in 1702) we + suffered a great herd of French tradesmen to come in, and + particularly hat-makers, who brought with them the fashion of + making a slight, coarse, mean commodity, viz. felt hats, now called + <i>Carolinas</i>; a very inferior article to beavers and demicastors, + the former of which then sold at from 24<i>s</i>. to 48<i>s</i>. a piece."</p></blockquote> + +<p>In the <i>Privy-Purse Expenses of Henry VIII.</i>, we read, under the date +1532:—</p> + +<div class="poem"><div class="stanza"> +<p>"Item the xxiij day [October] paied for a hatte</p> +<p class="i2">and a plume for the King in Boleyn [<i>i.e.</i></p> +<p class="i2">Boulogue] ... xvs."</p> +</div></div> + +<p>And again—</p> + +<div class="poem"><div class="stanza"> +<p>"Item the same day paied for the garnisshing of ij</p> +<p class="i2">bonetts, and for the said hatte ... xxiijs. iiijd."</p> +</div></div> + +<p>These entries are curious, as the purchase of the hat was made in a +foreign country. It was probably something that took the King's fancy, +as we can hardly suppose that his majesty had neglected to provide +himself with this necessary appendage before he left England.</p> + +<p>Several interesting notices concerning hats, and apparel generally, may +be seen in Roger Ascham's <i>Schoolmaster</i>, 1570, which I do not remember +to have seen quoted; but the literature of this period abounds in +illustration of costume which has been but imperfectly gleaned.</p> + +<p class="author">EDWARD F. RIMBAULT.</p> + +<hr /> + +<h3>EXTRACTS FROM OLD RECORDS.</h3> + +<p>If you think the insertion of scraps from the mutilated Exchequer +records useful, I shall be most happy, from time to time, to contribute +a few. The following are extracted from fragments of a book of entries, +temp. Charles I.: the book appears to have been a large folio, and each +leaf torn into at least four pieces. It is much to be regretted that the +work of selection and mutilation was not assigned to more competent +persons than the ignorant porters who I am told were entrusted with it.</p> + +<p class="author">ROBERT COLE.</p> + +<table summary="ledger" cellspacing="10"><tbody align="right" valign="top"> +<tr><td align="left" colspan="2"><i>Fragment dated 1637.</i></td></tr> + +<tr><td width="50%" align="left">John de Critz, Serjeant Painter, p<sup>t</sup> of +2158. 13, for a debt in the great +wardrobe</td> +<td>60</td><td>0</td><td>0</td></tr> + +<tr><td align="left">S<sup>r</sup> James Palmer, Kn<sup>t</sup>, for the Tapestrie +makers and painters at Mortlach</td> + + <td>200</td><td>0</td><td>0</td></tr> +<tr><td></td><td>362</td><td>10</td><td>0</td></tr> +<tr><td></td><td>300</td><td>0</td><td>0</td></tr> +<tr><td></td><td>262</td><td>10</td><td>0</td></tr> +<tr><td></td><td>300</td><td>0</td><td>0</td></tr> + + +<tr><td align="left" colspan="2"><i>Fragment dated 1637.</i></td></tr> + +<tr><td align="left">..........hony Vandike Kn<sup>t</sup> p<sup>t</sup> of 1200<i>li.</i> +for.........</td> +<td>300</td><td>0</td><td>0</td></tr> + +<tr><td align="left">..........le Seur Sculpter p<sup>t</sup> of 720<i>li.</i> +.................Statues and Images</td> +<td>300</td><td>0</td><td>0</td></tr> + + +<tr><td align="left" colspan="2"><i>Fragment dated 1640.</i></td></tr> + +<tr><td align="left">..........in satisfaction for his greate +Losses by his greate and extraordinary +disbursem<sup>ts</sup> vpon assignem<sup>ts</sup> and +other charges</td> +<td>4000</td><td>0</td><td>0</td></tr> + +<tr><td align="left">S<sup>r</sup> Job Harby and S<sup>r</sup> John Nulles, +Kn<sup>ts</sup>, for soe much paid to the King +of Denmke for redempion of a greate +Jewell, and to liquidate the accompts +betwixt his Ma<sup>ty</sup> and the said King</td> +<td>25000</td><td>0</td><td>0</td></tr> + +<tr><td align="left">Hubrecht le Seur in full of 340<i>li.</i> for +2 statues in brasse, the one of his late +Ma<sup>ty</sup>, and the other of our now +Souerainge lo: King Charles<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>[3]</sup></a></td> + + <td>100</td><td>0</td><td>0</td></tr> +<tr><td></td><td>70</td><td>3</td></tr> + +<tr><td align="left">More to him 60<i>li.</i>, in p<sup>t</sup> of 120li. for a +bust of brasse of his late Ma<sup>ty</sup>, and +40<i>li.</i> for carrying and erecting 2 +figures at Winchester</td> +<td>100</td><td>0</td><td>0</td></tr> + +<tr><td align="left">Richard Delamair for making divers +Mathematicall Instruments, and +other services</td> + + <td>100</td><td>0</td><td>0</td></tr> +<tr><td></td><td>68</td><td>0</td><td>0</td></tr> + +</tbody></table> + +<blockquote class="footnote"> + <a id="footnote3" name="footnote3"></a> <b>Footnote 3</b>: + <a href="#footnotetag3">(return)</a> +<p> Qy. the statue now at Charing Cross.</p> +</blockquote><span class="pagenum"><a id="page318" name="page318"></a>{318}</span> + +<hr class="full" /> + +<h2>QUERIES.</h2> + +<h3>QUERIES ON OUTLINE.</h3> + +<p>The boundary between a surface represented and its background received +two different treatments in the hands of artists who have the highest +claims on our respect. Some, following the older painters as they were +followed by Raphael and Albert Durer, bring the surface of the figure +abruptly against its background. Others, like Murillo and Titian, melt +the one into the other, so that no pencil could trace the absolute limit +of either. Curiously enough, though for very obvious reasons, the +Daguerreotype seems to favour one method, the Calotype the other. Yet, +two Calotypes, in which the outlines are quite undefined, coalesce in +the Stereoscope, giving a sharp outline; and as soon as the mind has +been thus taught to expect a relievo, either eye will see it.</p> + +<p>But if you look at your face in the glass, you cannot at once (say at +three feet distance) see the outlines of the eye and cheek. They +disappear every where, except in the focus common to both eyes. Then +nothing is seen absolutely at rest. The act of breathing imparts +perpetual motion to the artist and the model. The aspen leaf is +trembling in the stillest air. Whatever difference of opinion may exist +as to Turner's use or abuse of his great faculties, no one will doubt +that he has never been excelled in the art of giving space and relative +distance to all parts of his canvas. Certainly no one ever carried +confusion of outline in every part not supposed to be in the focus of +the eye so far.</p> + +<p>On the other hand, every portion of a large picture, however severe its +execution, acquires this morbid outline wherever the eye quits one +detail for another. Is, then, the law governing small and large surface +different? Do these instances imply that a definite boundary, a modern +German style, is indefensible? or only indefensible in miniature? Or, is +such a picture as the Van Eyh in the National Gallery a vindication of +the practice in small works?</p> + +<p>I can answer that it is not; and this last question I merely ask to +avoid all answers on the score of authority. No doubt that strange work +is one of the most realising pictures ever painted,—more so than any +neighbouring Rembrandt,—whose masses of light and shade were used as a +"creative power." I want to know whether there is a right and wrong in +the case, apart from every thing men call taste. Whether, whenever a +work of art passes from suggestion to imitation, <i>some</i> liberty must not +be given at the lines whence the rays are supposed to diverge to the two +eyes from two different surfaces. Every advance in art and science +removes something from the realms of opinion, and this appears to be a +question on which science must some day legislate for art.</p> + +<p class="author">J.O.W.H.</p> + +<hr /> + +<h3>CHRIST'S HOSPITAL—OLD SONGS ONCE POPULAR THERE</h3> + +<p>Amongst the numerous correspondents and readers of your very interesting +little work, there may yet be living some who were scholars in the above +institution during the last ten or fifteen years of the last century, +coevals, or nearly so, with Richards, afterwards of Oriel College, +author of a prize poem, <i>Aboriginal Britons</i>, and one of the Bampton +Lecturers; Middleton, afterwards Bishop of Calcutta; Trollope, +afterwards Master of the Grammar School; Barnes, afterwards connected +with the <i>Times</i>; Stevens, Scott (poor Scott!), Coleridge, Lamb, Allen, +White, Leigh Hunt, the two brothers Le G. Favell, Thompson, Franklin, +&c., pupils of old James Boyer, of flogging celebrity.</p> + +<p>If so, can any of them furnish me with the words of an old song, then +current in the school, relating to the execution of the Earl of +Derwentwater in the rebellion of 1715, of which the four following lines +are all that I remember:</p> + +<div class="poem"><div class="stanza"> +<p>"There's fifty pounds in my right pocket,</p> +<p class="i2">To be given to the poor;</p> +<p>There's fifty pounds in my left pocket,</p> +<p class="i2">To be given from door to door."