diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:48:39 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:48:39 -0700 |
| commit | d27d9da8d9dc69f4dddbdf356bdd9d614793eba7 (patch) | |
| tree | ddce5890bea06bdd78cf8750371706abdc50c32f | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 22369-8.txt | 3557 | ||||
| -rw-r--r-- | 22369-8.zip | bin | 0 -> 64910 bytes | |||
| -rw-r--r-- | 22369-h.zip | bin | 0 -> 70475 bytes | |||
| -rw-r--r-- | 22369-h/22369-h.htm | 4171 | ||||
| -rw-r--r-- | 22369-page-images/p397.png | bin | 0 -> 121488 bytes | |||
| -rw-r--r-- | 22369-page-images/p398.png | bin | 0 -> 109385 bytes | |||
| -rw-r--r-- | 22369-page-images/p399.png | bin | 0 -> 119165 bytes | |||
| -rw-r--r-- | 22369-page-images/p400.png | bin | 0 -> 152015 bytes | |||
| -rw-r--r-- | 22369-page-images/p401.png | bin | 0 -> 130124 bytes | |||
| -rw-r--r-- | 22369-page-images/p402.png | bin | 0 -> 149534 bytes | |||
| -rw-r--r-- | 22369-page-images/p403.png | bin | 0 -> 143229 bytes | |||
| -rw-r--r-- | 22369-page-images/p404.png | bin | 0 -> 146821 bytes | |||
| -rw-r--r-- | 22369-page-images/p405.png | bin | 0 -> 142750 bytes | |||
| -rw-r--r-- | 22369-page-images/p406.png | bin | 0 -> 131569 bytes | |||
| -rw-r--r-- | 22369-page-images/p407.png | bin | 0 -> 151066 bytes | |||
| -rw-r--r-- | 22369-page-images/p408.png | bin | 0 -> 148405 bytes | |||
| -rw-r--r-- | 22369-page-images/p409.png | bin | 0 -> 143545 bytes | |||
| -rw-r--r-- | 22369-page-images/p410.png | bin | 0 -> 153560 bytes | |||
| -rw-r--r-- | 22369-page-images/p411.png | bin | 0 -> 149908 bytes | |||
| -rw-r--r-- | 22369-page-images/p412.png | bin | 0 -> 156551 bytes | |||
| -rw-r--r-- | 22369-page-images/p413.png | bin | 0 -> 132893 bytes | |||
| -rw-r--r-- | 22369-page-images/p414.png | bin | 0 -> 156190 bytes | |||
| -rw-r--r-- | 22369-page-images/p415.png | bin | 0 -> 153148 bytes | |||
| -rw-r--r-- | 22369-page-images/p416.png | bin | 0 -> 149642 bytes | |||
| -rw-r--r-- | 22369-page-images/p417.png | bin | 0 -> 135984 bytes | |||
| -rw-r--r-- | 22369-page-images/p418.png | bin | 0 -> 159569 bytes | |||
| -rw-r--r-- | 22369-page-images/p419.png | bin | 0 -> 161743 bytes | |||
| -rw-r--r-- | 22369-page-images/p420.png | bin | 0 -> 135532 bytes | |||
| -rw-r--r-- | 22369.txt | 3557 | ||||
| -rw-r--r-- | 22369.zip | bin | 0 -> 64842 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
33 files changed, 11301 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/22369-8.txt b/22369-8.txt new file mode 100644 index 0000000..275f2ef --- /dev/null +++ b/22369-8.txt @@ -0,0 +1,3557 @@ +Project Gutenberg's Notes and Queries, Number 182, April 23, 1853, 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 182, April 23, 1853 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc. + +Author: Various + +Editor: George Bell + +Release Date: August 21, 2007 [EBook #22369] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + ++----------------------------------------------------------------+ +| | +| Transcriber's Note: Italicized words, phrases, etc. are | +| surrounded by _underline characters_. Greek transliterations | +| are surrounded by ~tildes~. Overlines indicating abbreviations | +| are shown like this, D[=n]e, meaning a line over the letter n. | +| Archaic spellings and hyphenation inconsistencies have been | +| left as originally printed. | ++----------------------------------------------------------------+ + + +{397} +NOTES AND QUERIES: + +A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, ANTIQUARIES, +GENEALOGISTS, ETC. + + * * * * * + +"When found, make a note of."--CAPTAIN CUTTLE. + + * * * * * + +No. 182.] +SATURDAY, APRIL 23. 1853. +[Price Fourpence. Stamped Edition 5d. + + * * * * * + + +CONTENTS. + + NOTES:-- Page + Poetical Epithets of the Nightingale, by Cuthbert + Bede, B.A. 397 + On a Passage in Orosius, by E. Thomson 399 + Notes on several Misunderstood Words, by Rev. W. R. + Arrowsmith 400 + A Work on the Macrocosm 402 + Dr. South's Latin Tract against Sherlock, by James + Crossley 402 + Shakspeare Correspondence, by C. Mansfield Ingleby, + S. Singleton, &c. 403 + + MINOR NOTES:--Robert Weston--Sonnet on the Rev. + Joseph Blanco White--English and American Booksellers + --Odd Mistake--Thomas Shakspeare--Early Winters 404 + + QUERIES:-- + Satirical Playing Cards, by T. J. Pettigrew 405 + Movable Metal Types anno 1435, by George Stephens 405 + Portraits at Brickwall House 406 + + MINOR QUERIES:--Christian Names--Lake of Geneva + --Clerical Portrait--Arms: Battle-axe--Bullinger's + Sermons--Gibbon's Library--Dr. Timothy Bright + --Townley MSS.--Order of St. John of Jerusalem + --Consecrated Roses, Swords, &c.--West, Kipling, and + Millbourne--Font Inscriptions--Welsh Genealogical + Queries--The Butler and his Man William--Longhi's + Portraits of Guidiccioni--Sir George Carr--Dean + Pratt--Portrait of Franklin--"Enquiry into the State + of the Union" 406 + + MINOR QUERIES WITH ANSWERS:--Bishop of Oxford + in 1164--Roman Inscription found at Battle Bridge-- + Blow-shoppes--Bishop Hesketh--Form of Prayer for + Prisoners 409 + + REPLIES:-- + Edmund Spenser, and Spensers, or Spencers, of Hurstwood, + by J. B. Spencer, &c. 410 + Throwing old Shoes for Luck, by John Thrupp 411 + Orkneys in Pawn 412 + Hogarth's Pictures, by E. G. Ballard and W. D. Haggard 412 + Phantom Bells and Lost Churches 413 + + PHOTOGRAPHIC NOTES AND QUERIES:--Photographic + Collodion--Filtering Collodion--Photographic Notes + --Colouring Collodion Pictures--Gutta Percha Baths 414 + + REPLIES TO MINOR QUERIES:--Pilgrimages to the Holy + Land--"A Letter to a Convocation Man"--King + Robert Bruce's Coffin-plate--Eulenspiegel or Howleglas + --Sir Edwin Sadleir--Belfry Towers separate from + the Body of the Church--God's Marks--"The Whippiad" + --The Axe that beheaded Anne Boleyn, &c. 415 + + MISCELLANEOUS:-- + Books and Odd Volumes wanted 417 + Notices to Correspondents 418 + Advertisements 418 + + * * * * * + + +NOTES. + + +POETICAL EPITHETS OF THE NIGHTINGALE. + +Having lately been making some research among our British poets, as to +the character of the nightingale's song, I was much struck with the +great quantity and diversity of epithets that I found applied to the +bird. The difference of opinion that has existed with regard to the +quality of its song, has of course led the poetical adherents of either +side to couple the nightingale's name with that very great variety of +adjectives which I shall presently set down in a tabular form, with the +names of the poetical sponsors attached thereto. And, in making this the +subject of a Note, I am only opening up an old Query; for the character +of the nightingale's song has often been a matter for discussion, not +only for poets and scribblers, but even for great statesmen like Fox, +who, amid all the anxieties of a political life, could yet find time to +defend the nightingale from being a "most musical, most melancholy" +bird. + +Coleridge's onslaught upon this line, in his poem of "The Nightingale," +must be well known to all lovers of poetry; and his re-christening of +the bird by that epithet which Chaucer had before given it: + + "'Tis the _merry_ nightingale, + That crowds, and hurries, and precipitates, + With fast thick warble, his delicious notes, + As he were fearful that an April night + Would be too short for him to utter forth + His love-chant, and disburthen his full soul + Of all its music!" + +The fable of the nightingale's origin would, of course, in classical +times, give the character of melancholy to its song; and it is rather +remarkable that Æschylus makes Cassandra speak of the _happy_ chirp of +the nightingale, and the Chorus to remark upon this as a further proof +of her insanity. (Shakspeare makes Edgar say, "The _foul fiend_ haunted +poor Tom in the voice of a nightingale."--_King Lear_, Act III. Sc. 6.) + +Tennyson seems to be almost the only poet who has thoroughly recognised +the great variety of epithets that may be applied to the nightingale's +song, through the very opposite feelings which it {398} seems to +possess the power to awaken. In his _Recollections of the Arabian +Nights_, he says,-- + + "The living airs of middle night + Died round the Bulbul as he sung; + Not he; but something which possess'd + The darkness of the world, _delight_, + _Life_, _anguish_, _death_, _immortal love_, + Ceasing not, mingled, unrepress'd, + Apart from place, withholding time." + +Again, in the _In Memoriam_: + + "Wild bird! whose warble, liquid, sweet, + Rings Eden through the budded quicks, + Oh, tell me where the senses mix, + Oh, tell me where the passions meet, + + "Whence radiate? _Fierce extremes_ employ + Thy spirit in the dusking leaf, + And _in the midmost heart of grief + Thy passion clasps a secret joy_." + +With which compare these lines in _The Gardener's Daughter_: + + "Yet might I tell of meetings, of farewells,-- + Of that which came between, more sweet than each, + In whispers, like the whispers of the leaves + That tremble round a nightingale--_in sighs + Which perfect Joy, perplexed for utterance, + Stole from her sister Sorrow_." + +But the most singular proof that, I think, I have met with, concerning +the diversity of opinion touching the song of the nightingale, is to be +found in the following example. When Shelley (_Prometheus Unbound_) is +describing the luxurious pleasures of the Grove of Daphne, he mentions +(in some of the finest lines he has ever written) "the _voluptuous_ +nightingales, sick with sweet love," to be among the great attractions +of the place: while Dean Milman (_Martyrs of Antioch_), in describing +the very same "dim, licentious Daphne," is particular in mention that +everything there + + "Ministers + _Voluptuous_ to man's transgressions" + +(even including the "winds, and flowers, and waters"); everything, in +short, + + "_Save thou_, sweet _nightingale!_" + +The question is indeed a case of "fierce extremes," as we may see by the +following table of epithets, which are taken from the British poets +only: + + _Amorous._ Milton. + _Artless._ Drummond of Hawthornden. + _Attick_ ("Attica aedon"). Gray. + _Beautiful._ Mackay. + _Charmer._ Michael Drayton, Philip Ayres. + _Charming._ Sir Roger L'Estrange. + _Cheerful._ Philip Ayres. + _Complaining._ Shakspeare. + _Conqueror._ Ford + _Dainty._ Carshaw, Giles Fletcher. + _Darkling._ Milton. + _Dear._ Ben Jonson, Drummond of Hawthornden. + _Deep._ Mrs. Hemans. + _Delicious._ Crashaw, Coleridge. + _Doleful._ Shakspeare. + _Dusk._ Barry Cornwall. + _Enchanting._ Mrs. T. Welsh. + _Enthusiast._ Crashaw. + _Evening._ Chaucer. + _Ever-varying._ Wordsworth. + _Fervent._ Mrs. Hemans. + _Fond._ Moore. + _Forlorn._ Shakspeare, Darwin, Hood. + _Full-hearted._ Author of _The Naiad_ (1816). + _Full-throated._ Keats. + _Gentle._ _The Spanish Tragedy_, Dunbar (Laureate to James IV. + Scot.), Mrs Charlotte Smith. + _Good._ Chaucer, Ben Jonson. + _Gushing._ Campbell. + _Hapless._ Milton. + _Happy._ Keats, Mackay. + _Harmless._ Crashaw, Browne. + _Harmonious._ Browne. + _Heavenly._[1] Chaucer, Dryden, Wordsworth. + _Holy._ Campbell. + _Hopeful._ Crashaw. + _Immortal._ Keats. + _Joyful._ Moore. + _Joyous._ Keble. + _Lamenting._ Shakspeare, Michael Drayton, Drummond of Hawthornden. + _Light-foot._ Crashaw. + _Light-winged._ Keats. + _Liquid._ Milton, Bishop Heber, Tennyson. + _Listening._ Crashaw, Thomson. + _Little._ James I. Scot., Philip Ayres, Crashaw. + _Lone._ Beattie, Mrs. Hemans, Miss London, Mrs. Fanny Kemble, Milman. + _Lonely._ Countess of Winchilsea (1715), Barry Cornwall. + _Loud._ Shelley. + _Loved._ Mason. + _Lovely._ Bloomfield. + _Love-lorn._ Milton, Scott, Collins. + _Lowly._ Mrs. Thompson. {399} + _Lusty._ Chaucer. + _Melancholy._ Milton, Milman. + _Melodious._ Chris. Smart, Ld. Lyttelton, Southey. + _Merry._ _Red Book of Ossory_, fourteenth century (quoted in + "N. & Q.," Vol. ii., No. 54.), Chaucer, Dunbar, Coleridge. + _Minstrel._ Mrs. Charlotte Smith. + _Modest._ Keble. + _Mournful._ Shakspeare, Theo. Lee, Pope, Lord Thurlow, Byron. + _Musical._ Milton. + _Music-panting._ Shelley. + _New-abashed._[2]Chaucer. + _Night-warbling._ Milton, Milman. + _Pale._ Author of _Raffaelle and Fornarina_ (1826). + _Panting._ Crashaw. + _Passionate._ Lady E. S. Wortley. + _Pensive._ Mrs. Charlotte Smith. + _Piteous._ Ambrose Philips. + _Pity-pleading_ (used ironically). Coleridge. + _Plaintive._ Lord Lyttelton, Thomson, Keats, Hood. + _Pleasant._ An old but unknown author, quoted in Todd's + _Illustrations to Gower and Chaucer_, p. 291., ed. 1810. + _Poor._ Shakspeare, Ford. + _Rapt._ Hon. Julian Fane (1852). + _Ravished._ Lilly. + _Responsive._ Darwin. + _Restless._ T. Lovell Beddoes (in _The Bride's Tragedy_, 1822). + _Richly-toned._ Southey. + _Sad._ Milton, Giles Fletcher, Drummond of Hawthornden, Graves, + Darwin, Collins, Beattie, Byron, Mrs. Hemans, Mrs Fanny Kemble, + Hood, T. L. Beddoes. + _Shrill._ Chaucer, Crashaw. + _Silver-sounding._ Richard Barnfield. + _Single._[3] Southey. + _Skilled._ Ford. + _Sleepless._[4] Atherstone. + _Sober-suited._ Thomson. + _Soft._ Milton, James I. Scot., Crashaw, Mrs. Charlotte Smith, Byron. + _Solemn._ Milton, Otway, Graingle. + _Sole-sitting._ Thomson. + _Sorrowing._ Shakspeare. + _Soul-entrancing._ Bishop Heber. + _Supple._ Crashaw. + _Sweet._ Chaucer, James I. Scot., Milton, Spenser, Crashaw, Drummond, + Richard Barnfield, Ambrose Philips, Shelley, Cowper, Thomson, + Young, Darwin, Lord Lyttelton, Mrs. Charlotte Smith, Moore, + Coleridge, Wordsworth, L. E. L., Milman, Hood, Tennyson, P. J. + Bailey, Kenny, Hon. J. Fane. + _Sweetest._ Milton, Browne, Thomson, Turnbull, Beattie. + _Sweet-voiced._ Wither. + _Syren._ Crashaw. + _Tawny._ Cary. + _Tender._ Crashaw, Turnbull. + _Thrilling._ Hon. Mrs. Wrottesley (1847). + _Tuneful._ Dyer, Grainger. + _Unseen._ Byron. + _Vaunting._ Bloomfield. + _Voluptuous._ Shelley. + _Wakeful._ Milton, Coleridge. + _Wailing._ Miss Landon. + _Wandering._ Mrs. Charlotte Smith, Hon. Mrs. Wrottesley. + _Wanton._ Coleridge. + _Warbling._ Milton, Ford, Chris. Smart, Pope, Smollett, Lord + Lyttelton, Jos. Warton, Gray, Cowper. + _Welcome._ Wordsworth. + _Wild._ Moore, Tennyson, J. Westwood (1840). + _Wise._ Waller. + _Wondrous_. Mrs. Fanny Kemble. + +In addition to these 109 epithets, others might be added of a fuller +character; such as "Queen of all the quire" (Chaucer), "Night-music's +king" (Richard Barnfield, 1549), "Angel of the spring" (Ben Jonson), +"_Music's best seed-plot_" (Crashaw), "Best poet of the grove" +(Thomson), "Sweet poet of the woods" (Mrs. Charlotte Smith), "Dryad of +the trees" (Keats), "Sappho of the dell" (Hood); but the foregoing list +of simple adjectives (which doubtless could be greatly increased by a +more extended poetical reading) sufficiently demonstrates the popularity +of the nightingale as a poetical embellishment, and would, perhaps, tend +to prove that a greater diversity of epithets have been bestowed upon +the nightingale than have been given to any other song-bird. + +CUTHBERT BEDE, B.A. + +[Footnote 1: The epithets "heavenly," "holy," "solemn," &c., represent +the nightingale's song, as spoken of by Keats, as the bird's "plaintive +_anthem_;" by Mackay, as its + + "_Hymn_ of gratitude and love;" + +and by Moore also, in his account of the Vale of Cashmere, as + + "The nightingale's _hymn_ from the Isle of Chenars." + +In _A Proper New Boke of the Armony of Byrdes_ (quoted by Dibdin, _Top. +Antiq._, iv. 381.), of unknown date, though probably before 1580, the +nightingale is represented as singing its Te Deum: + + "Tibi Cherubin + Et Seraphin + Full goodly she dyd chaunt, + With notes merely + Incessabile + Voce Proeclamant."] + +[Footnote 2: Chaucer (_Troilus and Creseide_) imagines the nightingale +to "stint" at the beginning of its song, and to be frightened at the +least noise.] + +[Footnote 3: This, and the epithets of "sole-sitting" and "unseen," +refer to the nightingale's love of solitary seclusion.] + +[Footnote 4: + + "He slep no more than doth the nightingale." + + Chaucer, _Cant. Pil._] + + * * * * * + + +ON A PASSAGE IN OROSIUS. + +In King Alfred's version of Orosius, book ii. chap. iv. p. 68., +Barrington, we have an account of an unsuccessful attempt made by one of +Cyrus the Great's officers to swim across a river "mid twam tyncenum," +with two _tynkens_. What was a _tyncen_? That was the question nearly a +hundred years ago, when Barrington was working out his translation; and +the only answer to be found then was contained in the great dictionary +published by Lye and Manning, but is not found now in Dr. Bosworth's +second edition of his Dictionary: "Tynce, _a tench_." + +How the Persian nobleman was to be supported by two little fishes, which +were more likely to land their passenger at the bottom of the river than +on the opposite bank, we are left to guess. But, before we proceed with +the experiment, let us see that we have got the fishes. That tench was +in the Gyndis we have no authority for denying; but, if its Anglian or +Saxon name was such as the dictionary exhibits, we have no trace of it +{400} in the text of Alfred; for under no form of declension, +acknowledged in grammar, will _tynce_ ever give _tyncenum_. We have no +need, then, to spend time in calculating the chance of success, when we +have not the means of making the experiment. + +As either _tync_ or _tynce_ would give _tyncum_, not _tyncenum_, the +latter must come out of _tyncen_ (query, _tynkin_ or _tunkin_, a little +tun, a barrel, or a cask?). Such was the form in which the question +presented itself to my mind, upon my first examination of the passage +three or four years ago, but which was given up without sufficient +investigation, owing to an impression that if such had been the meaning, +it was so simple and obvious that nobody could have missed it. + +An emergency, which I need not explain here, has within these few days +recalled my attention to the subject; and I have no reason to be +ashamed, or to make a secret, of the result. + +_Tyncen_, the diminutive of _tunne_, is not only a genuine Anglo-Saxon +word, but the type of a class, of whose existence in that language no +Saxonist, I may say no Teutonist, not even the perspicacious and +indefatigable Jacob Grimm himself, seems to be aware. The word is +exactly analogous to Ger. _tönnchen_, from _tonne_, and proves three +things:--1. That our ancestors formed diminutives in _cen_, as well as +their neighbours in _ken_, _kin_, _chen_; 2. That the radical vowel was +modified: for _y_ is the _umlaut_ of _u_; 3. That these properties of +the dialect were known to Alfred the Great when he added this curious +statement to the narrative of Orosius. + +E. THOMSON. + + * * * * * + + +NOTES ON SEVERAL MISUNDERSTOOD WORDS. + +(_Continued from_ p. 376.) + +_Imperseverant_, undiscerning. This word I have never met with but +twice,--in Shakspeare's _Cymbeline_, with the sense above given; and in +Bishop Andrewes' Sermon preached before Queen Elizabeth at Hampton +Court, A.D. 1594, in the sense of unenduring: + + "For the Sodomites are an example of impenitent wilful sinners; and + Lot's wife of _imperseverant_ and relapsing righteous + persons."--_Library of Ang.-Cath. Theology_, vol. ii. p. 62. + +_Perseverant_, discerning, and _persevers_, discerns, occur respectively +at pp. 43. and 92. of Hawes's _Pastime of Pleasure_ (Percy Society's +edition). The noun substantive _perseverance_=discernment is as common a +word as any of the like length in the English language. To omit the +examples that might be cited out of Hawes's _Pastime of Pleasure_, I +will adduce a dozen other instances; and if those should not _be enough_ +to justify my assertion, I will undertake to heap together two dozen +more. Mr. Dyce, in his _Critique of Knight and Collier's Shakspeare_, +rightly explains the meaning of the word in _Cymbeline_; and quotes an +example of _perseverance_ from _The Widow_, to which the reader is +referred. Mr. Dyce had, however, previously corrupted a passage in his +edition of Rob. Greene's _Dramatic Works_, by substituting, +"perceivance" for _perseverance_, the word in the original quarto of the +_Pinner of Wakefield_, vol. ii. p. 184.: + + "Why this is wondrous being blind of sight, + His deep _perseuerance_ should be such to know us." + +I subjoin the promised dozen: + + "For his dyet he was verie temperate, and a great enemie of excesse + and surfetting; and so carelesse of delicates, as though he had had + no _perseuerance_ in the tast of meates," &c.--"The Life of + Ariosto," Sir John Harington's Translation of _Orlando Furioso_, p. + 418. + + "In regarde whereof they are tyed vnto these duties: First by a + prudent, diligent, and faithfull care to obserue by what things the + state may be most benefited; and to haue _perseuerance_ where such + marchandize that the state most vseth and desireth may be had with + greatest ease," &c.--_The Trauailer_, by Thomas Palmer: London, + 1606. + + "There are certain kinds of frogs in Egypt, about the floud of + Nilus, that have this _percewerance_, that when by chance they + happen to come where a fish called Varus is, which is great a + murtherer and spoiler of frogs, they use to bear in their mouths + overthwart a long reed, which groweth about the banks of Nile; and + as this fish doth gape, thinking to feed upon the frog, the reed is + so long that by no means he can swallow the frog; and so they save + their lives."--"The Pilgrimage of Kings and Princes," chap. xliii. + p. 294. of Lloyd's _Marrow of History_, corrected and revised by R. + C., Master of Arts: London, 1653. + + "This fashion of countinge the monthe endured to the ccccl yere of + the citie, and was kepte secrete among the byshops of theyr + religion tyl the time that C. Flauius, P. Sulpitius Auarrio, and P. + Sempronius Sophuilongus, then beinge Consuls, against the mynde of + the Senatours disclosed all their solemne feates, published th[=e] + in a table that euery man might haue perseuera[=u]ce of them."--_An + Abridgemente of the Notable Worke of Polidore Vergile, &c._, by + Thomas Langley, fol. xlii. + + "And some there be that thinke men toke occasion of God to make + ymages, whiche wylling to shewe to the grosse wyttes of men some + _perceiueraunce_ of hymselfe, toke on him the shape of man, as + Abraham sawe him and Jacob also."--_Id._, fol. lxi. + +In this passage, as in others presently to be alleged, "notification" +seems to be the drift of the word. + + "Of this vnreuerent religi[=o], Mahomete, a noble ma[=n]e, borne in + Arabie, or, as some report, in Persie, was authour: and his father + was an heathen idolater, and his mother an Ismaelite; wherfore she + had more _perceuerance_ of the Hebrues law."--_Id._, fol. cxlii. + + "Where all feelyng and _perseuer[=a]ce_ of euill is awaie, nothyng + there is euill or found a misse. As if a manne {401} be fallen into + a sound slepe, he feleth not the hardenesse or other incommoditie of + his cabon or couche."--"The Saiynges of Publius, No. 58.," _The + Precepts of Cato, &c., with Erasmus Annotations_: London, 1550. + + "Wherfore both Philip and Alexander (if ye dead haue anie + _perceuerance_) woulde not that the rootes (rooters) out of them + and theyre issue, but rather that the punnishers of those traitors, + should enioye the kingdom of Macedone."--"The XVI Booke of + Justine," fol. 86., Golding's Translation of the _Abridgement of + the Historyes of Trojus Pompeius_: London, 1578. + + "And morouer bycause his setting of vs here in this world is to + aduaunce vs aloft, that is, to witte to the heauenly life, whereof + he giueth vs some _perceyuerance_ and feeling afore hande."--Io. + Calvin. "Sermon XLI., on the Tenth Chap. of Job," p. 209., + Golding's Translation: London, 1574. + + "And so farre are wee off from being able to atteine to such + knowledge through our owne power, that we flee it as much as is + possible, and blindfold our own eyes, to the intent we might put + away all _perceyuerance_ and feeling of God's judgement from + vs."--_Id._, "Sermon XLII.," p. 218. + + "For (as I haue touched already) God of his goodnesse doth not + vtterly barre vs from hauing any _perceyuerance_ at all of his + wisdome: but it behoueth vs to keepe measure."--_Id._, "Sermon + XLIII.," p. 219. + +I shall not cite any more from Golding, but simply observe that the word +occurs again and again in his translations. The remaining three examples +exhibit the noun in a somewhat different sense, viz. "notification," or +"means of discerning:" + + "The time most apt in all the yeare, and affoording greatest + _perseuerance_ for the finding out of the heads of wells and + fountaines, are the moneths of August or September."--_The First + Booke of the Countrie Farme_, p. 8., by Stevens and Liebault, + translated by Svrflet, and edited by G. Markham: London, 1616. + + "He may also gather some _perceiuerance_ by the other markes before + specified; that is to say, by the prints of his foote vpon the + grasse, by the carriages of his head, his dung, gate," &c.--_Id._, + booke vii. p. 685. + + "And this lyfe to men is an high _perseveraunce_, + Or a lyght of faythe wherby they shall be saved." + + "God's Promises," by John Bale; Dodsley's _Old Plays_ (Collier's + edition), vol. i. Part II. Act I. + +By-the-bye, as a specimen of the value of this edition, take the +following passage of this very play: + + "O perfyght keye of David, and hygh scepture of the kyndred of + Jacob; whych openest and no man _speareth_, that speakest and no + man openeth."--Act VII. p. 40. + +On the word _speareth_ the commentator treats his reader to a note; in +which he informs him that _speareth_ means "asketh," and in proof of +this cites one passage from Chaucer, and two from Douglas's _Virgil_. It +might almost appear to be upbraiding the reader with stupidity to +mention that _speareth_ signifieth "bolteth, shutteth;" and that +"speaketh" is a misprint for _speareth_. This verb was a favourite with +Bale. One word more closes my budget for the present. + +_More_, a root. Still in use in Gloucestershire, once of frequent +occurrence. To the examples alleged by Richardson, in his _Dictionary_, +add the following: + + "I se it by ensaunple + In somer tyme on trowes; + Ther some bowes ben leved, + And some bereth none, + There is a meschief in the _more_ + Of swiche manere bowes." + _The Vision of Piers Ploughman_, edited by Thomas + Wright, vol. ii. p. 300. + +At p. 302. you find the sentiment in Latin: + + "Sicut cum videris arborem pallidam et marcidam, intelligis + quod _vitium habet in radice_"--"a meschief in the _more_." + +The Glossary of the editor is silent. + + "It is a ful trie tree, quod he, + Trewely to telle; + Mercy is the _more_ therof, + The myddul stok is ruthe; + The leves ben lele wordes, + The lawe of holy chirche; + The blosmes beth buxom speche, + And benigne lokynge; + Pacience hatte the pure tree," &c. + _Id._, vol. ii. p. 330. + + "It groweth in a gardyn, quod he, + That God made hymselve, + Amyddes mannes body, + The _more_ is of that stokke, + Herte highte the herber, + That it inne groweth." + _Id._, vol. ii. p. 331. + +There should not be any comma, or other stop, at body, because the sense +is--"The root of that stock is amid man's body." + +Mr. Wright's Glossary refers to these last two instances as follows: + + "_More_ (A.-S.) 330, 331., the main or larger part, body (?)" + +At p. 334. we meet with the word again: + + "On o _more_ thei growed." + +And again, at p. 416.: + + "And bite a-two the _mores_." + +May I, in passing, venture to inquire of the editor on what authority he +explains _waselede_ (p. 476.) to be "the pret. of _waselen_ (A.-S.) to +become dirty, dirty oneself?" + + "This Troilus withouten rede or lore, + As man that hath his joies eke forlore, + Was waiting on his lady evermore, + As she that was sothfast croppe and _more_, + Of all his lust or joyes here tofore." + Chaucer's _Troilus and Creseide_, b.v. + +{402} +Afterwards, in the same book, a few stanzas further on, he joins "crop" +and "root" together. + + "Last of all, if these thinges auayle not the cure, I do commend + and allow above all the rest, that you take the iuyce of Celendine + rootes, making them cleane from the earth that doth vse to hang to + the _moores_."--_The Booke of Falconrie_, by George Turbervile, + 1611, p. 236. + + "Chiefely, if the _moare_ of vertue be not cropped, but dayly + rooted deepelyer."--_The Fyrste Booke of the Nobles or of + Nobilitye_, translated from Laurence Humfrey. + +The next and last example from the "Second Booke" of this interesting +little volume I will quote more at large: + + "Aristotle mencioneth in his Politikes an horrible othe vsed in + certaine states, consistinge of the regimente of fewe nobles, in + maner thus: I will hate the people, and to my power persecute them. + Which is the _croppe_ and _more_ of al sedition. Yet too much + practised in oure liues. But what cause is there why a noble man + should eyther despise the people? or hate them? or wrong them? + What? know they not, no tiranny maye bee trusty? Nor how yll + gard[=e] of c[=o]tinuance, feare is? Further, no more may nobilitie + misse the people, then in man's body, the heade, the hande. For of + trueth, the common people are the handes of the nobles, sith them + selues bee handlesse. They labour and sweate for them, with + tillinge, saylinge, running, toylinge: by sea, by l[=a]d, with + h[=a]ds, w't feete, serue them. So as w'oute theyr seruice, they + nor eate, nor drink, nor are clothed, no nor liue. We reade in ye + taleteller Esope, a doue was saued by the helpe of an ant. A lyon + escaped by the benefit of a mowse. We rede agayne, that euen ants + haue theyr choler. And not altogether quite, the egle angered the + bytle bee." + +The reader will notice in this citation another instance of the verb +_miss_, to dispense with. I have now done for the present; but should +the collation of sundry passages, to illustrate the meaning of a word, +appear as agreeable to the laws of a sound philology, as conducive to +the integrity of our ancient writers, and as instructive to the public +as brainspun emendations, whether of a remote or modern date, which +now-a-days are pouring in like a flood--to corrupt long recognised +readings in our idolised poet Shakspeare, in order to make his +phraseology square with the language of the times and his readers' +capacities--I will not decline to continue endeavours such as the +present essay exhibits with a view to stem and roll back the tide. + +W. R. ARROWSMITH. + +Broad Heath, Presteign, Herefordshire. + + * * * * * + + +A WORK ON THE MACROCOSM. + +I intended to have contributed a series of papers to "N. & Q." on the +brute creation, on plants and flowers, &c.; and in a Note on the latter +subject I promised to follow it up. However, as circumstances have +changed my intentions, I think it may be well to mention that I have in +hand a work on Macrocosm, or World of Nature around us, which shall be +published in three separate parts or volumes. The first shall be devoted +to the Brute Creation; the second shall be an Herbal, with a Calendar of +dedicated Flowers prefixed; the third shall contain Chapters on the +Mineral Kingdom: in the last I shall treat of the symbolism of stones, +and the superstitions respecting them. I purpose in each case, as far as +possible, to go to the fountain-head, and shall give copious extracts +from such writers as St. Ildefonso of Toledo, St. Isidore of Seville, +Vincent of Beauvais, St. Basil, Origen, Epiphanius, and the Christian +Fathers. + +As the work I have sketched out for myself will require time to mature, +I shall publish very shortly a small volume, containing a breviary of +the former, which will give some idea of the manner in which I shall +treat the proposed subject. + +Many correspondents of "N. & Q." have evinced great interest in the line +I intend to enter upon. (See Vol. i., pp. 173. 457.; Vol. iv., p. 175.; +Vol. vi., pp. 101. 272. 462. 518.) Their Queries have produced no +satisfactory result. I myself made a Query in my "Chapter on Flowers," +some months ago, respecting Catholic floral directories, and two works +in particular, about which I was most anxious, and which were quoted in +_The Catholic Florist_, London, 1851, and I have received no answer. Mr. +Oakley, indeed, wrote to me to say that he "only edited it, and wrote a +preface," and that he forwarded my Query "to the compiler:" the latter +personage, however, has not favoured me with a reply. + +In spite of all these discouragements, I have taken the step of bringing +my contemplated work before the readers of "N. & Q.," and I shall +gratefully acknowledge any communications relative to legends, +folk-lore, superstitions, symbolism, &c. bearing on the subjects +proposed. As I intend inserting a bibliographical list of the chief +works which come under the scope of each volume, I might receive much +valuable assistance on this point, especially as regards Oriental and +other foreign books, which might escape my researches. As regards the +brute creation, I have gotten, with the kind assistance of the editor of +"N. & Q.," Hildrop's famous reply to Father Bougeant; and I have sent to +Germany for Dr. Kraus's recent work on the subject. + +EIRIONNACH. + + * * * * * + + +DR. SOUTH'S LATIN TRACT AGAINST SHERLOCK. + +None of South's compositions are more striking or characteristic than +his two English tracts against Sherlock, his _Animadversions on +Sherlock's Vindication of the Trinity_, 1693-94, 4to., {403} and his +_Tritheism charged on Sherlock's new Notion of the Trinity_, 1694, 4to. +For caustic wit and tremendous power of vituperation, I scarcely know +any controversial works which surpass, or even equal them. South looked +upon Sherlock with profound scorn as a Sciolist, and hated him most +cordially as a heretic and a political renegade. He accordingly gives +him no quarter, and seems determined to draw blood at every stroke. Mrs. +Sherlock is of course not forgotten, and one of the happiest passages in +the _Tritheism charged_ is the well-known humorous illustration of +Socrates and Xantippe, p. 129. It is somewhat curious that, +notwithstanding these two works of South have attracted so much notice, +it seems to be quite unknown that he also published a Latin tract +against Sherlock, in further continuation of the controversy, in which +the attack is carried on with equal severity. The title of the tract in +question is, _Decreti Oxoniensis Vindicatio in Tribus ad +Modestum ejusdem examinatorem modestioribus Epistolis a Theologo +Transmarino_. Excusa Anno Domini 1696, 4to., pp. 92. The tract, of which +I have a copy, is anonymous, but it is ascribed to South in the +following passages in _The Agreement of the Unitarians with the Catholic +Church_, part i. 1697, 4to., which is included in vol. v. of the 4to. +_Unitarian Tracts_, and evidently written by one who had full +information on the subject. His expressions (p. 62.) are--"Dr. South, in +his Latin Letters, under the name of a Transmarine Divine;" and a little +further on, "Dr. South, in two (English) books by him written, and in +three Latin letters, excepts against this (Sherlock's) explication of +the Trinity." In confirmation of this ascription, I may observe that the +Latin tract is contained in an extensive collection of the tracts in the +Trinitarian Controversy formed by Dr. John Wallis, which I possess, and +in which he has written the names of the authors of the various +anonymous pieces. He took, as is well known, a leading part in the +controversy, and published himself an anonymous pamphlet (not noticed by +his biographers), also in defence of Oxford decrees. On the title-page +of the Latin tract he has written "By Dr. South." I have likewise +another copy in a volume which belonged to Stephen Nye, one of the +ablest writers in the controversy, and who ascribes it in the list of +contents in the fly-leaf, in his handwriting, to Dr. South. These +grounds would appear to be sufficient to authorise our including this +tract in the list of South's works, though, from the internal evidence +of the tract itself alone, I should scarcely have felt justified in +ascribing it to him. + +JAS. CROSSLEY. + + * * * * * + + +SHAKSPEARE CORRESPONDENCE. + + +_Parallel Passages._-- + + "You leaden messengers, + That ride upon the violent wings of fire, + Fly with false aim; _move_ the _still-piecing_ air, + That sings with piercing,--do not touch my lord!" + _All's Well that Ends Well_, Act III. Sc. 2. + + "the elements, + Of whom your swords are tempered, may as well + _Wound_ the loud winds, or with bemock'd at stabs + Kill the _still-closing_ waters, as diminish + One dowle that's in my plume." + _The Tempest_, Act III. Sc. 3. + +There can be little doubt that the clever corrector of MR. COLLIER'S +folio had the last of these passages in view when he altered the word +_move_ of the first, into _wound_ of the second: but in this instance he +overshot the mark, in not perceiving the nice and subtle distinction +which exists between them. The first implies possibility: the second +impossibility. + +In the second, the mention of, to "wound the loud wind, or kill the +still-closing water," is to set forth the absurdness of the attempt; but +in the first passage there is a direct injunction to a possible act: +"Fly with false aim, move the still-piecing air." To say "_wound_ the +still-piecing air" would be to direct to be done, in one passage, that +which the other passage declares to be absurd to expect! + +If it were necessary to disturb _move_ at all, the word _cleave_ would +be, all to nothing, a better substitution than _wound_. + +Whether the annotating of MR. COLLIER'S folio be a real or a +pseudo-antique, it is impossible to deny that its executor must have +been a clever, as he was certainly _a slashing_ hitter. It cannot, +therefore, be wondered that he should sometimes reach the mark: but that +these corrections should be received with that blind and superstitious +faith, so strangely exacted for them, can scarcely be expected. Indeed, +it is to be regretted that they have been introduced to the public with +such an uncompromising claim to authority; as the natural repugnance +against _enforced_ opinion may endanger the success of the few +suggestive emendations, to be found amongst them, which are really new +and valuable. + +A. E. B. + +Leeds. + +P.S.