</p> +</div></div> + +<p>Of another song, equally popular, less pathetic, but of more +spirit-stirring character, can any one supply the remainder?</p> + +<div class="poem"><div class="stanza"> +<p>"As our king lay musing on his bed,</p> +<p>He bethought himself once on a time</p> +<p>Of a tribute that was due from France,</p> +<p>That had not been paid for so long a time.</p> +</div><div class="stanza"> +<p>"Oh! then he called his trusty page,</p> +<p>His trusty page then called he,</p> +<p>Saying, 'You must go to the king of France,</p> +<p>To the king of France right speedily.'"</p> +</div></div> + +<p class="author">NEMO.</p> + +<hr /> + +<h3>WATCHING THE SEPULCHRE—DOMINUS FACTOTUM—ROBERT PASSELLEW.</h3> + +<p>Allow me to offer a query or two respecting which I shall be glad of any +information your numerous correspondents may be able to furnish.</p> + +<p>1. In Fuller's <i>History of Waltham Abbey</i>, pp. 269. 274., Nichol's +edition, 1840, we have the following entries from the churchwarden's +accounts:</p> + +<blockquote><p>"Anno 1542, the thirty-fourth of Henry viii. <i>Imprimis</i>. For + watching the sepulchre, a groat."</p> + +<p> "<i>Item</i>, for watching the sepulchre, eight pence."</p></blockquote> + +<p>The last entry occurs in "Anno 1554, Mariæ primo," but Fuller adds, +"though what meant thereby, I know not." Can any satisfactory +information be furnished which will explain the custom here alluded to?<span class="pagenum"><a id="page319" name="page319"></a>{319}</span></p> + +<p>2. In the same work, page 278., a passage occurs, which not only +explains the meaning of the term <i>factotum</i>, but furnishes matter for +another query. The passage is this; speaking of "eminent persons buried" +at Waltham Abbey, he says: "we spoil all, if we forget Robert Passellew, +who was <i>dominus fac totum</i> in the middle—and <i>fac nihil</i> towards the +end—of the reign of Henry III." Some parasites extolled him by allusion +to his name, <i>pass-le-eau</i>, (that is "passing the pure water,") the wits +of those days thus descanting upon him:</p> + +<div class="poem"><div class="stanza"> +<p>"Est aqua lenis, et est aqua dulcis, et est aqua clara,</p> +<p class="i2">Tu præcellis aquam, nam leni lenior es tu,</p> +<p>Dulci dulcior es tu, clara clarior es tu;</p> +<p class="i2">Mente quidem lenis, re dulcis, sanguine clarus."</p> +<p class="i16"><i>Camden's MSS.</i> Cott. Lib.</p> +</div></div> + +<p>The learned Dr. Whitaker, in his <i>History of Whalley</i>, says, that "the +word Paslew was of Norman origin (Pass-le-eau), and afforded a subject +for some rhyming monkish verses, not devoid of ingenuity, which the +curious reader may find in Weever's <i>Funeral Monuments</i>, p. 645;" and a +question now arises whether the <i>Passellew</i> mentioned by Fuller belongs +to the same family as the "Paslews of Wiswall," alluded to by Dr. +Whitaker, one of whom, "John, Abbot of Whalley" was executed for the +part he took in the "Pilgrimage of Grace." when it is stated that the +Paslews of Wiswall bore "Argent a fess between three mullets Sable +pierced of the field, a crescent for difference," probably some of your +readers will be able to give some particulars respecting "Robert +Passelew," and also identify the families if possible.</p> + +<p class="author">T.W.</p> + +<p>Burnley, Lancashire, Feb. 23, 1850.</p> + +<hr class="full" /> + +<h2>MINOR QUERIES.</h2> + +<p><i>Conrad of Salisbury's Descritio utriusque Britanniæ.</i>—A good many +years since I had a communication from the Baron de Penhouet, a Breton +Antiquary, respecting a work which I have never yet been able to +discover. I may ascertain, through the medium of your very useful +publication, whether there exists a work under the title of a +"Descriptio utriusque Britanniæ," by Conrad of Salisbury, from a MS. of +the time of Henry I. I should feel much obliged to any one who would +favour me with this information.</p> + +<p class="author">JAMES LOGAN.</p> + +<p><i>Peruse or Pervise—Passage in Frith's Works.</i>—Your correspondent T.J. +rightly conjectured that the <i>peruse</i> of a modern reprint of Frith was +an error. I have been able since to consult two black-letter editions, +and have found, as I suspected, "pervise" and "pervyse."</p> + +<p>If your same correspondent, or any other, can help me to correct, or to +understand another erroneous clause in Russell's edit. of Frith, vol. +iii. p. 227., I shall be still further obliged.</p> + +<p>It is probably meant for some old rule in logic, but is printed there, +"Ab inferiori ad suis superius confuse distribue." Foxe, however, has +"suum" instead of "suis."</p> + +<p class="author">H.W.</p> + +<p><i>Cromlech.</i>—I shall feel much obliged if any of your readers will +kindly refer me to any authority for the use of the word <i>Cromlech</i>, +prior to the sixteenth century, whether in the Welsh or English +language.</p> + +<p class="author">JAS. H. TODD.</p> + +<p>Trin. Coll. Dublin, Jan. 31, 1850.</p> + +<p><i>Meaning of "Grummett."</i>—A Constant Reader is desirous of addressing +such of your correspondents as are well versed in maritime history,—Mr. +Bolton Corney to wit,—on the following subject. In the early ages of +our Navy there was a distinct rating, called "Grummett," on board each +man-of-war, and he was generally, as may be seen in the Cottonian MSS., +placed after the "maryners and gonners." Now, the reader will be highly +obliged to any one who will trace the designation to its source, and +give information as to what were the special duties of the Grummett, or +Gromet.</p> + +<p class="author">Σ.</p> + +<p><i>Vertue's Manuscripts.</i>—Steevens and Malone, in fixing the dates of +Shakspeare's Dramas, frequently quote from <i>Vertue's</i> MSS. George +Chalmers, in his <i>Supplemental Apology</i>, says, "On making some +inquiries, by a friend, what manuscript of <i>Vertue's</i> it were, which I +saw so often quoted about scenic matters, Mr. Steevens was so obliging +as to say, 'The books, from which those extracts were made, with several +others lost, belonged to Secretary Pepys, and afterwards to Dr. +Rawlinson, who lent them to Mr. Vertue.' When the said MSS. were +consulted by the two commentators, they were, I believe, in the +possession of Garrick." Chalmers adds, "Much is it to be lamented, that +any MS. or book, which furnished an illustration of Shakespeare, and +having once been seen, should ever disappear." Every true lover of our +great poet will heartily agree with this remark.</p> + +<p class="author">EDWARD F. RIMBAULT.</p> + +<p><i>Loscop.</i>—The Patent Roll, 1 Edw. III. part I, membrane 27, contains +the exemplification or copy of a grant by Henry I. to his butler William +de Albini of—"Manerium de Snetesham cum duobus hundredis et dimidio +scil. Fredebruge et Smethedune cum wreck et cum omnibus pertinentiis +suis et misteria de Luna cum medietate fori et theloneis et cum ceteris +consuetudinibus et portu cum applicacione navium et <i>loscop</i> et viam +ipsius aquæ et transitu cum omnibus querelis." I should be greatly +obliged to any of your learned correspondents who would explain the word +<i>loscop</i>. Luna is the town or port of King's Lynn. <i>Misteria</i><span class="pagenum"><a id="page320" name="page320"></a>{320}</span> may +probably be translated "offices." See Ducange (Paris Edit. 1845) under +the words misterium and ministerium. <i>Loscop</i> appears to be a word of +similar formation to Laudcop and Lahcop, which occur in the Laws of +Ethelred (Thorpe's <i>Ancient Laws</i>, vol. i. pp. 294, 295.). Can it mean a +fee paid on <i>loosing</i> the vessel in order to leave the port?</p> + +<p class="author">C.W.G.</p> + +<p><i>Ormonde House.</i>—Perhaps some of your annotators on Cunningham's +<i>Hand-book of London</i>, will be so kind as to inform me whereabouts +"Ormonde House" stood in St. James's Square; also to state any +particulars respecting its history before and after it was occupied by +that noble family.</p> + +<p class="author">J.G.</p> + +<p><i>As Morse caught the Mare.</i>—I shall be glad to be informed the meaning +of this expression—it is to be met with in the translation of Rabelais. +There is also a song sung among the farmers of South Devon, of which the +last line of each verse is "As Morse caught the Mare."</p> + +<p class="author">R.S.B.</p> + +<p><i>Dustpot—Forthlot.</i>—In a Manorial Compotus, temp. Hen. V., I find the +following entry, under the head of Out-goings:—</p> + +<blockquote><p>"In custodes carucarum et carectarum nil quia per firmarium. Item + pro eorum <i>duspot</i> (xij<sup>d</sup>) nil, causa predicta. Item pro eorum + <i>forlot</i> (iiij<sup>d</sup>) nil, causa predicta," &c.</p></blockquote> + +<p>I have in vain consulted the glossaries within my reach,—Ducange, +Spelman, Halliwell, for the meaning of the terms <i>dustpot</i> and <i>forlot</i> +(or, as spelt in another Compotus, <i>dustpot</i> and <i>forthlot</i>). They +appear to have been customary payments to the servants who had the care +of the carts and carriages belonging to the manor, which, at the time of +this particular Compotus, were not payable by the lord, because the +demesne lands were in farm; and these dues were paid by the tenant. A +reference to the <i>Promptorinm Parvulorum</i> (a further instalment of which +I rejoice to learn, from Mr. Way's communication, in No. 15., is in a +state of progress) has been equally unproductive. The editorial note to +the communications inserted in No. 17., on the interpretation of +<i>Pokership</i>, induces me to send you this query, in the hope of eliciting +information, if not from the gentleman you there refer to, at least from +some one or other of your numerous readers learned in Archaic words.</p> + +<p>I may, at a future period trouble you with some further remarks arising +out of the same Compotus.</p> + +<p class="author">G.A.C.</p> + +<p><i>Tracts attributed to Eachard.</i>—The writer of this article has long had +in his possession an old volume (among many others of a like kind in his +collection) published in 1685; and containing the following +tracts:—1st. "The Grounds and Occasions of the Contempt of the +Clergy,... in a letter written to R.L., 9th edition." This letter is +signed T.B. 2nd. "Observations upon the Answer to the Inquiry, &c., in a +second Letter from T.B. to R.L." 3rd. "Hobbes' State of Nature, +considered, in a Dialogue between Philautus and Timothy;" the "Epistle +Dedicatory" is signed, J.E. 4th. "A Letter to his Old Dear Friend R.L. +from T.B." 5th. "A Letter to B.D.," the publisher of Mr. Herbert's +<i>Country Parson</i>, from T.B. 6th. "A Letter to the Author of the +Vindication of the Clergy," from T.B. 7th. "A Letter to T.D.," the +Author of <i>Hieragonisticon</i>, or <i>Corah's Doom</i>, from T.B. 8th. "A Letter +to I.O. from T.B."</p> + +<p>Now, it is mentioned in Dr. Hooke's <i>Ecclesiastical Biography</i> (vol. +iv., art. Eachard), that Eachard was the author of these tracts. But the +queries I would beg to propose, if any of your correspondents can answer +them, are these:—1st. Why does Eachard sign himself T.B.; does that +signature allude to any matter in particular? 2nd. Who are meant by the +other letters, R.L., B.D., L.O., &c.; and who, if any persons in +particular, by Philautus; and Timothy; and who was the author of +<i>Hieragonisticon</i>.</p> + +<p>Perhaps "Philau<i>tus</i>" should be rather be "Philau<i>tos</i>," and may mean +"Hobbes" himself, as a self-sufficient person, and a great admirer or +lover of himself. I wish these queries may not be thought too +insignificant for your periodical, which to me, and so many others, is +of peculiar interest and value.</p> + +<p class="author">GEO. WYATT (Clerk.)</p> + +<p>Burghwallis, 1850.</p> + +<p><i>Queen of Hearts.</i>—Permit me to request some explanation of a passage +in Miss Strickland's <i>Life of Queen Elizabeth</i> (vol. vii. p. 292.), +where we are told that—</p> + +<blockquote><p>"Lady Southwell affirms that the two ladies in waiting discovered + the <i>Queen of Hearts</i>, with a nail of Iron knocked through the + forehead, and thus fastened to the bottom of the chair: they durst + not pull it out, remembering that her like thing was used to the + old Countess of Sussex, and afterwards proved a witchcraft, for + which certain persons were hanged."</p></blockquote> + +<p>The author moralises upon this, but does not refer us to any authority, +or tell where the affirmation of Lady Southwell is to be found, or where +the account of the old countess is given; defects which I hope some of +your correspondents will be good enough to supply.</p> + +<p class="author">F.R.A.</p> + +<p><i>Guildhalls.</i>—There are in most villages in this neighbourhood houses +which from time immemorial have been called Guildhalls. These are +situate among such small populations that they are manifestly +unconnected with trade. Will any of your correspondents tell me—</p> + +<p>1st. Why are they called Guildhalls?</p> + +<p>2nd. For what purpose were they anciently used?<span class="pagenum"><a id="page321" name="page321"></a>{321}</span></p> + +<p>3rd. Are they common in other counties besides Suffolk?</p> + +<p>Also: What is the origin of the Friday Streets so common in most +villages in this neighbourhood?</p> + +<p class="author">A SUBSCRIBER AB INITIO.</p> + +<p>Guildhall, Framlingham, Suffolk, Feb. 6. 1850.</p> + +<p><i>Vox Populi</i>—<i>Monody on Sir John Moore.</i>—Can any reader give me the +origin of the saying "<i>Vox Populi, Vox Dei</i>?"—and has any one of your +correspondents ever heard of any doubts being raised as to the original +author of the <i>Monody upon Sir John Moore</i>, which is now always assigned +to the Rev. Dr. Wolfe? I saw it stated in an English paper, published in +France some few years back, that Wolfe had taken them from a poem at the +end of the <i>Memoirs of Lally Tottendal</i>, the French governor of +Pondicherry, in 1756, and subsequently executed in 1766. In the Paper I +refer to, the French poem was given; and certainly one of the two must +be a translation of the other. I have not been able to get a copy of +Tottendal's <i>Memoirs</i>, or of the Paper I refer to, or I would not +trouble you with this Query; but perhaps some one can inform me which is +the Merchant here, and which the Jew.</p> + +<p class="author">QUÆSITOR.</p> + +<p>Reg. Coll. London.</p> + +<p><i>Use of Coffins.</i>—How long has it been the custom to inter the dead in +coffins? "In a table of Dutyes" dated 11th Dec. 1664, and preserved at +Shoreditch Church, it is mentioned:—</p> + +<blockquote><p>"For a buryall in the New Church Yard without a coffin, 00 00 08.</p> + +<p> "For a buryall in y<sup>e</sup> Old Church Yard without a coffin seauen pence + 00 00 07.</p> + +<p> "For the grave marking and attendance of y<sup>e</sup> Vicar and Clarke on + y<sup>e</sup> enterment of a corps uncoffined the churchwardens to pay the + ordinary duteys (and no more) of this table."</p></blockquote> + +<p class="author">H.E.</p> + +<p><i>Rococo.</i>—Would any correspondent of "NOTES AND QUERIES" give the +history of this word, or indicate where it is to be found? or, if the +history is not known, state when, and by whom, it appears to have been +<i>first</i> used?</p> + +<p class="author">T.</p> + +<p>Oxford.</p> + +<p><i>Howlett the Engraver.</i>—Can any of your readers furnish me with an +account of the "Publications of Bartholomew Howlett," who was an +engraver of some note, and about forty-five or fifty years ago resided +in London? He was a native of Louth in Lincolnshire, and about +forty-five years ago, being then resident (as appears from his book) +somewhere in the neighbourhood of the Blackfriars' Road, published by +subscription a book containing a series of engravings, entitled "Views +in Lincolnshire."</p> + +<p class="author">L.L.L.</p> + +<p><i>The Bear, the Louse, and Religion.</i>—I should be much obliged to any of +your correspondents who will inform me where I can find <i>The Bear, the +Louse, and Religion</i>: a fable. It commences—</p> + +<div class="poem"><div class="stanza"> +<p>"A surly Bear, in college bred,</p> +<p>Determin'd to attack Religion;</p> +<p>A Louse, who crawl'd from head to head,</p> +<p>Defended her—as Hawk does pidgeon.</p> +<p>Bruin Subscription discommended;</p> +<p>The Louse determin'd to support it—"</p> +</div></div> + +<p>I know no more. When was it written?—upon what occasion?—who are meant +by the Bear and the Louse?</p> + +<p class="author">GRIFFIN.</p> + +<p>Mar. 5. 1850.</p> + +<hr class="full" /> + +<h2>REPLIES.</h2> + +<h3>LETTER ATTRIBUTED TO SIR R. WALPOLE.</h3> + +<p>There are many reasons, drawn from style and other internal evidence, +which induce P.C.S.S. to entertain strong doubts as to the authenticity +of the letter attributed to Sir Robert Walpole (and reprinted from +Bankes) in No. 19. Among others it seems very unlikely that a prime +minister, confidentially addressing his sovereign (and that sovereign +George II.!) on a matter of the greatest import, would indulge in a +poetical quotation. And it is remarkable that neither the quotation in +question, not any thing at all resembling it, in thought or expression, +is to be found in any part of Fenton's printed works. P.C.S.S. has +carefully looked them over, in the editions of London, 1717, and of 1810 +(Chalmer's <i>Collection</i>, vol. x.), and he cannot discover a trace of it. +He had at first imagined that it might be successfully sought for in +Fenton's admirable <i>Epistle to William Lamborde</i> (the Kentish +antiquary), where there is a remarkably fine passage respecting flattery +and its influences; but nothing at all like the quotation cited in the +letter is to be found in that poem, which (<i>par parenthèse</i>) seems to +have met with much more neglect than it deserves.