--With reference to the above Note, which, although not before +printed, has been for some time in the Editor's hands, I have observed +in a Dublin paper of Saturday, April 9th, a very singular coincidence; +viz. the recurrence of the self-same misprint corrected by Malone, but +retained by Messrs. Collier and Knight in their respective editions of +Shakspeare. Had the parallel expressions _still-closing_, +_still-piecing_, which I have compared in the above paper, been noticed +by these {404} editors, they would no more have hesitated in accepting +Malone's correction than they would object to the same correction in the +misprint I am about to point out; viz. + + "Two planks were pointed out by the witnesses, viz. one with a knot + in it, and another which was piered with strips of wood," + &c.--_Saunders's Newsletter_, April 9th, 3rd page, 1st col. + +_The Passage in "King Henry VIII.," Act III. Sc. 2._ (Vol. vii., pp. 5. +111. 183.).--Is an old Shakspearian to talk rashly in "N. & Q." without +being called to account? "If 'we can,'" says MR. SINGER, "'by no means +part with _have_,' we must interpolate _been_ after it, to make it any +way intelligible, to the marring of the verse." Now, besides the passage +in the same scene-- + + ----"my loyalty, + Which ever has, and ever shall be growing," + +pointed out by your Leeds correspondent, there is another equally in +point in _All's Well that Ends Well_, Act II. Sc. 5., which, being in +prose, settles the question as to whether the omission of the past +participle after the auxiliary was customary in Shakspeare's time. It is +Lafeu's farewell to Parolles: + + "Farewell, Monsieur: I have spoken better of you, than you have or + will deserve at my hand; but we must do good against evil." + +Either this is "unintelligible," and "we must interpolate" _deserved_, +or (the only possible alternative) all three passages are free from MR. +SINGER'S objection. + +C. MANSFIELD INGLEBY. + +Birmingham. + + +_On a Passage in "Macbeth."_--Macbeth (Act I. Sc. 7.) says: + + "I have no spur + To prick the sides of my intent, but only + Vaulting ambition, which o'erleaps itself, + And falls on the other." + +Should not the third line be-- + + "Vaulting ambition, which o'erleaps _its sell_!" + +_Sell_ is saddle (Latin, _sella_; French, _selle_), and +is used by Spenser in this sense. + +"O'erleaping _itself_" is manifest nonsense; whereas the whole passage +has evident reference to horsemanship; and to "vault" is "to carry one's +body cleverly over anything of a considerable height, resting one hand +upon the thing itself,"--exactly the manner in which some persons mount +a horse, resting one hand on the pommel of the saddle. + +It would then be perfectly intelligible, thus-- + + "Vaulting ambition, which o'erleaps its saddle (sell), + And falls on the other (side of the horse)." + +Does MR. COLLIER'S "New Text," or any other old copy, prove this? + +S. SINGLETON. + +Greenwich. + + * * * * * + + +MINOR NOTES. + + +_Robert Weston._--I copy the following from a letter of R. L. Kingston +to Dr. Ducarel in Nichols's _Literary History_, vol. iii. p. 629.: + + "Robert Weston was Lord of Manor of Kilmington in Devon, and + divided his estate among four daughters, reserving to the eldest + son the royalties of his courts. In his will or deed of settlement + is this clause:--'That the Abbot of Newnhams, near Axminster, had + nothing to do in the highway any further than to his land of + Studhays, and that he should stand without the court gate of his + land of Studhays, and take his right ear in his left hand, and put + his right arm next to his body under his left across, and so cast + his reap-hook from him; and so far he shall come.'" + +BALLIOLENSIS. + + +_Sonnet on the Rev. Joseph Blanco White._--Some years ago, I copied the +following sonnet from a newspaper. Can you say where it first made its +appearance? After the annexed testimony of Coleridge, it is needless to +say anything in its praise. + + "SONNET ON THE REV. JOSEPH BLANCO WHITE. + + Mysterious Night! When our first parent knew + Thee from report divine, and heard thy name, + Did he not tremble for this lovely frame, + This glorious canopy of light and blue? + Yet 'neath a curtain of translucent dew, + Bathed in the rays of the great setting flame, + Hesperus, with the host of heaven, came, + And lo! Creation widen'd in man's view. + + Who could have thought such darkness lay conceal'd + Within thy beams, O Sun! Or who could find, + Whilst fly, and leaf, and insect, stood reveal'd, + That to such countless orbs thou mad'st us blind? + Why do we then shun death with anxious strife? + If light can thus deceive--wherefore not life?" + +Coleridge is said to have pronounced this "The finest and most grandly +conceived in our language; at least, it is only in Milton's and in +Wordsworth's sonnets that I recollect any rival." + +BALLIOLENSIS. + + +_English and American Booksellers._--It is rather curious to note, that +whilst English booksellers are emulously vying with one another to +publish editions of _Uncle Toms_, _Queechys_, _Wide Wide Worlds_, &c., +they neglect to issue English works which the superior shrewdness of +{405} Uncle Sam deems worthy of reprinting. Southey's _Chronicle of the +Cid_, which was published by Longman in 1808, and not since printed in +England, was brought out in a very handsome octavo form at Lowell, U. +S., in 1846. And this, the "first American edition," as it is called on +the title-page, can be readily procured from the booksellers in London; +whereas the English original is not to be met with. In like manner, +Macaulay's _Essays_ were collected and published first in America; and +so with Praed's _Poems_, and many others. Uncle Sam has lately +announced collections of Dr. Maginn's and De Quincey's scattered Essays, +for which we owe him our most grateful acknowledgments. + +J. M. B. + +Tunbridge Wells. + + +_Odd Mistake._-- + + "One of the houses on Mount Ephraim formerly belonged to _Judge + Jeffries_, a man who has rendered his name infamous in the annals + of history _by the cruelty and injustice he manifested in presiding + at the trial of King Charles I._"--_Descriptive Sketches of + Tunbridge Wells_, by John Britton, F.S.A., p. 59. + +Voilà comment on fait l'histoire! + +J. M. B. + +Tunbridge Wells. + + +_Thomas Shakspeare._--In the year 1597 there resided in Lutterworth in +Leicestershire, only distant from Stratford-upon-Avon, the birth-town of +Shakspeare, a very few miles, one _Thomas Shakspeare_, who appears to +have been employed by William Glover, of Hillendon in Northamptonshire, +gentleman, as his agent to receive for him and give an acquittance for a +considerable sum of money. + +Having regard to the age in which this Thomas Shakspeare lived, coupled +with his place of residence, is it not probable he was a relative of the +great Bard? + +CHARLECOTE. + + +_Early Winters._--I heard it mentioned, when in St. Petersburg very +lately, that they have never had so early a commencement of winter as +this last year since the French were at Moscow. + +I find in accounts of the war, that the winter _commenced_ then (1812) +on November 7, N. S., with deep snow. Last year (1852) it commenced at +St. Petersburg on October 16, N. S., as noted in my diary, with snow, +which has remained on the ground ever since, accompanied at times with +_very_ severe frost. + +Query: Can November 7, N. S., be the correct date? If it is, this last +winter's commencement must be unprecedented; as I have always heard it +remarked, that the winter began unusually early the year the French were +at Moscow. + +I may mention as a note, that by the last accounts from Russia, they say +the ice in the Gulf of Finland was four and a half feet thick. + +J. S. A. + +Old Broad Street. + + * * * * * + + +QUERIES. + + +SATIRICAL PLAYING CARDS. + +I have lately been much interested in a pack of cards, complete +(fifty-two) in their number and suits, engraved in the time of the +Commonwealth at the Hague, and representing the chief personages and the +principal events of that period. I have been able, by reference to +historical authorities, and, in particular, to the Ballads and +Broadsides in the British Museum, forming the collection presented to +the nation by George III., to explain the whole pack, with the exception +of two. These are "Parry, Father and Sonne," and "Simonias slandering +the High Priest, to get his Place." The former simply represents two +figures, without any thing to offer a clue to any event; the latter +gives the representation of six Puritans, forming an assembly, who are +being addressed by one of the body. I cannot find any notice of +Simonias, or to whom such a name has been applied, in any of the +Commonwealth tracts with which I am acquainted. Probably some of your +readers can help me in this matter. Of these cards I can find no notice: +they are not mentioned by Singer, and appear to have escaped the +indefatigable research of Mr. Chatto. They were purchased at the Hague, +more than thirty years since, for thirty-three guineas, and are +exceedingly curious: indeed they form a bundle of Commonwealth tracts. +All the principal persons of the time figure in some characteristic +representation, and the private scandal is also recognised in them. +Thus, Oliver is to be found under a strong conflict with Lady Lambert; +Sir Harry Mildmay solicits a citizen's wife, for which his own corrects +him; and he is also being beaten by a footboy,--which event is alluded +to in Butler's _Posthumous Works_. General Lambert, of whom your pages +have given some interesting information, is represented as "The Knight +of the Golden Tulip," evidently in reference to his withdrawal with a +pension to Holland, where he is known to have ardently cultivated +flowers, and to have drawn them in a very superior manner. I hope this +communication may enable me to complete my account of these cards, the +explanation of which may probably throw light upon some of the stirring +events of that extraordinary period of our history. + +T. J. PETTIGREW. + +Saville Row. + + * * * * * + + +MOVABLE METAL TYPES ANNO 1435. + +A vellum MS. has lately come into my possession, containing the Service +for the Dead, Prayers, &c., with the tones for chanting, &c., in Latin, +written for a German Order, apparently about the year 1430. + +This tome, which is in small 4to., is very remarkable and valuable on +account of the binding. This is red leather, stamped with double lines +forming lozenges, and powdered with additional stamps, Or, a lion, a +fleur-de-lys, an eagle, and a star. The whole is on the plain leather, +without any gilding. + +But in addition hereto, a full inscription runs along each back, at top +and bottom and each side, stamped with _movable metal types_ applied by +hand, {406} without gold, as is done by the bookbinder to this day in +blind stamping. + +The legend on the first back is as follows: + + _At top._--"DIEZ . PUCHLE[=I] + _Continued to the right._--IST . S. . MARGRETEN . + _At the bottom._--SCHUEST . AB[=T] . ZU . + _Continued to the left._--S. . KATHERE[=I] . ZU . MUR." + +That is,-- + + "Diez puchlein ist schwester Margreten, sehuest abtisse zu + Sankt Katherein zu Mur." + +The legend on the last back is,-- + + _At top._--"NACH . CRIST . + _Continued to the right._--GEPURT . MCCCCXXXV . + _At bottom._--UVART . GEPUN + _Continued to the left._--D[=E] . DIEZ . PUCH ... K." + +That is,-- + + "Nach Crist gepurt MCCCCXXXV uvart gepunden diez puch ... k." + +The whole inscription will therefore be, in English,-- + + THIS BOOKLET + IS SISTER MARGARET'S, + SISTER-ABBESS AT + SAINT CATHERINE'S AT MUR. + + AFTER CHRIST'S + BIRTH, 1435, + WAS BOUN- + DEN THIS BOOK ... K. + +A letter or two is illegible, from the injury made by the clasp, before +the last K. Both the clasps are torn away, perhaps from their having +been of some precious metal. Has this K anything to do with Köster? + +Can any particulars be given of the abbess, monastery, and town +mentioned? + +Is any other specimen of movable _metal_ types known of so early a date? + +GEORGE STEPHENS. + +Copenhagen. + + * * * * * + + +PORTRAITS AT BRICKWALL HOUSE. + +Among the pictures at Brickwall House, Northiam, Sussex, are the +following portraits by artists whose names are not mentioned either in +Bryan, or Pilkington, or Horace Walpole's notices of painters. I shall +be thankful for any information respecting them. + + 1. A full-length portrait in oils (small size) on canvas (29 inches + by 24) of a gentleman seated, dressed in a handsome loose gown, red + slippers, and on his head a handsome, but very peculiar velvet cap; + on the ground, near him, a squirrel; and on a table by his side, a + ground plan of some fortification. "John Sommer _pinxit_, 1700." + +N. B.--The late Capt. Marryatt, and subsequently another gentleman, +guessed it to be a portrait of Wortley Montague from the peculiar dress; +but the fortification would seem to indicate a military personage. The +picture is well painted. + + 2. A half-length portrait in oils (small size) on canvas (20-1/2 + inches by 17), of an old lady seated; a landscape in the background. + A highly finished and excellent picture; the lace in her cap is most + elaborate. "T. Vander Wilt, 1701." + +N. B.--I conclude this is the artist's name, though possibly it may be +the subject's. + + 3. A pair of portraits (Kit Kat size), of John Knight of Slapton, + Northamptonshire, aged seventy-two; and Catherine his wife, aged + thirty-seven. "Lucas Whittonus _pinxit_, 1736." + +N. B.--Inferior portraits by some provincial artist. I conclude Lucas is +the surname, and Whittonus indicates his locality; if so, what place? + +Whilst on this subject, I would add another Query respecting a picture +in this house: a very highly finished portrait (small size) by Terburgh, +of a gentleman standing, in black gown, long brown wig, and a book on a +table by him. "Andries de Græff. Obiit lxxiii., MDCLXXIIII." + +Can you tell me anything about this old gentleman? + +T. F. + + * * * * * + + +MINOR QUERIES. + + +_Christian Names._--Can any of your correspondents inform me when it +became a common practice to have more than one Christian name? Lord Coke +says (_Co. Litt. 3 a_): + + "And regularly it is requisite that the purchaser be named by the + name of baptism and his surname, and that special heed be taken to + the name of baptism; _for that a man cannot have two names of + baptism as he may have divers surnames._" + +And further on he says: + + "If a man be baptized by the name of Thomas, and after, at his + confirmation by the bishop, he is named John, he may purchase by + the name of his confirmation.... And this doth agree with our + ancient books, where it is holden that a man may have divers names + at divers times, _but not divers Christian names_." + +It appears, then, that during the first half of the seventeenth century +a man could not have two Christian names. + +Also, at what period did the custom arise of using as Christian names +words which are properly surnames? + +ERICAS. + + +_Lake of Geneva._--The chronicler Marius (in the second volume of _Dom +Bouquet_) mentions that, in the reign of the sons of Clotaire, an +earthquake or landslip, in the valley of the Upper Rhone, enlarged the +Lemannus, or Genevese Lake, by thirty miles of length and twenty of +breadth, destroying towns and villages. Montfaucon, in his _Monumens de +la Monarchie_, i. p. 63., {407} states that the Lake of Geneva was +formed on this occasion: absurdly, unless he means that upon this +occasion its limits were extended to Geneva, having previously +terminated further east. What vestiges of this catastrophe are now +perceptible? + +A. N. + + +_Clerical Portrait._--May I request the assistance of "N. & Q." in +discovering the name of a reverend person whose portrait I have recently +met with in my parish? The individual from whom I procured it could give +me no other history of it, but that he had bought it at the sale of the +effects of a respectable pawnbroker in the village many years ago. + +Afterwards I learned from another resident in the parish that he well +remembered visiting the shop of the same broker, in company with another +gentleman still living, when this identical portrait was the subject of +conversation, and the broker went into his private room and brought out +a book, conceived to be a magazine, from which he read a description of +the person of whom this was the portrait, to the following effect, viz., +"That he was born of obscure parentage in the parish of Glemham, +Suffolk; that he was sent to school, and afterwards became a great man +and a dignitary of the church, if not a bishop; and became so wealthy +that he gave a large sum for the repairs of Norwich Cathedral." + +These are the only particulars which I have yet ascertained as to the +portrait, for neither of the gentlemen who were present at this +transaction with the broker, though they agree in the circumstances +which I have above narrated, can remember _the name_ of my great +unknown. + +I look, however, with confidence to the wide range of your +correspondents, and hope to receive some clue which may guide me to the +wished-for discovery. + +The portrait is an oil painting, a fine full florid face, with a long +wig of black curly hair resting on the shoulders, gown and band, date +probably from Queen Anne to George II. + +J. T. A. + + +_Arms: Battle-axe._--With some quarterings of Welsh arms in Bisham +(Marlow) of Hobey, is one of three battle-axes. The same appear near +Denbigh, supposed taken in with a L. R. from Vaughan. Query, What family +or families bore three battle-axes? + +A. C. + + +_Bullinger's Sermons._--Will some of your correspondents kindly give me +some information regarding a volume of sermons by Henry Bullinger, which +I have reason to believe is of rather rare occurrence? It is +_Festorum dierum Domini et Servatoris nostri Jesu Christi +Sermones Ecclesiastici: Heinrycho Bullingero, Authore._ There is a +vignette, short preface (on title-page), with a Scripture motto, Matt. +xvii. Date is, "Tiguri apud Christoph. Froschoverum a. MDLVIII." +I believe there is a copy in the University Library, Cambridge. + +ENIVRI. + +Monkstown, Dublin. + + +_Gibbon's Library._--Matthews, in his _Diary of an Invalid_, says, when +visiting Gibbon's house at Lausanne, "His library still remains; but it +is buried and lost to the world. It is the property of Mr. Beckford, and +lies locked up in an uninhabited house at Lausanne" (1st edit. 1820, p. +319.). This was written about 1817. Was the library ever transferred to +Fonthill or to Bath, or does it still remain at Lausanne? + +J. H. M. + + +_Dr. Timothy Bright._--Can any of your correspondents inform me whether +this gentleman, author of a _Treatise on Melancholy_, an edition of +Fox's _Martyrs_, &c., was an ancestor of the Rev. Henry Bright, prebend +of Worcester Cathedral, and instructor of Samuel Butler, author of +_Hudibras_? + +H. A. B. + + +_Townley MSS._--I request to know, where are the Townley MSS.?* They +are quoted by Nicolas in the Scope and Grosvenor Rolls? Also, where are +the MSS. often referred to in the _History of the House of Yvery_ as +then penes the Earl of Egmont; and also a folio of Pedigrees by Camden +Russet? + +H. T. ELLACOMBE. + + [* For a notice of the Townley MSS., see "N. & Q.," Vol. iv., p. + 103.] + +_Order of St. John of Jerusalem._--1. Who were the members of the +British Language of St. John of Jerusalem, when Elizabeth took away +their property? + +2. What members of the British Language were present when, in 1546, the +English commander Upton attacked and defeated the famous Corsair Dragut +at Tarschien in Malta? Also, what members of it were present when the +Chevalier Repton, Grand Prior of England in 1551, was killed, after +signally defeating the Turks in another attack which they made on the +island? + +3. What became of the records of the Language? + +N.B.--Some of them, belonging to the Irish branch of it, were lately +bought of a Jew by a private gentleman in the Grand Duchy of Baden. They +are supposed to have been deposited for security at Heidersheim near +Fribourg, which was the chief seat of the German Language of the Order. + +R. L. P. + +Wartensee, Lake of Constance. + + +_Consecrated Roses, Swords, &c._--Where will any account be found of the +origin of the custom, which has long prevailed at Rome, of the Pope's +blessing, on the eve at certain festivals, roses and {408} other +articles, and which were afterwards frequently presented to sovereigns +and potentates as tokens of friendship and amity? + +G. + + +_West, Kipling, and Millbourne._--In 1752 there was a firm of West and +Kipling in Holborn: the Christian name of West was Thomas; and there is +reason to believe that he had two sons, Francis and Thomas. A George +Millbourne, Esq., of Spring Gardens, married a cousin of Thomas West, +the partner of Kipling: these facts are referred to in the will of a +lady proved A.D. 1764. Can any reader of "N. & Q." furnish me with +materials or references from which I may gather information of these +families of West and Millbourne? The smallest contribution will be +thankfully received by + +F. S. + + +_Font Inscriptions._--I would request the favour of any such of ancient +date. A collection of them would be interesting. I can give three. + +At Lullington, Somerset, on a Norman font, in characters of that date: + + "In hoc Fontu sacro pereunt delicta lavacro." + +At Bourn, Lincoln: + + "Su[=p] o[=m]e no[=m] I H C est no[=m] q[=d]e." + +At Melton Mowbray: + + "Sancta Trinitas misere nobis." + +H. T. ELLACOMBE. + + +_Welsh Genealogical Queries_.--Can JOHN AP WILLIAM AP JOHN (Vol. vii., +p. 292.), or some other reader, enlighten me as to who the following +personages were, or where a pedigree of them is to be found: + + 1. Gwladys, da. of Ithel ap Rhys ap Morgan, of Ewias ap Morgan Hîr + ap Testyn ap Gwrgant, of 4th royal tribe, who ma. Madog ap + Griffith.--Burke's _Landed Gentry_, "Hughes of Gwerclas." + + 2. Beatrix, da. of Eignion ap David ap Myles ap Griffith ap Owen, + lord of Bromfield; and Honet ap Jago ap Ydwall, prince of Wales, who + ma. William Belward, baron of Malpas. + + 3. Gwernwy, cousin of Bleddyn ap Cynfyn, called prince of the 14th + royal tribe, whose grand-da. Hunydd ma. Meredith ap Bleddyn.--_V. + Burke_, as above. + + 4. Gwentlian, wife of the above Gwernwy, da. of Rhys ap Morgan. + + 5. Griffin, son of Wenovewyn, whose da. ma. Fulke Fitzwarine, a + baron, 1295--1314.--_V._ Burke's _Extinct Peerage_. + + 6. Gladys, da. of Rygwallon, prince of Wales, said by Sir Wm. Segar + to be wife of Walter FitzOther, ancestor of Lords Windsor; and what + authority is there for this match?--_V. Collins_, &c. + +As these Queries are not of general interest, I inclose a stamped +envelope for the answers. + +E. H. Y. + + +_The Butler and his Man William._--These mythological personages, the +grotesque creation of Mr. Grosvenor Bedford's fertile imagination, are +frequently referred to and dilated on in the letters addressed to him by +Southey (_Life of Southey_, by his Son, vol. ii. p. 335., &c.), when +urging Mr. Bedford to write a Pantagruelian romance on their lives and +adventures, which however was never accomplished. What therefore is the +meaning of the following paragraph, which appears at the conclusion of +the review of volume ii. of Southey's _Life_, contained in the _Gent.'s +Mag._ for April, 1850, p. 359.? + + "We will only add, that with respect to the _Butler_ mentioned at + p. 335., the editor seems but imperfectly informed. His portrait, + and that of his _man William_, are now hanging on the walls of our + study. His Life is on our table. He himself has long since returned + to the 'august abode' from which he came." + +J. M. B. + +Tunbridge Wells. + + +_Longhi's Portraits of Guidiccioni._--The Count Alessandro Cappi of +Ravenna is about to publish an elaborate life of his fellow-townsman +_Luca Longhi_, with very copious illustrations from that painter's +works. + +He has ransacked Italy in vain for a portrait of Monsignor Giovanni +Guidiccioni, President of Romagna, painted by Luca Longhi in 1540. This +portrait possesses more than ordinary interest, since (to use the words +of Armenini, author of _Veri Precetti della Pittura_) "fu predicato per +maraviglioso in Roma da Michelangelo Buonarrotti." Count Cappi, +supposing that the picture may have found its way to England, hopes by +the publication of this notice to discover its whereabouts. Any +correspondent who shall be kind enough to furnish him, through this +journal, with the desired information, may be assured of his "più vera +riconoscenza." + +W. G. C. + + +_Sir George Carr._--Wanted, pedigree and arms, wife's name and family, +of Sir George Carr, who was joint clerk of the council of Munster from +1620 to 1663, or thereabouts. Sir George had two sons at least, William +and Thomas; William was alive in 1673. Whom did he marry, and what +family had he? + +Y. S. M. + +Dublin. + + +_Dean Pratt._--DR. HESSEY will feel obliged to any reader of "N. & Q." +who can answer the following questions. + +At what College of what University did Dr. Samuel Pratt, Dean of +Rochester, receive his education, and by whom was he ordained? + +He was born in 1658, left Merchant Taylors' school (where he passed his +early years) in 1677, and was created D.D. by royal mandate, at +Cambridge, in 1697, but no college is attached to his {409} name in the +list of Cambridge graduates. Still, if he was of neither university, it +seems difficult to account for his having had the successive preferments +of Chaplain to the Princess of Denmark, Almoner to the Duke of +Gloucester, Clerk of the Closet to the Queen, and in 1706 Dean of +Rochester. He died in 1728, aged seventy-one. + +Merchant Taylors'. + + +_Portrait of Franklin._--I have heard of a story to the effect that when +Franklin left England, he presented a portrait of himself, by West, to +Thurlow. I am exceedingly anxious to know if there is any foundation for +this, as during the last week I saw in a shop near the chapel here, a +portrait of the philosopher which I rather suspect to be the one alluded +to. + +H. G. D. + +Knightsbridge. + + +"_Enquiry into the State of the Union._"--A book of much importance has +fallen into my hands, entitled-- + + "An Enquiry into the State of the Union of Great Britain. The past + and present State of the public Revenues. By the _Wednesday's_ Club + in _Friday Street_. London: printed for A. and W. Bell, at the + Cross Keys, Cornhill; J. Watts, in Bow Street, Covent Garden: and + sold by B. Barker and C. King, in Westminster Hall; W. Mears and J. + Brown, without Temple Bar; and W. Taylor, in Paternoster Row. + 1717." + +Can any of your correspondents throw a light upon this _Wednesday's_ +Club, in Friday Street? Was it a real club or fictitious? + +By so doing you would greatly oblige me, and afford important +information to this office. + +JAMES A. DAVIES. + +National Debt Office. + + * * * * * + + +MINOR QUERIES WITH ANSWERS. + + +_Bishop of Oxford in 1164._--Among the names of the bishops who signed +the Constitutions of Clarendon I see "Bartholomeus Oxoniensis +Episcopus." How is this signature accounted for? There are no other +signatures of suffragan or inferior bishops attached. + +W. FRASER. + +Tor-Mohun. + + [Clearly a misprint for Bartholomeus _Exoniensis_ Episcopus, the + celebrated Bartholomew Iscanus, the opponent of Thomas à Becket. + Our correspondent should have given the title of the work where he + found the signatures, as they are not appended to the + "Constitutions" in Matthew Paris, Spelman, or Wilkins.] + + +_Roman Inscription found at Battle Bridge._--I shall be very much +obliged if any one of your numerous readers or correspondents will be so +kind as to furnish me with an authentic copy of the inscription on the +Roman stone which in July 1842 was found at Battle Bridge, St. Pancras, +and also state where the original stone is to be seen. The account of +the discovery of the stone is mentioned in a paragraph which appeared in +_The Times_ newspaper of the 30th July, 1842, in the following manner: + + "ANTIQUITIES DISCOVERED.--A Roman inscription has within these few + days past been discovered at Battle Bridge, otherwise, by an absurd + change of denomination, known as King's Cross, New Road, St. + Pancras. This discovery appears fully to justify the conjectures of + Stukeley and other antiquaries, that the great battle between the + Britons under Boadicea and the Romans under Suetonius Paulinus took + place at this spot. Faithful tradition, in the absence of all + decisive evidence, still pointed to the place by the appellation of + Battle Bridge. The inscription, which in parts is much obliterated, + bears distinctly the letters 'LEG. XX.' The writer of this notice + has not yet had an opportunity personally to examine it, but speaks + from the information of an antiquarian friend. The twentieth + legion, it is well known, was one of the four which came into + Britain in the reign of Claudius, and contributed to its + subjugation: the vexillation of this legion was in the army of + Suetonius Paulinus when he made that victorious stand in a + fortified pass, with a forest in his rear, against the insurgent + Britons. The position is sketched by Tacitus, and antiquaries well + know that on the high ground above Battle Bridge there are vestiges + of Roman works, and that the tract of land to the north was + formerly a forest. The veracity of the following passage of Tacitus + is therefore fully confirmed:--'Deligitque locum artis + faucibus, et a tergo sylva clausum; satis cognito, nihil hostium, + nisi in fronte, et apertam planitiem esse, sine metu insidiarum.' + He further tells us that the force of Suetonius was composed of + 'Quartadecima legio cum _vexillariis vicessimariis_ et e proximis + auxiliares.'" + +S. R. + + [A sketch of this fragment of stone, discovered by Mr. E. B. Price, + is given in the _Gentleman's Magazine_ for August, 1842, p. 144.] + + +_Blow-shoppes._-- + + "Wild bores, bulls, and falcons bredde there in times paste; now, + for lakke of woodde, blow-shoppes decay there."--Leland's _Itin._, + Hearne's edit., vol. vii. p. 42. + +What is the meaning of _blow-shoppe_? + +J. B. + + [Leland appears to refer to blacksmiths' forges, which decayed for + lack of wood.] + + +_Bishop Hesketh_ (Vol. vii., p 209.).--There is evidently an error in +your note respecting the death of Bishop Hesketh, but it is one common +to all the lists of Manx bishops to which I have access. You state that +he died in 1510: it is certain that he was living in 1520. + +He was a son of Robert Hesketh, of Rufford, co. Lanc., and his brother +Richard Hesketh, "learned in the lawe," and who is stated by Kimber to +have been Attorney-General to King Hen. VIII., {410} by his will, dated +15th August, 1520, appointed his "trusty brethren Hugh, bishopp of +Manne, and Thomas Hesketh, esquier," executors, and proceeded: + + "I wyll that the said Bishopp shall haue a goblett of syluer w't a + couir, and my said brothir Thomas to haue a pouncid bool of syluer, + a counterpoynt, and a cordyn gemnete bedde w't the hangings, a + paire of fustyan blanketts, and a paire of shetys, and a fether + bedde that lyeth uppon the same bedde, for their labours." + +So that the vacancy, if there really was any, between his death and the +consecration of Bishop Stanley, is much less than is generally supposed. + +H. A. + + [Our authority for the date of Bishop Hesketh's death was Bishop + Hildesley's MS. list of the Manx bishops, which he presented to the + British Museum, and which appears to have been carefully compiled. + His words are, "Huan Hesketh died 1510, and was buried in his + cathedral of St. Germans in Peel." It is clear, however, there is + an error somewhere, which did not escape the notice of William + Cole, the Cambridge antiquary; for in his MS. Collections, vol. + xxvi. p. 24., he has the following entry:--"Huan Hesketh was living + 13 Henry VIII., 1531, at which time Thomas Earl of Derby appointed, + among others, Sir Hugh Hesketh, Bishop of Man, to be one of his + executors. (See Collins's _Peerage_, vol. ii. p. 33.) Wolsey was + appointed supervisor of the will, and is in it called Lord + Chancellor: he was so made 1516, which proves that he was alive + after 1510. The will of Richard Hesketh, Esq.--to be buried in his + chapel at Rufford: executors, Hugh Hesketh, Bishop of Man, his + brother; and Thomas Hesketh, Esq.--was proved Nov. 13, 1520. (In + _Reg. Manwaring_, 3.) He continued bishop, I presume, forty-three + years, from 1487 to 1530. It is plain he was so thirty-four + years."] + +_Form of Prayer for Prisoners._-- + + "It is not, perhaps, generally known, that we have a form of prayer + for prisoners, which is printed in the Irish Common Prayer-Book, + though not in ours. Mrs. Berkeley, in whose preface of prefaces to + her son's poems I first saw this mentioned, regrets the omission; + observing, that the very fine prayer for those under sentence of + death, might, being read by the children of the poor, at least keep + them from the gallows. The remark is just."--Southey's _Omniana_, + vol. i. p. 50. + +What Irish Common Prayer-Book is here meant? I have the books issued by +the late Ecclesiastical History Society, but do not see the service +among them. Could the prayer referred to be transferred to "N. & Q.;" or +where is the said Irish Prayer-Book to be found? + +THOMAS LAWRENCE. + +Ashby-de-la-Zouch. + + [The Book of Common Prayer according to the use of the Church of + Ireland, we believe, may frequently be met with. An edition in + folio, 1740, is in the British Museum, containing "The Form of + Prayer for the Visitation of Prisoners, treated upon by the + Archbishops and Bishops, and the rest of the Clergy of Ireland, and + agreed upon by Her Majesty's License in their Synod, holden at + Dublin in the Year 1711." We are inclined to think that Mrs. + Berkeley must have intended its beautiful exhortation--not the + prayer--for the use of the poor. See "N. & Q.," Vol. vi., p. 246.] + + * * * * * + + +REPLIES. + + +EDMUND SPENSER, AND SPENSERS, OR SPENCERS, OF HURSTWOOD. + +(Vol. vii., pp. 303. 362.) + +Without entering on the question as to possible connexion of the poet +with the family above mentioned, the discussion may be simplified by +solving a difficulty suggested by CLIVIGER (p. 362.), arising from +Hurstwood Hall (_another estate in Hurstwood_) having been possessed by +Townley, and by explaining, 1st, The identity of the tenement once owned +by Spencers; 2ndly, The seeming cause of Whitaker's silence; and, 3rdly, +The certainty of possession by the Spencers. + +I. The former estate of the Spencers in Hurstwood is a tenement which +was purchased by the late Rev. John Hargreaves from the representatives +of William Ormerod, of Foxstones, in Cliviger, in 1803, and which had +been conveyed in 1690, by John Spencer, then of Marsden, to Oliver +Ormerod of Hurstwood, and his son Laurence; the former of these being +youngest son, by a second marriage, of Peter Ormerod of Ormerod, and +co-executor of his will in 1650. So much for the locality. + +II. As for Dr. Whitaker's silence, I know, from correspondence with him +(1808-1816), that, from an irregularity in the Prerogative Office, he +was not aware of this will, and uninformed as to this second marriage, +or the connexion of this purchaser's family with the parent house; and I +think it as probable that he was as unaware of the ancient possession of +the purchased tenement by Spencers, as it is certain that this theory as +to the connexion of the poet with it was _then_ unknown. If otherwise, +he would doubtless have extended his scale, and included it. + +III. As to the certainty of possession by Spencers, I have brief +extracts from deeds as to this tenement as follows:-- + +1677. Indenture of covenants for a fine, between _John Spencer the +elder_, and Oliver Ormerod of Cliviger, and note of fine. + +1687. Will of same _John Spencer_, late of Hurstwood, mentioning +possession of this tenement as the inheritance of his +_great-grandfather_, _Edmund Spencer_. + +1689. Family arrangements of _John Spencer_ (the son) as to same +tenement, then in occupation of "Oliver Ormeroyde" before mentioned. + +{411} +1690. Conveyance from _John Spencer_ to O. and L. O., as before +mentioned. + +In _Gentleman's Magazine_, August, 1842 (pp. 141, 142.), will be found +numerous notices of these Spen_c_ers or Spen_s_ers, with identified +localities from registers. + +I think that this explanation will solve the difficulty suggested by +CLIVIGER. On the main question I have not grounds sufficient for an +opinion, but add a reference to _Gentleman's Magazine_, March, 1848, p. +286., for a _general objection_ by MR. CROSSLEY, President of the +Chetham Society, who is well acquainted with the locality. + +LANCASTRIENSIS. + +I was about to address some photographic Queries to the correspondents +of "N. & Q." when a note caught my attention relating to Edmund Spenser +(in the Number dated March 26.). The Mr. F. F. Spenser mentioned therein +was related to me, being my late father's half-brother. I regret to say +that he died very suddenly at Manchester, Nov. 2, 1852. During his +lifetime, he took much pains to clear up the doubts about the locality +of the poet's retirement, and his relatives in the North; and has made +out a very clear case, I imagine. On a visit to Yorkshire in 1851, I +spent a few days with him, and took occasion to urge the necessity of +arranging the mass of information he had accumulated on the subject; +which I have no doubt he would have done, had not his sudden death +occurred to prevent it. These facts may be of some interest to +biographers of the poet, and with this object I have ventured to trouble +you with this communication. + +J. B. SPENCER. + +11. Montpellier Road, Blackheath. + + * * * * * + + +THROWING OLD SHOES FOR LUCK. + +(Vol. ii., p. 196.; Vol. v., p. 413.; Vol. vii., pp. 193. 