</p> + +<p>P.C.S.S. would further notice the great improbability that Walpole would +committed himself <i>in writing</i>, even to his royal master, by such a +display of perilous frankness, in treating of the private character and +principles of his great rival. He must have been aware that the letter +would, most probably, at the decease of the king (then advanced in life) +have been found among his majesty's papers, and, with them, have passed +into the hands of his successor, by whom it would undoubtedly have been +communicated to the very individual with whom it so hardly dealt.</p> + +<p class="author">P.C.S.S.</p> + +<hr /> + +<h3>COLLEGE SALTING.</h3> + +<p>The money collected at the Eton Montem, now wisely abolished, was called +"salt." In the<span class="pagenum"><a id="page322" name="page322"></a>{322}</span> <i>Consuetudinarium vetus Scholæ Etonensis</i>, taken from a +MS. in the library of Corpus, Cambridge, and the Harleian MS. 7044, p. +167., and printed by Professor Creasy in his <i>Account of Eton College</i>, +p. 73. (from whose work I take the extract), the following passage +occurs, under the head "Mense Januario." I would remark, that Montem was +changed from January to Whit-Tuesday, about a hundred years since:—</p> + +<blockquote><p>"'Circiter festum Conversionis Divi Pauli ad horam nonam quodam die + pro arbitrio moderatoris' (ex consueto modo quo eunt collectum + Avellanas Mense Septembri), itur a pueris ad Montem. Mons puerili + religione Etonensium sacer locus est; hunc ob pulchritudinem agri, + amœnitatem graminis, umbraculorum temperationem, et Apollini et + Musis venerabilem sedem faciunt, carminibus celebrant, Tempe + vocant, Heliconi præferunt. Hic Novitii seu recentes, qui annum + nondum viriliter et nervose in acie Etonensi ad verbera steterunt + <i>sale primo</i> condiuntur, tum versiculis qui habeant <i>salem</i> ac + leporem, quoad fieri potest egregie depinguntur. Deinde in recentes + epigrammata faciunt, omni suavitate sermonis, et facetiis alter + alterum superare contendentes. Quicquid in buccam venit libere + licet effutire, modo Latine fiat, modo habeat urbanitatem, modo + caveat obscœnà verborum scurrilitate, postremo et lacrymis + <i>salsis</i> humectant ora genasque' et tune demum veteranorum ritibus + initiantur. Sequuntur orationes et parvi triumphi, et serio + lætantur, cum ob præteritos labores tum ob cooptationem in tam + lepidorum commilitonum societatem."</p></blockquote> + +<p>It seems that "salting" was a sort of initiation, like that which +prevails among our Teutonic brethren, where the "Fuchs" is raised to the +sublime degree of a "Brandfuchs," "junge Bursch," "bemorstes Haupt," by +successive promotions. Not improbably in after times, especially at the +Universities, like "passing the Line," it admitted of being commuted for +a money payment. The exact nature of the "salting" at Eton I cannot +explain; perhaps your able correspondent, R.O., may afford information +on this head.</p> + +<p class="author">C.R. SOC.</p> + +<p><i>College Salting</i> (no. 17. p. 261.).—I cannot but think that the asking +for salt at the now abolished ceremony of the Eton Montem (whence also, +as it is said, "Salt Hill" was named) must have been connected with the +"College Salting." The salt, or money, then collected belonged, as is +well known, to the head-boy who had "got Montem," as it (alas!) <i>was</i> +called, and who was about to enter on his career (of course as a +freshman) at Cambridge.</p> + +<p>I would gladly, if permitted, draw the attention of your correspondents, +who are considering the original subject, to the latter, by placing it +in juxtaposition with "College Salting."</p> + +<p class="author">G.W.</p> + +<p>Hamilton Terrace.</p> + +<hr /> + +<h3>JUNIUS.</h3> + +<p>The questions asked by your correspondent "P." (No. 18. p. 172.) +perplexed by their simplicity. The answer, if answer can be seriously +required, was obvious. All that was ever urged in favour of every other +claimant was against the claim of Sir George Jackson. Beyond this I know +not what reply could be given. Emboldened by silence, "P." now proceeds +(p. 276.) to adduce certain evidence which he supposes has some bearing +on the question. "I possess," he says, "an unpublished letter by Junius +<i>to</i> Woodfall, which once belonged to Sir George Jackson. My query is, +'Is it likely he would have obtained it from Junius, if he were neither +Junius himself nor a party concerned?'" What can be the meaning of this, +obtain <i>from Junius</i> a letter which Junius had sent to Woodfall? Why, it +is obvious that Sir George must have obtained it as "P." obtained it—as +all autograph collectors obtain their treasures—directly or indirectly, +by gift or by purchase, mediately or immediately from one of the +Woodfalls—probably from Henry Sampson Woodfall—probably from George +Woodfall, who has recorded the fact that he lent one letter to a Mr. +Duppa, which was never returned. "P." then proceeds a step further, and +observes—"The manner in which Burke evades the question, as to himself +being the author of Junius, makes me think two or three were concerned +in these letters." Well, and it made others think so half a century or +more since. The three Burkes have often been named—the Burkes again, +with the assistance of Samuel Dyer: and Mr. Prior put forth a very +reputable argument in favour of the claims of the Burkes, but it was +delicate and died young. If your correspondent has nothing to urge in +favour of this conjecture, why disinter it? "P.," however, has it in his +power to do some service to the cause: let him send you, for +publication, an exact copy of the Junius' letter, following carefully +the spelling, the capital letters, the instructions, and even the +punctuation.</p> + +<p>Mr. John Sudlow's conjectures are still more simple. He evidently is not +aware that when a public writer assumes a character he is bound to hold +to it consistently; and that as "ATTICUS" was then writing on the +subject of the national debt, and objecting to the financial policy of +the minister, he naturally affected to be a fundholder, to be +frightened, and to have, in consequence, removed his property. What a +strange notion Mr. Sudlow must have of Steele and Addison, if he has +read the <i>The Spectator</i> and <i>The Tatler</i> after this literal fashion. +But I will not speculate on his speculations, but come to facts.</p> + +<p>It is true that "amongst the letters attributed to Junius, and, in the +opinion of Dr. Good, most certainly his production, is one signed +Atticus,"<span class="pagenum"><a id="page323" name="page323"></a>{323}</span> which your correspondent proceeds to quote, adding that it is +"believed to be the first which appeared signed Atticus." This is really +a little "too bad." It is known, and ought to have been known to your +correspondent before he intermeddled, that Good, though he wrote so +confidently in public, had "most certainly" very great doubts in +private; that others who have examined the question have no doubt at +all; and have, indeed, adduced such strong proofs against Good's +conjectures, that the gentleman now engaged in producing a new edition +of Good's work speaks, in the first volume, the only one yet published, +of Good's "unhesitating affiliation" of these letters, and announces his +intention of offering hereafter "strong proof" that the letters signed +Poplicola, <i>Atticus</i>, and others, "<i>were not written by Junius</i>." That +there may be persons who <i>believe</i> that the letter quoted was the first +which appeared signed Atticus, I cannot deny; but all who are reasonably +informed on the subject <i>know</i> that it is not so;—know, as stated not +long since in the <i>Athenæum</i>, that letters signed Atticus appeared in +the <i>Public Advertizer</i> from 1766 to 1773—possibly before and +after—and that within that period there were at least thirty-seven +letters published, from which Good was pleased to select four.</p> + +<p class="author">W.</p> + +<hr /> + +<h3>WHITE HART INN, SCOLE.