288.) + +I do not know whether you will permit me to occupy a small portion of +your valuable space in an attempt to suggest an origin of the custom of +throwing an old shoe after a newly married bride. + +Your correspondents assume that the old shoe was thrown after the bride +_for luck_, and for luck only. I doubt whether it was so in its origin. + +Among barbarous nations, all transfers of property, all assertions and +relinquishments of rights of dominion, were marked by some external +ceremony or rite; by which, in the absence of written documents, the +memory of the vulgar might be impressed. When, among Scandinavian +nations, land was bought or sold, a turf was delivered by the trader to +the purchaser: and among the Jews, and probably among other oriental +nations, a shoe answered the same purpose. + +In Psalm lx., beginning with "O God, thou hast cast me off," there +occurs the phrase, "Moab is my washpot, over Edom have I cast out my +shoe." Immediately after it occurs the exclamation, "O God! who has cast +us off!" A similar passage occurs in Psalm cix. + +By this passage I understand the Psalmist to mean, that God would +thoroughly cast off Edom, and cease to aid him in war or peace. This +interpretation is consistent with the whole tenor of the Psalm. + +The receiving of a shoe was an evidence and symbol of asserting or +accepting dominion or ownership; the giving back a shoe, the symbol of +rejecting or resigning it. + +Among the Jews, the brother of a childless man was bound to marry his +widow: or, at least, he "had the refusal of her," and the lady could not +marry again till her husband's brother had formally rejected her. The +ceremony by which this rejection was performed took place in open court, +and is mentioned in Deut. xxv. If the brother publicly refused her, "she +loosed his shoe from off his foot, and spat in his face;" or, as great +Hebraists translate it, "spat before his face." _His_ giving up the shoe +was a symbol that _he_ abandoned all dominion over her; and _her_ +spitting before _him_ was a defiance, and an assertion of independence. +This construction is in accordance with the opinions of Michaelis, as +stated in his _Laws of Moses_, vol. ii. p. 31. + +This practice is still further illustrated by the story of Ruth. Her +nearest kinsman refused to marry her, and to redeem her inheritance: he +was publicly called on so to do by Boaz, and as publicly refused. And +the Bible adds, "as it was the custom in Israel concerning changing, +that a man plucked off his shoe and delivered it to his neighbour," the +kinsman plucked off his shoe and delivered it to Boaz as a public +renunciation of Ruth, of all dominion over her, and of his right of +pre-marriage. + +These ceremonies were evidently not unknown to the early Christians. +When the Emperor Wladimir made proposals of marriage to the daughter of +Raguald, she refused him, saying, "That she would not take off her shoe +to the son of a slave." + +There is a passage in _Gregory of Tours_ (c. 20.) where, speaking of +espousals, he says, "The bridegroom having given a ring to the fiancée, +presents her with a shoe." + +From Michelet's _Life of Luther_ we learn, that the great reformer was +at the wedding of Jean Luffte. After supper, he conducted the bride to +bed, and told the bridegroom that, according to common custom, he ought +to be master in his own house _when_ his wife was not there: and for a +symbol, he took off the husband's shoe, and put it upon the head of the +bed--"afin qu'il prit ainsi la domination et gouvernement." + +{412} +I would suggest for the consideration of your correspondents that the +throwing a shoe after a bride was a symbol of renunciation of dominion +and authority over her by her father or guardian; and the receipt of the +shoe by the bridegroom, even if accidental, was an omen that that +authority was transferred to him. + +JOHN THRUPP. + +Surbiton. + + * * * * * + + +ORKNEYS IN PAWN. + +(Vol. vii., pp. 105. 183.) + +That the Orkney and Zetland Islands were transferred by Denmark to +Scotland in 1468, in pledge for payment of part of the dower of the +Princess of Denmark, who was married to James III., King of Scotland, +under right of redemption by Denmark, is an admitted historic fact; but +it is asserted by the Scottish, and denied by the Danish historians, +that Denmark renounced her right of redemption of these Islands. The +question is fully discussed, with references to every work and passage +treating of the matter, in the first introductory note to the edition of +_The General Grievances and Oppressions of the Isles of Orkney and +Shetland_, published at Edinburgh, 1836. And the writer of the note is +led to the conclusion that there was no renunciation, and that Denmark +still retains her right of redemption. Mr. Samuel Laing, in his _Journal +of a Residence in Norway_, remarks, that the object of Torfæus' +historical work, _Orcades, seu Rerum Orcadensium Historiæ libri tres_, +compiled by the express command of Christian V., King of Denmark, was to +vindicate the right of the Danish monarch to redeem the mortgage of the +sovereignty of these islands; and he adds, that in 1804, Bonaparte, in a +proclamation addressed to the army assembled at Boulogne for the +invasion of England, descanted on the claim of Denmark to this portion +of the British dominions. In a note he has the farther statement, that +in 1549 an assessment for paying off the sum for which Orkney and +Zetland were pledged was levied in Norway by Christian III. (_Vide_ +Laing's _Norway_, 1837, pp. 352, 353.) From the preceding notice, it +would appear, that Denmark never renounced her right of redemption, now +merely a matter of antiquarian curiosity. And it is pertinent to +mention, that the connexion of Orkney and Zetland was with Norway, not +Denmark. I observe in the Catalogue of MSS., in the Cottonian Library in +the British Museum (Titus C. VII. art. 71. f. 134.), "Notes on King of +Denmark's Demand of the Orcades, 1587-8," which may throw some light on +the matter. + +In the historical sketch given by Broctuna, Kenneth II., King of +Scotland, is said to have taken the Orkneys from the Picts A.D. 838; and +that they remained attached to that kingdom till 1099, when Donald Bain, +in recompense of aid given to him by Magnus, King of Norway, gifted all +the Scotch isles, including the Orkneys, to Norway. This is not what is +understood to be the history of Orkney. + +In the middle of the ninth century, Harold Harfager, one of the reguli +of Norway, subdued the other petty rulers, and made himself king of the +whole country. The defeated party fled to Orkney, and other islands of +the west: whence, betaking themselves to piracy, they returned to ravage +the coast of Norway. Harold pursued them to their places of refuge, and +conquered and colonised Orkney about A.D. 875. The Norwegians at that +time destroyed or expelled the race then inhabiting these islands. They +are supposed to have been Picts, and to have received Christianity at an +earlier date, but it is doubtful if there were Christians in Orkney at +that period: however, Depping says expressly, that Earl Segurd, the +second Norwegian earl, expelled the Christians from these isles. I may +remark, that the names of places in Orkney and Zetland are Norse, and +bear descriptive and applicable meanings in that tongue; but hesitate to +extend these names beyond the Norwegian colonisation, and to connect +them with the Picts or other earlier inhabitants. No argument can be +founded on the rude and miserable subterraneous buildings called Picts' +houses, which, if they ever were habitations, or anything else than +places of refuge, must have belonged to a people in a very low grade of +civilisation. Be this as it may, Orkney and Zetland remained under the +Norwegian dominion from the time of Harold Harfager till they were +transferred to Scotland by the marriage treaty in 1468, a period of +about six hundred years. What cannot easily be accounted for, is the +discovery of two Orkney and Zetland deeds of the beginning of the +fifteenth century prior to the transfer, written not in Norse, but in +the Scottish language. + +R. W. + + * * * * * + + +HOGARTH'S PICTURES. + +(Vol. vii., p. 339.) + +The numerous and interesting inquiries of AN AMATEUR respecting a +catalogue of Hogarth's works has brought to my recollection the +discovery of one of them, which I was so fortunate as to see in its +original situation. About the year 1815 I was invited by a friend, who +was an artist, to visit a small public-house in Leadenhall Street, to +see a picture by Hogarth: it was "The Elephant," since, I believe, +pulled down, being in a ruinous condition. In the tap-room, on the wall, +almost obscured by the dirt and smoke, and grimed by the rubbing of +numberless foul jackets, was an indisputable picture by the renowned +Hogarth. It represented the meeting of the committee of the {413} South +Sea Company, and doubtless the figures were all portraits. It was +painted in his roughest manner; but every head was stamped with that +character for which he stood unrivalled. I have since heard that, when +the house was pulled down, this picture was sold as one of the lots, in +the sale of furniture, and bought by a dealer. It was painted on the +wall, like a fresco; and how to remove it was the difficulty. On +sounding the wall it was found to be lath and plaster, with timber +framework (the usual style of building in the reign of Elizabeth). It +was therefore determined to cut it out in substance, which was +accordingly performed; and by the help of chisels, thin crowbars, and +other instruments, it was safely detached. The plaster was then removed +from the back down to the priming, and the picture was backed with +strong canvas. It was then cleaned from all its defilement, and, on +being offered for sale at a good price, was bought by a nobleman, whose +name I have not heard, and is now in his collection. + +I do not know whether your correspondent has heard of Hogarth's portrait +of Fielding. The story, as I have heard or read it, is as +follows:--Hogarth and Garrick sitting together after dinner, Hogarth was +lamenting there was no portrait of Fielding, when Garrick said, "I think +I can make his face."--"Pray, try my dear Davy," said the other. Garrick +then made the attempt, and so well did he succeed, that Hogarth +immediately caught the likeness, and exclaimed with exultation, "Now I +have him: keep still, my dear Davy." To work he went with pen and ink, +and the likeness was finished by their mutual recollections. This sketch +has been engraved from the original drawing, and is preserved among +several original drawings and prints in the _illustrated_ copy of +Lysons's _Environs_, vol. i. p. 544., in the King's Library, British +Museum. + +While I am writing about unnoticed pictures by what may be called +_erratic_ artists, I may mention that in the parlour of the "King's +Head," corner of New Road and Hampstead Road, on the panel of a +cupboard, is a half-length of a farmer's boy, most probably the work of +G. Morland, who visited this house on his way to Hampstead, and probably +paid his score by painting this picture; which is well known to have +been his usual way of paying such debts. + +E. G. BALLARD. + +Agreeably to the suggestion of AN AMATEUR, I beg to send you the +following list of pictures, from a catalogue in my possession: + + CATALOGUE of the Pictures and Prints, the property of the late Mrs. + Hogarth, deceased, sold by Mr. Greenwood, the Golden Head, + Leicester Square, Saturday, April 24, 1790. + +_Pictures by Mr. Hogarth._ + + 41. Two portraits of Ann and Mary Hogarth. + 42. A daughter of Mr. Rich the comedian, finely coloured. + 43. The original portrait of Sir James Thornhill. + 44. The heads of six servants of Mr. Hogarth's family. + 45. His own portrait--a head. + 46. A ditto--a whole-length painting. + 47. A ditto, Kit Kat, with the favourite dog, exceeding fine. + 48. Two portraits of Lady Thornhill and Mrs. Hogarth. + 49. The first sketch of the Rake's Progress. + 50. A ditto of the altar of Bristol Church. + 51. The Shrimp Girl--a sketch. + 52. Sigismunda. + 53. A historical sketch, by Sir James Thornhill. + 54. Two sketches of Lady Pembroke and Mr. John Thornhill. + 55. Three old pictures. + 56. The bust of Sir Isaac Newton, terra cotta. + 57. Ditto of Mr. Hogarth, by Roubilliac. + 58. Ditto of the favourite dog, and cast of Mr. Hogarth's hand. + +W. D. HAGGARD. + + * * * * * + + +PHANTOM BELLS AND LOST CHURCHES. + +(Vol. vii., pp. 128. 200. 328.) + +In a little brochure entitled _Christmas, its History and Antiquity_, +published by Slater, London, 1850, the writer says that-- + + "In Berkshire it is confidently asserted, that if any one watches + on Christmas Eve he will hear _subterranean bells_; and in the + mining districts the workmen declare that at this sacred season + high mass is performed with the greatest solemnity on that evening + in the mine which contains the most valuable lobe of ore, which is + supernaturally lighted up with candles in the most brilliant + manner, and the service changed by unseen choristers."--P. 46. + +The poet Uhland has a beautiful poem entitled _Die Verlorne Kirche_. +Lord Lindsay says: + + "I subjoin, in illustration of the symbolism, and the peculiar + emotions born of Gothic architecture, _The Lost Church_ of the poet + Uhland, founded, I apprehend, on an ancient tradition of the + Sinaitic peninsula."--_Sketches of Christian Art._ + +I give the first stanza of his translation: + + "Oft in the forest far one hears + A passing sound of distant bells; + Nor legends old, nor human wit, + Can tell us whence the music swells. + From the _Lost Church_ 'tis thought that soft + Faint ringing cometh on the wind: + Once many pilgrims trod the path, + But no one now the way can find." + +See also _Das Versunkene Kloster_, by the same sweet poet, +commencing: + + "Ein Kloster ist versunken + Tief in den wilden See." + +After Port Royal (in the West Indies) was submerged, at the close of the +seventeenth century, sailors in those parts for many years had {414} +stories of anchoring in the chimneys and steeples, and would declare +they heard the church bells ringing beneath the water, agitated by the +waves or spirits of the deep. + +The case of the Round Towers seen in Lough Neagh, I need not bring +forward, as no sound of bells has ever been heard from them. + +There is one _lost church_ so famous as to occur to the mind of every +reader, I mean that of the Ten Tribes of Israel. After the lapse of +thousands of years, we have here an historical problem, which time, +perhaps, will never solve. We have a less famous, but still most +interesting, instance of a lost church in Greenland. Soon after the +introduction of Christianity, about the year 1000, a number of churches +and a monastery were erected along the east coast of Greenland, and a +bishop was ordained for the spiritual guidance of the colony. For some +four hundred years an intercourse was maintained between this colony and +Norway and Denmark. In the year 1406 the last bishop was sent over to +Greenland. Since then the colony _has not been heard of_. Many have been +the attempts to recover this lost church of East Greenland, but hitherto +in vain. + +I could send you a Note on a cognate subject, but I fear it would occupy +too much of your space,--that of _Happy Isles_, or _Islands of the +Blessed_. The tradition respecting these happy isles is very +wide-spread, and obtains amongst nearly every nation of the globe; it +is, perhaps, a relic of a primeval tradition of Eden. Some have caught +glimpses of these isles, and some more favoured mortals have even +landed, and returned again with senses dazzled at the ravishing sights +they have seen. But in every case after these rare favours, these mystic +lands have remained invisible as before, and the way to them has been +sought for in vain. Such are the tales told with reverent earnestness, +and listened to with breathless interest, not only by the Egyptians, +Greeks, and Romans of old, but by the Irishman, the Welshman, the +Hindoo, and the Red Indian of to-day. + +EIRIONNACH. + + * * * * * + + +PHOTOGRAPHIC NOTES AND QUERIES. + + +_Photographic Collodion_ (Vol. vii., p. 314.).--In a former +communication I pointed out the wide differences in the various +manipulations prescribed for making the photographic _gun cotton_ by +several photographers: differences most perplexing to persons of small +leisure, and who are likely to lose half the opportunities of a +photographic season, whilst puzzling over these diversities of +proceeding. Suffer me now to entreat some one to whom all may look up +(perhaps your kind and experienced correspondent DR. DIAMOND will do +this service, so valuable to young photographers) to clear up the +differences I will now "make a note of," viz. as to the amount of dry +photographic gun cotton to be used in forming the prepared collodion. + +On comparing various authors, and _reducing_ their directions to a +standard of _one ounce of ether_, I find the following differences: +viz., DR. DIAMOND (Vol. vi., p. 277.) prescribes _about_ three grains of +gun cotton; Mr. Hennah (_Directions, &c._, p. 5.) about seven grains; +the Count de Montizon (_Journ. of Phot. Soc._, p. 23.) eight grains; +whilst Mr. Bingham (_Supplement to Phot. Manip._, p. 2.) directs about +_thirty-four_ grains! in each case to a single ounce of ether. + +These differences are too wide to come within even Mr. Archer's "long +range," that "the proportions ... must depend entirely upon the strength +and the thickness required ... the skill of the operator and the season +of the year." (Archer's _Manual_, p. 17.) + +COKELY. + + +_Filtering Collodion._--Count de Montizon, in his valuable paper on the +collodion process, published in the second number of the _Journal of the +Photographic Society_, objects to filtration on the ground that the +silver solution is often injured by impurities contained in the paper. +It may be worth while to state, that lime, and other impurities, may be +removed by soaking the filter for a day or two, before it is used, in +water acidulated with nitric acid; after which it should be washed with +hot water and dried. + +T. D. EATON. + + +_Photographic Notes_ (Vol. vii., p. 363.).--I wish to correct an error +in my communication in "N. & Q." of April 9: in speaking of "a more +_even_ film," I meant a film more _evenly sensitive_. I am sorry I have +misled MR. SHADBOLT as to my meaning. I have very rarely any "spottings" +in my pictures; but I always drop the plates once or twice into the +bath, after the two minutes' immersion, to wash off any loose particles. +I also drain off all I can of the nitrate of silver solution before +placing the glass in the camera, and for three reasons:--1. Because it +saves material; 2. Because the lower part of dark frame is kept free +from liquid; 3. Because a "flowing sheet" of liquid must interfere +somewhat with the passage of light to the film, and consequently with +the sharpness of the picture. I think it is clear, from MR. SHADBOLT'S +directions to MR. MERITT, that it is no very easy thing to cement a +glass bath with marine glue. + +J. L. SISSON. + + +_Colouring Collodion Pictures_ (Vol. vii., p. 388.).--In your impression +of April 16, there is a typographical error of some importance relative +to lifting the collodion in and out of the bath: "The plate, after being +plunged in, should be allowed to repose quietly from twenty to thirty +_minutes_," &c. This should be _seconds_. The error arose, in all {415} +probability, from my having used the contractions 20" to 30". + +It may appear somewhat droll for any one to answer a question on which +he has _not_ had experience; but I beg to offer as a _suggestion_ to + PHOTO, that if he wishes to use collodion pictures for the purpose of +dissolving views, he should first copy them in the camera as transparent +objects so as to _reverse_ the light and shade, then varnish them with +DR. DIAMOND'S solution of amber in chloroform, when they will bear the +application of transparent colours ground in varnish, such as are used +for painting magic-lantern slides. + +GEO. SHADBOLT. + + +_Gutta Percha Baths_ (Vol. vii., p. 314.).--In "N. & Q." for March 26, I +ventured to recommend to H. HENDERSON gutta percha, as a material for +nitrate of silver baths. I did this from a knowledge that hundreds of +them were in use, but chiefly because I have found them answer so well. +In the same Number the Editor gives MR. HENDERSON very opposite advice; +and, had I seen his opinion before my notes appeared, I should certainly +have kept them back. But it is, I think, a matter of some importance, +especially to beginners, to have it settled, whether gutta percha has +the effect of causing "unpleasant markings" in collodion pictures or +not. With all due deference to the Editor's opinion, I do not believe +that gutta percha baths are injurious to the finished picture. I have +never any markings in my glass positives now, but what may be traced +with certainty to some unevenness in the film or dirtiness on the glass. +And I hope that the number of beginners who are using gutta percha +baths, and who are troubled with these unpleasant markings (as all +beginners are, whether they use glass or gutta percha), will not, +without some very careful experiments, lay the fault upon the gutta +percha. In the Number for April 2, the Editor thanks me for what he is +pleased to call "the very beautiful specimen of _my skill_." This was a +small glass positive, which I sent him in accordance with an offer of +mine in a former note. Now, _that_ was rendered sensitive in a gutta +percha bath, which I have had in use for months; and I think I may +appeal to the Editor as to the absence of all unpleasant markings in it. +Probably it may be a good plan for those who make the baths for +themselves to adopt the following simple method of cleaning them at +first. Fill the bath with water, changing it every day for a week or so. +Then wash it with strong nitric acid, and wash once or twice afterwards. +Always keep the nitrate of silver solution in the bath, with a cover +over it. Never filter, unless there is a great deal of extraneous matter +at the bottom. If glass baths are used, cemented together with +sealing-wax, &c., I imagine they might be as objectionable as gutta +percha. The number of inquiries for a diagram of my head-rest, &c., from +all parts of the kingdom--Glasgow, Paisley, Manchester, Leicester, +Leeds, Newcastle, Durham, &c. &c.--proves the very large number of +photographic subscribers "N. & Q." possesses. I think, therefore, it +cannot but prove useful to discuss in its pages the question of the +advantage or disadvantage of gutta percha. + +J. L. SISSON. + +Edingthorpe Rectory, North Walsham. + + * * * * * + + +REPLIES TO MINOR QUERIES. + + +_Pilgrimages to the Holy Land_ (Vol. v., p. 289.).--I beg to inform W. +M. R. E. (Vol. vii., p. 341.) that, though I have never met with a +printed copy of the "Itinerary to the Holy Land" of _Gabriele +Capodilista_ (the Perugia edition of 1472, mentioned by Brunet, being +undoubtedly a book of very great rarity, and perhaps the only one ever +printed), I have in my possession a very beautiful manuscript of the +work on vellum, which appears to have been presented by the author to +the nuns of St. Bernardino of Padua. It is a small folio; and the first +page is illuminated in a good Italian style of the fifteenth century. It +is very well written in the Venetian dialect, and commences thus: + + "Venerabilibus ac Devotissimis D[=n]e Abbatissæ et + Monialibus Ecclesiæ Sancti Bernardini de Padua salut[=e] in + D[=NO].--Ritrovandomi ne li tempi in questa mia opereta descripti, + Io Gabriel Capodelista Cavalier Padoano dal su[=m]o Idio inspirato + et dentro al mio cor concesso fermo proposito di vistare + personalmente el Sanctissimo loco di Jerusalem," &c. + +This MS., which was formerly in the library of the Abbati Canonici, I +purchased, with others, at Venice in 1835. + +If W. M. R. E. has any wish to see it, and will communicate such wish to +me through the medium of the publisher of "N. & Q.," I shall be happy to +gratify his curiosity. I do not know whether there is any MS. of +Capodilista's Itinerary in the British Museum. + +W. SNEYD. + + +"_A Letter to a Convocation Man_" (Vol vii., p. 358.).--The authorship +of the tract concerning which MR. FRASER inquires, is assigned to Sir +Bartholomew Shower, not by the Bodleian Catalogue only, but also by Sir +Walter Scott, in his edition of the Somers' _Tracts_ (vol. ix. p. 411.), +as well as by Dr. Watt, in his _Bibliotheca Britannica_. The only +authorities for ascribing it to Dr. Binckes which I have been able to +discover, are Dr. Edmund Calamy, in his _Life and Times_ (vol. i. p. +397.), and the Rev. Thomas Lathbury, in his _History of the Convocation +of the Church of England_ (p. 283.); but neither of those authors gives +the source from which his information is {416} derived: and Mr. +Lathbury, who appears perfectly unaware that the tract had ever been +ascribed to Sir Bartholomew Shower, a lawyer, remarks: "It is worthy of +observation that the author of the _letter_ professes to be a lawyer, +though such was not the case, Dr. Binckes being a clergyman." Dr. +Kennett also, in his _Ecclesiastical Synods_, p. 19., referred to by Mr. +Lathbury, speaking of Archbishop Wake's reply, says: "I remember one +little prejudice to it, that it was wrote by a divine, whereas the +argument required an able lawyer; and the very writer of the _Letter to +a Convocation Man_ suggesting himself to be of that profession, there +was the greater equity, there should be the like council of one side as +there had been of the other."--It has occurred to me that the mistake of +assigning the tract to Dr. Binckes may possibly have been occasioned by +the circumstance that another tract, with the following title, published +in 1701, has the initials W. B. at the end of it,--_A Letter to a +Convocation Man, by a Clergyman in the Country_. I have examined both +tracts, and they are quite different, and leave no appearance of having +proceeded from the same hand. + +TYRO. + +Dublin. + + +_King Robert Bruce's Coffin-plate_ (Vol vii., p. 356.) was a modern +forgery, but not discovered to be so, of course, until after publication +of the beautiful engraving of it in the _Transactions of the Scottish +Society of Antiquaries_, which was made at the expense of, and presented +to the Society by, the barons of the Exchequer. + +I believe that a notice of the forgery was published in a subsequent +volume. + +W. C. TREVELYAN. + + +_Eulenspiegel or Howleglas_ (Vol. vii., p. 357.).--The following extract +from my note-book may be of use: + + "The German Rogue, or the Life and Merry Adventures, Cheats, + Stratagems, and Contrivances of Tiel Eulenspiegle. + + 'Let none Eulenspiegle's artifices blame, + For Rogues of every country are the same.' + + London, printed in the year MDCCIX. The only copy of this edition I + ever saw was one which had formerly belonged to Ritson, and which I + purchased of Thomas Rodd, but afterwards relinquished to my old + friend Mr. Douce." + +This copy, therefore, is no doubt now in the Bodleian. I have never +heard of any other. + +While on the subject of Eulenspiegel, I would call your correspondent's +attention to some curious remarks on the Protestant and Romanist +versions of it in the _Quarterly Review_, vol. xxi. p. 108. + +I may also take this opportunity of informing him that a very cleverly +illustrated edition of it was published by Scheible of Stuttgart in +1838, and that a passage in the _Hettlingischen Sassenchronik_ +(Caspar Abel's Sammlung, p. 185.), written in 1455, goes to prove that +Dyll Ulnspiegel, as the wag is styled in the Augsburgh edition of 1540, +is no imaginary personage, inasmuch as under the date of 1350 the +chronicler tells of a very grievous pestilence which raged through the +whole world, and that "dosulfest sterff Ulenspeygel to Möllen." + +I am unable to answer the Query respecting Murner's visit to England. +The most complete account of his life and writings is, I believe, that +prefixed by Scheible to his edition of Murner's _Narrenbeschwörung_, and +his satirical dissertation _Ob der König von England ein Lügner sey, +oder der Luther_. + +WILLIAM J. THOMS. + + +_Sir Edwin Sadleir_ (Vol. vii., p. 357.).--Sir Edwin Sadleir, of Temple +Dinsley, in the county of Hertford, Bart., was the third son of Sir +Edwin Sadleir (created a baronet by Charles II.), by Elizabeth, daughter +of Sir Walter Walker, Knt., LL.D. His elder brothers having died in +infancy, he succeeded, on his father's death in 1672, to his honour and +estates, and subsequently married Mary, daughter and coheiress of John +Lorymer, citizen and apothecary of London, and widow of William Croone, +M.D. This lady founded the algebra lectures at Cambridge, and also +lectures in the College of Physicians and the Royal Society. (See +Chauncy's _Historical Antiquities of Hertfordshire_, folio edit., 397, +or 8vo. edit., ii. 179, 180.; Ward's _Lives of the Gresham Professors_, +322. 325.; Sir Ralph Sadler's _State Papers_, ii. 610.; Weld's _History +of the Royal Society_, i. 289.) In the Sadler State Papers, Sir Edwin +Sadleir is stated to have died 30th September, 1706: but that was the +date of Lady Sadleir's death; and, according to Ward, Sir Edwin Sadleir +survived her. He died without issue, and thereupon the baronetcy became +extinct. + +C. H. COOPER. + +Cambridge. + + +_Belfry Towers separate from the Body of the Church_ (Vol. vii., p. +333.).--The tower of the parish church of Llangyfelach, in +Glamorganshire, is raised at some little distance from the building. In +the legends of the place, this is accounted for by a belief that the +devil, in his desire to prevent the erection of the church, carried off +a portion of it as often as it was commenced; and that he was at length +only defeated by the two parts being built separate. + +SELEUCUS. + +In addition to the bell towers unconnected with the church, noticed in +"N. & Q." (Vol. vii., p. 333.), I beg to call the attention of J. S. A. +to those of Woburn in Bedfordshire, and Henllan in Denbighshire. The +tower of the former church stands at six yards distance from it, and is +a small square building with large buttresses and four pinnacles: it +{417} looks picturesque, from being entirely covered with ivy. The +tower, or rather the steeple, at Henllan, near Denbigh, is still more +remarkable, from its being built on the top of a hill, and looking down +upon the church, which stands in the valley at its foot. + +CAMBRENSIS. + + +_God's Marks_ (Vol. vii., p. 134.).--These are probably the "yellow +spots" frequently spoken of in old writings, as appearing on the +finger-nails, the hands, and elsewhere, before death. (See Brand's +_Popular Ant._, vol. iii. p. 177., Bohn's edit.) In Denmark they were +known under the name _Döding-knib_ (dead man's nips, ghost-pinches), and +tokened the approaching end of some friend or kinsman. Another Danish +name was _Dödninge-pletter_ (dead man's spots); and in Holberg's _Peder +Paars_ (book i. song, 4.) _Dödning-knæp_. See S. Aspach, _Dissertatio de +Variis Superstitionibus_, 4to., Hafniæ, 1697, p. 7., who says they are +of scorbutic origin; and F. Oldenburg, _Om Gjenfærd ellen Gjengangere_, +8vo., Kjöbenhavn, 1818, p. 23. + +GEORGE STEPHENS. + +Copenhagen. + + +"_The Whippiad_" (Vol. vii., p. 393.).--The mention of _The Whippiad_ by +B. N. C. brought to my recollection a MS. copy of that satire in this +library, and now lying before me, with the autograph of "Snelson, Trin. +Coll. Oxon., 1802." There are notes appended to this copy of the verses, +and not knowing where to look in _Blackwood's Magazine_ for the satire, +or having a copy at hand in order to ascertain if the notes are printed +there also, or whether they are only to be found in the MS., perhaps +your correspondent B. N. C. will have the goodness to state if the +printed copy has notes, because, if there are none, I would copy out for +the "N. & Q." those that are written in the MS., as no doubt they would +be found interesting and curious by all who value whatever fell from the +pen of the highly-gifted Reginald Heber. + +Perhaps the notes may be the elucidations of some college cotemporary, +and not written by Heber. + +J. M. + +Sir R. Taylor's Library, Oxford. + + +_The Axe that beheaded Anne Boleyn_ (Vol. vii., p. 332.).--In Britton +and Brayley's _Memoirs of the Tower of London_, they mention (in +describing the Spanish Armoury) the axe which tradition says beheaded +Anne Boleyn and the Earl of Essex; but a foot-note is added from Stow's +_Chronicle_, stating that the _hangman_ cut off the head of Anne with +one stroke of his _sword_. + +THOS. LAWRENCE. + +Ashby-de-la-Zouch. + + +_Palindromical Lines_ (Vol. vii., pp. 178. 366.).--Besides the +_habitats_ already given for the Greek inscription on a font, I have +notes of the like at Melton Mowbray; St. Mary's, Nottingham; in the +private chapel at Longley Castle; and at Hadleigh. At this last place, +it is noted in a church book to be taken out of Gregory Nazienzen (but I +never could find it), and a reference is made to Jeremy Taylor's _Great +Exemplar_, "Discourse on Baptism," p. 120. sect. 17. + +It may be worth noticing that this Gregory was, for a short time, in the +fourth century, bishop of Constantinople; and in the Moslemised +cathedral of St. Sophia, in that city, according to Grelot, quoted in +Collier's _Dictionary_, the same words--with the difference that "sin" +is put in the plural, _sic_: + + "~NIPSON ANOMÊMATA MÊ MONAN OPSIN~"-- + +were written in letters of gold over the place at the entrance of the +church, between two porphyry pillars, where stood two urns of marble +filled with water, the use of which, when it was a Christian temple, +must be well known. The Turks now use them for holding drinking water, +and have probably done so since the time when the church was turned into +a mosque, after the conquest of Constantinople by Mahomet II., in the +fifteenth century. What could induce ZEUS (p. 366.) to call this +inscription "sotadic?" It may more fitly be called holy. + +H. T. ELLACOMBE. + +Clyst St. George. + +These lines also are to be found on the marble basins for containing +holy water, in one of the churches at Paris. + +W. C. TREVELYAN. + +The Greek inscription mentioned by Jeremy Taylor is on the font in +Rufford Church. + +H. A. + + +_Heuristisch_ (Vol. vii., p. 237.).--In reply to H. B. C. of the U. U. +Club, I beg to give the explanation of the word _heuristisch_, with its +cognate terms, from Heyse's _Allgemeines Fremdwörterbuch_, 10th edition, +Hanover, 1848: + + "Heuréka, gr. (von heuriskein, finden), ich hab' es gefunden, + gefunden! Heuristik, _f._ die Erfindungskunst; _heuristisch_, + erfindungskünstlich, erfinderisch; heuristische Methode, + entwickelnde Lehrart, welche den Schüler zum Selbstfinden der + Lehrsätze anleitet." + +J. M. + +Oxford. + + * * * * * + + +MISCELLANEOUS. + + +BOOKS AND ODD VOLUMES + +WANTED TO PURCHASE. + + VIEWS OF ARUNDEL HOUSE IN THE STRAND, 1646. London, published by T. + Thane, Rupert Street, Haymarket. 1792. + PARKER'S GLOSSARY OF ARCHITECTURE. 2nd Edition. + PICKERING'S STATUTES AT LARGE. 8vo. Edit. Camb. From 46 Geo III. + cap. 144. (Vol. XLVI. Part I.) to 1 Wm. IV. + EUROPEAN MAGAZINE. Nos. for May, 1817; January, February, May, + June, 1818; April, June, July, October, and December, 1819. + STANHOPE'S PARAPHRASE OF EPISTLES AND GOSPELS. London, 1732. Vols. + III. and IV. + THE LAWYER AND MAGISTRATE'S MAGAZINE, complete or single Volumes, + _circa_ 1805-1810.{418} + PHELP'S HISTORY AND ANTIQUITIES OF SOMERSETSHIRE. Part 4., and + Parts 9. to end. + BAYLE'S DICTIONARY. English Version, by DE MAIZEAUX. London, 1738. + Vols. I. and II. + SWIFT'S (DEAN) WORKS. Dublin; G. Faulkner. 19 volumes. 1768. Vol. I. + TODD'S CYCLOPÆDIA OF ANATOMY AND PHYSIOLOGY. + TRANSACTIONS OF THE MICROSCOPICAL SOCIETY OF LONDON. Vols. I. and II. + ARCHÆOLOGIA. Vols. III., IV., V., VIII. Boards. + MARTYN'S PLANTÆ CANTABRIGIENSES. 12mo. London, 1763. + ABBOTSFORD EDITION OF THE WAVERLEY NOVELS. Odd Vols. + THE TRUTH TELLER. A Periodical. + J. L. PETIT'S CHURCH ARCHITECTURE. 2 Vols. + R. MANT'S CHURCH ARCHITECTURE CONSIDERED IN RELATION TO THE MIND OF + THE CHURCH. 8vo. Belfast, 1840. + CAMBRIDGE CAMDEN SOCIETY'S TRANSACTIONS. Vol. III.--ELLICOTT ON + VAULTING. + QUARTERLY REVIEW, 1845. + COLLIER'S FURTHER VINDICATION OF HIS SHORT VIEW OF THE STAGE. 1708. + CONGREVE'S AMENDMENT OF COLLIER'S FALSE AND IMPERFECT CITATIONS. 1698. + BEDFORD'S SERIOUS REFLECTIONS ON THE ABUSES OF THE STAGE. 8vo. 1705. + +*** _Correspondents sending Lists of Books Wanted are requested to send +their names._ + +*** Letters, stating particulars and lowest price, _carriage free_, to +be sent to MR. BELL, Publisher of "NOTES AND QUERIES." 186. Fleet +Street. + + * * * * * + + +NOTICES TO CORRESPONDENTS. + +_E. P._ Schiller's _Wallenstein_ and _Ghost-Seer_, Goethe's _Faust_, and +Kant's _Philosophy_, have been translated into English. + +_RECNAC._ We cannot undertake to tell our Correspondent what is the +distinction between Epic and Ballad Poetry. + +_Y. S. M._, who writes respecting _Fees for searching Parish Registers_, +is referred to our _4th Vol._, _p. 473._, _and our 5th Vol._, _pp. 36. +207._ + +_S. A. S. (Bridgewater)._ Will our Correspondent repeat his Query +respecting _Loselerius Vilerius_? + +_QUESOR._ Lord Bacon's _History of Henry VII._ was first published in +1622. + +_W. B._ The mercury does not lose its power by use, but should when it +becomes oxydized, be strained by squeezing it through wash-leather. + +_PROTOSULPH._ The gilding would have been wasted. Our observations +respecting blowing on the glass apply equally when the protosulphate is +used. That developing solution will keep. Stains may be removed from the +finger by cyanide of potassium; but this must be used cautiously, as it +is very poisonous. + +A few complete sets of "_NOTES AND QUERIES_," _Vols. i._ to _vi._, price +Three Guineas, may now be had; for which early application is desirable. + +"_NOTES AND QUERIES_" is published at noon on Friday, so that the +Country Booksellers may receive Copies in that night's parcels, and +deliver them to their Subscribers on the Saturday. + + * * * * * + +MAITLAND ON THE DARK AGES--NEW EDITION. + +In 8vo., price 10s. 6d., the Third Edition of + +THE DARK AGES; a Series of ESSAYS intended to illustrate the State of +RELIGION and LITERATURE in the 9th, 10th, 11th, and 12th Centuries. By +the REV. S. R. MAITLAND, F.R.S. and F.S.A., some time Librarian to the +late Archbishop of Canterbury, and Keeper of the MSS. at Lambeth. + +RIVINGTONS. St. Paul's Church Yard, and Waterloo Place; + +Of whom may be had, by the same Author, + + 1. ESSAYS ON THE REFORMATION in ENGLAND. 13s. + 2. EIGHT ESSAYS ON VARIOUS SUBJECTS (1852). 4s. 6d. + 3. ERUVIN; ESSAYS on Subjects connected with the NATURE, HISTORY, + and DESTINY of MAN. Second Edition. 5s. + + * * * * * + +PUTZ'S ANCIENT GEOGRAPHY AND HISTORY, BY ARNOLD AND PAUL. + +Now ready, in 12mo., price 6s. 6d., the Second Edition of + +HANDBOOK OF ANCIENT GEOGRAPHY and HISTORY. With Questions. Translated +from the German of Putz, by the REV. R. B. PAUL, M.A., and edited by the +late REV. THOMAS KERCHEVER ARNOLD, M.A. + +Also, by the same Editors, + + 1. HANDBOOK OF MEDIÆVAL HISTORY AND GEOGRAPHY. 4s. 6d. + 2. HANDBOOK OF MODERN HISTORY AND GEOGRAPHY. 5s. 6d. + + "The leading characteristic of these Handbooks is their exceeding + simplicity, the excellent order with which they are arranged, the + completeness of their details, and the remarkable accuracy and + elaborate erudition which they exhibit in every page. They have + this further advantage, which it is impossible to + over-estimate--that they bring down their respective subjects to + the very latest period, and present us with the results of the most + recent investigations of the critics and antiquaries by whom they + have been discussed."--_Dublin Review._ + +RIVINGTONS. St. Paul's Church Yard, and Waterloo Place. + + * * * * * + +EURIPIDIS BACCHÆ WITH ENGLISH NOTES. + +Now ready, in 12mo., price 3s. + +EURIPIDIS BACCHÆ, with ENGLISH NOTES, from the German of SCHÖNE. By the +REV. HENRY BROWNE, M.A., Canon of Waltham in the Cathedral Church, and +Chaplain to the Lord Bishop of Chichester. (Forming a New Volume of +ARNOLD'S SCHOOL CLASSICS.) + +Recently published in this Series, edited by the late REV. T. K. ARNOLD, +M.A. + + 1. EURIPIDIS HIPPOLYTUS. With ENGLISH NOTES. 3s. + 2. ---- HECUBA. With ENGLISH NOTES. 3s. + 3. SOPHOCLIS OEDIPUS COLONEUS. 4s. + 4. ---- OEDIPUS TYRANNUS. 4s. + 5. ---- PHILOCTETES. 3s. + 6. ---- AJAX, 3s. + 7. ---- ANTIGONE. 4s. + +*** The last five with English Notes, translated from the German of +SCHNEIDEWIN. + + 8. ECLOGÆ ARISTOPHANICÆ, The CLOUDS. 3s. 6d. + 9. ECLOGÆ ARISTOPHANICÆ, The BIRDS. 3s. 6d. + +*** With English Notes by PROFESSOR FELTON. + +RIVINGTONS, St. Paul's Church Yard, and Waterloo Place. + + * * * * * + +Now ready, Fourth Edition, enlarged, with numerous Illustrations and +Diagrams, price 1s. in wrappers, cloth gilt 1s. 6d. + +A PRACTICAL MANUAL of PHOTOGRAPHY. With the latest Improvements in the +Collodion Process, and Microscopic and Stereoscopic Pictures, &c. +Published by CLARK, 17. Warwick Lane, London: and sold by all +Booksellers. Upon receipt of 18 Postage Stamps a Copy can be forwarded +free. + + * * * * * + +On May 2nd will be published, Part I. of MR. PARKER'S NEW MAGAZINE, THE +NATIONAL MISCELLANY. A New Monthly Periodical of General Literature. + +On the Second of May it is designed to commence the publication of a New +Monthly Periodical, to be entitled THE NATIONAL MISCELLANY. As its name +imports, it will be a Magazine of General Literature, giving itself free +range over every subject likely to be of general interest. + +THE NATIONAL MISCELLANY is an attempt to supply high-principled and +high-toned Literature of a secular kind, which may be safely taken up by +thoughtful persons when their more serious reading is over, and which +may also indirectly act for good on those who thrust all religious works +aside. + +It will be issued in Shilling Monthly Parts, and the type and paper will +be of a superior kind. + +All communications and books for review must be addressed to the Editor, +under cover to Mr. Parker, 377. Strand. + +London: JOHN HENRY PARKER, 377. Strand. + + * * * * * + +MR. KINGSLEY'S NEW WORK. + +This day, 2 vols. post 8vo., 18s. + +HYPATIA; or New Foes with and Old Face. By CHARLES KINGSLEY, Jun., +Rector of Eversley. Reprinted from "Fraser's Magazine." + +London: JOHN W. PARKER & SON, West Strand. + + * * * * * + +This day is published, price 6s. 6d. + +THE CAMBRIDGE UNIVERSITY CALENDAR FOR THE YEAR 1853. + + "Deum timeto: regem honorato: virtutem colito disciplinis + bonis operam dato."--_Stat. Acad. Cantab._ + +Cambridge: JOHN DEIGHTON. + +Sold in London by LONGMAN & CO.; F. & J. RIVINGTON; WHITTAKER & CO.; +SIMPKIN & CO.; JOHN W. PARKER & SON; GEORGE BELL; and by DEIGHTON & +LAUGHTON, Liverpool. + + * * * * * + +NEW ACHROMATIC MICROSCOPES on MR. PRITCHARD'S Construction, Micrometers, +Polarizing Apparatus, Object-glasses, and Eye-pieces. S. STRAKER +supplies any of the above of the first quality, and will forward by post +free a new priced List of Microscopes and Apparatus. + +162. FLEET STREET, LONDON. + + * * * * *{419} + +PHOTOGRAPHIC PICTURES.--A Selection of the above beautiful Productions +may be seen at BLAND & LONG'S, 153. Fleet Street, where may also be +procured Apparatus of every Description, and pure Chemicals for the +practice of Photography in all its Branches. + +Calotype, Daguerreotype and Glass Pictures for the Stereoscope. + +BLAND & LONG, Opticians, Philosophical and Photographical Instrument +Makers, and Operative Chemists, 153. Fleet Street. + + * * * * * + +Just published, price 1s., free by Post 1s. 4d., + +THE WAXED-PAPER PHOTOGRAPHIC PROCESS of GUSTAVE LE GRAY'S NEW EDITION. +Translated from the French. + +Sole Agents in the United Kingdom for VOIGHTLANDER & SON'S celebrated +Lenses for Portraits and Views. + +General Depôt for Turner's, Whatman's, Canson Frères, La Croix, and +other Talbotype Papers. + +Pure Photographic Chemicals. + +Instructions and Specimens in every Branch of the Art. + +GEORGE KNIGHT & SONS, Foster Lane, London. + + * * * * * + +PHOTOGRAPHY.--HORNE & CO.'S Iodized Collodion, for obtaining +Instantaneous Views, and Portraits in from three to thirty seconds, +according to light. + +Portraits obtained by the above, for delicacy of detail rival the +choicest Daguerreotypes, specimens of which may be seen at their +Establishment. + +Also every description of Apparatus, Chemicals, &c. &c. used in this +beautiful Art.--123. and 121. Newgate Street. + + * * * * * + +TO PHOTOGRAPHERS.--Pure Chemicals, and every requisite for the practice +of Photography, according to the instructions of Le Gray, Hunt, +Brébisson, and other writers, may be obtained, wholesale and retail, of +WILLIAM BOLTON (formerly Dymond & Co.), Manufacturer of pure Chemicals +for Photographic and other purposes. Lists may be had on application. + +Improved Apparatus for iodizing paper in vacuo, according to Mr. +Stewart's instructions. + +146. HOLBORN BARS. + + * * * * * + +PHOTOGRAPHIC PAPER.--Negative and Positive Papers of Whatman's, +Turner's, Sanford's, and Canson Frères' make. Waxed-Paper for Le Gray's +Process. Iodized and Sensitive Paper for every kind of Photography. + +Sold by JOHN SANFORD, Photographic Stationer, Aldine Chambers, 13. +Paternoster Row, London. + + * * * * * + +PHOTOGRAPHY.--Collodion (Iodized with the Ammonio-Iodide Of Silver).--J. +B. HOCKIN & CO., Chemists, 289. Strand, were the first in England who +published the application of this agent (see _Athenæum_, Aug. 14th). +Their Collodion (price 9d. per oz.) retains its extraordinary +sensitiveness, tenacity, and colour unimpaired for months: it may be +exported to any climate, and the Iodizing Compound mixed as required. J. +B. HOCKIN & CO. manufacture PURE CHEMICALS and all APPARATUS with the +latest Improvements adapted for all the Photographic and Daguerreotype +processes. Cameras for Developing in the open Country. GLASS BATHS +adapted to any Camera. Lenses from the best Makers. Waxed and Iodized +Papers, &c. + + * * * * * + +CLERICAL, MEDICAL, AND GENERAL LIFE ASSURANCE SOCIETY. + + * * * + +Established 1824. + + * * * + +FIVE BONUSES have been declared: at the last in January, 1852, the sum +of 131,125l. was added to the Policies, producing a Bonus varying with +the different ages from 24-1/2 to 55 per cent. on the Premiums paid +during the five years, or from 5l. to 12l. 10s. per cent. on the +Sum assured. + +The small share of Profit divisible in the future among Shareholders +being now provided for, the ASSURED will hereafter derive all the +benefits obtainable from a Mutual Office, WITHOUT ANY LIABILITY OR RISK +OF PARTNERSHIP. + +POLICIES effected before the 30th June next, will be entitled, at the +next Division, to one year's additional share of Profits over later +Assurers. + +On Assurances for the whole of Life only one half of the Premiums need +be paid for the first five years. + +INVALID LIVES may be Assured at rates proportioned to the risk. + +Claims paid _thirty_ days after proof of death, and all Policies are +_Indisputable_ except in cases of fraud. + +Tables of Rates and forms of Proposal can be obtained of any of the +Society's Agents, or of + +GEORGE H. PINCKARD, Resident Secretary. + +_99. Great Russell Street, Bloomsbury, London._ + + * * * * * + +AMICABLE LIFE ASSURANCE SOCIETY, 50. Fleet Street, London. + +Incorporated by Charter of Queen Anne, A.D. 1706. + + _Directors._ + + G. Baillie, Esq. + The Hon. F. Byng. + R. H. Coote, Esq. + J. E. Davies, Esq. + G. De Morgan, Esq. + W. Everett, Esq. + G. Ogle, Esq. + M. B. Peacock, Esq. + C. Phillips, Esq. + J. Round, Esq. + The Rt. Hon. Sir E. Ryan. + T. Thompson. M.D., F.R.S. + +_Physician._--Francis Boott, M.D., 24. Gower Street, Bedford Square. +_Solicitor._--Charles Rivington, Esq., Fenchurch Buildings. +_Bankers._--Messrs. Goslings & Sharpe, Fleet Street. + +This Society has been established nearly a century and a half, and is +the oldest Life Assurance Institution in existence. Its principles are +essentially those of Mutual Assurance, and the whole of the profits are +divided among the Members. + +Assurances are granted, if desired, without participation in Profits, at +reduced rates of Premium, and upon every contingency depending on human +life. + +The Tables of Mortality, deduced from the Society's own experience, +having satisfied the Directors that the Rates of Premium on Single Lives +might be reduced with perfect safety, a new Table has accordingly been +prepared, and the terms upon which Assurances are now effected with this +Office are shown in the subjoined extract:-- + +-------------------------------------------- + Age. | With Profits. | Without Profits. +-------------------------------------------- + | £ s. d. | £ s. d. + 15 | 1 15 3 | 1 11 9 + 20 | 1 19 7 | 1 15 8 + 25 | 2 4 2 | 1 19 9 + 30 | 2 9 9 | 2 4 9 + 35 | 2 16 10 | 2 11 2 + 40 | 3 5 0 | 2 18 6 + 45 | 3 15 9 | 3 8 2 + 50 | 4 9 9 | 4 0 9 + 55 | 5 8 9 | 4 17 10 + 60 | 6 15 0 | 6 1 6 +-------------------------------------------- + +Prospectuses and every information may be obtained at the Office. + +HENRY THOS. THOMSON, Registrar. + + * * * * * + +HEAL & SON'S ILLUSTRATED CATALOGUE OF BEDSTEADS, sent free by post. It +contains designs and prices of upwards of ONE HUNDRED different +Bedsteads: also of every description of Bedding, Blankets, and Quilts. +And their new warerooms contain an extensive assortment of Bed-room +Furniture, Furniture Chintzes, Damasks, and Dimities, so as to render +their Establishment complete for the general furnishing of Bed-rooms. + +HEAL & SON, Bedstead and Bedding Manufacturers, 196. Tottenham Court +Road. + + * * * * * + +WESTERN LIFE ASSURANCE AND ANNUITY SOCIETY, 3. PARLIAMENT STREET, +LONDON. Founded A.D. 1842 + + * * * * * + + _Directors._ + + H. E. Bicknell, Esq. + W. Cabell, Esq. + T. S. Cocks, Jun. Esq. M.P. + G. H. Drew, Esq. + W. Evans, Esq. + W. Freeman, Esq. + F. Fuller, Esq. + J. H. Goodhart, Esq. + T. Grissell, Esq. + J. Hunt, Esq. + J. A. Lethbridge, Esq. + E. Luens, Esq. + J. Lys Seager, Esq. + J. B. White, Esq. + J. Carter Wood, Esq. + + _Trustees._ + +W. Whately, Esq., Q.C.: L. C. Humfrey, Esq., Q.C.: George Drew, Esq. + +_Physician._--William Rich. Basham, M.D. + +_Bankers._--Messrs. Cocks, Biddulph, and Co., Charing Cross + +VALUABLE PRIVILEGE. + +POLICIES effected in this Office do not become void through temporary +difficulty in paying a Premium, as permission is given upon application +to suspend the payment at interest, according to the conditions detailed +in the Prospectus. + +Specimens of Rates of Premium for Assuring 100l. with a Share in +three-fourths of the Profits:-- + + Age £ s. d. + 17 1 14 4 + 22 1 18 8 + 27 2 4 5 + 32 2 10 8 + 37 2 18 6 + 42 3 8 2 + +ARTHUR SCRATCHLEY, M.A., F.R.A.S. Actuary. + +Now ready, price 10s. 6d., Second Edition, with material additions. +INDUSTRIAL INVESTMENT and EMIGRATION; being a TREATISE on BENEFIT +BUILDING SOCIETIES, and on the General Principles of Land Investment, +exemplified in the Cases of Freehold Land Societies, Building Companies, +&c. With a Mathematical Appendix on Compound Interest and Life +Assurance. By ARTHUR SCRATCHLEY, M.A., Actuary to the Western Life +Assurance Society, 3. Parliament Street, London. + + * * * * * + +BENNETT'S MODEL WATCH, as shown at the GREAT EXHIBITION. No. 1. Class +X., in Gold and Silver Cases, in five qualities, and adapted to all +Climates, may now be had at the MANUFACTORY, 65. CHEAPSIDE. Superior +Gold London-made Patent Levers, 17, 15, and 12 guineas. Ditto, in Silver +Cases, 8, 6, and 4 guineas. First-rate Geneva Levers, in Gold Cases, 12, +10, and 8 guineas. Ditto, in Silver Cases, 8, 6, and 5 guineas. Superior +Lever, with Chronometer Balance, Gold, 27, 23, and 19 guineas. Bennett's +Pocket Chronometer, Gold, 50 guineas; Silver, 40 Guineas. Every Watch +skilfully examined, timed, and its performance guaranteed. Barometers, +2l., 3l., and 4l. Thermometers from 1s. each. + +BENNETT, Watch, Clock, and Instrument Maker to the Royal Observatory, +the Board of Ordnance, the Admiralty, and the Queen. + +65. CHEAPSIDE. + + * * * * *{420} + +THE PHOTOGRAPHIC INSTITUTION, + +168. NEW BOND STREET, NEXT THE CLARENDON. + + * * * + + +An Exhibition of Photographic Pictures + +By the best English and Continental Artists will be opened at the +PHOTOGRAPHIC INSTITUTION, 168. NEW BOND STREET, on THURSDAY, APRIL 28. +The Collection will include a great variety of new and important +Pictures recently taken by eminent Photographers, and some of the best +specimens from the late Exhibition at the Society of Arts.--Admission +6d. + + * * * + +CALOTYPE PORTRAITS. + +(_By Licence of the Patentee._) + +MR. PHILIP DELAMOTTE begs to announce that he has concluded an +arrangement with the Patentee, Mr. H. F. Talbot, which enables him to +take Portraits by the newly-discovered Collodion Process. The advantages +which this process offers are,--Excellence of Likeness, great +Convenience, and the opportunity of Multiplying copies of the same +Portrait to any extent. These Portraits have the appearance of beautiful +mezzotint engravings, with the superior accuracy which Sun-painting must +insure. One moment suffices to obtain the likeness, and no constrained +position is required. Hence a happy expression of face is instantly +caught, and young children may be taken without difficulty. To those who +wish for several copies of the same Portrait, the Calotype offers every +facility, as an unlimited number of impressions may be printed, by the +agency of the sun, from the glass plate. These will all be exactly equal +to the first, and may be had at a moderate cost. + +TO ARTISTS AND SCULPTORS. + +MR. DELAMOTTE will be happy to photograph Artist' Paintings and Statues, +and supply two or more impressions as may be desired. He also undertakes +to photograph, under the superintendence of the Artist, the Life Model, +Costume, or any required object, and to deliver the negative plate. + +TO ENGINEERS AND ARCHITECTS. + +MR. DELAMOTTE is ready to enter into engagements to photograph Buildings +and Engineering Works of all kinds, either in progress or when +completed. In illustration of the advantages to be derived by Engineers +from Photography, MR. DELAMOTTE begs to refer to Mr. Fenton's Views of +Mr. Vignolles' Bridge across the Dnieper at Kieff, and to his own views +of the Progress of the Crystal Palace at Sydenham. + +TO THE NOBILITY AND GENTRY. + +MR. DELAMOTTE has made arrangements which enable him to take +photographic views of Country Mansions, Ancient Castles and Ruins, +Villas, Cottages, Bridges or Picturesque Scenery of any description, and +to supply as many copies as may be desired. + +TO THE CLERGY. + +MR. DELAMOTTE will be happy to receive commissions to take photographic +views of Churches--either Exterior or Interiors--Rectories or +School-houses. He will also be willing to make special arrangements for +Portraits of Clergymen, when several copies of the same portrait are +required. + +TO AMATEURS AND STUDENTS. + +MR. DELAMOTTE gives lessons in every branch of the Photographic Art, but +more especially in the Collodion Process, which he undertakes to teach, +together with the best method of Printing, in Six Lessons. + +For Terms apply to MR. PHILIP DELAMOTTE, Photographic Institution, 168. +New Bond Street. + + * * * * * + +Just published, price 10s. 6d. + +THE PHOTOGRAPHIC ALBUM. + +PART III. + +_Containing Four Pictures._ + + TINTERN ABBEY. By ROGER FENTON. + THE BOY IN THE ARCH. By PHILIP DELAMOTTE. + BURNHAM BEECHES. By ROGER FENTON. + KENILWORTH CASTLE. By PHILIP DELAMOTTE. + +Parts I. and II. are now reprinted and _good_ impressions of the +pictures are guaranteed. Part IV. will be ready in May. + +*** The Publisher apologizes for the long delay in issuing Part III. and +reprinting the two former Parts. Photographers will readily understand +why no quantity of good impressions could have been printed during the +last four months. + + * * * + +Now ready, price 16s. + +PHOTOGRAPHIC STUDIES. + +By GEORGE SHAW, Esq. (of Queen's College, Birmingham). + +_Comprising_, + + A MILL STREAM, + A FOREST SCENE, + A RUSTIC BRIDGE, + A WELSH GLEN. + +These Pictures are of large size, and are very carefully printed. + +*** Should this Number meeting with the approbation of the Public, +Professor Shaw will continue the Series. + + * * * + +Nearly ready, + +THE PRACTICE OF PHOTOGRAPHY. + +A MANUAL for STUDENTS and AMATEURS. + +Edited by PHILIP DELAMOTTE, F.S.A. + +Illustrated with a Photographic Picture taken by the Collodion Process, +and a Diagram of Six Colours, with its result in a Photographic +impression. + +This Manual will contain much practical information of a valuable +nature. + + * * * + +Preparing for Publication, in Parts, price One Guinea each, + +PROGRESS OF THE CRYSTAL PALACE AT SYDENHAM. + +Exhibited in a Series of Photographic Views taken by PHILIP DELAMOTTE. + +This Work will be found of much service to Engineers and Architects, and +all who are interested in the Crystal Palace. + +*** Some of these Views may be had for the Stereoscope. + + * * * + +Preparing for Publication, + +A SERIES OF PHOTOGRAPHIC PICTURES. + +By HUGH OWEN, ESQ. (of Bristol.) + + * * * + +LONDON: Published by JOSEPH CUNDALL, at the PHOTOGRAPHIC INSTITUTION, +168. NEW BOND STREET. + + * * * * * + +Printed by THOMAS CLARK SHAW, of No. 10. Stonefield Street, in the +Parish of St. Mary, Islington, 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, April 23. 1853. + + + + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 182, April +23, 1853, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + +***** This file should be named 22369-8.txt or 22369-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/3/6/22369/ + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + +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 +http://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 http://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 +http://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 http://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 http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. diff --git a/22369-8.zip b/22369-8.zip Binary files differnew file mode 100644 index 0000000..dbf0697 --- /dev/null +++ b/22369-8.zip diff --git a/22369-h.zip b/22369-h.zip Binary files differnew file mode 100644 index 0000000..cf31385 --- /dev/null +++ b/22369-h.zip diff --git a/22369-h/22369-h.htm b/22369-h/22369-h.htm new file mode 100644 index 0000000..67e415a --- /dev/null +++ b/22369-h/22369-h.htm @@ -0,0 +1,4171 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> +<head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <title>Notes And Queries, Issue 182.</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;} + + a {text-decoration: none;} + + /*a [name] {position:absolute;}*/ /*Uncomment to fix + links in older versions of Opera (pre 9.01)*/ + + hr {text-align: center; + width: 50%;} + + html>body hr {margin-right: 25%; + margin-left: 25%; + width: 50%;} + + hr.short {text-align: center; + width: 30%} + + html>body hr.short {margin-right: 35%; + margin-left: 35%; + width: 30%; } + + hr.full {width: 100%;} + + html>body hr.full {margin-right: 0%; + margin-left: 0%; + width: 100%;} + + hr.adverts {width: 100%; + height: 5px; + color: black;} + + html>body hr.adverts {margin-right: 0%; + margin-left: 0%; + width: 100%;} + + hr.transcriber { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 2px; + border-width: 2px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + + .note {margin-left: 10%; + margin-right: 10%; + font-size: 0.9em;} + + .tnote {background-color: #EEE; + color: inherit; + margin: 2em 10% 1em 10%; + padding: 0.5em 1em 0.5em 1em; + margin-left: 10%; + margin-right: 10%;} + + .footnote {margin-left: 10%; + margin-right: 10%; + font-size: 0.9em;} + + .ednote {margin-left: 10%; + margin-right: 10%; + font-size: 0.9em;} + + + .center {text-align: center;} + + .right {text-align: right;} + + table {margin-left: auto; + margin-right: auto;} + +ins.transcribernote {border-bottom-style: dashed; + border-bottom-color: red; + border-bottom-width: 1px; + text-decoration: none;} + +ins.transliteration {border-bottom-style: dashed; + border-bottom-color: red; + border-bottom-width: 1px; + text-decoration: none;} + + .toc {margin-left: 10%; + margin-right: 10%;} + + .toc1 {padding-left: 2em; + text-indent: -1em;} + + .tocnum {text-align: right; + padding-left: 3em; + vertical-align: bottom; } + + table.masthead {margin-left: 0%; + margin-right: 0%; + width: 100%} + + .tdmhl {text-align: left; + font-size: 1.2em;} + + .tdmhc {text-align: center; + font-size: 1.2em;} + + .tdmhr {text-align: left;} + + .tdc {text-align: center; + } + + .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.i05 {margin-left: .5em;} + .poem p.i075 {margin-left: .75em;} + .poem p.i1 { margin-left: 1em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i25 {margin-left: 2.5em;} + .poem p.i3 {margin-left: 3em;} + .poem p.i35 {margin-left: 3.5em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i45 {margin-left: 4.5em;} + .poem p.i5 {margin-left: 5em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i7 {margin-left: 7em;} + .poem p.i8 {margin-left: 8em;} + .poem p.i11 {margin-left: 11em;} + .poem p.i12 {margin-left: 12em;} + .poem p.i14 {margin-left: 14em;} + .poem p.i0 {margin-left: -.5em;} + .poem .caesura {vertical-align: -200%;} + + .smcap {font-variant: small-caps;} + + .sup {vertical-align: .25em; + font-size: .7em;} + +span.small {font-size: .8em;} + +span.pagenum {position: absolute; + left: 1%; right: 91%; + font-size: 8pt;} + +span.overline {text-decoration: overline;} + + p.author {text-align: right; + font-variant: small-caps;} + + p.location {text-align: left; + margin: -1em 0em 0em 1em;} + + ul {list-style-type: none;} + + ol {list-style-type: decimal;} + + .notices {font-style: italic;} + + .notices em {font-style: normal;} + +/**>[lang] {background-color: mistyrose;}*/ + + + --> + /*]]>*/ + </style> +</head> + +<body> + + +<pre> + +Project Gutenberg's Notes and Queries, Number 182, April 23, 1853, 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 182, April 23, 1853 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc. + +Author: Various + +Editor: George Bell + +Release Date: August 21, 2007 [EBook #22369] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + + +</pre> + + +<div class='tnote'> +<p class='center'>Transcriber's Note:</p> +<p>This text contains Greek words such as <ins class='transliteration' title='NIPSON' lang='el'>ΝΙΨΟΝ</ins>. Overlines indicating abbreviations will also +be encountered: D<span class='overline'>n</span>e. You may want to change fonts if any of the preceding characters render as ? or boxes +on your screen or the overlines appear adjacent rather than over the appropriate letters. If your system allows for it, hovering over Greek text will +show a transliteration. Transliterations and transcriber notes in the +text are identified by red dashed underlines as shown above. +Archaic spellings and inconsistent hyphenation have been left as originally printed.</p> +</div> + +<hr class='transcriber' /> + + +<p><span class='pagenum'><a id="page397" name="page397">{397}</a></span></p> + + + <h1><span class='smcap'>NOTES and QUERIES:</span></h1> + +<h2>A MEDIUM OF INTER-COMMUNICATION<br /> + +<small>FOR</small><br /> + +LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.</h2> + +<hr /> + +<h3><strong>"When found, make a note of."</strong>— +<span class='smcap'>Captain Cuttle.</span></h3> + +<hr class="full" /> + + +<table class= 'masthead' summary='masthead'> +<col width='20%' /> +<col width='60%' /> +<col width='20%' /> + <tr> + <td class="tdmhl"><strong>No. 182.]</strong></td> + <td class="tdmhc"><strong><span class="smcap">Saturday, April</span> 23. 1853.</strong></td> + <td class="tdmhr"><strong>Price Fourpence. <br />Stamped Edition, + 5<em>d.</em></strong></td> + </tr> + </table> + + + +<hr class='full' /> + +<h2>CONTENTS.</h2> + +<table class ='toc' summary='Table of Contents'> + +<tr> + <td><span class="smcap">Notes</span>:—</td> + <td class='tocnum'>Page</td> +</tr> + +<tr> + <td class='toc1'>Poetical Epithets of the Nightingale, by Cuthbert Bede, B.A.</td> + <td class='tocnum'><a href="#Notes">397</a></td> +</tr> + +<tr> + <td class='toc1'>On a Passage in Orosius, by E. Thomson</td> + <td class='tocnum'><a href="#On_a_Passage_in_Orosius">399</a></td> +</tr> + +<tr> + <td class='toc1'>Notes on several Misunderstood Words, by Rev. W. R. Arrowsmith</td> + <td class='tocnum'><a href="#Notes_on_several_Misunderstood_Words">400</a></td> +</tr> + +<tr> + <td class='toc1'>A Work on the Macrocosm</td> + <td class='tocnum'><a href="#A_Work_on_the_Macrocosm">402</a></td> +</tr> + +<tr> + <td class='toc1'>Dr. South's Latin Tract against Sherlock, by James Crossley</td> + <td class='tocnum'><a href="#Dr._Souths_Latin_Tract_against_Sherlock">402</a></td> +</tr> + +<tr> + <td class='toc1'>Shakspeare Correspondence, by C. Mansfield Ingleby, S. Singleton, &c.</td> + <td class='tocnum'><a href="#Shakspeare_Correspondence">403</a></td> +</tr> + + +<tr> + <td class='toc1'><span class="smcap">Minor Notes</span>:—Robert Weston—Sonnet on the Rev. + Joseph Blanco White—English and American Booksellers + —Odd Mistake—Thomas Shakspeare—Early Winters</td> + <td class='tocnum'><a href="#Minor_Notes">404</a></td> +</tr> + +<tr> + <td><span class="smcap">Queries</span>:—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Satirical Playing Cards, by T. J. Pettigrew</td> + <td class='tocnum'><a href="#Queries">405</a></td> +</tr> + +<tr> + <td class='toc1'>Movable Metal Types anno 1435, by George Stephens</td> + <td class='tocnum'><a href="#Movable_Metal_Types_anno_1435">405</a></td> +</tr> + +<tr> + <td class='toc1'>Portraits at Brickwall House</td> + <td class='tocnum'><a href="#Portraits_at_Brickwall_House">406</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Minor Queries</span>:—Christian Names—Lake of Geneva + —Clerical Portrait—Arms: Battle-axe—Bullinger's + Sermons—Gibbon's Library—Dr. Timothy Bright + —Townley MSS.—Order of St. John of Jerusalem + —Consecrated Roses, Swords, &c.—West, Kipling, and + Millbourne—Font Inscriptions—Welsh Genealogical + Queries—The Butler and his Man William—Longhi's + Portraits of Guidiccioni—Sir George Carr—Dean + Pratt—Portrait of Franklin—"Enquiry into the State + of the Union"</td> + <td class='tocnum'><a href="#Minor_Queries">406</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Minor Queries With Answers</span>:—Bishop of Oxford + in 1164—Roman Inscription found at Battle Bridge— + Blow-shoppes—Bishop Hesketh—Form of Prayer for + Prisoners</td> + <td class='tocnum'><a href="#Minor_Queries_with_Answers">409</a></td> +</tr> + + +<tr> + <td><span class="smcap">Replies</span>:—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Edmund Spenser, and Spensers, or Spencers, of Hurstwood, by J. B. Spencer, &c.</td> + <td class='tocnum'><a href="#Replies">410</a></td> +</tr> + +<tr> + <td class='toc1'>Throwing old Shoes for Luck, by John Thrupp</td> + <td class='tocnum'><a href="#Throwing_old_Shoes_for_Luck">411</a></td> +</tr> + +<tr> + <td class='toc1'>Orkneys in Pawn</td> + <td class='tocnum'><a href="#Orkneys_in_Pawn">412</a></td> +</tr> + +<tr> + <td class='toc1'>Hogarth's Pictures, by E. G. Ballard and W. D. Haggard</td> + <td class='tocnum'><a href="#Hogarths_Pictures">412</a></td> +</tr> + +<tr> + <td class='toc1'>Phantom Bells and Lost Churches</td> + <td class='tocnum'><a href="#Phantom_Bells_and_Lost_Churches">413</a></td> +</tr> + + +<tr> + <td class='toc1'><span class="smcap">Photographic Notes and Queries</span>:—Photographic + Collodion—Filtering Collodion—Photographic Notes + —Colouring Collodion Pictures—Gutta Percha Baths</td> + <td class='tocnum'><a href="#Photographic_Notes_and_Queries">414</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Replies To Minor Queries</span>:—Pilgrimages to the Holy + Land—"A Letter to a Convocation Man"—King + Robert Bruce's Coffin-plate—Eulenspiegel or Howleglas + —Sir Edwin Sadleir—Belfry Towers separate from + the Body of the Church—God's Marks—"The Whippiad" + —The Axe that beheaded Anne Boleyn, &c.</td> + <td class='tocnum'><a href="#Replies_to_Minor_Queries">415</a></td> +</tr> + +<tr> + <td><span class="smcap">Miscellaneous</span>:—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Books and Odd Volumes wanted</td> + <td class='tocnum'><a href="#Miscellaneous">417</a></td> +</tr> + +<tr> + <td class='toc1'>Notices to Correspondents</td> + <td class='tocnum'><a href="#Notices_to_Correspondents">418</a></td> +</tr> + +<tr> + <td class='toc1'>Advertisements</td> + <td class='tocnum'><a href="#Advertisements">418</a></td> +</tr> +</table> + + +<hr class='full' /> + +<h2><a id='Notes' name='Notes'>Notes.</a></h2> + + +<h3>POETICAL EPITHETS OF THE NIGHTINGALE.</h3> + +<p>Having lately been making some research among our British poets, as to +the character of the nightingale's song, I was much struck with the +great quantity and diversity of epithets that I found applied to the +bird. The difference of opinion that has existed with regard to the +quality of its song, has of course led the poetical adherents of either +side to couple the nightingale's name with that very great variety of +adjectives which I shall presently set down in a tabular form, with the +names of the poetical sponsors attached thereto. And, in making this the +subject of a Note, I am only opening up an old Query; for the character +of the nightingale's song has often been a matter for discussion, not +only for poets and scribblers, but even for great statesmen like Fox, +who, amid all the anxieties of a political life, could yet find time to +defend the nightingale from being a "most musical, most melancholy" +bird.</p> + +<p>Coleridge's onslaught upon this line, in his poem of "The Nightingale," +must be well known to all lovers of poetry; and his re-christening of +the bird by that epithet which Chaucer had before given it:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i8'>"'Tis the <em>merry</em> nightingale,</p> +<p class='i2'>That crowds, and hurries, and precipitates,</p> +<p class='i2'>With fast thick warble, his delicious notes,</p> +<p class='i2'>As he were fearful that an April night</p> +<p class='i2'>Would be too short for him to utter forth</p> +<p class='i2'>His love-chant, and disburthen his full soul</p> +<p class='i2'>Of all its music!"</p> +</div></div> + +<p>The fable of the nightingale's origin would, of course, in classical +times, give the character of melancholy to its song; and it is rather +remarkable that Æschylus makes Cassandra speak of the <em>happy</em> chirp of +the nightingale, and the Chorus to remark upon this as a further proof +of her insanity. (Shakspeare makes Edgar say, "The <em>foul fiend</em> haunted +poor Tom in the voice of a nightingale."—<em>King Lear</em>, Act III. Sc. 6.)</p> + +<p>Tennyson seems to be almost the only poet who has thoroughly recognised +the great variety of epithets that may be applied to the nightingale's +song, through the very opposite feelings which it<span class='pagenum'><a name="Page_398" id="Page_398">[Pg 398]</a></span> seems to possess the +power to awaken. In his <em>Recollections of the Arabian Nights</em>, he +says,—</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"The living airs of middle night</p> +<p class='i25'>Died round the Bulbul as he sung;</p> +<p class='i25'>Not he; but something which possess'd</p> +<p class='i25'>The darkness of the world, <em>delight</em>,</p> +<p class='i25'><em>Life</em>, <em>anguish</em>, <em>death</em>, <em>immortal love</em>,</p> +<p class='i25'>Ceasing not, mingled, unrepress'd,</p> +<p class='i25'>Apart from place, withholding time."</p> +</div></div> + +<p>Again, in the <em>In Memoriam</em>:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Wild bird! whose warble, liquid, sweet,</p> +<p class='i35'>Rings Eden through the budded quicks,</p> +<p class='i35'>Oh, tell me where the senses mix,</p> +<p class='i25'>Oh, tell me where the passions meet,</p> +</div> +<div class='stanza'> +<p class='i2'>"Whence radiate? <em>Fierce extremes</em> employ</p> +<p class='i35'>Thy spirit in the dusking leaf,</p> +<p class='i35'>And <em>in the midmost heart of grief</em></p> +<p class='i25'><em>Thy passion clasps a secret joy</em>."</p> +</div></div> + +<p>With which compare these lines in <em>The Gardener's Daughter</em>:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Yet might I tell of meetings, of farewells,—</p> +<p class='i25'>Of that which came between, more sweet than each,</p> +<p class='i25'>In whispers, like the whispers of the leaves</p> +<p class='i25'>That tremble round a nightingale—<em>in sighs</em></p> +<p class='i25'><em>Which perfect Joy, perplexed for utterance,</em></p> +<p class='i25'><em>Stole from her sister Sorrow</em>."</p> +</div></div> + +<p>But the most singular proof that, I think, I have met with, concerning +the diversity of opinion touching the song of the nightingale, is to be +found in the following example. When Shelley (<em>Prometheus Unbound</em>) is +describing the luxurious pleasures of the Grove of Daphne, he mentions +(in some of the finest lines he has ever written) "the <em>voluptuous</em> +nightingales, sick with sweet love," to be among the great attractions +of the place: while Dean Milman (<em>Martyrs of Antioch</em>), in describing +the very same "dim, licentious Daphne," is particular in mention that +everything there</p> + +<div class='poem'> +<div class='stanza'> +<p class='i11'>"Ministers</p> +<p class='i2'><em>Voluptuous</em> to man's transgressions"</p> +</div></div> + +<p>(even including the "winds, and flowers, and waters"); everything, in +short,</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"<em>Save thou</em>, sweet <em>nightingale!</em>"</p> +</div></div> + +<p>The question is indeed a case of "fierce extremes," as we may see by the +following table of epithets, which are taken from the British poets +only:</p> + + +<ul><li> <em>Amorous.</em> Milton.</li> +<li> <em>Artless.</em> Drummond of Hawthornden.</li> +<li> <em>Attick</em> ("Attica aedon"). Gray.</li> +<li> <em>Beautiful.</em> Mackay.</li> +<li> <em>Charmer.</em> Michael Drayton, Philip Ayres.</li> +<li> <em>Charming.</em> Sir Roger L'Estrange.</li> +<li> <em>Cheerful.</em> Philip Ayres.</li> +<li> <em>Complaining.</em> Shakspeare.</li> +<li> <em>Conqueror.</em> Ford</li> +<li> <em>Dainty.</em> Carshaw, Giles Fletcher.</li> +<li> <em>Darkling.</em> Milton.</li> +<li> <em>Dear.</em> Ben Jonson, Drummond of Hawthornden.</li> +<li> <em>Deep.</em> Mrs. Hemans.</li> +<li> <em>Delicious.</em> Crashaw, Coleridge.</li> +<li> <em>Doleful.</em> Shakspeare.</li> +<li> <em>Dusk.</em> Barry Cornwall.</li> +<li> <em>Enchanting.</em> Mrs. T. Welsh.</li> +<li> <em>Enthusiast.</em> Crashaw.</li> +<li> <em>Evening.</em> Chaucer.</li> +<li> <em>Ever-varying.</em> Wordsworth.</li> +<li> <em>Fervent.</em> Mrs. Hemans.</li> +<li> <em>Fond.</em> Moore.</li> +<li> <em>Forlorn.</em> Shakspeare, Darwin, Hood.</li> +<li> <em>Full-hearted.</em> Author of <em>The Naiad</em> (1816).</li> +<li> <em>Full-throated.</em> Keats.</li> +<li> <em>Gentle.</em> <em>The Spanish Tragedy</em>, Dunbar (Laureate to James IV. Scot.), Mrs Charlotte Smith.</li> +<li> <em>Good.</em> Chaucer, Ben Jonson.</li> +<li> <em>Gushing.</em> Campbell.</li> +<li> <em>Hapless.</em> Milton.</li> +<li> <em>Happy.</em> Keats, Mackay.</li> +<li> <em>Harmless.</em> Crashaw, Browne.</li> +<li> <em>Harmonious.</em> Browne.</li> +<li> <em>Heavenly.</em><a id="footnotetag1" name="footnotetag1"></a><a href= + "#footnote1"><sup>1</sup></a> Chaucer, Dryden, Wordsworth.</li> +<li> <em>Holy.</em> Campbell.</li> +<li> <em>Hopeful.</em> Crashaw.</li> +<li> <em>Immortal.</em> Keats.</li> +<li> <em>Joyful.</em> Moore.</li> +<li> <em>Joyous.</em> Keble.</li> +<li> <em>Lamenting.</em> Shakspeare, Michael Drayton, Drummond of Hawthornden.</li> +<li> <em>Light-foot.</em> Crashaw.</li> +<li> <em>Light-winged.</em> Keats.</li> +<li> <em>Liquid.</em> Milton, Bishop Heber, Tennyson.</li> +<li> <em>Listening.</em> Crashaw, Thomson.</li> +<li> <em>Little.</em> James I. Scot., Philip Ayres, Crashaw.</li> +<li> <em>Lone.</em> Beattie, Mrs. Hemans, Miss London, Mrs. Fanny Kemble, Milman.</li> +<li> <em>Lonely.</em> Countess of Winchilsea (1715), Barry Cornwall.</li> +<li> <em>Loud.</em> Shelley.</li> +<li> <em>Loved.</em> Mason.</li> +<li> <em>Lovely.</em> Bloomfield.</li> +<li> <em>Love-lorn.</em> Milton, Scott, Collins.</li> +<li> <em>Lowly.</em> Mrs. Thompson.</li> +<li> <em>Lusty.</em><span class='pagenum'><a name="Page_399" id="Page_399">[Pg 399]</a></span> Chaucer.</li> +<li> <em>Melancholy.</em> Milton, Milman.</li> +<li> <em>Melodious.</em> Chris. Smart, Ld. Lyttelton, Southey.</li> +<li> <em>Merry.</em> <em>Red Book of Ossory</em>, fourteenth century (quoted in "N. & Q.," Vol. ii., No. 54.), Chaucer, Dunbar, Coleridge.</li> +<li> <em>Minstrel.</em> Mrs. Charlotte Smith.</li> +<li> <em>Modest.</em> Keble.</li> +<li> <em>Mournful.</em> Shakspeare, Theo. Lee, Pope, Lord Thurlow, Byron.</li> +<li> <em>Musical.</em> Milton.</li> +<li> <em>Music-panting.</em> Shelley.