</h3> + +<p>Having an engraving of this sign, I am enabled satisfactorily to reply +to Mr. Cooper's query (No. 16. p. 245.) respecting its existence. The +engraving measures 17 inches and a half long, by 22 wide; it was +"Published according to Act of Parliament May the 1st 1740." In the +right-hand bottom corner appears "Jno Fessey Sculp.," and in the left +"Joshua Kirby Delin<sup>t</sup>." It is entitled, "The North East Side of y<sup>e</sup> Sign +of y<sup>e</sup> White Hart at Schoale Inn in Norfolk, built in the year 1655 by +James Peck, a Merchant of Norwich, which cost 1057<i>l.</i>, humb<sup>ly</sup> +Dedicated to James Betts Gent by his most Obed<sup>t</sup> Serv<sup>t</sup> Harwin Martin." +The sign springs on one side from a mass of masonry, and was joined to +the house on the other: it was sufficiently high to enable carriages to +drive under it. As it would trespass too much on your columns were I to +particularise each of the figures, I will content myself with giving the +printed explanation of them from the engraving, premising that each +figure is numbered:—"1. Jonah coming out of the Fishes Mouth. 2. A Lion +supporting the Arms of Great Yarmouth. 3. A Bacchus. 4. The Arms of +Lindley. 5. The Arms of Hobart, now Lord Hobart. 6. A Shepherd playing +on his Pipe. 7. An Angel supporting the Arms of Mr. Peck's Lady. 8. An +Angel supporting the Arms of Mr. Peck. 9. A White Hart, with this Motto +(this is the one which 'hangs down carved in a stately +wreath')—'Implentur veteris Bacchi pinguisque ferinæ Anno Dom 1655.' +10. The Arms of the late Earl of Yarmouth. 11. The Arms of the Duke of +Norfolk. 12. Neptune on a Dolphin. 13. A Lion supporting the Arms of +Norwich. 14. Charon carrying a reputed Witch to Hell. 15. Cerberus. 16. +An Huntsman. 17. Actæon [with three dogs, and this legend, 'Actæon ego +sum Dominum cognoscite vestrum']. 18. A White Hart couchant [underneath +appears in the engraving the artist's name—Johannes Fairchild struxit]. +19. Prudence. 20. Fortitude. 21. Temperance. 22. Justice. 23. Diana +[with two greyhounds, one of whom is chasing a hare]. 24. Time devouring +an Infant [with the legend, 'Tempus edax rerum,' below]. 25. An +Astronomer, who is seated on a Circumferenter, and by some Chymical +Preparation is so Affected that in the fine Weather he faces that +Quarter from whence it is about to come." The whole sign is drawn by a +scale of half an inch to a food, and most of the figures are of the size +of life. On both sides of the engraving, but distinct from the sign, are +seven coats of arms. Those on the right hand are: 1. Earl of Yarmouth. +2. Cornwallis impaling 1st and 4th Buckton, 2nd Unknown, 3rd Teye. 3. +Castleton. 4. Unknown. 5. Mrs. Peck [these arms are wrongly blazoned by +Blomefield; they are <i>gules</i> a fesse <i>argent</i>, between, in chief, two +crescents, and in base, a lion <i>passant guardant</i> of the same]. 6. Great +Yarmouth. 7. Unknown. The arms on the opposite side are: 1. Duke of +Norfolk. 2. Hobart. 3. Bacon. 4. Thurston. 5. Mr. Peck impaling his wife +[his arms, too, are wrongly blazoned; they should be—Or, on a chevron +engrailed gules three crosslets pattee argent]. 6. Lindley. 7. Norwich.</p> + +<p>Mr. Cooper will find a slight notice of this sign, both in Gough's +<i>Camden</i> and in <i>The Beauties of England and Wales</i>; but both these are +of later date than Mr. Cruttwell's <i>Tour</i>. I have only to add, that I +should wish Mr. Cooper to <i>see</i> the engraving. I shall be very happy to +send it by post for his inspection.</p> + +<p class="author">CRANMORE.</p> + +<hr /> + +<p><i>Parkership, Porkership, Pokership.</i>—With every deference to the +ingenious suggestions of Mr. Bolton Corney (No. 15. p. 218.), I think it +will be found, on reference to the original documents, that "Pokership" +is a misreading of the ancient writing for "Parkership." This question +might be determined if any correspondent, acquainted with the present +excellent arrangement of our records, could inform us whether the +appointments under the old Earldom of March are extant. A large portion +of Herefordshire was held under his tenure. Thomas Croft, of Croft, was, +in 1473, "Parker" of Pembrugge, in that county: <i>Rot. Parl</i>. vi. 342. In +1485 John Amyas<span class="pagenum"><a id="page324" name="page324"></a>{324}</span> was, by the act of settlement made on the accession of +Henry VII., continued in his office "of the kepyng of our chase of +Moketree in Wigmoresland under the Erledom of Marche," and Thomas Grove +"in the keepying of our chase of the Boryngwood in Wigmoresland and of +the 'Poulterership' and keping of the ditch of the same."</p> + +<p>In <i>An Abstract of the late King's Revenues</i> (printed 1651, 4to.) is +this entry relating to Bringwood:—</p> + +<blockquote><p>"To Sir Robert Harley for keeping Boringwood alias Bringwood Forest + Com. Heref. 6<i>l.</i> 2<i>s.</i> 8<i>d.</i> per ann., for the Pokership 30<i>s.</i> + 5<i>d.</i> by the year, and for the keeping the forest of Prestwood + 18<i>s.</i> by the year."</p></blockquote> + +<p>In a survey made of mocktree and Bringwood Forests in 1633, it is +stated, that "these Forests are stately grounds, and do feed a great and +large Deer, and will keep of Red and Fallow Deer two or three thousand +at the least."</p> + +<p>These enclosures were disafforested temp. Charles II., and they now form +part of the Downton Castle Estate.</p> + +<p class="author">W.H.C.</p> + +<p>Temple.</p> + +<p><i>Porkership</i>-Accept my best thanks for your ready insertion of my +observations in No. 18.; but I regret to say that the printer has +unfortunately made a mistake in one word, and that, as it mostly +happens, the principal one, on which the gist of my illustration in +regard to the Pokership depends. The error occurs in the extract from +the Pipe Roll, where the word has been printed Parcario instead of +Porcario; added to which the abbreviations in the other words are +wanting, which renders the meaning doubtful. It should have been printed +thus:—"Et [i+] li[b+]ae const Porcario de [h+]eford,"—being, <i>in +extenso</i>, "Et in liberatione constat Porcario de Hereford." Showing that +in early times there was a hog warden, or person who collected the +king's hog-rent in Hereford. And further, Mr. Smirke's extract in No. +17. p. 269., shows that in Henry VIII.'s time the Porcarius had become +Pocarius, the fee being within 1<i>d.</i> of the same amount as that paid in +John's reign.</p> + +<p>May I, under these circumstances, crave a short note in your next +Number, correcting the oversight, so that my Porker may be set on his +legs again?</p> + +<p>P.S.—In reference to the claim, the name of the place should be +Burnford, not Barnford.</p> + +<p class="author">T.R.F.</p> + +<p>Spring Gardens, March 4, 1850.</p> + +<hr /> + +<h3>REPLIES TO MINOR QUERIES.</h3> + +<p><i>Coleridge's Christabel and Byron's Lara</i> (No. 17. p. 262.).—What +Christabel saw is plain enough. The lady was a being like Duessa, a +Spenser; a horrible-looking witch, who could, to a certain degree, put +on an appearance of beauty. The difference is, that this lady had both +forms at once; the one in her face, the other concealed. This is quite +plain from the very words of Coleridge.</p> + +<p>The lifting her over the sill seems to be something like the same +superstition that we have in Scott's <i>Eve of St. John</i>:—</p> + +<div class="poem"><div class="stanza"> +<p>"But I had not had pow'r to come to thy bow'r,</p> +<p>If Though had'st not charm'd me so."</p> +</div></div> + +<p>I have no doubt that Lara is the Corsair; and Kaled Gulnare, from the +Corsair: the least inspection is enough to show this. Ezzelin must also +be Seyd; but that does not answer quite so well. All that there is to +prepare it is, that Seyd is only left for dead, in a great hurry, and +therefore might recover; and that he drank wine, and therefore might be +of Christian extraction. In Lara he is described as dark; but his +appearance is rather confusedly related, as if he never appeared but +once, and yet Otho knows him, and he has a dwelling. The shriek is more +difficult. There could be no meeting, then, between Ezzelin and Lara, +because Ezzelin is surprised by meeting him at Otho's. Whether the +shriek may not be owing to a meeting between Kaled and Ezzelin, is in +not so clear. From the splendid description of her looking down upon +him, it is not proved that she there saw him first; and Ezzelin never +sees her at all there.</p> + +<p>Nothing is more interesting than these mysteries left in narrative +fictions. The story of Gertude, in that first of romances, the <i>Promessi +Sposi</i>, is a very great instance; and the bad taste, of bringing her up +again to the subject of a story by another writer, is so extreme, that I +never could look into the book. That Mazoni has left the character, whom +he calls the <i>Innominato</i>, in mystery, is historical, and not of his own +contrivance.