</li> +<li> <em>New-abashed.</em><a id="footnotetag2" name="footnotetag2"></a><a href= + "#footnote2"><sup>2</sup></a> Chaucer.</li> +<li> <em>Night-warbling.</em> Milton, Milman.</li> +<li> <em>Pale.</em> Author of <em>Raffaelle and Fornarina</em> (1826).</li> +<li> <em>Panting.</em> Crashaw.</li> +<li> <em>Passionate.</em> Lady E. S. Wortley.</li> +<li> <em>Pensive.</em> Mrs. Charlotte Smith.</li> +<li> <em>Piteous.</em> Ambrose Philips.</li> +<li> <em>Pity-pleading</em> (used ironically). Coleridge.</li> +<li> <em>Plaintive.</em> Lord Lyttelton, Thomson, Keats, Hood.</li> +<li> <em>Pleasant.</em> An old but unknown author, quoted in Todd's <em>Illustrations to Gower and Chaucer</em>, p. 291., ed. 1810.</li> +<li> <em>Poor.</em> Shakspeare, Ford.</li> +<li> <em>Rapt.</em> Hon. Julian Fane (1852).</li> +<li> <em>Ravished.</em> Lilly.</li> +<li> <em>Responsive.</em> Darwin.</li> +<li> <em>Restless.</em> T. Lovell Beddoes (in <em>The Bride's Tragedy</em>, 1822).</li> +<li> <em>Richly-toned.</em> Southey.</li> +<li> <em>Sad.</em> Milton, Giles Fletcher, Drummond of Hawthornden, Graves, Darwin, Collins, Beattie, Byron, Mrs. Hemans, Mrs Fanny Kemble, Hood, T. L. Beddoes.</li> +<li> <em>Shrill.</em> Chaucer, Crashaw.</li> +<li> <em>Silver-sounding.</em> Richard Barnfield.</li> +<li> <em>Single.</em><a id="footnotetag3" name="footnotetag3"></a><a href= + "#footnote3"><sup>3</sup></a> Southey.</li> +<li> <em>Skilled.</em> Ford.</li> +<li> <em>Sleepless.</em><a id="footnotetag4" name="footnotetag4"></a><a href= + "#footnote4"><sup>4</sup></a> Atherstone.</li> +<li> <em>Sober-suited.</em> Thomson.</li> +<li> <em>Soft.</em> Milton, James I. Scot., Crashaw, Mrs. Charlotte Smith, Byron.</li> +<li> <em>Solemn.</em> Milton, Otway, Graingle.</li> +<li> <em>Sole-sitting.</em> Thomson.</li> +<li> <em>Sorrowing.</em> Shakspeare.</li> +<li> <em>Soul-entrancing.</em> Bishop Heber.</li> +<li> <em>Supple.</em> Crashaw.</li> +<li> <em>Sweet.</em> Chaucer, James I. Scot., Milton, Spenser, Crashaw, Drummond, Richard Barnfield, Ambrose Philips, Shelley, Cowper, Thomson, Young, Darwin, Lord Lyttelton, Mrs. Charlotte Smith, Moore, Coleridge, Wordsworth, L. E. L., Milman, Hood, Tennyson, P. J. Bailey, Kenny, Hon. J. Fane.</li> +<li> <em>Sweetest.</em> Milton, Browne, Thomson, Turnbull, Beattie.</li> +<li> <em>Sweet-voiced.</em> Wither.</li> +<li> <em>Syren.</em> Crashaw.</li> +<li> <em>Tawny.</em> Cary.</li> +<li> <em>Tender.</em> Crashaw, Turnbull.</li> +<li> <em>Thrilling.</em> Hon. Mrs. Wrottesley (1847).</li> +<li> <em>Tuneful.</em> Dyer, Grainger.</li> +<li> <em>Unseen.</em> Byron.</li> +<li> <em>Vaunting.</em> Bloomfield.</li> +<li> <em>Voluptuous.</em> Shelley.</li> +<li> <em>Wakeful.</em> Milton, Coleridge.</li> +<li> <em>Wailing.</em> Miss Landon.</li> +<li> <em>Wandering.</em> Mrs. Charlotte Smith, Hon. Mrs. Wrottesley.</li> +<li> <em>Wanton.</em> Coleridge.</li> +<li> <em>Warbling.</em> Milton, Ford, Chris. Smart, Pope, Smollett, Lord Lyttelton, Jos. Warton, Gray, Cowper.</li> +<li> <em>Welcome.</em> Wordsworth.</li> +<li> <em>Wild.</em> Moore, Tennyson, J. Westwood (1840).</li> +<li> <em>Wise.</em> Waller.</li> +<li> <em>Wondrous</em>. Mrs. Fanny Kemble.</li> +</ul> + +<p>In addition to these 109 epithets, others might be added of a fuller +character; such as "Queen of all the quire" (Chaucer), "Night-music's +king" (Richard Barnfield, 1549), "Angel of the spring" (Ben Jonson), +"<em>Music's best seed-plot</em>" (Crashaw), "Best poet of the grove" +(Thomson), "Sweet poet of the woods" (Mrs. Charlotte Smith), "Dryad of +the trees" (Keats), "Sappho of the dell" (Hood); but the foregoing list +of simple adjectives (which doubtless could be greatly increased by a +more extended poetical reading) sufficiently demonstrates the popularity +of the nightingale as a poetical embellishment, and would, perhaps, tend +to prove that a greater diversity of epithets have been bestowed upon +the nightingale than have been given to any other song-bird.</p> + +<p class='author'>Cuthbert Bede, B.A.</p> + +<blockquote class="footnote"> + +<p><a id="footnote1" name="footnote1"></a><b>Footnote 1</b>:<a href="#footnotetag1">(return)</a></p> + +<p>The epithets "heavenly," "holy," "solemn," &c., represent +the nightingale's song, as spoken of by Keats, as the bird's "plaintive +<em>anthem</em>;" by Mackay, as its</p> + +<div class='poem'> + <div class='stanza'> +<p class='i2'>"<em>Hymn</em> of gratitude and love;"</p> +</div></div> + +<p>and by Moore also, in his account of the Vale of Cashmere, as +</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"The nightingale's <em>hymn</em> from the Isle of Chenars."</p> +</div></div> + +<p>In <em>A Proper New Boke of the Armony of Byrdes</em> (quoted by Dibdin, <em>Top. +Antiq.</em>, iv. 381.), of unknown date, though probably before 1580, the +nightingale is represented as singing its Te Deum:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i4'>"Tibi Cherubin</p> +<p class='i45'>Et Seraphin</p> +<p class='i2'>Full goodly she dyd chaunt,</p> +<p class='i45'>With notes merely</p> +<p class='i45'>Incessabile</p> +<p class='i2'>Voce Prœclamant."</p> +</div></div> +</blockquote> + +<blockquote class="footnote"> + <p><a id="footnote2" name="footnote2"></a><b>Footnote 2</b>:<a href= + "#footnotetag2">(return)</a></p> +<p>(<em>Troilus and Creseide</em>) imagines the nightingale +to "stint" at the beginning of its song, and to be frightened at the +least noise.</p></blockquote> + +<blockquote class="footnote"> + <p><a id="footnote3" name="footnote3"></a><b>Footnote 3</b>:<a href= + "#footnotetag3">(return)</a></p> + +<p>This, and the epithets of "sole-sitting" and "unseen," +refer to the nightingale's love of solitary seclusion.</p></blockquote> + +<blockquote class="footnote"> + <p><a id="footnote4" name="footnote4"></a><b>Footnote 4</b>:<a href= + "#footnotetag4">(return)</a></p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"He slep no more than doth the nightingale."</p> +<p class='i2'>Chaucer, <em>Cant. Pil.</em></p> +</div></div> +</blockquote> + +<hr /> + + +<h3><a id='On_a_Passage_in_Orosius' name='On_a_Passage_in_Orosius'> +ON A PASSAGE IN OROSIUS.</a></h3> + +<p>In King Alfred's version of Orosius, book ii. chap. iv. p. 68., +Barrington, we have an account of an unsuccessful attempt made by one of +Cyrus the Great's officers to swim across a river "mid twam tyncenum," +with two <em>tynkens</em>. What was a <em>tyncen</em>? That was the question nearly a +hundred years ago, when Barrington was working out his translation; and +the only answer to be found then was contained in the great dictionary +published by Lye and Manning, but is not found now in Dr. Bosworth's +second edition of his Dictionary: "Tynce, <em>a tench</em>."</p> + +<p>How the Persian nobleman was to be supported by two little fishes, which +were more likely to land their passenger at the bottom of the river than +on the opposite bank, we are left to guess. But, before we proceed with +the experiment, let us see that we have got the fishes. That tench was +in the Gyndis we have no authority for denying; but, if its Anglian or +Saxon name was such as the dictionary exhibits, we have no trace of it<span class='pagenum'><a name="Page_400" id="Page_400">[Pg 400]</a></span> +in the text of Alfred; for under no form of declension, acknowledged in +grammar, will <em>tynce</em> ever give <em>tyncenum</em>. We have no need, then, to +spend time in calculating the chance of success, when we have not the +means of making the experiment.</p> + +<p>As either <em>tync</em> or <em>tynce</em> would give <em>tyncum</em>, not <em>tyncenum</em>, the +latter must come out of <em>tyncen</em> (query, <em>tynkin</em> or <em>tunkin</em>, a little +tun, a barrel, or a cask?). Such was the form in which the question +presented itself to my mind, upon my first examination of the passage +three or four years ago, but which was given up without sufficient +investigation, owing to an impression that if such had been the meaning, +it was so simple and obvious that nobody could have missed it.</p> + +<p>An emergency, which I need not explain here, has within these few days +recalled my attention to the subject; and I have no reason to be +ashamed, or to make a secret, of the result.</p> + +<p><em>Tyncen</em>, the diminutive of <em>tunne</em>, is not only a genuine Anglo-Saxon +word, but the type of a class, of whose existence in that language no +Saxonist, I may say no Teutonist, not even the perspicacious and +indefatigable Jacob Grimm himself, seems to be aware. The word is +exactly analogous to Ger. <em lang='de'>tönnchen</em>, from <em lang='de'>tonne</em>, and proves three +things:—1. That our ancestors formed diminutives in <em>cen</em>, as well as +their neighbours in <em>ken</em>, <em>kin</em>, <em>chen</em>; 2. That the radical vowel was +modified: for <em>y</em> is the <em>umlaut</em> of <em>u</em>; 3. That these properties of +the dialect were known to Alfred the Great when he added this curious +statement to the narrative of Orosius.</p> + +<p class='author'>E. Thomson.</p> + +<hr /> + + +<h3><a id='Notes_on_several_Misunderstood_Words' +name='Notes_on_several_Misunderstood_Words'>NOTES ON SEVERAL MISUNDERSTOOD +WORDS.</a></h3> + +<p class='center'>(<em>Continued from</em> p. 376.)</p> + +<p><em>Imperseverant</em>, undiscerning. This word I have never met with but +twice,—in Shakspeare's <em>Cymbeline</em>, with the sense above given; and in +Bishop Andrewes' Sermon preached before Queen Elizabeth at Hampton +Court, <small>A.D.</small> 1594, in the sense of unenduring:</p> + +<blockquote><p>"For the Sodomites are an example of impenitent wilful sinners; and +Lot's wife of <em>imperseverant</em> and relapsing righteous +persons."—<em>Library of Ang.-Cath. Theology</em>, vol. ii. p. 62.</p></blockquote> + +<p><em>Perseverant</em>, discerning, and <em>persevers</em>, discerns, occur respectively +at pp. 43. and 92. of Hawes's <em>Pastime of Pleasure</em> (Percy Society's +edition). The noun substantive <em>perseverance</em>=discernment is as common a +word as any of the like length in the English language. To omit the +examples that might be cited out of Hawes's <em>Pastime of Pleasure</em>, I +will adduce a dozen other instances; and if those should not <em>be enough</em> +to justify my assertion, I will undertake to heap together two dozen +more. Mr. Dyce, in his <em>Critique of Knight and Collier's Shakspeare</em>, +rightly explains the meaning of the word in <em>Cymbeline</em>; and quotes an +example of <em>perseverance</em> from <em>The Widow</em>, to which the reader is +referred. Mr. Dyce had, however, previously corrupted a passage in his +edition of Rob. Greene's <em>Dramatic Works</em>, by substituting, +"perceivance" for <em>perseverance</em>, the word in the original quarto of the +<em>Pinner of Wakefield</em>, vol. ii. p. 184.:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Why this is wondrous being blind of sight,</p> +<p class='i25'>His deep <em>perseuerance</em> should be such to know us."</p> +</div></div> + +<p>I subjoin the promised dozen:</p> + +<blockquote><p>"For his dyet he was verie temperate, and a great enemie of excesse +and surfetting; and so carelesse of delicates, as though he had had +no <em>perseuerance</em> in the tast of meates," &c.—"The Life of +Ariosto," Sir John Harington's Translation of <em>Orlando Furioso</em>, p. +418.</p> + +<p>"In regarde whereof they are tyed vnto these duties: First by a +prudent, diligent, and faithfull care to obserue by what things the +state may be most benefited; and to haue <em>perseuerance</em> where such +marchandize that the state most vseth and desireth may be had with +greatest ease," &c.—<em>The Trauailer</em>, by Thomas Palmer: London, +1606.</p> + +<p>"There are certain kinds of frogs in Egypt, about the floud of +Nilus, that have this <em>percewerance</em>, that when by chance they +happen to come where a fish called Varus is, which is great a +murtherer and spoiler of frogs, they use to bear in their mouths +overthwart a long reed, which groweth about the banks of Nile; and +as this fish doth gape, thinking to feed upon the frog, the reed is +so long that by no means he can swallow the frog; and so they save +their lives."—"The Pilgrimage of Kings and Princes," chap. xliii. +p. 294. of Lloyd's <em>Marrow of History</em>, corrected and revised by R. +C., Master of Arts: London, 1653.</p> + +<p>"This fashion of countinge the monthe endured to the ccccl yere of +the citie, and was kepte secrete among the byshops of theyr +religion tyl the time that C. Flauius, P. Sulpitius Auarrio, and P. +Sempronius Sophuilongus, then beinge Consuls, against the mynde of +the Senatours disclosed all their solemne feates, published th<span class='overline'>e</span> +in a table that euery man might haue perseuera<span class='overline'>u</span>ce of them."—<em>An +Abridgemente of the Notable Worke of Polidore Vergile, &c.</em>, by +Thomas Langley, fol. xlii.</p> + +<p>"And some there be that thinke men toke occasion of God to make +ymages, whiche wylling to shewe to the grosse wyttes of men some +<em>perceiueraunce</em> of hymselfe, toke on him the shape of man, as +Abraham sawe him and Jacob also."—<em>Id.</em>, fol. lxi.</p></blockquote> + +<p>In this passage, as in others presently to be alleged, "notification" +seems to be the drift of the word.</p> + +<blockquote><p>"Of this vnreuerent religi<span class='overline'>o</span>, Mahomete, a noble ma<span class='overline'>n</span>e, borne in +Arabie, or, as some report, in Persie, was authour: and his father +was an heathen idolater, and his mother an Ismaelite; wherfore she +had more <em>perceuerance</em> of the Hebrues law."—<em>Id.</em>, fol. cxlii.</p> + +<p>"Where all feelyng and <em>perseuer<span class='overline'>a</span>ce</em> of euill is awaie, nothyng +there is euill or found a misse. As if a manne<span class='pagenum'><a name="Page_401" id="Page_401">[Pg 401]</a></span> be fallen into a +sound slepe, he feleth not the hardenesse or other incommoditie of +his cabon or couche."—"The Saiynges of Publius, No. 58.," <em>The +Precepts of Cato, &c., with Erasmus Annotations</em>: London, 1550.</p> + +<p>"Wherfore both Philip and Alexander (if y<sup>e</sup> dead haue anie +<em>perceuerance</em>) woulde not that the rootes (rooters) out of them +and theyre issue, but rather that the punnishers of those traitors, +should enioye the kingdom of Macedone."—"The XVI Booke of +Justine," fol. 86., Golding's Translation of the <em>Abridgement of +the Historyes of Trojus Pompeius</em>: London, 1578.</p> + +<p>"And morouer bycause his setting of vs here in this world is to +aduaunce vs aloft, that is, to witte to the heauenly life, whereof +he giueth vs some <em>perceyuerance</em> and feeling afore hande."—Io. +Calvin. "Sermon XLI., on the Tenth Chap. of Job," p. 209., +Golding's Translation: London, 1574.</p> + +<p>"And so farre are wee off from being able to atteine to such +knowledge through our owne power, that we flee it as much as is +possible, and blindfold our own eyes, to the intent we might put +away all <em>perceyuerance</em> and feeling of God's judgement from +vs."—<em>Id.</em>, "Sermon XLII.," p. 218.</p> + +<p>"For (as I haue touched already) God of his goodnesse doth not +vtterly barre vs from hauing any <em>perceyuerance</em> at all of his +wisdome: but it behoueth vs to keepe measure."—<em>Id.</em>, "Sermon +XLIII.," p. 219.</p></blockquote> + +<p>I shall not cite any more from Golding, but simply observe that the word +occurs again and again in his translations. The remaining three examples +exhibit the noun in a somewhat different sense, viz. "notification," or +"means of discerning:"</p> + +<blockquote><p>"The time most apt in all the yeare, and affoording greatest +<em>perseuerance</em> for the finding out of the heads of wells and +fountaines, are the moneths of August or September."—<em>The First +Booke of the Countrie Farme</em>, p. 8., by Stevens and Liebault, +translated by Svrflet, and edited by G. Markham: London, 1616.</p> + +<p>"He may also gather some <em>perceiuerance</em> by the other markes before +specified; that is to say, by the prints of his foote vpon the +grasse, by the carriages of his head, his dung, gate," &c.—<em>Id.</em>, +booke vii. p. 685.</p> + +<p> +"And this lyfe to men is an high <em>perseveraunce</em>,<br /> +Or a lyght of faythe wherby they shall be saved."<br /> +</p> + +<p>"God's Promises," by John Bale; Dodsley's <em>Old Plays</em> (Collier's +edition), vol. i. Part II. Act I.</p></blockquote> + +<p>By-the-bye, as a specimen of the value of this edition, take the +following passage of this very play:</p> + +<blockquote><p>"O perfyght keye of David, and hygh scepture of the kyndred of +Jacob; whych openest and no man <em>speareth</em>, that speakest and no +man openeth."—Act VII. p. 40.</p></blockquote> + +<p>On the word <em>speareth</em> the commentator treats his reader to a note; in +which he informs him that <em>speareth</em> means "asketh," and in proof of +this cites one passage from Chaucer, and two from Douglas's <em>Virgil</em>. It +might almost appear to be upbraiding the reader with stupidity to +mention that <em>speareth</em> signifieth "bolteth, shutteth;" and that +"speaketh" is a misprint for <em>speareth</em>. This verb was a favourite with +Bale. One word more closes my budget for the present.</p> + +<p><em>More</em>, a root. Still in use in Gloucestershire, once of frequent +occurrence. To the examples alleged by Richardson, in his <em>Dictionary</em>, +add the following:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"I se it by ensaunple</p> +<p class='i25'>In somer tyme on trowes;</p> +<p class='i25'>Ther some bowes ben leved,</p> +<p class='i25'>And some bereth none,</p> +<p class='i25'>There is a meschief in the <em>more</em></p> +<p class='i25'>Of swiche manere bowes."</p> +<p class='i1'><em>The Vision of Piers Ploughman</em>, edited by Thomas</p> +<p class='i3'>Wright, vol. ii. p. 300.</p> +</div></div> + +<p>At p. 302. you find the sentiment in Latin:</p> + +<blockquote><p lang='la'>"Sicut cum videris arborem pallidam et marcidam, intelligis +quod <em>vitium habet in radice</em>"—"a meschief in the <em>more</em>."</p></blockquote> + +<p>The Glossary of the editor is silent.</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"It is a ful trie tree, quod he,</p> +<p class='i25'>Trewely to telle;</p> +<p class='i25'>Mercy is the <em>more</em> therof,</p> +<p class='i25'>The myddul stok is ruthe;</p> +<p class='i25'>The leves ben lele wordes,</p> +<p class='i25'>The lawe of holy chirche;</p> +<p class='i25'>The blosmes beth buxom speche,</p> +<p class='i25'>And benigne lokynge;</p> +<p class='i25'>Pacience hatte the pure tree," &c.</p> +<p class='i11'><em>Id.</em>, vol. ii. p. 330.</p> +</div></div> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"It groweth in a gardyn, quod he,</p> +<p class='i25'>That God made hymselve,</p> +<p class='i25'>Amyddes mannes body,</p> +<p class='i25'>The <em>more</em> is of that stokke,</p> +<p class='i25'>Herte highte the herber,</p> +<p class='i25'>That it inne groweth."</p> +<p class='i11'><em>Id.</em>, vol. ii. p. 331.</p> +</div></div> + +<p>There should not be any comma, or other stop, at body, because the sense +is—"The root of that stock is amid man's body."</p> + +<p>Mr. Wright's Glossary refers to these last two instances as follows:</p> + +<blockquote><p>"<em>More</em> (A.-S.) 330, 331., the main or larger part, body (?)"</p></blockquote> + +<p>At p. 334. we meet with the word again:</p> + +<blockquote><p>"On o <em>more</em> thei growed."</p></blockquote> + +<p>And again, at p. 416.:</p> + +<blockquote><p>"And bite a-two the <em>mores</em>."</p></blockquote> + +<p>May I, in passing, venture to inquire of the editor on what authority he +explains <em>waselede</em> (p. 476.) to be "the pret. of <em>waselen</em> (A.-S.) to +become dirty, dirty oneself?"</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"This Troilus withouten rede or lore,</p> +<p class='i25'>As man that hath his joies eke forlore,</p> +<p class='i25'>Was waiting on his lady evermore,</p> +<p class='i25'>As she that was sothfast croppe and <em>more</em>,</p> +<p class='i25'>Of all his lust or joyes here tofore."</p> +<p class='i7'>Chaucer's <em>Troilus and Creseide</em>, b.v.</p> +</div></div> +<p><span class='pagenum'><a name="Page_402" id="Page_402">[Pg 402]</a></span></p> + +<p>Afterwards, in the same book, a few stanzas further on, he joins "crop" +and "root" together.</p> + +<blockquote><p>"Last of all, if these thinges auayle not the cure, I do commend +and allow above all the rest, that you take the iuyce of Celendine +rootes, making them cleane from the earth that doth vse to hang to +the <em>moores</em>."—<em>The Booke of Falconrie</em>, by George Turbervile, +1611, p. 236.</p> + +<p>"Chiefely, if the <em>moare</em> of vertue be not cropped, but dayly +rooted deepelyer."—<em>The Fyrste Booke of the Nobles or of +Nobilitye</em>, translated from Laurence Humfrey.</p></blockquote> + +<p>The next and last example from the "Second Booke" of this interesting +little volume I will quote more at large:</p> + +<blockquote><p>"Aristotle mencioneth in his Politikes an horrible othe vsed in +certaine states, consistinge of the regimente of fewe nobles, in +maner thus: I will hate the people, and to my power persecute them. +Which is the <em>croppe</em> and <em>more</em> of al sedition. Yet too much +practised in oure liues. But what cause is there why a noble man +should eyther despise the people? or hate them? or wrong them? +What? know they not, no tiranny maye bee trusty? Nor how yll +gard<span class='overline'>e</span> of c<span class='overline'>o</span>tinuance, feare is? Further, no more may nobilitie +misse the people, then in man's body, the heade, the hande. For of +trueth, the common people are the handes of the nobles, sith them +selues bee handlesse. They labour and sweate for them, with +tillinge, saylinge, running, toylinge: by sea, by l<span class='overline'>a</span>d, with +h<span class='overline'>a</span>ds, w<sup>t</sup> feete, serue them. So as w'oute theyr seruice, they +nor eate, nor drink, nor are clothed, no nor liue. We reade in y<sup>e</sup> +taleteller Esope, a doue was saued by the helpe of an ant. A lyon +escaped by the benefit of a mowse. We rede agayne, that euen ants +haue theyr choler. And not altogether quite, the egle angered the +bytle bee."</p></blockquote> + +<p>The reader will notice in this citation another instance of the verb +<em>miss</em>, to dispense with. I have now done for the present; but should +the collation of sundry passages, to illustrate the meaning of a word, +appear as agreeable to the laws of a sound philology, as conducive to +the integrity of our ancient writers, and as instructive to the public +as brainspun emendations, whether of a remote or modern date, which +now-a-days are pouring in like a flood—to corrupt long recognised +readings in our idolised poet Shakspeare, in order to make his +phraseology square with the language of the times and his readers' +capacities—I will not decline to continue endeavours such as the +present essay exhibits with a view to stem and roll back the tide.</p> + +<p class='author'>W. R. Arrowsmith.</p> + +<p class='location'>Broad Heath, Presteign, Herefordshire.</p> + +<hr /> + + +<h3><a id='A_Work_on_the_Macrocosm' name='A_Work_on_the_Macrocosm'>A WORK ON THE MACROCOSM.</a></h3> + +<p>I intended to have contributed a series of papers to "N. & Q." on the +brute creation, on plants and flowers, &c.; and in a Note on the latter +subject I promised to follow it up. However, as circumstances have +changed my intentions, I think it may be well to mention that I have in +hand a work on Macrocosm, or World of Nature around us, which shall be +published in three separate parts or volumes. The first shall be devoted +to the Brute Creation; the second shall be an Herbal, with a Calendar of +dedicated Flowers prefixed; the third shall contain Chapters on the +Mineral Kingdom: in the last I shall treat of the symbolism of stones, +and the superstitions respecting them. I purpose in each case, as far as +possible, to go to the fountain-head, and shall give copious extracts +from such writers as St. Ildefonso of Toledo, St. Isidore of Seville, +Vincent of Beauvais, St. Basil, Origen, Epiphanius, and the Christian +Fathers.</p> + +<p>As the work I have sketched out for myself will require time to mature, +I shall publish very shortly a small volume, containing a breviary of +the former, which will give some idea of the manner in which I shall +treat the proposed subject.</p> + +<p>Many correspondents of "N. & Q." have evinced great interest in the line +I intend to enter upon. (See Vol. i., pp. 173. 457.; Vol. iv., p. 175.; +Vol. vi., pp. 101. 272. 462. 518.) Their Queries have produced no +satisfactory result. I myself made a Query in my "Chapter on Flowers," +some months ago, respecting Catholic floral directories, and two works +in particular, about which I was most anxious, and which were quoted in +<em>The Catholic Florist</em>, London, 1851, and I have received no answer. Mr. +Oakley, indeed, wrote to me to say that he "only edited it, and wrote a +preface," and that he forwarded my Query "to the compiler:" the latter +personage, however, has not favoured me with a reply.</p> + +<p>In spite of all these discouragements, I have taken the step of bringing +my contemplated work before the readers of "N. & Q.," and I shall +gratefully acknowledge any communications relative to legends, +folk-lore, superstitions, symbolism, &c. bearing on the subjects +proposed. As I intend inserting a bibliographical list of the chief +works which come under the scope of each volume, I might receive much +valuable assistance on this point, especially as regards Oriental and +other foreign books, which might escape my researches. As regards the +brute creation, I have gotten, with the kind assistance of the editor of +"N. & Q.," Hildrop's famous reply to Father Bougeant; and I have sent to +Germany for Dr. Kraus's recent work on the subject.</p> + +<p class='author'>Eirionnach.</p> + +<hr /> + + +<h3><a id='Dr._Souths_Latin_Tract_against_Sherlock' name='Dr._Souths_Latin_Tract_against_Sherlock'> +DR. SOUTH'S LATIN TRACT AGAINST SHERLOCK.</a></h3> + +<p>None of South's compositions are more striking or characteristic than +his two English tracts against Sherlock, his <em>Animadversions on +Sherlock's</em><span class='pagenum'><a name="Page_403" id="Page_403">[Pg 403]</a></span> <em>Vindication of the Trinity</em>, 1693-94, 4to., and his +<em>Tritheism charged on Sherlock's new Notion of the Trinity</em>, 1694, 4to. +For caustic wit and tremendous power of vituperation, I scarcely know +any controversial works which surpass, or even equal them. South looked +upon Sherlock with profound scorn as a Sciolist, and hated him most +cordially as a heretic and a political renegade. He accordingly gives +him no quarter, and seems determined to draw blood at every stroke. Mrs. +Sherlock is of course not forgotten, and one of the happiest passages in +the <em>Tritheism charged</em> is the well-known humorous illustration of +Socrates and Xantippe, p. 129. It is somewhat curious that, +notwithstanding these two works of South have attracted so much notice, +it seems to be quite unknown that he also published a Latin tract +against Sherlock, in further continuation of the controversy, in which +the attack is carried on with equal severity. The title of the tract in +question is, <em lang='la'>Decreti Oxoniensis Vindicatio in Tribus ad +Modestum ejusdem examinatorem modestioribus Epistolis a Theologo +Transmarino</em>. Excusa Anno Domini 1696, 4to., pp. 92. The tract, of which +I have a copy, is anonymous, but it is ascribed to South in the +following passages in <em>The Agreement of the Unitarians with the Catholic +Church</em>, part i. 1697, 4to., which is included in vol. v. of the 4to. +<em>Unitarian Tracts</em>, and evidently written by one who had full +information on the subject. His expressions (p. 62.) are—"Dr. South, in +his Latin Letters, under the name of a Transmarine Divine;" and a little +further on, "Dr. South, in two (English) books by him written, and in +three Latin letters, excepts against this (Sherlock's) explication of +the Trinity." In confirmation of this ascription, I may observe that the +Latin tract is contained in an extensive collection of the tracts in the +Trinitarian Controversy formed by Dr. John Wallis, which I possess, and +in which he has written the names of the authors of the various +anonymous pieces. He took, as is well known, a leading part in the +controversy, and published himself an anonymous pamphlet (not noticed by +his biographers), also in defence of Oxford decrees. On the title-page +of the Latin tract he has written "By Dr. South." I have likewise +another copy in a volume which belonged to Stephen Nye, one of the +ablest writers in the controversy, and who ascribes it in the list of +contents in the fly-leaf, in his handwriting, to Dr. South. These +grounds would appear to be sufficient to authorise our including this +tract in the list of South's works, though, from the internal evidence +of the tract itself alone, I should scarcely have felt justified in +ascribing it to him.</p> + +<p class='author'>Jas. Crossley.</p> + +<hr /> + + +<h3><a id='Shakspeare_Correspondence' name='Shakspeare_Correspondence'> +SHAKSPEARE CORRESPONDENCE.</a></h3> + +<p><em>Parallel Passages.</em>—</p> + +<div class='poem'> +<div class='stanza'> +<p class='i11'>"You leaden messengers,</p> +<p class='i2'>That ride upon the violent wings of fire,</p> +<p class='i2'>Fly with false aim; <em>move</em> the <em>still-piecing</em> air,</p> +<p class='i2'>That sings with piercing,—do not touch my lord!"</p> +<p class='i6'><em>All's Well that Ends Well</em>, Act III. Sc. 2.</p> +</div></div> + +<div class='poem'> +<div class='stanza'> +<p class='i14'>"the elements,</p> +<p class='i2'>Of whom your swords are tempered, may as well</p> +<p class='i2'><em>Wound</em> the loud winds, or with bemock'd at stabs</p> +<p class='i2'>Kill the <em>still-closing</em> waters, as diminish</p> +<p class='i2'>One dowle that's in my plume."</p> +<p class='i11'><em>The Tempest</em>, Act III. Sc. 3.</p> +</div></div> + +<p>There can be little doubt that the clever corrector of <span class="smcap">Mr. Collier's</span> +folio had the last of these passages in view when he altered the word +<em>move</em> of the first, into <em>wound</em> of the second: but in this instance he +overshot the mark, in not perceiving the nice and subtle distinction +which exists between them. The first implies possibility: the second +impossibility.</p> + +<p>In the second, the mention of, to "wound the loud wind, or kill the +still-closing water," is to set forth the absurdness of the attempt; but +in the first passage there is a direct injunction to a possible act: +"Fly with false aim, move the still-piecing air." To say "<em>wound</em> the +still-piecing air" would be to direct to be done, in one passage, that +which the other passage declares to be absurd to expect!</p> + +<p>If it were necessary to disturb <em>move</em> at all, the word <em>cleave</em> would +be, all to nothing, a better substitution than <em>wound</em>.</p> + +<p>Whether the annotating of <span class="smcap">Mr. Collier's</span> folio be a real or a +pseudo-antique, it is impossible to deny that its executor must have +been a clever, as he was certainly <em>a slashing</em> hitter. It cannot, +therefore, be wondered that he should sometimes reach the mark: but that +these corrections should be received with that blind and superstitious +faith, so strangely exacted for them, can scarcely be expected. Indeed, +it is to be regretted that they have been introduced to the public with +such an uncompromising claim to authority; as the natural repugnance +against <em>enforced</em> opinion may endanger the success of the few +suggestive emendations, to be found amongst them, which are really new +and valuable.</p> + +<p class='author'>A. E. B.</p> + +<p class='location'>Leeds.</p> + +<p>P.S.—With reference to the above Note, which, although not before +printed, has been for some time in the Editor's hands, I have observed +in a Dublin paper of Saturday, April 9th, a very singular coincidence; +viz. the recurrence of the self-same misprint corrected by Malone, but +retained by Messrs. Collier and Knight in their respective editions of +Shakspeare. Had the parallel expressions <em>still-closing</em>, +<em>still-piecing</em>, which I have compared in the above paper, been noticed +by these<span class='pagenum'><a name="Page_404" id="Page_404">[Pg 404]</a></span> +editors, they would no more have hesitated in accepting +Malone's correction than they would object to the same correction in the +misprint I am about to point out; viz.</p> + +<blockquote><p>"Two planks were pointed out by the witnesses, viz. one with a knot +in it, and another which was piered with strips of wood," +&c.—<em>Saunders's Newsletter</em>, April 9th, 3rd page, 1st col.</p></blockquote> + +<p><em>The Passage in "King Henry VIII.," Act III. Sc. 2.</em> (Vol. vii., pp. 5. +111. 183.).—Is an old Shakspearian to talk rashly in "N. & Q." without +being called to account? "If 'we can,'" says <span class="smcap">Mr. Singer</span>, "'by no means +part with <em>have</em>,' we must interpolate <em>been</em> after it, to make it any +way intelligible, to the marring of the verse." Now, besides the passage +in the same scene—</p> + +<div class='poem'> +<div class='stanza'> +<p class='i11'>——"my loyalty,</p> +<p class='i2'>Which ever has, and ever shall be growing,"</p> +</div></div> + +<p>pointed out by your Leeds correspondent, there is another equally in +point in <em>All's Well that Ends Well</em>, Act II. Sc. 5., which, being in +prose, settles the question as to whether the omission of the past +participle after the auxiliary was customary in Shakspeare's time. It is +Lafeu's farewell to Parolles:</p> + +<blockquote><p>"Farewell, Monsieur: I have spoken better of you, than you have or +will deserve at my hand; but we must do good against evil."</p></blockquote> + +<p>Either this is "unintelligible," and "we must interpolate" <em>deserved</em>, +or (the only possible alternative) all three passages are free from <span class="smcap">Mr. +Singer's</span> objection.</p> + +<p class='author'>C. Mansfield Ingleby.</p> + +<p class='location'>Birmingham.</p> + + +<p><em>On a Passage in "Macbeth."</em>—Macbeth (Act I. Sc. 7.) says:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i12'>"I have no spur</p> +<p class='i2'>To prick the sides of my intent, but only</p> +<p class='i2'>Vaulting ambition, which o'erleaps itself,</p> +<p class='i2'>And falls on the other."</p> +</div></div> + +<p>Should not the third line be—</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Vaulting ambition, which o'erleaps <em>its sell</em>!"</p> +</div></div> + +<p><em>Sell</em> is saddle (Latin, <em lang='la'>sella</em>; French, <em lang='fr'>selle</em>), and +is used by Spenser in this sense.</p> + +<p>"O'erleaping <em>itself</em>" is manifest nonsense; whereas the whole passage +has evident reference to horsemanship; and to "vault" is "to carry one's +body cleverly over anything of a considerable height, resting one hand +upon the thing itself,"—exactly the manner in which some persons mount +a horse, resting one hand on the pommel of the saddle.</p> + +<p>It would then be perfectly intelligible, thus—</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Vaulting ambition, which o'erleaps its saddle (sell),</p> +<p class='i25'>And falls on the other (side of the horse)."</p> +</div></div> + +<p>Does <span class="smcap">Mr. Collier's</span> "New Text," or any other old copy, prove this?</p> + +<p class='author'>S. Singleton.</p> + +<p class='location'>Greenwich.</p> + +<hr /> + + +<h3><a id='Minor_Notes' name='Minor_Notes'>Minor Notes.</a></h3> + + +<p><em>Robert Weston.</em>—I copy the following from a letter of R. L. Kingston +to Dr. Ducarel in Nichols's <em>Literary History</em>, vol. iii. p. 629.:</p> + +<blockquote><p>"Robert Weston was Lord of Manor of Kilmington in Devon, and +divided his estate among four daughters, reserving to the eldest +son the royalties of his courts. In his will or deed of settlement +is this clause:—'That the Abbot of Newnhams, near Axminster, had +nothing to do in the highway any further than to his land of +Studhays, and that he should stand without the court gate of his +land of Studhays, and take his right ear in his left hand, and put +his right arm next to his body under his left across, and so cast +his reap-hook from him; and so far he shall come.'"</p></blockquote> + +<p class='author'>Balliolensis.</p> + + +<p><em>Sonnet on the Rev. Joseph Blanco White.</em>—Some years ago, I copied the +following sonnet from a newspaper. Can you say where it first made its +appearance? After the annexed testimony of Coleridge, it is needless to +say anything in its praise.</p> + +<div class='poem'> +<div class='stanza'> +<p class='i1'>"SONNET ON THE REV. JOSEPH BLANCO WHITE.<br /><br /></p> + +<p class='i2'>Mysterious Night! When our first parent knew</p> +<p class='i3'>Thee from report divine, and heard thy name,</p> +<p class='i3'>Did he not tremble for this lovely frame,</p> +<p class='i2'>This glorious canopy of light and blue?</p> +<p class='i2'>Yet 'neath a curtain of translucent dew,</p> +<p class='i3'>Bathed in the rays of the great setting flame,</p> +<p class='i3'>Hesperus, with the host of heaven, came,</p> +<p class='i2'>And lo! Creation widen'd in man's view.</p> +</div> +<div class='stanza'> +<p class='i2'>Who could have thought such darkness lay conceal'd</p> +<p class='i3'>Within thy beams, O Sun! Or who could find,</p> +<p class='i2'>Whilst fly, and leaf, and insect, stood reveal'd,</p> +<p class='i3'>That to such countless orbs thou mad'st us blind?</p> +<p class='i2'>Why do we then shun death with anxious strife?</p> +<p class='i2'>If light can thus deceive—wherefore not life?"</p> +</div></div> + +<p>Coleridge is said to have pronounced this "The finest and most grandly +conceived in our language; at least, it is only in Milton's and in +Wordsworth's sonnets that I recollect any rival."</p> + +<p class='author'>Balliolensis.</p> + + +<p><em>English and American Booksellers.</em>—It is rather curious to note, that +whilst English booksellers are emulously vying with one another to +publish editions of <em>Uncle Toms</em>, <em>Queechys</em>, <em>Wide Wide Worlds</em>, &c., +they neglect to issue English works which the superior shrewdness of +Uncle Sam deems worthy of reprinting. Southey's <em>Chronicle of the Cid</em>, +which was published by Longman in 1808, and not since printed in +England, was brought out in a very handsome octavo form at Lowell, U. +S., in 1846. And this, the "first American edition," as it is called on +the title-page, can be readily procured from the booksellers in London; +whereas the English original is not to be met with. In like manner, +Macaulay's <em>Essays</em> were collected and published first in America; and +so with Praed's <em>Poems</em>, and many others.<span class='pagenum'><a name="Page_405" id="Page_405">[Pg 405]</a></span> Uncle Sam has lately +announced collections of Dr. Maginn's and De Quincey's scattered Essays, +for which we owe him our most grateful acknowledgments.</p> + +<p class='author'>J. M. B.</p> + +<p class='location'>Tunbridge Wells.</p> + + +<p><em>Odd Mistake.</em>—</p> + +<blockquote><p>"One of the houses on Mount Ephraim formerly belonged to <em>Judge +Jeffries</em>, a man who has rendered his name infamous in the annals +of history <em>by the cruelty and injustice he manifested in presiding +at the trial of King Charles I.</em>"—<em>Descriptive Sketches of +Tunbridge Wells</em>, by John Britton, F.S.A., p. 59.</p></blockquote> + +<p lang='fr'>Voilà comment on fait l'histoire!</p> + +<p class='author'>J. M. B.</p> + +<p class='location'>Tunbridge Wells.</p> + + +<p><em>Thomas Shakspeare.</em>—In the year 1597 there resided in Lutterworth in +Leicestershire, only distant from Stratford-upon-Avon, the birth-town of +Shakspeare, a very few miles, one <em>Thomas Shakspeare</em>, who appears to +have been employed by William Glover, of Hillendon in Northamptonshire, +gentleman, as his agent to receive for him and give an acquittance for a +considerable sum of money.</p> + +<p>Having regard to the age in which this Thomas Shakspeare lived, coupled +with his place of residence, is it not probable he was a relative of the +great Bard?</p> + +<p class='author'>Charlecote.</p> + + +<p><em>Early Winters.</em>—I heard it mentioned, when in St. Petersburg very +lately, that they have never had so early a commencement of winter as +this last year since the French were at Moscow.</p> + +<p>I find in accounts of the war, that the winter <em>commenced</em> then (1812) +on November 7, <small>N. S.</small>, with deep snow. Last year (1852) it commenced at +St. Petersburg on October 16, <small>N. S.</small>, as noted in my diary, with snow, +which has remained on the ground ever since, accompanied at times with +<em>very</em> severe frost.</p> + +<p>Query: Can November 7, <small>N. S.</small>, be the correct date? If it is, this last +winter's commencement must be unprecedented; as I have always heard it +remarked, that the winter began unusually early the year the French were +at Moscow.</p> + +<p>I may mention as a note, that by the last accounts from Russia, they say +the ice in the Gulf of Finland was four and a half feet thick.</p> + +<p class='author'>J. S. A.</p> + +<p class='location'>Old Broad Street.</p> + +<hr class='full' /> + + +<h2><a id='Queries' name='Queries'>Queries.</a></h2> + + +<h3>SATIRICAL PLAYING CARDS.</h3> + +<p>I have lately been much interested in a pack of cards, complete +(fifty-two) in their number and suits, engraved in the time of the +Commonwealth at the Hague, and representing the chief personages and the +principal events of that period. I have been able, by reference to +historical authorities, and, in particular, to the Ballads and +Broadsides in the British Museum, forming the collection presented to +the nation by George III., to explain the whole pack, with the exception +of two. These are "Parry, Father and Sonne," and "Simonias slandering +the High Priest, to get his Place." The former simply represents two +figures, without any thing to offer a clue to any event; the latter +gives the representation of six Puritans, forming an assembly, who are +being addressed by one of the body. I cannot find any notice of +Simonias, or to whom such a name has been applied, in any of the +Commonwealth tracts with which I am acquainted. Probably some of your +readers can help me in this matter. Of these cards I can find no notice: +they are not mentioned by Singer, and appear to have escaped the +indefatigable research of Mr. Chatto. They were purchased at the Hague, +more than thirty years since, for thirty-three guineas, and are +exceedingly curious: indeed they form a bundle of Commonwealth tracts. +All the principal persons of the time figure in some characteristic +representation, and the private scandal is also recognised in them. +Thus, Oliver is to be found under a strong conflict with Lady Lambert; +Sir Harry Mildmay solicits a citizen's wife, for which his own corrects +him; and he is also being beaten by a footboy,—which event is alluded +to in Butler's <em>Posthumous Works</em>. General Lambert, of whom your pages +have given some interesting information, is represented as "The Knight +of the Golden Tulip," evidently in reference to his withdrawal with a +pension to Holland, where he is known to have ardently cultivated +flowers, and to have drawn them in a very superior manner. I hope this +communication may enable me to complete my account of these cards, the +explanation of which may probably throw light upon some of the stirring +events of that extraordinary period of our history.</p> + +<p class='author'>T. J. Pettigrew.</p> + +<p class='location'>Saville Row.</p> + +<hr /> + + +<h3><a id='Movable_Metal_Types_anno_1435' name='Movable_Metal_Types_anno_1435'> +MOVABLE METAL TYPES ANNO 1435.</a></h3> + +<p>A vellum MS. has lately come into my possession, containing the Service +for the Dead, Prayers, &c., with the tones for chanting, &c., in Latin, +written for a German Order, apparently about the year 1430.</p> + +<p>This tome, which is in small 4to., is very remarkable and valuable on +account of the binding. This is red leather, stamped with double lines +forming lozenges, and powdered with additional stamps, Or, a lion, a +fleur-de-lys, an eagle, and a star. The whole is on the plain leather, +without any gilding.</p> + +<p>But in addition hereto, a full inscription runs along each back, at top +and bottom and each side, stamped with <em>movable metal types</em> applied by +hand,<span class='pagenum'><a name="Page_406" id="Page_406">[Pg 406]</a></span> without gold, as is done by the bookbinder to this day in blind +stamping.</p> + +<p>The legend on the first back is as follows:</p> + +<ul> + <li><em>At top.</em>—"<span class='small' lang='de'>DIEZ . PUCHLE<span class='overline'>I</span></span></li> + <li><em>Continued to the right.</em>—<span class='small' lang='de'>IST . S. . MARGRETEN .</span></li> + <li><em>At the bottom.</em>—<span class='small' lang='de'>SCHUEST . AB<span class='overline'>T</span> . ZU .</span></li> + <li><em>Continued to the left.</em>—<span class='small' lang='de'>S. . KATHERE<span class='overline'>I</span> . ZU . MUR .</span>"</li> +</ul> + +<p>That is,—</p> + +<blockquote><p lang='de'>"Diez puchlein ist schwester Margreten, sehuest abtisse zu +Sankt Katherein zu Mur."</p></blockquote> + +<p>The legend on the last back is,—</p> + +<ul> + <li><em>At top.</em>—"<span class='small' lang='de'>NACH . CRIST .</span></li> + <li><em>Continued to the right.</em>—<span class='small' lang='de'>GEPURT . MCCCCXXXV .</span></li> + <li><em>At bottom.</em>—<span class='small' lang='de'>UVART . GEPUN</span></li> + <li><em>Continued to the left.</em>—<span class='small' lang='de'>D<span class='overline'>E</span> . DIEZ . PUCH ... K."</span></li> +</ul> + +<p>That is,—</p> + +<blockquote> +<p lang='de'>"Nach Crist gepurt <small>MCCCCXXXV</small> uvart gepunden diez puch ... k." +</p></blockquote> + +<p>The whole inscription will therefore be, in English,—</p> + +<ul> + <li>THIS BOOKLET</li> + <li>IS SISTER MARGARET'S,</li> + <li>SISTER-ABBESS AT</li> + <li>SAINT CATHERINE'S AT MUR.</li> +</ul> + +<ul> + <li>AFTER CHRIST'S</li> + <li>BIRTH, 1435,</li> + <li>WAS BOUN-</li> + <li>DEN THIS BOOK ... K.</li> +</ul> + +<p>A letter or two is illegible, from the injury made by the clasp, before +the last <small>K</small>. Both the clasps are torn away, perhaps from their having +been of some precious metal. Has this <small>K</small> anything to do with Köster?</p> + +<p>Can any particulars be given of the abbess, monastery, and town +mentioned?</p> + +<p>Is any other specimen of movable <em>metal</em> types known of so early a date?</p> + +<p class='author'>George Stephens.</p> + +<p class='location'>Copenhagen.</p> + +<hr /> + + +<h3><a id='Portraits_at_Brickwall_House' name='Portraits_at_Brickwall_House'> +PORTRAITS AT BRICKWALL HOUSE.</a></h3> + +<p>Among the pictures at Brickwall House, Northiam, Sussex, are the +following portraits by artists whose names are not mentioned either in +Bryan, or Pilkington, or Horace Walpole's notices of painters. I shall +be thankful for any information respecting them.</p> + +<blockquote><p>1. A full-length portrait in oils (small size) on canvas (29 inches by +24) of a gentleman seated, dressed in a handsome loose gown, red +slippers, and on his head a handsome, but very peculiar velvet cap; on +the ground, near him, a squirrel; and on a table by his side, a ground +plan of some fortification. "John Sommer <em>pinxit</em>, 1700."</p></blockquote> + +<p>N. B.—The late Capt. Marryatt, and subsequently another gentleman, +guessed it to be a portrait of Wortley Montague from the peculiar dress; +but the fortification would seem to indicate a military personage. The +picture is well painted.</p> + +<blockquote><p>2. A half-length portrait in oils (small size) on canvas (20-1/2 inches +by 17), of an old lady seated; a landscape in the background. A highly +finished and excellent picture; the lace in her cap is most elaborate. +"T. Vander Wilt, 1701."</p></blockquote> + +<p>N. B.—I conclude this is the artist's name, though possibly it may be +the subject's.</p> + +<blockquote><p>3. A pair of portraits (Kit Kat size), of John Knight of Slapton, +Northamptonshire, aged seventy-two; and Catherine his wife, aged +thirty-seven. "Lucas Whittonus <em>pinxit</em>, 1736."</p></blockquote> + +<p>N. B.—Inferior portraits by some provincial artist. I conclude Lucas is +the surname, and Whittonus indicates his locality; if so, what place?</p> + +<p>Whilst on this subject, I would add another Query respecting a picture +in this house: a very highly finished portrait (small size) by Terburgh, +of a gentleman standing, in black gown, long brown wig, and a book on a +table by him. "Andries de Græff. Obiit lxxiii., <small>MDCLXXIIII.</small>"</p> + +<p>Can you tell me anything about this old gentleman?</p> + +<p class='author'>T. F.</p> + +<hr /> + + +<h3><a id='Minor_Queries' name='Minor_Queries'>Minor Queries.</a></h3> + + +<p><em>Christian Names.</em>—Can any of your correspondents inform me when it +became a common practice to have more than one Christian name? Lord Coke +says (<em>Co. Litt. 3 a</em>):</p> + +<blockquote><p>"And regularly it is requisite that the purchaser be named by the +name of baptism and his surname, and that special heed be taken to +the name of baptism; <em>for that a man cannot have two names of +baptism as he may have divers surnames.</em>"</p></blockquote> + +<p>And further on he says:</p> + +<blockquote><p>"If a man be baptized by the name of Thomas, and after, at his +confirmation by the bishop, he is named John, he may purchase by +the name of his confirmation.... And this doth agree with our +ancient books, where it is holden that a man may have divers names +at divers times, <em>but not divers Christian names</em>."</p></blockquote> + +<p>It appears, then, that during the first half of the seventeenth century +a man could not have two Christian names.</p> + +<p>Also, at what period did the custom arise of using as Christian names +words which are properly surnames?</p> + +<p class='author'>Ericas.</p> + + +<p><em>Lake of Geneva.</em>—The chronicler Marius (in the second volume of <em lang='fr'>Dom +Bouquet</em>) mentions that, in the reign of the sons of Clotaire, an +earthquake or landslip, in the valley of the Upper Rhone, enlarged the +Lemannus, or Genevese Lake, by thirty miles of length and twenty of +breadth, destroying towns and villages. Montfaucon, in his <em lang='fr'>Monumens de +la Monarchie</em>,<span class='pagenum'><a name="Page_407" id="Page_407">[Pg 407]</a></span> i. p. 63., states that the Lake of Geneva was formed on +this occasion: absurdly, unless he means that upon this occasion its +limits were extended to Geneva, having previously terminated further +east. What vestiges of this catastrophe are now perceptible?</p> + +<p class='author'>A. N.</p> + + +<p><em>Clerical Portrait.</em>—May I request the assistance of "N. & Q." in +discovering the name of a reverend person whose portrait I have recently +met with in my parish? The individual from whom I procured it could give +me no other history of it, but that he had bought it at the sale of the +effects of a respectable pawnbroker in the village many years ago.</p> + +<p>Afterwards I learned from another resident in the parish that he well +remembered visiting the shop of the same broker, in company with another +gentleman still living, when this identical portrait was the subject of +conversation, and the broker went into his private room and brought out +a book, conceived to be a magazine, from which he read a description of +the person of whom this was the portrait, to the following effect, viz., +"That he was born of obscure parentage in the parish of Glemham, +Suffolk; that he was sent to school, and afterwards became a great man +and a dignitary of the church, if not a bishop; and became so wealthy +that he gave a large sum for the repairs of Norwich Cathedral."</p> + +<p>These are the only particulars which I have yet ascertained as to the +portrait, for neither of the gentlemen who were present at this +transaction with the broker, though they agree in the circumstances +which I have above narrated, can remember <em>the name</em> of my great +unknown.</p> + +<p>I look, however, with confidence to the wide range of your +correspondents, and hope to receive some clue which may guide me to the +wished-for discovery.</p> + +<p>The portrait is an oil painting, a fine full florid face, with a long +wig of black curly hair resting on the shoulders, gown and band, date +probably from Queen Anne to George II.</p> + +<p class='author'>J. T. A.</p> + + +<p><em>Arms: Battle-axe.</em>—With some quarterings of Welsh arms in Bisham +(Marlow) of Hobey, is one of three battle-axes. The same appear near +Denbigh, supposed taken in with a L. R. from Vaughan. Query, What family +or families bore three battle-axes?</p> + +<p class='author'>A. C.</p> + + +<p><em>Bullinger's Sermons.</em>—Will some of your correspondents kindly give me +some information regarding a volume of sermons by Henry Bullinger, which +I have reason to believe is of rather rare occurrence? It is +<em lang='la'>Festorum dierum Domini et Servatoris nostri Jesu Christi +Sermones Ecclesiastici:</em> <em lang='it'>Heinrycho Bullingero, Authore.</em> There is a +vignette, short preface (on title-page), with a Scripture motto, Matt. +xvii. Date is, <span lang='la'>"Tiguri apud Christoph. Froschoverum a.</span> <small>MDLVIII</small>." +I believe there is a copy in the University Library, Cambridge.</p> + +<p class='author'>Enivri.</p> + +<p class='location'>Monkstown, Dublin.</p> + + +<p><em>Gibbon's Library.</em>—Matthews, in his <em>Diary of an Invalid</em>, says, when +visiting Gibbon's house at Lausanne, "His library still remains; but it +is buried and lost to the world. It is the property of Mr. Beckford, and +lies locked up in an uninhabited house at Lausanne" (1st edit. 1820, p. +319.). This was written about 1817. Was the library ever transferred to +Fonthill or to Bath, or does it still remain at Lausanne?</p> + +<p class='author'>J. H. M.</p> + + +<p><em>Dr. Timothy Bright.</em>—Can any of your correspondents inform me whether +this gentleman, author of a <em>Treatise on Melancholy</em>, an edition of +Fox's <em>Martyrs</em>, &c., was an ancestor of the Rev. Henry Bright, prebend +of Worcester Cathedral, and instructor of Samuel Butler, author of +<em>Hudibras</em>?</p> + +<p class='author'>H. A. B.</p> + + +<p><em>Townley MSS.</em>—I request to know, where are the Townley MSS.? +<a id="ednotetagA" name="ednotetagA"></a><a href= + "#ednoteA"><sup>A</sup></a> They +are quoted by Nicolas in the Scope and Grosvenor Rolls? Also, where are +the MSS. often referred to in the <em>History of the House of Yvery</em> as +then penes the Earl of Egmont; and also a folio of Pedigrees by Camden +Russet?</p> + +<p class='author'>H. T. Ellacombe.</p> + +<p class='ednote'><a id="ednoteA" name="ednoteA"></a><sup>A</sup> +[For a notice of the Townley MSS., see "N. & Q.," Vol. iv., p. 103.]<a href="#ednotetagA">(return)</a></p> + +<p><em>Order of St. John of Jerusalem.</em>—1. Who were the members of the +British Language of St. John of Jerusalem, when Elizabeth took away +their property?</p> + +<p>2. What members of the British Language were present when, in 1546, the +English commander Upton attacked and defeated the famous Corsair Dragut +at Tarschien in Malta? Also, what members of it were present when the +Chevalier Repton, Grand Prior of England in 1551, was killed, after +signally defeating the Turks in another attack which they made on the +island?</p> + +<p>3. What became of the records of the Language?</p> + +<p>N.B.—Some of them, belonging to the Irish branch of it, were lately +bought of a Jew by a private gentleman in the Grand Duchy of Baden. They +are supposed to have been deposited for security at Heidersheim near +Fribourg, which was the chief seat of the German Language of the Order.</p> + +<p class='author'>R. L. P.</p> + +<p class='location'>Wartensee, Lake of Constance.</p> + + +<p><em>Consecrated Roses, Swords, &c.</em>—Where will any account be found of the +origin of the custom, which has long prevailed at Rome, of the Pope's +blessing, on the eve at certain festivals, roses and<span class='pagenum'><a name="Page_408" id="Page_408">[Pg 408]</a></span> other articles, +and which were afterwards frequently presented to sovereigns and +potentates as tokens of friendship and amity?</p> + +<p class='author'>G.</p> + + +<p><em>West, Kipling, and Millbourne.</em>—In 1752 there was a firm of West and +Kipling in Holborn: the Christian name of West was Thomas; and there is +reason to believe that he had two sons, Francis and Thomas. A George +Millbourne, Esq., of Spring Gardens, married a cousin of Thomas West, +the partner of Kipling: these facts are referred to in the will of a +lady proved <small>A.D.</small> 1764. Can any reader of "N. & Q." furnish me with +materials or references from which I may gather information of these +families of West and Millbourne? The smallest contribution will be +thankfully received by</p> + +<p class='author'>F. S.</p> + + +<p><em>Font Inscriptions.</em>—I would request the favour of any such of ancient +date. A collection of them would be interesting. I can give three.</p> + +<p>At Lullington, Somerset, on a Norman font, in characters of that date:</p> + +<blockquote><p lang='la'>"In hoc Fontu sacro pereunt delicta lavacro."</p></blockquote> + +<p>At Bourn, Lincoln:</p> + +<blockquote><p lang='la'>"Su<span class='overline'>p</span> o<span class='overline'>m</span>e no<span class='overline'>m</span> <ins class='transcribernote' title="Gothic typeface">I H C</ins> est no<span class='overline'>m</span> q<span class='overline'>d</span>e."</p></blockquote> + +<p>At Melton Mowbray:</p> + +<blockquote><p lang='it'>"Sancta Trinitas misere nobis."</p></blockquote> + +<p class='author'>H. T. Ellacombe.</p> + + +<p><em>Welsh Genealogical Queries</em>.—Can <span class="smcap">John ap William ap John</span> (Vol. vii., +p. 292.), or some other reader, enlighten me as to who the following +personages were, or where a pedigree of them is to be found:</p> + + +<ul><li> 1. Gwladys, da. of Ithel ap Rhys ap Morgan, of Ewias ap Morgan Hîr ap Testyn ap Gwrgant, of 4th royal tribe, who ma. Madog ap Griffith.—Burke's <em>Landed Gentry</em>, "Hughes of Gwerclas."</li> +<li> 2. Beatrix, da. of Eignion ap David ap Myles ap Griffith ap Owen, lord of Bromfield; and Honet ap Jago ap Ydwall, prince of Wales, who ma. William Belward, baron of Malpas.</li> +<li> 3. Gwernwy, cousin of Bleddyn ap Cynfyn, called prince of the 14th royal tribe, whose grand-da. Hunydd ma. Meredith ap Bleddyn.—<em>V. Burke</em>, as above.</li> +<li> 4. Gwentlian, wife of the above Gwernwy, da. of Rhys ap Morgan.</li> +<li> 5. Griffin, son of Wenovewyn, whose da. ma. Fulke Fitzwarine, a baron, 1295—1314.—<em>V.</em> Burke's <em>Extinct Peerage</em>.</li> +<li> 6. Gladys, da. of Rygwallon, prince of Wales, said by Sir Wm. Segar to be wife of Walter FitzOther, ancestor of Lords Windsor; and what authority is there for this match?—<em>V. Collins</em>, &c.</li> +</ul> + +<p>As these Queries are not of general interest, I inclose a stamped +envelope for the answers.</p> + +<p class='author'>E. H. Y.</p> + + +<p><em>The Butler and his Man William.</em>—These mythological personages, the +grotesque creation of Mr. Grosvenor Bedford's fertile imagination, are +frequently referred to and dilated on in the letters addressed to him by +Southey (<em>Life of Southey</em>, by his Son, vol. ii. p. 335., &c.), when +urging Mr. Bedford to write a Pantagruelian romance on their lives and +adventures, which however was never accomplished. What therefore is the +meaning of the following paragraph, which appears at the conclusion of +the review of volume ii. of Southey's <em>Life</em>, contained in the <em>Gent.'s +Mag.</em> for April, 1850, p. 359.?</p> + +<blockquote><p>"We will only add, that with respect to the <em>Butler</em> mentioned at +p. 335., the editor seems but imperfectly informed. His portrait, +and that of his <em>man William</em>, are now hanging on the walls of our +study. His Life is on our table. He himself has long since returned +to the 'august abode' from which he came."</p></blockquote> + +<p class='author'>J. M. B.</p> + +<p class='location'>Tunbridge Wells.</p> + + +<p><em>Longhi's Portraits of Guidiccioni.</em>—The Count Alessandro Cappi of +Ravenna is about to publish an elaborate life of his fellow-townsman +<em>Luca Longhi</em>, with very copious illustrations from that painter's +works.</p> + +<p>He has ransacked Italy in vain for a portrait of Monsignor Giovanni +Guidiccioni, President of Romagna, painted by Luca Longhi in 1540. This +portrait possesses more than ordinary interest, since (to use the words +of Armenini, author of <em lang='it'>Veri Precetti della Pittura</em>) <span lang='it'>"fu +predicato per maraviglioso in Roma da Michelangelo Buonarrotti."</span> Count +Cappi, supposing that the picture may have found its way to England, +hopes by the publication of this notice to discover its whereabouts. Any +correspondent who shall be kind enough to furnish him, through this +journal, with the desired information, may be assured of his +<span lang='it'>"più vera riconoscenza."</span></p> + +<p class='author'>W. G. C.</p> + + +<p><em>Sir George Carr.</em>—Wanted, pedigree and arms, wife's name and family, +of Sir George Carr, who was joint clerk of the council of Munster from +1620 to 1663, or thereabouts. Sir George had two sons at least, William +and Thomas; William was alive in 1673. Whom did he marry, and what +family had he?</p> + +<p class='author'>Y. S. M.</p> + +<p class='location'>Dublin.</p> + + +<p><em>Dean Pratt.</em>—<span class="smcap">Dr. Hessey</span> will feel obliged to any reader of "N. & Q." +who can answer the following questions.</p> + +<p>At what College of what University did Dr. Samuel Pratt, Dean of +Rochester, receive his education, and by whom was he ordained?</p> + +<p>He was born in 1658, left Merchant Taylors' school (where he passed his +early years) in 1677, and was created D.D. by royal mandate, at +Cambridge, in 1697, but no college is attached to his<span class='pagenum'><a name="Page_409" id="Page_409">[Pg 409]</a></span> name in the list +of Cambridge graduates. Still, if he was of neither university, it seems +difficult to account for his having had the successive preferments of +Chaplain to the Princess of Denmark, Almoner to the Duke of Gloucester, +Clerk of the Closet to the Queen, and in 1706 Dean of Rochester. He died +in 1728, aged seventy-one.</p> + +<p class='author'>Merchant Taylors'.</p> + + +<p><em>Portrait of Franklin.</em>—I have heard of a story to the effect that when +Franklin left England, he presented a portrait of himself, by West, to +Thurlow. I am exceedingly anxious to know if there is any foundation for +this, as during the last week I saw in a shop near the chapel here, a +portrait of the philosopher which I rather suspect to be the one alluded +to.</p> + +<p class='author'>H. G. D.</p> + +<p class='location'>Knightsbridge.</p> + + +<p>"<em>Enquiry into the State of the Union.</em>"—A book of much importance has +fallen into my hands, entitled—</p> + +<blockquote><p>"An Enquiry into the State of the Union of Great Britain. The past +and present State of the public Revenues. By the <em>Wednesday's</em> Club +in <em>Friday Street</em>. London: printed for A. and W. Bell, at the +Cross Keys, Cornhill; J. Watts, in Bow Street, Covent Garden: and +sold by B. Barker and C. King, in Westminster Hall; W. Mears and J. +Brown, without Temple Bar; and W. Taylor, in Paternoster Row. +1717."</p></blockquote> + +<p>Can any of your correspondents throw a light upon this <em>Wednesday's</em> +Club, in Friday Street? Was it a real club or fictitious?</p> + +<p>By so doing you would greatly oblige me, and afford important +information to this office.</p> + +<p class='author'>James A. Davies.</p> + +<p class='location'>National Debt Office.</p> + +<hr /> + + +<h3><a id='Minor_Queries_with_Answers' name='Minor_Queries_with_Answers'> +Minor Queries with Answers.</a></h3> + + +<p><em>Bishop of Oxford in 1164.</em>—Among the names of the bishops who signed +the Constitutions of Clarendon I see "Bartholomeus Oxoniensis +Episcopus." How is this signature accounted for? There are no other +signatures of suffragan or inferior bishops attached.</p> + +<p class='author'>W. Fraser.</p> + +<p class='location'>Tor-Mohun.</p> + +<p class='note'>[Clearly a misprint for Bartholomeus <em>Exoniensis</em> Episcopus, the +celebrated Bartholomew Iscanus, the opponent of Thomas à Becket. +Our correspondent should have given the title of the work where he +found the signatures, as they are not appended to the +"Constitutions" in Matthew Paris, Spelman, or Wilkins.]</p> + + +<p><em>Roman Inscription found at Battle Bridge.</em>—I shall be very much +obliged if any one of your numerous readers or correspondents will be so +kind as to furnish me with an authentic copy of the inscription on the +Roman stone which in July 1842 was found at Battle Bridge, St. Pancras, +and also state where the original stone is to be seen. The account of +the discovery of the stone is mentioned in a paragraph which appeared in +<em>The Times</em> newspaper of the 30th July, 1842, in the following manner:</p> + +<blockquote><p>"<span class="smcap">Antiquities discovered.</span>—A Roman inscription has within these few +days past been discovered at Battle Bridge, otherwise, by an absurd +change of denomination, known as King's Cross, New Road, St. +Pancras. This discovery appears fully to justify the conjectures of +Stukeley and other antiquaries, that the great battle between the +Britons under Boadicea and the Romans under Suetonius Paulinus took +place at this spot. Faithful tradition, in the absence of all +decisive evidence, still pointed to the place by the appellation of +Battle Bridge. The inscription, which in parts is much obliterated, +bears distinctly the letters '<small>LEG. XX.</small>' The writer of this notice +has not yet had an opportunity personally to examine it, but speaks +from the information of an antiquarian friend. The twentieth +legion, it is well known, was one of the four which came into +Britain in the reign of Claudius, and contributed to its +subjugation: the vexillation of this legion was in the army of +Suetonius Paulinus when he made that victorious stand in a +fortified pass, with a forest in his rear, against the insurgent +Britons. The position is sketched by Tacitus, and antiquaries well +know that on the high ground above Battle Bridge there are vestiges +of Roman works, and that the tract of land to the north was +formerly a forest. The veracity of the following passage of Tacitus +is therefore fully confirmed:—<span lang='la'>'Deligitque locum artis +faucibus, et a tergo sylva clausum; satis cognito, nihil hostium, +nisi in fronte, et apertam planitiem esse, sine metu insidiarum.'</span> +He further tells us that the force of Suetonius was composed of +<span lang='la'>'Quartadecima legio cum <em>vexillariis vicessimariis</em> et e proximis +auxiliares.'</span>"</p></blockquote> + +<p class='author'>S. R.</p> + +<p class='note'>[A sketch of this fragment of stone, discovered by Mr. E. B. Price, +is given in the <em>Gentleman's Magazine</em> for August, 1842, p. 144.]</p> + + +<p><em>Blow-shoppes.</em>—</p> + +<blockquote><p>"Wild bores, bulls, and falcons bredde there in times paste; now, +for lakke of woodde, blow-shoppes decay there."—Leland's <em>Itin.</em>, +Hearne's edit., vol. vii. p. 42.</p></blockquote> + +<p>What is the meaning of <em>blow-shoppe</em>?</p> + +<p class='author'>J. B.</p> + +<p class='note'>[Leland appears to refer to blacksmiths' forges, which decayed for +lack of wood.]</p> + + +<p><em>Bishop Hesketh</em> (Vol. vii., p 209.).—There is evidently an error in +your note respecting the death of Bishop Hesketh, but it is one common +to all the lists of Manx bishops to which I have access. You state that +he died in 1510: it is certain that he was living in 1520.</p> + +<p>He was a son of Robert Hesketh, of Rufford, co. Lanc., and his brother +Richard Hesketh, "learned in the lawe," and who is stated by Kimber to +have been Attorney-General to King Hen. VIII.,<span class='pagenum'><a name="Page_410" id="Page_410">[Pg 410]</a></span> by his will, dated 15th +August, 1520, appointed his "trusty brethren Hugh, bishopp of Manne, and +Thomas Hesketh, esquier," executors, and proceeded:</p> + +<blockquote><p>"I wyll that the said Bishopp shall haue a goblett of syluer w<sup>t</sup> a +couir, and my said brothir Thomas to haue a pouncid bool of syluer, +a counterpoynt, and a cordyn gemnete bedde w<sup>t</sup> the hangings, a +paire of fustyan blanketts, and a paire of shetys, and a fether +bedde that lyeth uppon the same bedde, for their labours."</p></blockquote> + +<p>So that the vacancy, if there really was any, between his death and the +consecration of Bishop Stanley, is much less than is generally supposed.</p> + +<p class='author'>H. A.</p> + +<p class='note'>[Our authority for the date of Bishop Hesketh's death was Bishop +Hildesley's MS. list of the Manx bishops, which he presented to the +British Museum, and which appears to have been carefully compiled. +His words are, "Huan Hesketh died 1510, and was buried in his +cathedral of St. Germans in Peel." It is clear, however, there is +an error somewhere, which did not escape the notice of William +Cole, the Cambridge antiquary; for in his MS. Collections, vol. +xxvi. p. 24., he has the following entry:—"Huan Hesketh was living +13 Henry VIII., 1531, at which time Thomas Earl of Derby appointed, +among others, Sir Hugh Hesketh, Bishop of Man, to be one of his +executors. (See Collins's <em>Peerage</em>, vol. ii. p. 33.) Wolsey was +appointed supervisor of the will, and is in it called Lord +Chancellor: he was so made 1516, which proves that he was alive +after 1510. The will of Richard Hesketh, Esq.—to be buried in his +chapel at Rufford: executors, Hugh Hesketh, Bishop of Man, his +brother; and Thomas Hesketh, Esq.—was proved Nov. 13, 1520. (In +<em>Reg. Manwaring</em>, 3.) He continued bishop, I presume, forty-three +years, from 1487 to 1530. It is plain he was so thirty-four +years."]</p> + +<p><em>Form of Prayer for Prisoners.</em>—</p> + +<blockquote><p>"It is not, perhaps, generally known, that we have a form of prayer +for prisoners, which is printed in the Irish Common Prayer-Book, +though not in ours. Mrs. Berkeley, in whose preface of prefaces to +her son's poems I first saw this mentioned, regrets the omission; +observing, that the very fine prayer for those under sentence of +death, might, being read by the children of the poor, at least keep +them from the gallows. The remark is just."—Southey's <em>Omniana</em>, +vol. i. p. 50.</p></blockquote> + +<p>What Irish Common Prayer-Book is here meant? I have the books issued by +the late Ecclesiastical History Society, but do not see the service +among them. Could the prayer referred to be transferred to "N. & Q.;" or +where is the said Irish Prayer-Book to be found?</p> + +<p class='author'>Thomas Lawrence.</p> + +<p class='location'>Ashby-de-la-Zouch.</p> + +<p class='note'>[The Book of Common Prayer according to the use of the Church of +Ireland, we believe, may frequently be met with. An edition in +folio, 1740, is in the British Museum, containing "The Form of +Prayer for the Visitation of Prisoners, treated upon by the +Archbishops and Bishops, and the rest of the Clergy of Ireland, and +agreed upon by Her Majesty's License in their Synod, holden at +Dublin in the Year 1711." We are inclined to think that Mrs. +Berkeley must have intended its beautiful exhortation—not the +prayer—for the use of the poor. See "N. & Q.," Vol. vi., p. 246.]</p> + +<hr class='full' /> + + +<h2><a id='Replies' name='Replies'>Replies.</a></h2> + +<h3>EDMUND SPENSER, AND SPENSERS, OR SPENCERS, OF HURSTWOOD.</h3> + +<p class='center'>(Vol. vii., pp. 303. 362.)</p> + +<p>Without entering on the question as to possible connexion of the poet +with the family above mentioned, the discussion may be simplified by +solving a difficulty suggested by <span class="smcap">Cliviger</span> (p. 362.), arising from +Hurstwood Hall (<em>another estate in Hurstwood</em>) having been possessed by +Townley, and by explaining, 1st, The identity of the tenement once owned +by Spencers; 2ndly, The seeming cause of Whitaker's silence; and, 3rdly, +The certainty of possession by the Spencers.</p> + +<p>I. The former estate of the Spencers in Hurstwood is a tenement which +was purchased by the late Rev. John Hargreaves from the representatives +of William Ormerod, of Foxstones, in Cliviger, in 1803, and which had +been conveyed in 1690, by John Spencer, then of Marsden, to Oliver +Ormerod of Hurstwood, and his son Laurence; the former of these being +youngest son, by a second marriage, of Peter Ormerod of Ormerod, and +co-executor of his will in 1650. So much for the locality.</p> + +<p>II. As for Dr. Whitaker's silence, I know, from correspondence with him +(1808-1816), that, from an irregularity in the Prerogative Office, he +was not aware of this will, and uninformed as to this second marriage, +or the connexion of this purchaser's family with the parent house; and I +think it as probable that he was as unaware of the ancient possession of +the purchased tenement by Spencers, as it is certain that this theory as +to the connexion of the poet with it was <em>then</em> unknown. If otherwise, +he would doubtless have extended his scale, and included it.</p> + +<p>III. As to the certainty of possession by Spencers, I have brief +extracts from deeds as to this tenement as follows:—</p> + +<p>1677. Indenture of covenants for a fine, between <em>John Spencer the +elder</em>, and Oliver Ormerod of Cliviger, and note of fine.</p> + +<p>1687. Will of same <em>John Spencer</em>, late of Hurstwood, mentioning +possession of this tenement as the inheritance of his +<em>great-grandfather</em>, <em>Edmund Spencer</em>.</p> + +<p>1689. Family arrangements of <em>John Spencer</em> (the son) as to same +tenement, then in occupation of "Oliver Ormeroyde" before mentioned.</p> + +<p><span class='pagenum'><a name="Page_411" id="Page_411">[Pg 411]</a></span>1690. Conveyance from <em>John Spencer</em> to O. and L. O., as before +mentioned.</p> + +<p>In <em>Gentleman's Magazine</em>, August, 1842 (pp. 141, 142.), will be found +numerous notices of these Spen<em>c</em>ers or Spen<em>s</em>ers, with identified +localities from registers.</p> + +<p>I think that this explanation will solve the difficulty suggested by +<span class="smcap">Cliviger</span>. On the main question I have not grounds sufficient for an +opinion, but add a reference to <em>Gentleman's Magazine</em>, March, 1848, p. +286., for a <em>general objection</em> by <span class="smcap">Mr. Crossley</span>, President of the +Chetham Society, who is well acquainted with the locality.</p> + +<p class='author'>Lancastriensis.</p> + +<p>I was about to address some photographic Queries to the correspondents +of "N. & Q." when a note caught my attention relating to Edmund Spenser +(in the Number dated March 26.). The Mr. F. F. Spenser mentioned therein +was related to me, being my late father's half-brother. I regret to say +that he died very suddenly at Manchester, Nov. 2, 1852. During his +lifetime, he took much pains to clear up the doubts about the locality +of the poet's retirement, and his relatives in the North; and has made +out a very clear case, I imagine. On a visit to Yorkshire in 1851, I +spent a few days with him, and took occasion to urge the necessity of +arranging the mass of information he had accumulated on the subject; +which I have no doubt he would have done, had not his sudden death +occurred to prevent it. These facts may be of some interest to +biographers of the poet, and with this object I have ventured to trouble +you with this communication.</p> + +<p class='author'>J. B. Spencer.</p> + +<p class='location'>11. Montpellier Road, Blackheath.</p> + +<hr /> + +<h3><a id='Throwing_old_Shoes_for_Luck' name='Throwing_old_Shoes_for_Luck'> +THROWING OLD SHOES FOR LUCK.</a></h3> + +<p class='center'>(Vol. ii., p. 196.; Vol. v., p. 413.; Vol. vii., pp. 193. 288.)</p> + +<p>I do not know whether you will permit me to occupy a small portion of +your valuable space in an attempt to suggest an origin of the custom of +throwing an old shoe after a newly married bride.