</p> + +<p>I used to think that Scott had left the part of Clara, in <i>St. Ronan's +Well</i>, intentionally mysterious, as to a most important circumstance; +but we learn, from his <i>Life</i>, that he meant to have made that +circumstance a part of the story, but was prevented by the publisher. It +is natural that the altered novel, therefore, should retain some +impressions of it. I refer particularly to the latter part of the +communications between her and her brother. But the meeting between her +and Tyrell in the woods, and their conversation there, I now think, +forbid the reader to suspect any thing like what I speak of. In such +cases I do not myself wish to know too much about the matter. Sometimes +the author wishes you to have the pleasure of guessing, as I think, in +Lara; sometimes he means to be more mysterious; sometimes he does not +know himself. It would have been idle to have asked Johnson where Ajeet +went to.</p> + +<p class="author">C.B.<span class="pagenum"><a id="page325" name="page325"></a>{325}</span></p> + +<p><i>Sir William Rider</i> (No. 12. p. 186).—"H.F." will find some account of +the acts and deeds of Sir Thomas Lake and Dame Mary Lake his wife in the +13<i>th Report on Charities</i>, p. 280, as to their gifts to Muccleston in +Staffordshire. In the 24<i>th Report</i>, p. 300, as to Drayton in the same +county. Dame Mary Lake was also a benefactor to the parish of Little +Stanmore, see 9<i>th Report</i>, p. 271. See also Stow's <i>Survey</i> 593. (ed. +1633.)</p> + +<p class="author">H.E.</p> + +<p><i>God tempers the Wind</i> (No. 14. p. 211.; No. 15. p 236.).—The proverb +is French: "A brebis tondue Dieu mesure le vent;" but I cannot tell now +where to find it in print, except in Chambaud's <i>Dictionary</i>. That is +why Sterne puts it into the mouth of Maria.</p> + +<p class="author">C.B.</p> + +<p><i>Complutensian Polyglot.</i>—"Mr. JEBB" asks (No. 14. p. 213.), "In what +review or periodical did there appear a notice of the supposed discovery +of the MSS. from which the <i>Complutensian Polyglot</i> was compiled?"</p> + +<p>He will find an article on this subject in the <i>Irish Ecclesiastical +Journal</i> for April, 1847; from which I learn that there was a previous +article, by Dr. James Thomson, one of the agents of the British and +Foreign Bible Society, in the <i>Biblical Review</i>, a London periodical +publication. Dr. Thomson, if I understand the matter aright, professed +to have found at Madrid the MSS., so long supposed to have been lost.</p> + +<p>There is also an article on the same subject by Dr. Bowring, in the +<i>Monthly Repository</i>, vol. xvi. (1821), p. 203.</p> + +<p><i>Tickhill, God help me</i> (No. 16. p. 247.).—Of Tickhill I know nothing; +but Melverley in this county goes by the soubriquet of "Melverley, God +help;" and the folk-lore on the subject is this:—Melverley lies by +Severn side, where that river flows under the Breiddon hills from the +county of Montgomery into that of Salop. It is frequently inundated in +winter, and, consequently, very productive in summer. They say that if a +Melverley man is asked in winter where he belongs, the doleful and +downcast reply is, "Melverley, God help me;" but asked the same question +in summer, he answers quite jauntily, "Melverley, and what do you +think?" A friend informs me that the same story appertains to Pershore +in the vale of Evesham. Perhaps the analogy may assist Mr. Johnson in +respect to Tickhill.</p> + +<p>Let me take this opportunity to add to my flim-flam on pet-names in your +late Number, that Jack appears to have been a common term to designate a +low person, as "every Jack;" "every man-jack;" "Jack-of-all-trades?" +"Jackanapes;" &c.</p> + +<p class="author">B.H. KENNEDY.</p> + +<p>Shrewsbury, Feb. 18.</p> + +<p><i>Bishop Blaise</i> (No. 16. p. 247.).—Four lives of the martyr Blasius, +Bishop of Sebaste in Cappadocia, are to be found in the Bollandine <i>Acta +Sanctorum</i>, under the 3rd of February. It appears that the relics and +worship of this saint were very widely spread through Europe, and some +places seem to have claimed him as indigenous on the strength merely of +possessing one of his toes or teeth. The wool-comb was one of the +instruments with which he was tortured, and having become a symbol of +his martyrdom, gave occasion, it would seem, to the wool-combers to +claim him as their patron, and to ascribe to him the invention of their +art. See Ellis's Brand's <i>Popular Antiquities</i>, vol. i. pp. 29, 30; and +query whether the veneration of St. Blaise by these artizans were not +peculiar to England. Blasius of Sebaste is said to have been a +physician; in consequence of the persecution raised by Diocletian, he +retired to a mountain named Argæus, whither all the wild beasts of the +country resorted to him, and reverentially attended him. But there is a +legend of another Blasius of Cæsarea in Cappadocia, who is represented +as an owner of herds (βουκολος), and remarkable for his charity +to the poor. His herdsman's staff was planted over the spot where he was +martyred, and grew into an umbrageous tree.</p> + +<p>This variation of legends favours the idea that the cultus of Blasius +was founded upon that of some deity worshipped in Cappadocia, whose +rites and attributes may have varied in different localities.</p> + +<p class="author">C.W.G.</p> + +<p><i>Sangred—Judas Bell.</i>—"BURIENSIS" inquires (p. 124.) what <i>sangred</i> +is. This term is noticed in Rock's <i>Church of Our Fathers</i>, t. ii. p. +372. In the very interesting, "Extracts from Church-warden's Accounts," +p. 195., it is asked what "Judas' bell" was. I presume it to have been a +bell named after, because blessed in honour of the apostle St. Jude, +who, in the Greek Testament, in the Vulgate, and our own early English +translations, as well as old calendars, is always called Judas, and not +Jude, as a difference from Judas Iscariot.</p> + +<p class="author">CEPHAS.</p> + +<p><i>La Mer des Histoires.</i>—"MR. SANSOM" (No. 18. p. 286.) has inquired, +What is known of Columna's book, entitled <i>Mare Historiarum</i>? Trithemius +has made mention of the work (<i>De Script. Eccles</i>. DL.), and two +manuscript copies of it are preserved in the Royal Library at Paris. (B. +de Montfaucon, <i>Biblioth. Bibliothecar. MSS.</i> tom ii. p. 751. Par. +1739.) Douce very properly distinguished it from <i>La Mer des Histoires</i>; +but, if he wrote "Mochartus," he was in error; for <i>Brochart</i> was the +author of the Latin original, called <i>Rudimentum Novitiorum</i>, and +published in 1475. As to the statement of Genebrard, that Joannes de +Columna was the writer of the "<i>Mater</i> Historiarum," I should say that +the mistake was produced by confounding the words <i>Mer</i> and <i>Mere</i>. Mr. +Sansom may find all the information<span class="pagenum"><a id="page326" name="page326"></a>{326}</span> that need be desired on this +subject in Quetif et Echard, <i>Scriptores Ord. Præd.</i> tom. i. pp. 418-20. +Lut. Paris, 1719. (Vid. etiam Amb. de Altamura, <i>Biblioth. Dominican</i>. +p. 45. Romæ, 1677; Fabricii, <i>Bibl. Med. et Inf. Latin.</i> i. 1133. Hamb. +1734.)</p> + +<p class="author">R.G.</p> + +<p>"What are <i>depenings</i>?" (No. 18. p. 277.)</p> + +<p>The nets used by the Yarmouth herring busses were made in breadths of +six feet. The necessary <i>depth</i> was obtained by sewing together +successive breadths, and each breadth was therefore called a +<i>deepening</i>.<a id="footnotetag4" name="footnotetag4"></a><a href="#footnote4"><sup>[4]</sup></a></p> + +<p class="author">ED.</p> + +<blockquote class="footnote"> + <a id="footnote4" name="footnote4"></a> <b>Footnote 4</b>: + <a href="#footnotetag4">(return)</a> +<p> From a pamphlet written about 1615, not now before us. ED.</p> +</blockquote> + +<hr class="full" /> + +<h2>MISCELLANIES.</h2> + +<p><i>Tale of a Tub.</i>—It is generally supposed that the title of Swift's +<i>Tale of a Tub</i> was a jest originally levelled at the Puritan pulpit. It +probably had served a more ancient purpose. In Bale's <i>Comedye +concerning Three Laws</i>, compiled in 1538, Infidelitas says:</p> + +<div class="poem"><div class="stanza"> +<p>"Ye say they follow your law,</p> +<p>And vary not a shaw,</p> +<p class="i2">Which is a tale of a tub."</p> +</div></div> + +<p class="author">J.O.W.H.</p> + +<hr /> + +<h3>A GENIUS.</h3> + +<p>(<i>From the German of Claudius</i>.)</p> + +<div class="poem"><div class="stanza"> +<p>"Friend Ass," said the Fox, as he met him one day,</p> +<p>"What can people mean?—Do you know what they say?"</p> +<p>"No, I don't," said the Ass; "nor I don't care, not I."