</p> + +<p>Your correspondents assume that the old shoe was thrown after the bride +<em>for luck</em>, and for luck only. I doubt whether it was so in its origin.</p> + +<p>Among barbarous nations, all transfers of property, all assertions and +relinquishments of rights of dominion, were marked by some external +ceremony or rite; by which, in the absence of written documents, the +memory of the vulgar might be impressed. When, among Scandinavian +nations, land was bought or sold, a turf was delivered by the trader to +the purchaser: and among the Jews, and probably among other oriental +nations, a shoe answered the same purpose.</p> + +<p>In Psalm lx., beginning with "O God, thou hast cast me off," there +occurs the phrase, "Moab is my washpot, over Edom have I cast out my +shoe." Immediately after it occurs the exclamation, "O God! who has cast +us off!" A similar passage occurs in Psalm cix.</p> + +<p>By this passage I understand the Psalmist to mean, that God would +thoroughly cast off Edom, and cease to aid him in war or peace. This +interpretation is consistent with the whole tenor of the Psalm.</p> + +<p>The receiving of a shoe was an evidence and symbol of asserting or +accepting dominion or ownership; the giving back a shoe, the symbol of +rejecting or resigning it.</p> + +<p>Among the Jews, the brother of a childless man was bound to marry his +widow: or, at least, he "had the refusal of her," and the lady could not +marry again till her husband's brother had formally rejected her. The +ceremony by which this rejection was performed took place in open court, +and is mentioned in Deut. xxv. If the brother publicly refused her, "she +loosed his shoe from off his foot, and spat in his face;" or, as great +Hebraists translate it, "spat before his face." <em>His</em> giving up the shoe +was a symbol that <em>he</em> abandoned all dominion over her; and <em>her</em> +spitting before <em>him</em> was a defiance, and an assertion of independence. +This construction is in accordance with the opinions of Michaelis, as +stated in his <em>Laws of Moses</em>, vol. ii. p. 31.</p> + +<p>This practice is still further illustrated by the story of Ruth. Her +nearest kinsman refused to marry her, and to redeem her inheritance: he +was publicly called on so to do by Boaz, and as publicly refused. And +the Bible adds, "as it was the custom in Israel concerning changing, +that a man plucked off his shoe and delivered it to his neighbour," the +kinsman plucked off his shoe and delivered it to Boaz as a public +renunciation of Ruth, of all dominion over her, and of his right of +pre-marriage.</p> + +<p>These ceremonies were evidently not unknown to the early Christians. +When the Emperor Wladimir made proposals of marriage to the daughter of +Raguald, she refused him, saying, "That she would not take off her shoe +to the son of a slave."</p> + +<p>There is a passage in <em>Gregory of Tours</em> (c. 20.) where, speaking of +espousals, he says, "The bridegroom having given a ring to the fiancée, +presents her with a shoe."</p> + +<p>From Michelet's <em>Life of Luther</em> we learn, that the great reformer was +at the wedding of Jean Luffte. After supper, he conducted the bride to +bed, and told the bridegroom that, according to common custom, he ought +to be master in his own house <em>when</em> his wife was not there: and for a +symbol, he took off the husband's shoe, and put it upon the head of the +bed—<span lang='fr'>"afin qu'il prit ainsi la domination et gouvernement."</span></p> + +<p><span class='pagenum'><a name="Page_412" id="Page_412">[Pg 412]</a></span>I would suggest for the consideration of your correspondents that the +throwing a shoe after a bride was a symbol of renunciation of dominion +and authority over her by her father or guardian; and the receipt of the +shoe by the bridegroom, even if accidental, was an omen that that +authority was transferred to him.</p> + +<p class='author'>John Thrupp.</p> + +<p class='location'>Surbiton.</p> + +<hr /> + + +<h3><a id='Orkneys_in_Pawn' name='Orkneys_in_Pawn'>ORKNEYS IN PAWN.</a></h3> + +<p class='center'>(Vol. vii., pp. 105. 183.)</p> + +<p>That the Orkney and Zetland Islands were transferred by Denmark to +Scotland in 1468, in pledge for payment of part of the dower of the +Princess of Denmark, who was married to James III., King of Scotland, +under right of redemption by Denmark, is an admitted historic fact; but +it is asserted by the Scottish, and denied by the Danish historians, +that Denmark renounced her right of redemption of these Islands. The +question is fully discussed, with references to every work and passage +treating of the matter, in the first introductory note to the edition of +<em>The General Grievances and Oppressions of the Isles of Orkney and +Shetland</em>, published at Edinburgh, 1836. And the writer of the note is +led to the conclusion that there was no renunciation, and that Denmark +still retains her right of redemption. Mr. Samuel Laing, in his <em>Journal +of a Residence in Norway</em>, remarks, that the object of Torfæus' +historical work, <em lang='la'>Orcades, seu Rerum Orcadensium Historiæ libri tres</em>, +compiled by the express command of Christian V., King of Denmark, was to +vindicate the right of the Danish monarch to redeem the mortgage of the +sovereignty of these islands; and he adds, that in 1804, Bonaparte, in a +proclamation addressed to the army assembled at Boulogne for the +invasion of England, descanted on the claim of Denmark to this portion +of the British dominions. In a note he has the farther statement, that +in 1549 an assessment for paying off the sum for which Orkney and +Zetland were pledged was levied in Norway by Christian III. (<em>Vide</em> +Laing's <em>Norway</em>, 1837, pp. 352, 353.) From the preceding notice, it +would appear, that Denmark never renounced her right of redemption, now +merely a matter of antiquarian curiosity. And it is pertinent to +mention, that the connexion of Orkney and Zetland was with Norway, not +Denmark. I observe in the Catalogue of MSS., in the Cottonian Library in +the British Museum (Titus C. VII. art. 71. f. 134.), "Notes on King of +Denmark's Demand of the Orcades, 1587-8," which may throw some light on +the matter.</p> + +<p>In the historical sketch given by Broctuna, Kenneth II., King of +Scotland, is said to have taken the Orkneys from the Picts <small>A.D.</small> 838; and +that they remained attached to that kingdom till 1099, when Donald Bain, +in recompense of aid given to him by Magnus, King of Norway, gifted all +the Scotch isles, including the Orkneys, to Norway. This is not what is +understood to be the history of Orkney.</p> + +<p>In the middle of the ninth century, Harold Harfager, one of the reguli +of Norway, subdued the other petty rulers, and made himself king of the +whole country. The defeated party fled to Orkney, and other islands of +the west: whence, betaking themselves to piracy, they returned to ravage +the coast of Norway. Harold pursued them to their places of refuge, and +conquered and colonised Orkney about <small>A.D.</small> 875. The Norwegians at that +time destroyed or expelled the race then inhabiting these islands. They +are supposed to have been Picts, and to have received Christianity at an +earlier date, but it is doubtful if there were Christians in Orkney at +that period: however, Depping says expressly, that Earl Segurd, the +second Norwegian earl, expelled the Christians from these isles. I may +remark, that the names of places in Orkney and Zetland are Norse, and +bear descriptive and applicable meanings in that tongue; but hesitate to +extend these names beyond the Norwegian colonisation, and to connect +them with the Picts or other earlier inhabitants. No argument can be +founded on the rude and miserable subterraneous buildings called Picts' +houses, which, if they ever were habitations, or anything else than +places of refuge, must have belonged to a people in a very low grade of +civilisation. Be this as it may, Orkney and Zetland remained under the +Norwegian dominion from the time of Harold Harfager till they were +transferred to Scotland by the marriage treaty in 1468, a period of +about six hundred years. What cannot easily be accounted for, is the +discovery of two Orkney and Zetland deeds of the beginning of the +fifteenth century prior to the transfer, written not in Norse, but in +the Scottish language.</p> + +<p class='author'>R. W.</p> + +<hr /> + + +<h3><a id='Hogarths_Pictures' name='Hogarths_Pictures'> +HOGARTH'S PICTURES.</a></h3> + +<p class='center'>(Vol. vii., p. 339.)</p> + +<p>The numerous and interesting inquiries of <span class="smcap">An Amateur</span> respecting a +catalogue of Hogarth's works has brought to my recollection the +discovery of one of them, which I was so fortunate as to see in its +original situation. About the year 1815 I was invited by a friend, who +was an artist, to visit a small public-house in Leadenhall Street, to +see a picture by Hogarth: it was "The Elephant," since, I believe, +pulled down, being in a ruinous condition. In the tap-room, on the wall, +almost obscured by the dirt and smoke, and grimed by the rubbing of +numberless foul jackets, was an indisputable picture by the renowned +Hogarth. It represented the meeting of the committee of the +<span class='pagenum'><a name="Page_413" id="Page_413">[Pg 413]</a></span> +South Sea Company, and doubtless the figures were all portraits. It was painted in +his roughest manner; but every head was stamped with that character for +which he stood unrivalled. I have since heard that, when the house was +pulled down, this picture was sold as one of the lots, in the sale of +furniture, and bought by a dealer. It was painted on the wall, like a +fresco; and how to remove it was the difficulty. On sounding the wall it +was found to be lath and plaster, with timber framework (the usual style +of building in the reign of Elizabeth). It was therefore determined to +cut it out in substance, which was accordingly performed; and by the +help of chisels, thin crowbars, and other instruments, it was safely +detached. The plaster was then removed from the back down to the +priming, and the picture was backed with strong canvas. It was then +cleaned from all its defilement, and, on being offered for sale at a +good price, was bought by a nobleman, whose name I have not heard, and +is now in his collection.</p> + +<p>I do not know whether your correspondent has heard of Hogarth's portrait +of Fielding. The story, as I have heard or read it, is as +follows:—Hogarth and Garrick sitting together after dinner, Hogarth was +lamenting there was no portrait of Fielding, when Garrick said, "I think +I can make his face."—"Pray, try my dear Davy," said the other. Garrick +then made the attempt, and so well did he succeed, that Hogarth +immediately caught the likeness, and exclaimed with exultation, "Now I +have him: keep still, my dear Davy." To work he went with pen and ink, +and the likeness was finished by their mutual recollections. This sketch +has been engraved from the original drawing, and is preserved among +several original drawings and prints in the <em>illustrated</em> copy of +Lysons's <em>Environs</em>, vol. i. p. 544., in the King's Library, British +Museum.</p> + +<p>While I am writing about unnoticed pictures by what may be called +<em>erratic</em> artists, I may mention that in the parlour of the "King's +Head," corner of New Road and Hampstead Road, on the panel of a +cupboard, is a half-length of a farmer's boy, most probably the work of +G. Morland, who visited this house on his way to Hampstead, and probably +paid his score by painting this picture; which is well known to have +been his usual way of paying such debts.</p> + +<p class='author'>E. G. Ballard.</p> + +<p>Agreeably to the suggestion of <span class="smcap">An Amateur</span>, I beg to send you the +following list of pictures, from a catalogue in my possession:</p> + +<blockquote><p><span class="smcap">Catalogue</span> of the Pictures and Prints, the property of the late Mrs. +Hogarth, deceased, sold by Mr. Greenwood, the Golden Head, +Leicester Square, Saturday, April 24, 1790.</p> + +<p class="center"><em>Pictures by Mr. Hogarth.</em></p> + + +<ul><li> 41. Two portraits of Ann and Mary Hogarth.</li> +<li> 42. A daughter of Mr. Rich the comedian, finely coloured.</li> +<li> 43. The original portrait of Sir James Thornhill.</li> +<li> 44. The heads of six servants of Mr. Hogarth's family.</li> +<li> 45. His own portrait—a head.</li> +<li> 46. A ditto—a whole-length painting.</li> +<li> 47. A ditto, Kit Kat, with the favourite dog, exceeding fine.</li> +<li> 48. Two portraits of Lady Thornhill and Mrs. Hogarth.</li> +<li> 49. The first sketch of the Rake's Progress.</li> +<li> 50. A ditto of the altar of Bristol Church.</li> +<li> 51. The Shrimp Girl—a sketch.</li> +<li> 52. Sigismunda.</li> +<li> 53. A historical sketch, by Sir James Thornhill.</li> +<li> 54. Two sketches of Lady Pembroke and Mr. John Thornhill.</li> +<li> 55. Three old pictures.</li> +<li> 56. The bust of Sir Isaac Newton, terra cotta.</li> +<li> 57. Ditto of Mr. Hogarth, by Roubilliac.</li> +<li> 58. Ditto of the favourite dog, and cast of Mr. Hogarth's hand.</li> +</ul> +</blockquote> + + +<p class='author'>W. D. Haggard.</p> + +<hr /> + + +<h3><a id='Phantom_Bells_and_Lost_Churches' name='Phantom_Bells_and_Lost_Churches'> +PHANTOM BELLS AND LOST CHURCHES.</a></h3> + +<p class='center'>(Vol. vii., pp. 128. 200. 328.)</p> + +<p>In a little brochure entitled <em>Christmas, its History and Antiquity</em>, +published by Slater, London, 1850, the writer says that—</p> + +<blockquote><p>"In Berkshire it is confidently asserted, that if any one watches +on Christmas Eve he will hear <em>subterranean bells</em>; and in the +mining districts the workmen declare that at this sacred season +high mass is performed with the greatest solemnity on that evening +in the mine which contains the most valuable lobe of ore, which is +supernaturally lighted up with candles in the most brilliant +manner, and the service changed by unseen choristers."—P. 46.</p></blockquote> + +<p>The poet Uhland has a beautiful poem entitled <em lang='de'>Die Verlorne Kirche</em>. +Lord Lindsay says:</p> + +<blockquote><p>"I subjoin, in illustration of the symbolism, and the peculiar +emotions born of Gothic architecture, <em>The Lost Church</em> of the poet +Uhland, founded, I apprehend, on an ancient tradition of the +Sinaitic peninsula."—<em>Sketches of Christian Art.</em></p></blockquote> + +<p>I give the first stanza of his translation:</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>"Oft in the forest far one hears</p> +<p class='i25'>A passing sound of distant bells;</p> +<p class='i25'>Nor legends old, nor human wit,</p> +<p class='i25'>Can tell us whence the music swells.</p> +<p class='i25'>From the <em>Lost Church</em> 'tis thought that soft</p> +<p class='i25'>Faint ringing cometh on the wind:</p> +<p class='i25'>Once many pilgrims trod the path,</p> +<p class='i25'>But no one now the way can find."</p> +</div></div> + +<p>See also <em lang='de'>Das Versunkene Kloster</em>, by the same sweet poet, +commencing:</p> + +<div class='poem'> +<div class='stanza' lang='de'> +<p class='i2'>"Ein Kloster ist versunken</p> +<p class='i25'>Tief in den wilden See."</p> +</div></div> + +<p>After Port Royal (in the West Indies) was submerged, at the close of the +seventeenth century, sailors in those parts for many years had<span class='pagenum'><a name="Page_414" id="Page_414">[Pg 414]</a></span> stories +of anchoring in the chimneys and steeples, and would declare they heard +the church bells ringing beneath the water, agitated by the waves or +spirits of the deep.</p> + +<p>The case of the Round Towers seen in Lough Neagh, I need not bring +forward, as no sound of bells has ever been heard from them.</p> + +<p>There is one <em>lost church</em> so famous as to occur to the mind of every +reader, I mean that of the Ten Tribes of Israel. After the lapse of +thousands of years, we have here an historical problem, which time, +perhaps, will never solve. We have a less famous, but still most +interesting, instance of a lost church in Greenland. Soon after the +introduction of Christianity, about the year 1000, a number of churches +and a monastery were erected along the east coast of Greenland, and a +bishop was ordained for the spiritual guidance of the colony. For some +four hundred years an intercourse was maintained between this colony and +Norway and Denmark. In the year 1406 the last bishop was sent over to +Greenland. Since then the colony <em>has not been heard of</em>. Many have been +the attempts to recover this lost church of East Greenland, but hitherto +in vain.</p> + +<p>I could send you a Note on a cognate subject, but I fear it would occupy +too much of your space,—that of <em>Happy Isles</em>, or <em>Islands of the +Blessed</em>. The tradition respecting these happy isles is very +wide-spread, and obtains amongst nearly every nation of the globe; it +is, perhaps, a relic of a primeval tradition of Eden. Some have caught +glimpses of these isles, and some more favoured mortals have even +landed, and returned again with senses dazzled at the ravishing sights +they have seen. But in every case after these rare favours, these mystic +lands have remained invisible as before, and the way to them has been +sought for in vain. Such are the tales told with reverent earnestness, +and listened to with breathless interest, not only by the Egyptians, +Greeks, and Romans of old, but by the Irishman, the Welshman, the +Hindoo, and the Red Indian of to-day.</p> + +<p class='author'>Eirionnach.</p> + +<hr /> + + +<h3><a id='Photographic_Notes_and_Queries' name='Photographic_Notes_and_Queries'> +PHOTOGRAPHIC NOTES AND QUERIES.</a></h3> + +<p><em>Photographic Collodion</em> (Vol. vii., p. 314.).—In a former +communication I pointed out the wide differences in the various +manipulations prescribed for making the photographic <em>gun cotton</em> by +several photographers: differences most perplexing to persons of small +leisure, and who are likely to lose half the opportunities of a +photographic season, whilst puzzling over these diversities of +proceeding. Suffer me now to entreat some one to whom all may look up +(perhaps your kind and experienced correspondent <span class="smcap">Dr. Diamond</span> will do +this service, so valuable to young photographers) to clear up the +differences I will now "make a note of," viz. as to the amount of dry +photographic gun cotton to be used in forming the prepared collodion.</p> + +<p>On comparing various authors, and <em>reducing</em> their directions to a +standard of <em>one ounce of ether</em>, I find the following differences: +viz., <span class="smcap">Dr. Diamond</span> (Vol. vi., p. 277.) prescribes <em>about</em> three grains of +gun cotton; Mr. Hennah (<em>Directions, &c.</em>, p. 5.) about seven grains; +the Count de Montizon (<em>Journ. of Phot. Soc.</em>, p. 23.) eight grains; +whilst Mr. Bingham (<em>Supplement to Phot. Manip.</em>, p. 2.) directs about +<em>thirty-four</em> grains! in each case to a single ounce of ether.</p> + +<p>These differences are too wide to come within even Mr. Archer's "long +range," that "the proportions ... must depend entirely upon the strength +and the thickness required ... the skill of the operator and the season +of the year." (Archer's <em>Manual</em>, p. 17.)</p> + +<p class='author'>Cokely.</p> + + +<p><em>Filtering Collodion.</em>—Count de Montizon, in his valuable paper on the +collodion process, published in the second number of the <em>Journal of the +Photographic Society</em>, objects to filtration on the ground that the +silver solution is often injured by impurities contained in the paper. +It may be worth while to state, that lime, and other impurities, may be +removed by soaking the filter for a day or two, before it is used, in +water acidulated with nitric acid; after which it should be washed with +hot water and dried.</p> + +<p class='author'>T. D. Eaton.</p> + + +<p><em>Photographic Notes</em> (Vol. vii., p. 363.).—I wish to correct an error +in my communication in "N. & Q." of April 9: in speaking of "a more +<em>even</em> film," I meant a film more <em>evenly sensitive</em>. I am sorry I have +misled <span class="smcap">Mr. Shadbolt</span> as to my meaning. I have very rarely any "spottings" +in my pictures; but I always drop the plates once or twice into the +bath, after the two minutes' immersion, to wash off any loose particles. +I also drain off all I can of the nitrate of silver solution before +placing the glass in the camera, and for three reasons:—1. Because it +saves material; 2. Because the lower part of dark frame is kept free +from liquid; 3. Because a "flowing sheet" of liquid must interfere +somewhat with the passage of light to the film, and consequently with +the sharpness of the picture. I think it is clear, from <span class="smcap">Mr. Shadbolt's</span> +directions to <span class="smcap">Mr. Meritt</span>, that it is no very easy thing to cement a +glass bath with marine glue.</p> + +<p class='author'>J. L. Sisson.</p> + + +<p><em>Colouring Collodion Pictures</em> (Vol. vii., p. 388.).—In your impression +of April 16, there is a typographical error of some importance relative +to lifting the collodion in and out of the bath: "The plate, after being +plunged in, should be allowed to repose quietly from twenty to thirty +<em>minutes</em>," &c. This should be <em>seconds</em>. The error arose, in all<span class='pagenum'><a name="Page_415" id="Page_415">[Pg 415]</a></span> +probability, from my having used the contractions 20" to 30".</p> + +<p>It may appear somewhat droll for any one to answer a question on which +he has <em>not</em> had experience; but I beg to offer as a <em>suggestion</em> to +<span class="smcap">Photo</span>, that if he wishes to use collodion pictures for the purpose of +dissolving views, he should first copy them in the camera as transparent +objects so as to <em>reverse</em> the light and shade, then varnish them with +<span class="smcap">Dr. Diamond's</span> solution of amber in chloroform, when they will bear the +application of transparent colours ground in varnish, such as are used +for painting magic-lantern slides.</p> + +<p class='author'>Geo. Shadbolt.</p> + + +<p><em>Gutta Percha Baths</em> (Vol. vii., p. 314.).—In "N. & Q." for March 26, I +ventured to recommend to <span class="smcap">H. Henderson</span> gutta percha, as a material for +nitrate of silver baths. I did this from a knowledge that hundreds of +them were in use, but chiefly because I have found them answer so well. +In the same Number the Editor gives <span class="smcap">Mr. Henderson</span> very opposite advice; +and, had I seen his opinion before my notes appeared, I should certainly +have kept them back. But it is, I think, a matter of some importance, +especially to beginners, to have it settled, whether gutta percha has +the effect of causing "unpleasant markings" in collodion pictures or +not. With all due deference to the Editor's opinion, I do not believe +that gutta percha baths are injurious to the finished picture. I have +never any markings in my glass positives now, but what may be traced +with certainty to some unevenness in the film or dirtiness on the glass. +And I hope that the number of beginners who are using gutta percha +baths, and who are troubled with these unpleasant markings (as all +beginners are, whether they use glass or gutta percha), will not, +without some very careful experiments, lay the fault upon the gutta +percha. In the Number for April 2, the Editor thanks me for what he is +pleased to call "the very beautiful specimen of <em>my skill</em>." This was a +small glass positive, which I sent him in accordance with an offer of +mine in a former note. Now, <em>that</em> was rendered sensitive in a gutta +percha bath, which I have had in use for months; and I think I may +appeal to the Editor as to the absence of all unpleasant markings in it. +Probably it may be a good plan for those who make the baths for +themselves to adopt the following simple method of cleaning them at +first. Fill the bath with water, changing it every day for a week or so. +Then wash it with strong nitric acid, and wash once or twice afterwards. +Always keep the nitrate of silver solution in the bath, with a cover +over it. Never filter, unless there is a great deal of extraneous matter +at the bottom. If glass baths are used, cemented together with +sealing-wax, &c., I imagine they might be as objectionable as gutta +percha. The number of inquiries for a diagram of my head-rest, &c., from +all parts of the kingdom—Glasgow, Paisley, Manchester, Leicester, +Leeds, Newcastle, Durham, &c. &c.—proves the very large number of +photographic subscribers "N. & Q." possesses. I think, therefore, it +cannot but prove useful to discuss in its pages the question of the +advantage or disadvantage of gutta percha.</p> + +<p class='author'>J. L. Sisson.</p> + +<p class='location'>Edingthorpe Rectory, North Walsham.</p> + +<hr /> + + +<h3><a id='Replies_to_Minor_Queries' name='Replies_to_Minor_Queries'> +Replies to Minor Queries.</a></h3> + + +<p><em>Pilgrimages to the Holy Land</em> (Vol. v., p. 289.).—I beg to inform W. +M. R. E. (Vol. vii., p. 341.) that, though I have never met with a +printed copy of the "Itinerary to the Holy Land" of <em>Gabriele +Capodilista</em> (the Perugia edition of 1472, mentioned by Brunet, being +undoubtedly a book of very great rarity, and perhaps the only one ever +printed), I have in my possession a very beautiful manuscript of the +work on vellum, which appears to have been presented by the author to +the nuns of St. Bernardino of Padua. It is a small folio; and the first +page is illuminated in a good Italian style of the fifteenth century. It +is very well written in the Venetian dialect, and commences thus:</p> + +<blockquote><p lang='it'>"Venerabilibus ac Devotissimis D<span class='overline'>n</span>e Abbatissæ et +Monialibus Ecclesiæ Sancti Bernardini de Padua salut<span class='overline'>e</span> in +D<span class="smcap overline">no</span>].—Ritrovandomi ne li tempi in questa mia opereta descripti, +Io Gabriel Capodelista Cavalier Padoano dal su<span class='overline'>m</span>o Idio inspirato +et dentro al mio cor concesso fermo proposito di vistare +personalmente el Sanctissimo loco di Jerusalem," &c.</p></blockquote> + +<p>This MS., which was formerly in the library of the Abbati Canonici, I +purchased, with others, at Venice in 1835.</p> + +<p>If W. M. R. E. has any wish to see it, and will communicate such wish to +me through the medium of the publisher of "N. & Q.," I shall be happy to +gratify his curiosity. I do not know whether there is any MS. of +Capodilista's Itinerary in the British Museum.</p> + +<p class='author'>W. Sneyd.</p> + + +<p>"<em>A Letter to a Convocation Man</em>" (Vol vii., p. 358.).—The authorship +of the tract concerning which <span class="smcap">Mr. Fraser</span> inquires, is assigned to Sir +Bartholomew Shower, not by the Bodleian Catalogue only, but also by Sir +Walter Scott, in his edition of the Somers' <em>Tracts</em> (vol. ix. p. 411.), +as well as by Dr. Watt, in his <em>Bibliotheca Britannica</em>. The only +authorities for ascribing it to Dr. Binckes which I have been able to +discover, are Dr. Edmund Calamy, in his <em>Life and Times</em> (vol. i. p. +397.), and the Rev. Thomas Lathbury, in his <em>History of the Convocation +of the Church of England</em> (p. 283.); but neither of those authors gives +the source from which his information is<span class='pagenum'><a name="Page_416" id="Page_416">[Pg 416]</a></span> derived: and Mr. Lathbury, who +appears perfectly unaware that the tract had ever been ascribed to Sir +Bartholomew Shower, a lawyer, remarks: "It is worthy of observation that +the author of the <em>letter</em> professes to be a lawyer, though such was not +the case, Dr. Binckes being a clergyman." Dr. Kennett also, in his +<em>Ecclesiastical Synods</em>, p. 19., referred to by Mr. Lathbury, speaking +of Archbishop Wake's reply, says: "I remember one little prejudice to +it, that it was wrote by a divine, whereas the argument required an able +lawyer; and the very writer of the <em>Letter to a Convocation Man</em> +suggesting himself to be of that profession, there was the greater +equity, there should be the like council of one side as there had been +of the other."—It has occurred to me that the mistake of assigning the +tract to Dr. Binckes may possibly have been occasioned by the +circumstance that another tract, with the following title, published in +1701, has the initials W. B. at the end of it,—<em>A Letter to a +Convocation Man, by a Clergyman in the Country</em>. I have examined both +tracts, and they are quite different, and leave no appearance of having +proceeded from the same hand.</p> + +<p class='author'>Tyro.</p> + +<p class='location'>Dublin.</p> + + +<p><em>King Robert Bruce's Coffin-plate</em> (Vol vii., p. 356.) was a modern +forgery, but not discovered to be so, of course, until after publication +of the beautiful engraving of it in the <em>Transactions of the Scottish +Society of Antiquaries</em>, which was made at the expense of, and presented +to the Society by, the barons of the Exchequer.</p> + +<p>I believe that a notice of the forgery was published in a subsequent +volume.</p> + +<p class='author'>W. C. Trevelyan.</p> + + +<p><em>Eulenspiegel or Howleglas</em> (Vol. vii., p. 357.).—The following extract +from my note-book may be of use:</p> + +<blockquote><p>"The German Rogue, or the Life and Merry Adventures, Cheats, +Stratagems, and Contrivances of Tiel Eulenspiegle.</p> + +<div class='poem'> +<div class='stanza'> +<p class='i2'>'Let none Eulenspiegle's artifices blame,</p> +<p class='i25'>For Rogues of every country are the same.'</p> +</div></div> + +<p>London, printed in the year <small>MDCCIX</small>. The only copy of this edition I +ever saw was one which had formerly belonged to Ritson, and which I +purchased of Thomas Rodd, but afterwards relinquished to my old +friend Mr. Douce."</p></blockquote> + +<p>This copy, therefore, is no doubt now in the Bodleian. I have never +heard of any other.</p> + +<p>While on the subject of Eulenspiegel, I would call your correspondent's +attention to some curious remarks on the Protestant and Romanist +versions of it in the <em>Quarterly Review</em>, vol. xxi. p. 108.</p> + +<p>I may also take this opportunity of informing him that a very cleverly +illustrated edition of it was published by Scheible of Stuttgart in +1838, and that a passage in the <em lang='de'>Hettlingischen Sassenchronik</em> +(Caspar Abel's Sammlung, p. 185.), written in 1455, goes to prove that +Dyll Ulnspiegel, as the wag is styled in the Augsburgh edition of 1540, +is no imaginary personage, inasmuch as under the date of 1350 the +chronicler tells of a very grievous pestilence which raged through the +whole world, and that <span lang='de'>"dosulfest sterff Ulenspeygel to Möllen."</span></p> + +<p>I am unable to answer the Query respecting Murner's visit to England. +The most complete account of his life and writings is, I believe, that +prefixed by Scheible to his edition of Murner's +<em lang='de'>Narrenbeschwörung</em>, and his satirical dissertation <em lang='de'>Ob +der König von England ein Lügner sey, oder der Luther</em>.</p> + +<p class='author'>William J. Thoms.</p> + + +<p><em>Sir Edwin Sadleir</em> (Vol. vii., p. 357.).—Sir Edwin Sadleir, of Temple +Dinsley, in the county of Hertford, Bart., was the third son of Sir +Edwin Sadleir (created a baronet by Charles II.), by Elizabeth, daughter +of Sir Walter Walker, Knt., LL.D. His elder brothers having died in +infancy, he succeeded, on his father's death in 1672, to his honour and +estates, and subsequently married Mary, daughter and coheiress of John +Lorymer, citizen and apothecary of London, and widow of William Croone, +M.D. This lady founded the algebra lectures at Cambridge, and also +lectures in the College of Physicians and the Royal Society. (See +Chauncy's <em>Historical Antiquities of Hertfordshire</em>, folio edit., 397, +or 8vo. edit., ii. 179, 180.; Ward's <em>Lives of the Gresham Professors</em>, +322. 325.; Sir Ralph Sadler's <em>State Papers</em>, ii. 610.; Weld's <em>History +of the Royal Society</em>, i. 289.) In the Sadler State Papers, Sir Edwin +Sadleir is stated to have died 30th September, 1706: but that was the +date of Lady Sadleir's death; and, according to Ward, Sir Edwin Sadleir +survived her. He died without issue, and thereupon the baronetcy became +extinct.</p> + +<p class='author'>C. H. Cooper.</p> + +<p class='location'>Cambridge.</p> + + +<p><em>Belfry Towers separate from the Body of the Church</em> (Vol. vii., p. +333.).—The tower of the parish church of Llangyfelach, in +Glamorganshire, is raised at some little distance from the building. In +the legends of the place, this is accounted for by a belief that the +devil, in his desire to prevent the erection of the church, carried off +a portion of it as often as it was commenced; and that he was at length +only defeated by the two parts being built separate.</p> + +<p class='author'>Seleucus.</p> + +<p>In addition to the bell towers unconnected with the church, noticed in +"N. & Q." (Vol. vii., p. 333.), I beg to call the attention of J. S. A. +to those of Woburn in Bedfordshire, and Henllan in Denbighshire. The +tower of the former church stands at six yards distance from it, and is +a small square building with large buttresses and four pinnacles:<span class='pagenum'><a name="Page_417" id="Page_417">[Pg 417]</a></span> it +looks picturesque, from being entirely covered with ivy. The tower, or +rather the steeple, at Henllan, near Denbigh, is still more remarkable, +from its being built on the top of a hill, and looking down upon the +church, which stands in the valley at its foot.</p> + +<p class='author'>Cambrensis.</p> + + +<p><em>God's Marks</em> (Vol. vii., p. 134.).—These are probably the "yellow +spots" frequently spoken of in old writings, as appearing on the +finger-nails, the hands, and elsewhere, before death. (See Brand's +<em>Popular Ant.</em>, vol. iii. p. 177., Bohn's edit.) In Denmark they were +known under the name <em lang='da'>Döding-knib</em> (dead man's nips, +ghost-pinches), and tokened the approaching end of some friend or +kinsman. Another Danish name was <em lang='da'>Dödninge-pletter</em> (dead +man's spots); and in Holberg's <em lang='da'>Peder Paars</em> (book i. +song, 4.) <em lang='da'>Dödning-knæp</em>. See S. Aspach, +<em lang='la'>Dissertatio de Variis Superstitionibus</em>, 4to., Hafniæ, 1697, p. +7., who says they are of scorbutic origin; and F. Oldenburg, <em lang='da'>Om +Gjenfærd ellen Gjengangere</em>, 8vo., <span lang='da'>Kjöbenhavn,</span> 1818, p. 23.</p> + +<p class='author'>George Stephens.</p> + +<p class='location'>Copenhagen.</p> + + +<p>"<em>The Whippiad</em>" (Vol. vii., p. 393.).—The mention of <em>The Whippiad</em> by +B. N. C. brought to my recollection a MS. copy of that satire in this +library, and now lying before me, with the autograph of "Snelson, Trin. +Coll. Oxon., 1802." There are notes appended to this copy of the verses, +and not knowing where to look in <em>Blackwood's Magazine</em> for the satire, +or having a copy at hand in order to ascertain if the notes are printed +there also, or whether they are only to be found in the MS., perhaps +your correspondent B. N. C. will have the goodness to state if the +printed copy has notes, because, if there are none, I would copy out for +the "N. & Q." those that are written in the MS., as no doubt they would +be found interesting and curious by all who value whatever fell from the +pen of the highly-gifted Reginald Heber.</p> + +<p>Perhaps the notes may be the elucidations of some college cotemporary, +and not written by Heber.</p> + +<p class='author'>J. M.</p> + +<p class='location'>Sir R. Taylor's Library, Oxford.</p> + + +<p><em>The Axe that beheaded Anne Boleyn</em> (Vol. vii., p. 332.).—In Britton +and Brayley's <em>Memoirs of the Tower of London</em>, they mention (in +describing the Spanish Armoury) the axe which tradition says beheaded +Anne Boleyn and the Earl of Essex; but a foot-note is added from Stow's +<em>Chronicle</em>, stating that the <em>hangman</em> cut off the head of Anne with +one stroke of his <em>sword</em>.</p> + +<p class='author'>Thos. Lawrence.</p> + +<p class='location'>Ashby-de-la-Zouch.</p> + + +<p><em>Palindromical Lines</em> (Vol. vii., pp. 178. 366.).—Besides the +<em>habitats</em> already given for the Greek inscription on a font, I have +notes of the like at Melton Mowbray; St. Mary's, Nottingham; in the +private chapel at Longley Castle; and at Hadleigh. At this last place, +it is noted in a church book to be taken out of Gregory Nazienzen (but I +never could find it), and a reference is made to Jeremy Taylor's <em>Great +Exemplar</em>, "Discourse on Baptism," p. 120. sect. 17.</p> + +<p>It may be worth noticing that this Gregory was, for a short time, in the +fourth century, bishop of Constantinople; and in the Moslemised +cathedral of St. Sophia, in that city, according to Grelot, quoted in +Collier's <em>Dictionary</em>, the same words—with the difference that "sin" +is put in the plural, <em>sic</em>:</p> + +<p class='center'><ins class='transliteration' lang='el' title="NIPSON ANOMÊMATA MÊ MONAN OPSIN"> +"ΝΙΨΟΝ ΑΝΟΜΗΜΑΤΑ ΜΗ ΜΟΝΑΝ ΟΨΙΝ"</ins>—</p> + +<p>were written in letters of gold over the place at the entrance of the +church, between two porphyry pillars, where stood two urns of marble +filled with water, the use of which, when it was a Christian temple, +must be well known. The Turks now use them for holding drinking water, +and have probably done so since the time when the church was turned into +a mosque, after the conquest of Constantinople by Mahomet II., in the +fifteenth century. What could induce <span class="smcap">Zeus</span> (p. 366.) to call this +inscription "sotadic?" It may more fitly be called holy.</p> + +<p class='author'>H. T. Ellacombe.</p> + +<p class='location'>Clyst St. George.</p> + +<p>These lines also are to be found on the marble basins for containing +holy water, in one of the churches at Paris.</p> + +<p class='author'>W. C. Trevelyan.</p> + +<p>The Greek inscription mentioned by Jeremy Taylor is on the font in +Rufford Church.