</p> +<p>"Why, they say you're a GENIUS," was Reynard's reply.</p> +<p>"My stars!" muttered Jack, quite appall'd by the word,</p> +<p>"What can I have done that's so very absurd?"</p> +</div></div> + +<hr /> + +<p><i>Dedications</i> (No. 17. p. 259.).—In Villaneuva's Dedication to the Duke +of Medinaceli of his <i>Origen Epocas y Progressos del Teatro Español</i> +(Madrid, 1802, sm. 4to.), the enumeration of the names, titles, and +offices of his patron occupies three entire pages, and five lines of a +fourth.</p> + +<p class="author">F.C.B.</p> + +<hr /> + +<h3>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</h3> + +<p>The Percy Society have just issued a reprint of a black letter tract, +entitled "A manifest Detection of the most Vyle and Detestable Use of +Dice Play," which exhibits a curious picture of the tricks in vogue +amongst the gamesters of the sixteenth century, and, as the Editor very +justly observes, "comprises fuller explanations of terms used by +Shakspeare and other old dramatists than are to be found in the notes of +the commentators. The mysteries of <i>gowrds</i> and <i>fullams</i>, <i>high men</i> +and <i>low men</i>, stumbling-blocks to many intelligent readers of the works +of the Stratford Poet, are here satisfactorily revealed."</p> + +<p>Whatever hope the projectors of the approaching <i>Exhibition of Works of +Ancient and Mediæval Art</i> entertained of forming such a collection of +objects as might deserve the attention of the public generally, and +accomplish the great end in view, have been more than realised. Thanks +to the liberality with which the possessors of works of early art of +this description, from the most distinguished personages of the realm, +have placed their stores at the disposal of the committee, the very +novel exhibition which will open to the public on Thursday next, will be +as remarkable for its intrinsic beauty, as for its instructive and +suggestive character.</p> + +<p>We need scarcely remind lovers of fine editions of first class books +that Messrs. Sotheby commence the sale of the first portion of the +extensive stock of Messrs. Payne and Foss, of Pall Mall, on Monday next.</p> + +<p>We have received from Mr. Straker, of 3. Adelaide Street, his Catalogue +of English and Foreign Theology, arranged according to subject, and with +an Alphabetical Index of Authors: and also Parts I. and II. of his +Monthly Catalogues of Ancient and modern Theological Literature. Mr. +Lilly, who has removed to No. 7. Pall Mall, has also forwarded Nos. 1. +and 2. of his Catalogues of Rare, Curious, and Useful Books. Mr. Miller, +of 43. Chandos Street, has just issued No. 3. for 1850 of his Catalogue +of Books, Old and New: and Mr. Quarritch (of 16. Castle Street, +Leicester Square) No. 14. Catalogue of Oriental and Foreign Books: and, +though not least deserving of mention (by us, at all events, as he has +the good taste to announce on his Catalogue "Notes and Queries SOLD"), +Mr. Nield, of 46. Burlington Arcade has just issued No. 2. for 1850, in +which are some Marprelate and Magical Books worth looking after.</p> + +<hr /> + +<h3>NOTICES TO CORRESPONDENTS.</h3> + +<p>E. VEE. "When Greeks join Greeks," &c. is a line by <i>NAT. LEE.</i> See No. +14. p. 211.</p> + +<p>K.D.B. The following—"In Flesh-monger-street, Siward the moneyer +(renders) to the King 15<i>d.</i> and to William de Chesney houseroom, salt and +water"—is a literal translation. Correspondents must be careful not to +omit letters or contractions in extracts from original records. It would +in this case have been difficult correctly to render "monet" without a +contraction; and "Flemangerstret," as our correspondent wrote it, might +have been changed into "Fell-monger-," instead of "Flesh-monger-street." +The service of "house-room, salt, and<span class="pagenum"><a id="page327" name="page327"></a>{327}</span> water," seems a singular one; it +was, of course, a kind of entertainment, or a contribution to +entertainment. If the <i>Liber Winton</i> contains no other notice of similar +services, "H.D.K." will find the subject illustrated, though not the +particular tenure, at pp. 260-267. of the first volume of Sir H. Ellis's +<i>Introduction to the Great Domesday</i>.</p> + +<p>Rue Strewed before Prisoners at the Bar of the Old Bailey. This custom +originated in the fear of infection, at a period when Judges, &c. were +liable to fall victims to gaol fever.</p> + +<p>Erratum. No. 19. p. 307. col. 2., for "Pla<i>u</i>torum Abbreviati<i>s</i>" read +"Pla<i>ci</i>torum Abbreviati<i>o</i>."</p> + +<hr class="adverts" /> + +<p>Just published, price 5<i>s</i>.</p> + +<p>AN HISTORICAL AND DESCRIPTIVE ACCOUNT OF CUMNOR PLACE, BERKS, with +Biographical Notices of the LADY AMY DUDLEY and of ANTHONY FORSTER, +Esq., sometime M.P. for Abingdon; followed by some Remarks on the +Statements in Sir Walter Scott's Kenilworth; and a Brief History of the +Parish of Cumnor and its Antiquities. By ALFRED DURLING BARTLETT, of +Abingdon.</p> + +<p>Oxford and London: JOHN HENRY PARKER.</p> + +<hr /> + +<p>Just published, a New Edition, revised and much enlarged, of the</p> + +<p>HISTORY OF ENGLAND from the first Invasion of the Romans, to the +Accession of William and Mary, in the Year 1688. By the Rev. Dr. +LINGARD. Handsomely printed in Ten large octavo Volumes, price Six +Pounds, cloth lettered, and enriched with a Likeness of the Author, +engraved in the best style, from a Portrait taken last year by Mr. +Skaile.</p> + +<p>London: C. DOLMAN, 61. New Bond Street.</p> + +<hr /> + +<p>Now ready, 1 vol. 8vo, with etched Frontispiece, by Webnert, and Eight +Engravings, price 15<i>s</i>.</p> + +<p>SABRINAE COROLLA: a Volume of Classical Translations with original +Compositions contributed by Gentlemen educated at Shrewsbury School.</p> + +<p>Among the Contributors are the Head Masters of Shrewsbury, Stamford, +Repton, Uppingham, and Birmingham Schools; Andrew Lawson, Esq. late +M.P.; the Rev. R. Shilleto, Cambridge; the Rev. T.S. Evans, Rugby; J. +Riddell, Esq., Fellow of Balliol College, Oxford; the Rev. E.M. Cope, +H.J. Hodgson, Esq., H.A.J. Munro, Esq., W.G. Clark, Esq., Fellows of +Trinity College, Cambridge, and many other distinguished Scholars from +both Universities.</p> + +<p>The Work is edited by three of the principal Contributors.</p> + +<p>London: GEORGE BELL, 186. Fleet Street.</p> + +<hr /> + +<p>In 8vo., 12<i>s</i>. 6<i>d</i>.; royal 8vo., 18<i>s</i>.</p> + +<p>ORIGINES PATRICIÆ, or a Deduction of European Titles of Nobility and +Dignified Offices, from their Primitive Sources. By R.T. HAMPSON.</p> + +<p>In 2 vols. 8vo., with Illuminated Fac-simile Engravings of Anglo-Saxon +Kalendars. Price 32<i>s</i>.</p> + +<p>MEDII ÆVI KALENDARIUM; or Dates, Charters and Customs of the Middle +Ages, with Kalendars from the Tenth to the Fifteenth Century; and an +alphabetical Digest of Obsolete Names of Days, forming a Glossary of the +Dates and Ecclesiastical Observances of the Middle Ages. By R.T. +HAMPSON.</p> + +<p>FAC-SIMILE UNDER SEAL.</p> + +<p>On a Sheet, 22 Inches by 30. Price 7<i>s</i>. 6<i>d</i>.</p> + +<p>MAGNA CHARTA SUB SIGILLO REGIS JOHANNIS, An. Dom. M.CC.XV.</p> + +<p>London: Henry Kent CAUSTON, at the Printing Offices, Nag's Head Court, +Gracechurch Street.</p> + +<hr /> + +<p>Twenty Day's Sale of the First Portion of the valuable and extensive +Stock of Books of Messrs. Payne and Foss.</p> + +<p>MESSRS. S. LEIGH SOTHEBY and Co., Auctioneers of Literary Property and +Works illustrative of the Fine Arts, will sell at their House, 3. +Wellington Street, Strand, on Monday, March 18th, 1850, and Nine +following Days, and on Monday, April 8th, and Nine following days, at +One o'Clock precisely, the First Portion of the extensive and valuable +STOCK of BOOKS of Messrs. Payne and Foss, retiring from Business: +comprising interesting Publications in the Infancy of Printing, first +and best Editions of the Classics, Productions of the Aldine Press, +Theology and best Editions of the Fathers, French and Italian Books, +Voyages and Travels, fine Books of Prints, English History and +Miscellaneous Literature. Many of the Books are on Large Paper, and in +Morocco and Russia bindings. To be viewed Two Days prior, and Catalogues +had.</p> + +<hr /> + +<p>In 1 vol. royal 4to., with 18 Plates. Price 1<i>l</i>. 1<i>s</i>.</p> + +<p>THE DODO AND ITS KINDRED, or the History of the Dodo, the SOLITAIRE, and +other extinct Birds of the Mascarene Islands. By H.E. STRICKLAND, M.A., +and A.G. MELVILLE, M.D. For reviews of this work see <i>Blackwood's +Magazine</i>, Jan., 1849; <i>Athenæum</i>, Feb. 10., 1849; <i>Westminster Review</i>, +April, 1849; <i>Silliman's American Journal</i>, Jan., 1849; <i>Revue +Zoologique</i>, Oct., 1848; <i>Zeitung für Zoologie</i>, May 20, 1849, &c.</p> + +<p>London: REEVE, BENHAM, and REEVE, King William Street, Strand.</p> + +<hr /> + +<p>VALUABLE QUARTO CLASSICS, in good condition and at reduced +prices—Æliani Varia Historia, Gr. et Lat., Gronovil, vellum, 10s.; +Æschylus, Gr. et Lat. Butleri, 4 vols., new, cloth, 2l. 2s.; Aurelius +Victor, Aratzenii, calf, gilt, 8<i>s</i>. 6<i>d</i>.; Ausonius, Delphini, calf, +gilt, 10<i>s</i>. 6<i>d</i>.; large paper, rare, 15<i>s</i>.; Demosthenes et Æschines, +Gr. et Lat., Taylori, 2 vols., calf, neat, 10<i>s</i>.; Euripides, Gr. et +Lat., Beckii, 3 vols., russia, extra, 1<i>l</i>. 15<i>s.</i>; Homerus, Gr. et +Lat., Barnnessil, 2 vols., calf, neat, 15<i>s</i>.; Horatius, edidit Combe, 2 +vols., calf, gilt, 1<i>l</i>. 5<i>s</i>. russia, extra, 1<i>l</i>. 15<i>s</i>.; Lucanus, +Oudenorpil, 2 vols., calf, neat, 12<i>s</i>. 6<i>d</i>.; Lucanus, Burmanni, calf, +neat, 10<i>s</i>. 6<i>d</i>.; Lucretius, edidit Keats, calf, extra, 6<i>s</i>., russia, +extra, large paper, 10<i>s</i>.; Maximum Tyrius, Gr. et Lat., Marklandi et +Davisit, calf, gilt, 10<i>s</i>.; Minuciux Felix, Ouzelii, vellum, 5<i>s</i>.; +Phædrus Hoogstratani, calf, gilt, plates, scarce, 12<i>s.</i>; Plautus, +Delphini, 2 vols., calf, neat, 18<i>s</i>., vellum, fine copy, 1<i>l</i>. 5<i>s</i>.; +Plinii Historia Naturalis, Delphini, 6 vols., calf, neat, 1<i>l.</i> 5<i>s</i>.; +Plinii Epistolæ, Cortii et Longolii, vellum, 12<i>s</i>.; Plinii Panegyricus, +Schwarzli, sewed, 6<i>s</i>., russia, 12<i>s</i>.; Propertius, Brouckhusii, 1727, +calf, gilt, or vellum, 6<i>s</i>.; Quintillanus, Burmanoi, 4 vols., calf, +neat, 1<i>l</i>. 1<i>s</i>.; Quintus Curtius, Snakenburgii, 2 vols., calf, neat, +12<i>s</i>., calf, gilt, 15<i>s</i>.; Sallustius, Havercampi, 2 vols., calf, gilt, +1<i>l</i>. 4<i>s</i>.; Suetonius, Pitisci, 2 vols., calf, gilt, 15<i>s</i>.; Terentius, +Delphini, calf, neat, 7<i>s</i>.; Thucydides, Gr. et Lat., Gottleberi et +Dukeri, 2 vols., russia, 14<i>s</i>.; Tibullus, Brouckhusii, calf, gilt, or +vellum, 5<i>s</i>.; Vilgilius, Masavicii, 2 vols., calf, neat, 10<i>s</i>. +6<i>d</i>.—A Catalogue, containing upwards of 2000 Articles, including +Translations, Commentaries, Lexicons, &c., will be sent on receipt of +two postage stamps.</p> + +<p>R. SAYWELL, 193. High Holborn, opposite New Oxford Street.</p> + +<hr /> + +<p>The highly-interesting Collection of Autograph Letters of George +Linnecar, Esq., of Liverpool; a Picture by Hogarth; various articles +formerly in the possession of John Evelyn, &c.</p> + +<p>PUTTICK AND SIMPSON, Auctioneers of Literary Property, will SELL by +AUCTION, at their Great Room, 191. Piccadilly, on TUESDAY, March 19, and +following day, the very select and interesting collection of AUTOGRAPH +LETTERS of GEORGE LINNECAR, Esq., of Liverpool. The greater part of this +collection has been selected from the extraordinary assemblage of +letters formed by the late William Upcott, Esq., and consists mainly of +interesting letters of English literary characters from the time of +Alexander Pope to the present period. A volume of unpublished poems in +the autograph of James Thompson, some miscellanies from the collection +of John Evelyn, including his well-known drinking cup; a plaster cast +from Thorwaldsen's bust of Byron (only two taken), a picture by Hogarth, +miniature of Voltaire by Sir J. Reynolds, &c.</p> + +<p>May be viewed the day before the sale. Catalogues will be sent on +application.<span class="pagenum"><a id="page328" name="page328"></a>{328}</span></p> + +<hr /> + +<h2>ILLUSTRATED WORKS.</h2> + +<p>RICKMAN'S GOTHIC ARCHITECTURE. An attempt to Discriminate the Different +Styles of Architecture in England. By the late THOMAS RICKMAN, F.S.A. +With 30 Engravings on Steel by Le Keux, &c., and 465 on Wood, of the +best examples, from Original Drawings by F. Mackenzie, O. Jewitt, and +P.H. Delamotte. Fifth Edition. 8vo. 21<i>s</i>.</p> + +<p>THE ECCLESIASTICAL AND ARCHITECTURAL TOPOGRAPHY OF ENGLAND. Part I. +Bedfordshire. Part II. Berkshire. Part III. Buckinghamshire. 8vo. 2<i>s</i>. +6<i>d</i>. each. Part IV. Oxfordshire, nearly ready.</p> + +<p>AN INQUIRY INTO THE DIFFERENCE OF STYLE OBSERVABLE IN ANCIENT PAINTED +GLASS, with Hints on Glass Painting, illustrated by numerous Coloured +Plates from Ancient Examples. By an Amateur. 2 vols. 8vo. 1<i>l</i>. 10<i>s</i>.</p> + +<p>A BOOK OF ORNAMENTAL GLAZING QUARRIES, collected and arranged from +Ancient Examples. By AUGUSTUS WOLLASTON FRANKS, B.A. With 112 Coloured +Examples. 8vo. 16<i>s</i>.</p> + +<p>A GLOSSARY OF TERMS USED IN BRITISH HERALDRY, with a Chronological Table +illustrative of its Rise and Progress. 8vo. With 700 Engravings. 16<i>s</i>.</p> + +<p>A GLOSSARY OF TERMS USED IN GRECIAN, ROMAN, ITALIAN, AND GOTHIC +ARCHITECTURE. The Fifth Edition, enlarged. Exemplified by numerous +Woodcuts. 2 vols. 8vo., nearly ready.</p> + +<p>MANUAL OF ENGLISH MEDIEVAL EMBROIDERY. With a Practical Section, by a +Lady. 16mo. With numerous Illustrations. 5<i>s</i>.</p> + +<p>ARCHITECTURAL NOTICES OF THE CHURCHES IN THE ARCHDEACONRY OF +NORTHAMPTON. With numerous Illustrations on Wood and Steel Royal 8vo., +cloth, 1<i>l</i>. 15<i>s</i>. plain; 2<i>l</i>. 12<i>s</i>. 6<i>d</i>. India proofs.</p> + +<p>WARMINGTON CHURCH, NORTHAMPTONSHIRE. Views, Elevations, Sections, and +Details. By W. CAVELER, Esq., Architect. 16 Plates, royal folio, cloth, +1<i>l</i>. 1<i>s</i>.</p> + +<p>MINSTER LOVELL CHURCH, OXFORDSHIRE. Views, Elevations, Sections, and +Details. By J. PRICHARD, Esq., Architect. Folio. Nearly ready.</p> + +<p>ANGLICAN CHURCH ARCHITECTURE. With some Remarks upon Ecclesiastical +Furniture. By JAMES BARR, Architect. Illustrated by 130 Examples. The +Third Edition, revised and enlarged. 12mo. 5<i>s</i>.</p> + +<p>DESCRIPTIVE NOTICES OF SOME OF THE ANCIENT PAROCHIAL AND COLLEGIATE +CHURCHES OF SCOTLAND. With Woodcuts. By O. JEWITT. 8vo. 7<i>s</i>. 6<i>d</i>.</p> + +<p>AN INTRODUCTION TO THE STUDY OF GOTHIC ARCHITECTURE. 16mo. With 110 +Illustrations. Price 4<i>s</i>. 6<i>d</i>.</p> + +<p>THE ARCHÆOLOGICAL JOURNAL, Published under the direction of the Central +Committee of the Archæological Institute of Great Britain and Ireland, +for the Encouragement and Prosecution of Researches into the Arts and +Monuments of the Early and Middle Ages. With numerous Illustrations. +Complete, with General Index. 5 vols. 8vo., cloth. 2<i>l</i>. 16<i>s</i>.</p> + +<p>THE ARCHITECTURAL HISTORY OF CANTERBURY CATHEDRAL. By the Rev. Professor +WILLIS, M.A., F.R.S., &c. 8vo. With 52 Woodcuts. 10<i>s</i>. 6<i>d</i>.</p> + +<p>THE ARCHITECTURAL HISTORY OF WINCHESTER CATHEDRAL. By the same Author. +8vo. With Woodcuts and Plan. 5<i>s</i>.</p> + +<p>THE ARCHITECTURAL HISTORY OF YORK CATHEDRAL. With Woodcuts and Plan. +2<i>s</i>. 6<i>d</i>.</p> + +<p>SPECIMENS OF CHURCH PLATE, SEPULCHRAL CROSSES, &c. Complete in 1 vol. +4to., cloth lettered, 1<i>l</i>. 3<i>s</i>.</p> + +<p>THE SCULPTURES OF WELLS CATHEDRAL. With Observations on the Art of +Sculpture in England in the Thirteenth Century. By C.R. COCKERELL, Esq., +Professor R.A. In the Press.</p> + +<p>THE PRIMEVAL ANTIQUITIES OF ENGLAND, illustrated by those of DENMARK. By +J.J.A. WORSAAE, Member of the Royal Society of Antiquaries of +Copenhagen. Translated from the Danish, and applied to the Illustration +of similar Remains in England, by WILLIAM J. THOMS, F.S.A., Secretary of +the Camden and Ælfric Societies. With numerous Illustrations. 8vo. +10<i>s</i>. 6<i>d</i>.</p> + +<p>OXFORD PARISH BURIAL GROUND CHAPELS, the Working Drawings of. By H.J. +UNDERWOOD, Esq., Architect. Folio. 15<i>s</i>.</p> + +<p>REMARKS ON ARCHITECTURAL CHARACTER. By the Rev. JOHN LEWIS PETIT, M.A. +With 44 Etchings. Royal folio, cloth. 1<i>l</i>. 1<i>s</i>.</p> + +<p>A MANUAL FOR THE STUDY OF MONUMENTAL BRASSES, with a Descriptive +Catalogue of Four Hundred and Fifty "RUBBINGS," in the possession of the +Oxford Architectural Society. Topographical and Heraldic Indices, &c. +With numerous Illustrations. 8vo. 10<i>s</i>. 6<i>d</i>.</p> + +<p>A MANUAL FOR THE STUDY OF SEPULCHRAL SLABS AND CROSSES OF THE MIDDLE +AGES. By the Rev. EDWARD L. CUTTS, B.A. 8vo. Illustrated by upwards of +300 Engravings. 12<i>s</i>.</p> + +<hr /> + +<p>OXFORD: JOHN HENRY PARKER; AND 377. STRAND, LONDON.</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, March 16. 1850.</p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 20, March +16, 1850, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, NUMBER *** + +***** This file should be named 16409-h.htm or 16409-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/4/0/16409/ + +Produced by Jon Ingram, Internet Library of Early Journals, +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> |