</p> + +<p class='author'>H. A.</p> + + +<p><em lang='de'>Heuristisch</em> (Vol. vii., p. 237.).—In reply to H. B. C. of the +U. U. Club, I beg to give the explanation of the word +<em lang='de'>heuristisch</em>, with its cognate terms, from Heyse's +<em lang='de'>Allgemeines Fremdwörterbuch</em>, 10th edition, Hanover, 1848:</p> + +<blockquote><p lang='de'>"Heuréka, gr. (von heuriskein, finden), ich hab' es +gefunden, gefunden! Heuristik, <em>f.</em> die Erfindungskunst; +<em>heuristisch</em>, erfindungskünstlich, erfinderisch; heuristische +Methode, entwickelnde Lehrart, welche den Schüler zum Selbstfinden +der Lehrsätze anleitet."</p></blockquote> + +<p class='author'>J. M.</p> + +<p class='location'>Oxford.</p> + +<hr class='full' /> + +<h2><a id='Miscellaneous' name='Miscellaneous'>Miscellaneous.</a></h2> + + +<h3>BOOKS AND ODD VOLUMES</h3> + +<h4>WANTED TO PURCHASE.</h4> + + +<ul><li> <span class="smcap">Views of Arundel House in the Strand</span>, 1646. London, published by T. Thane, Rupert Street, Haymarket. 1792.</li> +<li> <span class="smcap">Parker's Glossary of Architecture.</span> 2nd Edition.</li> +<li> <span class="smcap">Pickering's Statutes at Large.</span> 8vo. Edit. Camb. From 46 Geo III. cap. 144. (Vol. XLVI. Part I.) to 1 Wm. IV.</li> +<li> <span class="smcap">European Magazine.</span> Nos. for May, 1817; January, February, May, June, 1818; April, June, July, October, and December, 1819.</li> +<li> <span class="smcap">Stanhope's Paraphrase of Epistles and Gospels.</span> London, 1732. Vols. III. and IV.</li> +<li> <span class="smcap">The Lawyer and Magistrate's Magazine</span>, complete or single Volumes, <em>circa</em> 1805-1810.</li> +<li> <span class="smcap">Phelp's History and Antiquities of Somersetshire.</span> Part 4., and Parts 9. to end.<span class='pagenum'><a name="Page_418" id="Page_418">[Pg 418]</a></span></li> +<li> <span class="smcap">Bayle's Dictionary.</span> English Version, by <span class="smcap">De Maizeaux.</span> London, 1738. Vols. I. and II.</li> +<li> <span class="smcap">Swift's (Dean) Works.</span> Dublin; G. Faulkner. 19 volumes. 1768. Vol. I.</li> +<li> <span class="smcap">Todd's Cyclopædia of Anatomy and Physiology.</span></li> +<li> <span class="smcap">Transactions of the Microscopical Society of London.</span> Vols. I. and II.</li> +<li> <span class="smcap">Archæologia.</span> Vols. III., IV., V., VIII. Boards.</li> +<li> <span class="smcap">Martyn's Plantæ Cantabrigienses.</span> 12mo. London, 1763.</li> +<li> <span class="smcap">Abbotsford Edition of the Waverley Novels.</span> Odd Vols.</li> +<li> <span class="smcap">The Truth Teller.</span> A Periodical.</li> +<li> <span class="smcap">J. L. Petit's Church Architecture.</span> 2 Vols.</li> +<li> <span class="smcap">R. Mant's Church Architecture considered in relation to the Mind of the Church.</span> 8vo. Belfast, 1840.</li> +<li> <span class="smcap">Cambridge Camden Society's Transactions.</span> Vol. III.—<span class="smcap">Ellicott on Vaulting.</span></li> +<li> <span class="smcap">Quarterly Review</span>, 1845.</li> +<li> <span class="smcap">Collier's Further Vindication of his short View of the Stage.</span> 1708.</li> +<li> <span class="smcap">Congreve's Amendment of Collier's false and imperfect Citations.</span> 1698.</li> +<li> <span class="smcap">Bedford's Serious Reflections on the Abuses of the Stage.</span> 8vo. 1705.</li> +</ul> + +<p>⁂ <em>Correspondents sending Lists of Books Wanted are requested to send +their names.</em></p> + +<p>⁂ Letters, stating particulars and lowest price, <em>carriage free</em>, to +be sent to <span class="smcap">Mr. Bell</span>, Publisher of "NOTES AND QUERIES." 186. Fleet +Street.</p> + +<hr /> + +<h3><a id='Notices_to_Correspondents' name='Notices_to_Correspondents'> +Notices to Correspondents.</a></h3> + +<div class='notices'> +<p><em>E. P.</em> Schiller's <em>Wallenstein</em> and <em>Ghost-Seer</em>, Goethe's <em>Faust</em>, and +Kant's <em>Philosophy</em>, have been translated into English.</p> + +<p><em><span class="smcap">Recnac.</span></em> We cannot undertake to tell our Correspondent what is the +distinction between Epic and Ballad Poetry.</p> + +<p><em>Y. S. M.</em>, who writes respecting <em>Fees for searching Parish Registers</em>, +is referred to our <em>4th Vol.</em>, <em>p. 473.</em>, <em>and our 5th Vol.</em>, <em>pp. 36. +207.</em></p> + +<p><em>S. A. S. (Bridgewater).</em> Will our Correspondent repeat his Query +respecting <em>Loselerius Vilerius</em>?</p> + +<p><em><span class="smcap">Quesor.</span></em> Lord Bacon's <em>History of Henry VII.</em> was first published in +1622.</p> + +<p><em>W. B.</em> The mercury does not lose its power by use, but should when it +becomes oxydized, be strained by squeezing it through wash-leather.</p> + +<p><em><span class="smcap">Protosulph.</span></em> The gilding would have been wasted. Our observations +respecting blowing on the glass apply equally when the protosulphate is +used. That developing solution will keep. Stains may be removed from the +finger by cyanide of potassium; but this must be used cautiously, as it +is very poisonous.</p> + +<p>A few complete sets of "<em><span class="smcap">Notes and Queries</span></em>," <em>Vols. i.</em> to <em>vi.</em>, price +Three Guineas, may now be had; for which early application is desirable.</p> + +<p>"<em><span class="smcap">Notes and Queries</span></em>" is published at noon on Friday, so that the +Country Booksellers may receive Copies in that night's parcels, and +deliver them to their Subscribers on the Saturday.</p> +</div> + +<hr class='adverts' /> + +<p class='center'><a id='Advertisements' name='Advertisements'>MAITLAND ON THE DARK AGES—NEW EDITION.</a></p> + +<p class='center'>In 8vo., price 10<em>s.</em> 6<em>d.</em>, the Third Edition of</p> + +<p>THE DARK AGES; a Series of ESSAYS intended to illustrate the State of +RELIGION and LITERATURE in the 9th, 10th, 11th, and 12th Centuries. By +the REV. S. R. MAITLAND, F.R.S. and F.S.A., some time Librarian to the +late Archbishop of Canterbury, and Keeper of the MSS. at Lambeth.</p> + +<p class='center'>RIVINGTONS. St. Paul's Church Yard, and Waterloo Place;</p> + +<p class='center'>Of whom may be had, by the same Author,</p> + + +<ul><li> 1. ESSAYS ON THE REFORMATION in ENGLAND. 13<em>s.</em></li> +<li> 2. EIGHT ESSAYS ON VARIOUS SUBJECTS (1852). 4<em>s.</em> 6<em>d.</em></li> +<li> 3. ERUVIN; ESSAYS on Subjects connected with the NATURE, HISTORY, and DESTINY of MAN. Second Edition. 5<em>s.</em></li> +</ul> + +<hr /> + +<p class='center'>PUTZ'S ANCIENT GEOGRAPHY AND HISTORY, BY ARNOLD AND PAUL.</p> + +<p class='center'>Now ready, in 12mo., price 6<em>s.</em> 6<em>d.</em>, the Second Edition of</p> + +<p>HANDBOOK OF ANCIENT GEOGRAPHY and HISTORY. With Questions. Translated +from the German of Putz, by the REV. R. B. PAUL, M.A., and edited by the +late REV. THOMAS KERCHEVER ARNOLD, M.A.</p> + +<p class='center'>Also, by the same Editors,</p> + + +<ul><li> 1. HANDBOOK OF MEDIÆVAL HISTORY AND GEOGRAPHY. 4<em>s.</em> 6<em>d.</em></li> +<li> 2. HANDBOOK OF MODERN HISTORY AND GEOGRAPHY. 5<em>s.</em> 6<em>d.</em></li> +</ul> + +<blockquote><p>"The leading characteristic of these Handbooks is their exceeding +simplicity, the excellent order with which they are arranged, the +completeness of their details, and the remarkable accuracy and +elaborate erudition which they exhibit in every page. They have +this further advantage, which it is impossible to +over-estimate—that they bring down their respective subjects to +the very latest period, and present us with the results of the most +recent investigations of the critics and antiquaries by whom they +have been discussed."—<em>Dublin Review.</em></p></blockquote> + +<p class='center'>RIVINGTONS. St. Paul's Church Yard, and Waterloo Place.</p> + +<hr /> + +<p class='center'>EURIPIDIS BACCHÆ WITH ENGLISH NOTES.</p> + +<p class='center'>Now ready, in 12mo., price 3<em>s.</em></p> + +<p>EURIPIDIS BACCHÆ, with ENGLISH NOTES, from the German of SCHÖNE. By the +REV. HENRY BROWNE, M.A., Canon of Waltham in the Cathedral Church, and +Chaplain to the Lord Bishop of Chichester. (Forming a New Volume of +ARNOLD'S SCHOOL CLASSICS.)</p> + +<p>Recently published in this Series, edited by the late REV. T. K. ARNOLD, +M.A.</p> + + +<ul><li> 1. EURIPIDIS HIPPOLYTUS. With ENGLISH NOTES. 3<em>s.</em></li> +<li> 2. —— HECUBA. With ENGLISH NOTES. 3<em>s.</em></li> +<li> 3. SOPHOCLIS ŒDIPUS COLONEUS. 4<em>s.</em></li> +<li> 4. —— ŒDIPUS TYRANNUS. 4<em>s.</em></li> +<li> 5. —— PHILOCTETES. 3<em>s.</em></li> +<li> 6. —— AJAX, 3<em>s.</em></li> +<li> 7. —— ANTIGONE. 4<em>s.</em></li> +</ul> + +<p>*** The last five with English Notes, translated from the German of +SCHNEIDEWIN.</p> + + +<ul><li> 8. ECLOGÆ ARISTOPHANICÆ, The CLOUDS. 3<em>s.</em> 6<em>d.</em></li> +<li> 9. ECLOGÆ ARISTOPHANICÆ, The BIRDS. 3<em>s.</em> 6<em>d.</em></li> +</ul> + +<p>*** With English Notes by PROFESSOR FELTON.</p> + +<p class='center'>RIVINGTONS, St. Paul's Church Yard, and Waterloo Place.</p> + +<hr /> + +<p>Now ready, Fourth Edition, enlarged, with numerous Illustrations and +Diagrams, price 1<em>s.</em> in wrappers, cloth gilt 1<em>s.</em> 6<em>d.</em></p> + +<p>A PRACTICAL MANUAL of PHOTOGRAPHY. With the latest Improvements in the +Collodion Process, and Microscopic and Stereoscopic Pictures, &c. +Published by CLARK, 17. Warwick Lane, London: and sold by all +Booksellers. Upon receipt of 18 Postage Stamps a Copy can be forwarded +free.</p> + +<hr /> + +<p>On May 2nd will be published, Part I. of MR. PARKER'S NEW MAGAZINE, THE +NATIONAL MISCELLANY. A New Monthly Periodical of General Literature.</p> + +<p>On the Second of May it is designed to commence the publication of a New +Monthly Periodical, to be entitled THE NATIONAL MISCELLANY. As its name +imports, it will be a Magazine of General Literature, giving itself free +range over every subject likely to be of general interest.</p> + +<p>THE NATIONAL MISCELLANY is an attempt to supply high-principled and +high-toned Literature of a secular kind, which may be safely taken up by +thoughtful persons when their more serious reading is over, and which +may also indirectly act for good on those who thrust all religious works +aside.</p> + +<p>It will be issued in Shilling Monthly Parts, and the type and paper will +be of a superior kind.</p> + +<p>All communications and books for review must be addressed to the Editor, +under cover to Mr. Parker, 377. Strand.</p> + +<p class='center'>London: JOHN HENRY PARKER, 377. Strand.</p> + +<hr /> + +<p class='center'>MR. KINGSLEY'S NEW WORK.</p> + +<p class='center'>This day, 2 vols. post 8vo., 18<em>s.</em></p> + +<p>HYPATIA; or New Foes with and Old Face. By CHARLES KINGSLEY, Jun., +Rector of Eversley. Reprinted from "Fraser's Magazine."</p> + +<p class='center'>London: JOHN W. PARKER & SON, West Strand.</p> + +<hr /> + +<p class='center'>This day is published, price 6<em>s.</em> 6<em>d.</em></p> + +<p class='center'>THE CAMBRIDGE UNIVERSITY CALENDAR FOR THE YEAR 1853.</p> + +<blockquote> +<p><span lang='la'>"Deum timeto: regem honorato: virtutem colito disciplinis +bonis operam dato."—</span><em>Stat. Acad. Cantab.</em></p></blockquote> + +<p class='center'>Cambridge: JOHN DEIGHTON.</p> + +<p>Sold in London by LONGMAN & CO.; F. & J. RIVINGTON; WHITTAKER & CO.; +SIMPKIN & CO.; JOHN W. PARKER & SON; GEORGE BELL; and by DEIGHTON & +LAUGHTON, Liverpool.</p> + +<hr /> + +<p>NEW ACHROMATIC MICROSCOPES on MR. PRITCHARD'S Construction, Micrometers, +Polarizing Apparatus, Object-glasses, and Eye-pieces. S. STRAKER +supplies any of the above of the first quality, and will forward by post +free a new priced List of Microscopes and Apparatus.</p> + +<p class='center'>162. FLEET STREET, LONDON.</p> + +<hr /> + +<p><span class='pagenum'><a name="Page_419" id="Page_419">[Pg 419]</a></span>PHOTOGRAPHIC PICTURES.—A Selection of the above beautiful Productions +may be seen at BLAND & LONG'S, 153. Fleet Street, where may also be +procured Apparatus of every Description, and pure Chemicals for the +practice of Photography in all its Branches.</p> + +<p>Calotype, Daguerreotype and Glass Pictures for the Stereoscope.</p> + +<p>BLAND & LONG, Opticians, Philosophical and Photographical Instrument +Makers, and Operative Chemists, 153. Fleet Street.</p> + +<hr /> + +<p class='center'>Just published, price 1<em>s.</em>, free by Post 1<em>s.</em> 4<em>d.</em>,</p> + +<p>THE WAXED-PAPER PHOTOGRAPHIC PROCESS of GUSTAVE LE GRAY'S NEW EDITION. +Translated from the French.</p> + +<p>Sole Agents in the United Kingdom for VOIGHTLANDER & SON'S celebrated +Lenses for Portraits and Views.</p> + +<p>General Depôt for Turner's, Whatman's, Canson Frères, La Croix, and +other Talbotype Papers.</p> + +<p>Pure Photographic Chemicals.</p> + +<p>Instructions and Specimens in every Branch of the Art.</p> + +<p class='center'>GEORGE KNIGHT & SONS, Foster Lane, London.</p> + +<hr /> + +<p>PHOTOGRAPHY.—HORNE & CO.'S Iodized Collodion, for obtaining +Instantaneous Views, and Portraits in from three to thirty seconds, +according to light.</p> + +<p>Portraits obtained by the above, for delicacy of detail rival the +choicest Daguerreotypes, specimens of which may be seen at their +Establishment.</p> + +<p>Also every description of Apparatus, Chemicals, &c. &c. used in this +beautiful Art.—123. and 121. Newgate Street.</p> + +<hr /> + +<p>TO PHOTOGRAPHERS.—Pure Chemicals, and every requisite for the practice +of Photography, according to the instructions of Le Gray, Hunt, +Brébisson, and other writers, may be obtained, wholesale and retail, of +WILLIAM BOLTON (formerly Dymond & Co.), Manufacturer of pure Chemicals +for Photographic and other purposes. Lists may be had on application.</p> + +<p>Improved Apparatus for iodizing paper in vacuo, according to Mr. +Stewart's instructions.</p> + +<p class='center'>146. HOLBORN BARS.</p> + +<hr /> + +<p>PHOTOGRAPHIC PAPER.—Negative and Positive Papers of Whatman's, +Turner's, Sanford's, and Canson Frères' make. Waxed-Paper for Le Gray's +Process. Iodized and Sensitive Paper for every kind of Photography.</p> + +<p>Sold by JOHN SANFORD, Photographic Stationer, Aldine Chambers, 13. +Paternoster Row, London.</p> + +<hr /> + +<p>PHOTOGRAPHY.—Collodion (Iodized with the Ammonio-Iodide Of Silver).—J. +B. HOCKIN & CO., Chemists, 289. Strand, were the first in England who +published the application of this agent (see <em>Athenæum</em>, Aug. 14th). +Their Collodion (price 9<em>d.</em> per oz.) retains its extraordinary +sensitiveness, tenacity, and colour unimpaired for months: it may be +exported to any climate, and the Iodizing Compound mixed as required. J. +B. HOCKIN & CO. manufacture PURE CHEMICALS and all APPARATUS with the +latest Improvements adapted for all the Photographic and Daguerreotype +processes. Cameras for Developing in the open Country. GLASS BATHS +adapted to any Camera. Lenses from the best Makers. Waxed and Iodized +Papers, &c.</p> + +<hr /> + +<p class='center'>CLERICAL, MEDICAL, AND GENERAL LIFE ASSURANCE SOCIETY.</p> + +<hr class='short' /> + +<p class='center'>Established 1824.</p> + +<hr class='short' /> + +<p>FIVE BONUSES have been declared: at the last in January, 1852, the sum +of 131,125<em>l.</em> was added to the Policies, producing a Bonus varying with +the different ages from 24-1/2 to 55 per cent. on the Premiums paid +during the five years, or from 5<em>l.</em> to 12<em>l.</em> 10<em>s.</em> per cent. on the +Sum assured.</p> + +<p>The small share of Profit divisible in the future among Shareholders +being now provided for, the ASSURED will hereafter derive all the +benefits obtainable from a Mutual Office, WITHOUT ANY LIABILITY OR RISK +OF PARTNERSHIP.</p> + +<p>POLICIES effected before the 30th June next, will be entitled, at the +next Division, to one year's additional share of Profits over later +Assurers.</p> + +<p>On Assurances for the whole of Life only one half of the Premiums need +be paid for the first five years.</p> + +<p>INVALID LIVES may be Assured at rates proportioned to the risk.</p> + +<p>Claims paid <em>thirty</em> days after proof of death, and all Policies are +<em>Indisputable</em> except in cases of fraud.</p> + +<p>Tables of Rates and forms of Proposal can be obtained of any of the +Society's Agents, or of</p> + +<p class='author'>GEORGE H. PINCKARD, Resident Secretary.</p> + +<p class='center'><em>99. Great Russell Street, Bloomsbury, London.</em></p> + +<hr /> + + +<p class='center'>AMICABLE LIFE ASSURANCE SOCIETY, +50. Fleet Street, London.</p> + +<p class='center'>Incorporated by Charter of Queen Anne, <small>A.D.</small> 1706.</p> +<p class='center'><em>Directors.</em></p> + +<p class='center'> +G. Baillie, Esq.<br /> +The Hon. F. Byng.<br /> +R. H. Coote, Esq.<br /> +J. E. Davies, Esq.<br /> +G. De Morgan, Esq.<br /> +W. Everett, Esq.<br /> +G. Ogle, Esq.<br /> +M. B. Peacock, Esq.<br /> +C. Phillips, Esq.<br /> +J. Round, Esq.<br /> +The Rt. Hon. Sir E. Ryan.<br /> +T. Thompson. M.D., F.R.S.<br /><br /> +<em>Physician.</em>—Francis Boott, M.D., 24. Gower Street, Bedford Square.<br /> +<em>Solicitor.</em>—Charles Rivington, Esq., Fenchurch Buildings.<br /> +<em>Bankers.</em>—Messrs. Goslings & Sharpe, Fleet Street. +</p> + +<p>This Society has been established nearly a century and a half, and is +the oldest Life Assurance Institution in existence. Its principles are +essentially those of Mutual Assurance, and the whole of the profits are +divided among the Members.</p> + +<p>Assurances are granted, if desired, without participation in Profits, at +reduced rates of Premium, and upon every contingency depending on human +life.</p> + +<p>The Tables of Mortality, deduced from the Society's own experience, +having satisfied the Directors that the Rates of Premium on Single Lives +might be reduced with perfect safety, a new Table has accordingly been +prepared, and the terms upon which Assurances are now effected with this +Office are shown in the subjoined extract:—</p> + +<div class='center'> +<table class='insurance' rules='groups' frame='hsides' border='1' cellspacing='0' summary='Insurance payment/payout data'> +<colgroup width='10%'></colgroup> +<colgroup span='3' width='10%'></colgroup> +<colgroup span='3' width='10%'></colgroup> +<thead> +<tr><th class='center'>Age.</th> + <th colspan='3' class='center'>With Profits.</th> + <th colspan='3' class='center'>Without Profits.</th> +</tr> +</thead> + +<tbody> + +<tr> + <td class='tdc'> </td> + <td class='tdc'><em>£</em></td> + <td class='tdc'><em>s.</em></td> + <td class='tdc'><em>d.</em></td> + <td class='tdc'><em>£</em></td> + <td class='tdc'><em>s.</em></td> + <td class='tdc'><em>d.</em></td> +</tr> + +<tr> + <td class='tdc'>15</td> + <td class='tdc'>1</td> + <td class='tdc'>15</td> + <td class='tdc'>3</td> + <td class='tdc'>1</td> + <td class='tdc'>11</td> + <td class='tdc'>9</td> +</tr> +<tr> + <td class='tdc'>20</td> + <td class='tdc'>1</td> + <td class='tdc'>19</td> + <td class='tdc'>7</td> + <td class='tdc'>1</td> + <td class='tdc'>15</td> + <td class='tdc'>8</td> +</tr> +<tr> + <td class='tdc'>25</td> + <td class='tdc'>2</td> + <td class='tdc'>4</td> + <td class='tdc'>2</td> + <td class='tdc'>1</td> + <td class='tdc'>19</td> + <td class='tdc'>9</td> +</tr> +<tr> + <td class='tdc'>30</td> + <td class='tdc'>2</td> + <td class='tdc'>9</td> + <td class='tdc'>9</td> + <td class='tdc'>2</td> + <td class='tdc'>4</td> + <td class='tdc'>9</td> +</tr> + +<tr> + <td class='tdc'>35</td> + <td class='tdc'>2</td> + <td class='tdc'>16</td> + <td class='tdc'>10</td> + <td class='tdc'>2</td> + <td class='tdc'>11</td> + <td class='tdc'>2</td> +</tr> + +<tr> + <td class='tdc'>40</td> + <td class='tdc'>3</td> + <td class='tdc'>5</td> + <td class='tdc'>0</td> + <td class='tdc'>2</td> + <td class='tdc'>18</td> + <td class='tdc'>6</td> +</tr> + +<tr> + <td class='tdc'>45</td> + <td class='tdc'>3</td> + <td class='tdc'>15</td> + <td class='tdc'>9</td> + <td class='tdc'>3</td> + <td class='tdc'>8</td> + <td class='tdc'>2</td> +</tr> + +<tr> + <td class='tdc'>50</td> + <td class='tdc'>4</td> + <td class='tdc'>9</td> + <td class='tdc'>9</td> + <td class='tdc'>4</td> + <td class='tdc'>0</td> + <td class='tdc'>9</td> +</tr> + +<tr> + <td class='tdc'>55</td> + <td class='tdc'>5</td> + <td class='tdc'>8</td> + <td class='tdc'>9</td> + <td class='tdc'>4</td> + <td class='tdc'>17</td> + <td class='tdc'>10</td> +</tr> + +<tr> + <td class='tdc'>60</td> + <td class='tdc'>6</td> + <td class='tdc'>15</td> + <td class='tdc'>0</td> + <td class='tdc'>6</td> + <td class='tdc'>1</td> + <td class='tdc'>6</td> + +</tr> + + + +</tbody> +</table></div> + + + +<p>Prospectuses and every information may be obtained at the Office.</p> + +<p class='center'>HENRY THOS. THOMSON, Registrar.</p> + +<hr /> + +<p>HEAL & SON'S ILLUSTRATED CATALOGUE OF BEDSTEADS, sent free by post. It +contains designs and prices of upwards of ONE HUNDRED different +Bedsteads: also of every description of Bedding, Blankets, and Quilts. +And their new warerooms contain an extensive assortment of Bed-room +Furniture, Furniture Chintzes, Damasks, and Dimities, so as to render +their Establishment complete for the general furnishing of Bed-rooms.</p> + +<p>HEAL & SON, Bedstead and Bedding Manufacturers, 196. Tottenham Court +Road.</p> + +<hr /> + +<p class='center'>WESTERN LIFE ASSURANCE AND ANNUITY SOCIETY, 3. PARLIAMENT STREET, +LONDON.</p> + +<p class='center'>Founded A.D. 1842</p> + +<hr class='short' /> + +<p class="center"><em>Directors.</em></p> + + +<p class='center'>H. E. Bicknell, Esq.<br /> +W. Cabell, Esq.<br /> +T. S. Cocks, Jun. Esq. M.P.<br /> +G. H. Drew, Esq.<br /> +W. Evans, Esq.<br /> +W. Freeman, Esq.<br /> +F. Fuller, Esq.<br /> +J. H. Goodhart, Esq.<br /> +T. Grissell, Esq.<br /> +J. Hunt, Esq.<br /> +J. A. Lethbridge, Esq.<br /> +E. Luens, Esq.<br /> +J. Lys Seager, Esq.<br /> +J. B. White, Esq.<br /> +J. Carter Wood, Esq.<br /> +</p> + +<p class='center'><em>Trustees.</em></p> + +<p class='center'>W. Whately, Esq., Q.C.: L. C. Humfrey, Esq., Q.C.: George Drew, Esq.</p> + +<p class='center'><em>Physician.</em>—William Rich. Basham, M.D.</p> + +<p class='center'><em>Bankers.</em>—Messrs. Cocks, Biddulph, and Co., Charing Cross<br /></p> + +<p class='center'>VALUABLE PRIVILEGE.</p> + +<p>POLICIES effected in this Office do not become void through temporary +difficulty in paying a Premium, as permission is given upon application +to suspend the payment at interest, according to the conditions detailed +in the Prospectus.</p> + +<p>Specimens of Rates of Premium for Assuring 100<em>l.</em> with a Share in +three-fourths of the Profits:—</p> + +<div class='center'> +<table border='0' cellpadding="2" cellspacing="0" +summary="Premium rates based on age"> + +<col width='20%'></col> +<col width='10%'></col> +<col width='10%'></col> +<col width='10%'></col> + +<thead> +<tr><th class='center'>Age.</th> + <th class='center'><em>£</em></th> + <th class='center'><em>s.</em></th> + <th class='center'><em>d.</em></th> +</tr> +</thead> + +<tr> + <td class='tdc'>17</td> + <td class='tdc'>1</td> + <td class='tdc'>14</td> + <td class='tdc'>4</td> +</tr> + +<tr> + <td class='tdc'>22</td> + <td class='tdc'>1</td> + <td class='tdc'>18</td> + <td class='tdc'>8</td> +</tr> + +<tr> + <td class='tdc'>27</td> + <td class='tdc'>2</td> + <td class='tdc'>4</td> + <td class='tdc'>5</td> +</tr> + +<tr> + <td class='tdc'>32</td> + <td class='tdc'>2</td> + <td class='tdc'>10</td> + <td class='tdc'>8</td> +</tr> + +<tr> + <td class='tdc'>37</td> + <td class='tdc'>2</td> + <td class='tdc'>18</td> + <td class='tdc'>6</td> +</tr> + +<tr> + <td class='tdc'>42</td> + <td class='tdc'>3</td> + <td class='tdc'>8</td> + <td class='tdc'>2</td> +</tr> +</table> +</div> + + + +<p class='center'>ARTHUR SCRATCHLEY, M.A., F.R.A.S. Actuary.</p> + +<p>Now ready, price 10<em>s.</em> 6<em>d.</em>, Second Edition, with material additions. +INDUSTRIAL INVESTMENT and EMIGRATION; being a TREATISE on BENEFIT +BUILDING SOCIETIES, and on the General Principles of Land Investment, +exemplified in the Cases of Freehold Land Societies, Building Companies, +&c. With a Mathematical Appendix on Compound Interest and Life +Assurance. By ARTHUR SCRATCHLEY, M.A., Actuary to the Western Life +Assurance Society, 3. Parliament Street, London.</p> + +<hr /> + +<p>BENNETT'S MODEL WATCH, as shown at the GREAT EXHIBITION. No. 1. Class +X., in Gold and Silver Cases, in five qualities, and adapted to all +Climates, may now be had at the MANUFACTORY, 65. CHEAPSIDE. Superior +Gold London-made Patent Levers, 17, 15, and 12 guineas. Ditto, in Silver +Cases, 8, 6, and 4 guineas. First-rate Geneva Levers, in Gold Cases, 12, +10, and 8 guineas. Ditto, in Silver Cases, 8, 6, and 5 guineas. Superior +Lever, with Chronometer Balance, Gold, 27, 23, and 19 guineas. Bennett's +Pocket Chronometer, Gold, 50 guineas; Silver, 40 Guineas. Every Watch +skilfully examined, timed, and its performance guaranteed. Barometers, +2<em>l.</em>, 3<em>l.</em>, and 4<em>l.</em> Thermometers from 1<em>s.</em> each.</p> + +<p>BENNETT, Watch, Clock, and Instrument Maker to the Royal Observatory, +the Board of Ordnance, the Admiralty, and the Queen.</p> + +<p class='center'>65. CHEAPSIDE.</p> + +<hr /> + +<p class='center'><span class='pagenum'><a name="Page_420" id="Page_420">[Pg 420]</a></span>THE PHOTOGRAPHIC INSTITUTION,</p> + +<p class='center'>168. NEW BOND STREET, NEXT THE CLARENDON.</p> + +<hr class='short' /> + + +<p class='center'>An Exhibition of Photographic Pictures</p> + +<p>By the best English and Continental Artists will be opened at the +PHOTOGRAPHIC INSTITUTION, 168. <span class="smcap">New Bond Street</span>, on <span class="smcap">Thursday, April</span> 28. +The Collection will include a great variety of new and important +Pictures recently taken by eminent Photographers, and some of the best +specimens from the late Exhibition at the Society of Arts.—Admission +6<em>d.</em></p> + +<hr class='short' /> + +<p class='center'>CALOTYPE PORTRAITS.</p> + +<p class='center'>(<em>By Licence of the Patentee.</em>)</p> + +<p><span class="smcap">Mr. Philip Delamotte</span> begs to announce that he has concluded an +arrangement with the Patentee, Mr. H. F. Talbot, which enables him to +take Portraits by the newly-discovered Collodion Process. The advantages +which this process offers are,—Excellence of Likeness, great +Convenience, and the opportunity of Multiplying copies of the same +Portrait to any extent. These Portraits have the appearance of beautiful +mezzotint engravings, with the superior accuracy which Sun-painting must +insure. One moment suffices to obtain the likeness, and no constrained +position is required. Hence a happy expression of face is instantly +caught, and young children may be taken without difficulty. To those who +wish for several copies of the same Portrait, the Calotype offers every +facility, as an unlimited number of impressions may be printed, by the +agency of the sun, from the glass plate. These will all be exactly equal +to the first, and may be had at a moderate cost.</p> + +<p class='center'>TO ARTISTS AND SCULPTORS.</p> + +<p>MR. DELAMOTTE will be happy to photograph Artist' Paintings and Statues, +and supply two or more impressions as may be desired. He also undertakes +to photograph, under the superintendence of the Artist, the Life Model, +Costume, or any required object, and to deliver the negative plate.</p> + +<p class='center'>TO ENGINEERS AND ARCHITECTS.</p> + +<p>MR. DELAMOTTE is ready to enter into engagements to photograph Buildings +and Engineering Works of all kinds, either in progress or when +completed. In illustration of the advantages to be derived by Engineers +from Photography, MR. DELAMOTTE begs to refer to Mr. Fenton's Views of +Mr. Vignolles' Bridge across the Dnieper at Kieff, and to his own views +of the Progress of the Crystal Palace at Sydenham.</p> + +<p class='center'>TO THE NOBILITY AND GENTRY.</p> + +<p>MR. DELAMOTTE has made arrangements which enable him to take +photographic views of Country Mansions, Ancient Castles and Ruins, +Villas, Cottages, Bridges or Picturesque Scenery of any description, and +to supply as many copies as may be desired.</p> + +<p class='center'>TO THE CLERGY.</p> + +<p>MR. DELAMOTTE will be happy to receive commissions to take photographic +views of Churches—either Exterior or Interiors—Rectories or +School-houses. He will also be willing to make special arrangements for +Portraits of Clergymen, when several copies of the same portrait are +required.</p> + +<p class='center'>TO AMATEURS AND STUDENTS.</p> + +<p>MR. DELAMOTTE gives lessons in every branch of the Photographic Art, but +more especially in the Collodion Process, which he undertakes to teach, +together with the best method of Printing, in Six Lessons.</p> + +<p class='center'>For Terms apply to MR. PHILIP DELAMOTTE, Photographic Institution, 168. +New Bond Street.</p> + +<hr /> + +<p class='center'>Just published, price 10<em>s.</em> 6<em>d.</em></p> + +<p class='center'>THE PHOTOGRAPHIC ALBUM.</p> + +<p class='center'>PART III.</p> + +<p class='center'><em>Containing Four Pictures.</em></p> + + +<ul><li> TINTERN ABBEY. By <span class="smcap">Roger Fenton</span>.</li> +<li> THE BOY IN THE ARCH. By <span class="smcap">Philip DelaMotte</span>.</li> +<li> BURNHAM BEECHES. By <span class="smcap">Roger Fenton</span>.</li> +<li> KENILWORTH CASTLE. By <span class="smcap">Philip DelaMotte</span>.</li> +</ul> + +<p class='center'>Parts I. and II. are now reprinted and <em>good</em> impressions of the +pictures are guaranteed. Part IV. will be ready in May.</p> + +<p>*** The Publisher apologizes for the long delay in issuing Part III. and +reprinting the two former Parts. Photographers will readily understand +why no quantity of good impressions could have been printed during the +last four months.</p> + +<hr class='short' /> + +<p class='center'>Now ready, price 16<em>s.</em></p> + +<p class='center'>PHOTOGRAPHIC STUDIES.</p> + +<p>By GEORGE SHAW, Esq. (of Queen's College, Birmingham).</p> + +<p class='center'><em>Comprising,</em></p> + + +<ul><li> A MILL STREAM,</li> +<li> A FOREST SCENE,</li> +<li> A RUSTIC BRIDGE,</li> +<li> A WELSH GLEN.</li> +</ul> + +<p class='center'>These Pictures are of large size, and are very carefully printed.</p> + +<p>*** Should this Number meeting with the approbation of the Public, +Professor Shaw will continue the Series.</p> + +<hr class='short' /> + +<p class='center'>Nearly ready,</p> + +<p class='center'>THE PRACTICE OF PHOTOGRAPHY.</p> + +<p class='center'>A MANUAL for STUDENTS and AMATEURS.</p> + +<p class='ecntre'>Edited by PHILIP DELAMOTTE, F.S.A.</p> + +<p>Illustrated with a Photographic Picture taken by the Collodion Process, +and a Diagram of Six Colours, with its result in a Photographic +impression.</p> + +<p>This Manual will contain much practical information of a valuable +nature.</p> + +<hr class='short' /> + +<p class='center'>Preparing for Publication, in Parts, price One Guinea each,</p> + +<p class='center'>PROGRESS OF THE CRYSTAL PALACE AT SYDENHAM.</p> + +<p class='center'>Exhibited in a Series of Photographic Views taken by PHILIP DELAMOTTE.</p> + +<p>This Work will be found of much service to Engineers and Architects, and +all who are interested in the Crystal Palace.</p> + +<p class='center'>*** Some of these Views may be had for the Stereoscope.</p> + +<hr class='short' /> + +<p class='center'>Preparing for Publication,</p> + +<p class='center'>A SERIES OF PHOTOGRAPHIC PICTURES.</p> + +<p class='center'>By HUGH OWEN, ESQ. (of Bristol.)</p> + +<hr class='short' /> + +<p class='center'>LONDON: Published by JOSEPH CUNDALL, at the PHOTOGRAPHIC INSTITUTION,</p> +<p class='center'>168. NEW BOND STREET.</p> + +<hr class='full' /> + +<p>Printed by <span class="smcap">Thomas Clark Shaw</span>, of No. 10. Stonefield Street, in the +Parish of St. Mary, Islington, at No. 5. New Street Square, in the +Parish of St. Bride, in the City of London: and published by <span class="smcap">George +Bell</span>, 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, April 23. 1853.</p> + + + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 182, April +23, 1853, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + +***** This file should be named 22369-h.htm or 22369-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/3/6/22369/ + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + +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 +http://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 http://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 +http://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 http://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 http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. + + +</pre> + +</body> +</html> diff --git a/22369-page-images/p397.png b/22369-page-images/p397.png Binary files differnew file mode 100644 index 0000000..95a0871 --- /dev/null +++ b/22369-page-images/p397.png diff --git a/22369-page-images/p398.png b/22369-page-images/p398.png Binary files differnew file mode 100644 index 0000000..57208e7 --- /dev/null +++ b/22369-page-images/p398.png diff --git a/22369-page-images/p399.png b/22369-page-images/p399.png Binary files differnew file mode 100644 index 0000000..7de2469 --- /dev/null +++ b/22369-page-images/p399.png diff --git a/22369-page-images/p400.png b/22369-page-images/p400.png Binary files differnew file mode 100644 index 0000000..001d52a --- /dev/null +++ b/22369-page-images/p400.png diff --git a/22369-page-images/p401.png b/22369-page-images/p401.png Binary files differnew file mode 100644 index 0000000..f1d9be3 --- /dev/null +++ b/22369-page-images/p401.png diff --git a/22369-page-images/p402.png b/22369-page-images/p402.png Binary files differnew file mode 100644 index 0000000..b9582ac --- /dev/null +++ b/22369-page-images/p402.png diff --git a/22369-page-images/p403.png b/22369-page-images/p403.png Binary files differnew file mode 100644 index 0000000..e9a76da --- /dev/null +++ b/22369-page-images/p403.png diff --git a/22369-page-images/p404.png b/22369-page-images/p404.png Binary files differnew file mode 100644 index 0000000..2f00cde --- /dev/null +++ b/22369-page-images/p404.png diff --git a/22369-page-images/p405.png b/22369-page-images/p405.png Binary files differnew file mode 100644 index 0000000..be836e0 --- /dev/null +++ b/22369-page-images/p405.png diff --git a/22369-page-images/p406.png b/22369-page-images/p406.png Binary files differnew file mode 100644 index 0000000..26fc0af --- /dev/null +++ b/22369-page-images/p406.png diff --git a/22369-page-images/p407.png b/22369-page-images/p407.png Binary files differnew file mode 100644 index 0000000..28d5c26 --- /dev/null +++ b/22369-page-images/p407.png diff --git a/22369-page-images/p408.png b/22369-page-images/p408.png Binary files differnew file mode 100644 index 0000000..d8a3d10 --- /dev/null +++ b/22369-page-images/p408.png diff --git a/22369-page-images/p409.png b/22369-page-images/p409.png Binary files differnew file mode 100644 index 0000000..55bcf33 --- /dev/null +++ b/22369-page-images/p409.png diff --git a/22369-page-images/p410.png b/22369-page-images/p410.png Binary files differnew file mode 100644 index 0000000..644bbdc --- /dev/null +++ b/22369-page-images/p410.png diff --git a/22369-page-images/p411.png b/22369-page-images/p411.png Binary files differnew file mode 100644 index 0000000..355fc60 --- /dev/null +++ b/22369-page-images/p411.png diff --git a/22369-page-images/p412.png b/22369-page-images/p412.png Binary files differnew file mode 100644 index 0000000..95c0f3e --- /dev/null +++ b/22369-page-images/p412.png diff --git a/22369-page-images/p413.png b/22369-page-images/p413.png Binary files differnew file mode 100644 index 0000000..a19b9c7 --- /dev/null +++ b/22369-page-images/p413.png diff --git a/22369-page-images/p414.png b/22369-page-images/p414.png Binary files differnew file mode 100644 index 0000000..28e4f7d --- /dev/null +++ b/22369-page-images/p414.png diff --git a/22369-page-images/p415.png b/22369-page-images/p415.png Binary files differnew file mode 100644 index 0000000..15b6a27 --- /dev/null +++ b/22369-page-images/p415.png diff --git a/22369-page-images/p416.png b/22369-page-images/p416.png Binary files differnew file mode 100644 index 0000000..f78a985 --- /dev/null +++ b/22369-page-images/p416.png diff --git a/22369-page-images/p417.png b/22369-page-images/p417.png Binary files differnew file mode 100644 index 0000000..d7efdd9 --- /dev/null +++ b/22369-page-images/p417.png diff --git a/22369-page-images/p418.png b/22369-page-images/p418.png Binary files differnew file mode 100644 index 0000000..be149e1 --- /dev/null +++ b/22369-page-images/p418.png diff --git a/22369-page-images/p419.png b/22369-page-images/p419.png Binary files differnew file mode 100644 index 0000000..8cbd13e --- /dev/null +++ b/22369-page-images/p419.png diff --git a/22369-page-images/p420.png b/22369-page-images/p420.png Binary files differnew file mode 100644 index 0000000..330720f --- /dev/null +++ b/22369-page-images/p420.png diff --git a/22369.txt b/22369.txt new file mode 100644 index 0000000..41837d3 --- /dev/null +++ b/22369.txt @@ -0,0 +1,3557 @@ +Project Gutenberg's Notes and Queries, Number 182, April 23, 1853, 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 182, April 23, 1853 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc. + +Author: Various + +Editor: George Bell + +Release Date: August 21, 2007 [EBook #22369] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + ++----------------------------------------------------------------+ +| | +| Transcriber's Note: Italicized words, phrases, etc. are | +| surrounded by _underline characters_. Greek transliterations | +| are surrounded by ~tildes~. Overlines indicating abbreviations | +| are shown like this, D[=n]e, meaning a line over the letter n. | +| Archaic spellings and hyphenation inconsistencies have been | +| left as originally printed. | ++----------------------------------------------------------------+ + + +{397} +NOTES AND QUERIES: + +A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, ANTIQUARIES, +GENEALOGISTS, ETC. + + * * * * * + +"When found, make a note of."--CAPTAIN CUTTLE. + + * * * * * + +No. 182.] +SATURDAY, APRIL 23. 1853. +[Price Fourpence. Stamped Edition 5d. + + * * * * * + + +CONTENTS. + + NOTES:-- Page + Poetical Epithets of the Nightingale, by Cuthbert + Bede, B.A. 397 + On a Passage in Orosius, by E. Thomson 399 + Notes on several Misunderstood Words, by Rev. W. R. + Arrowsmith 400 + A Work on the Macrocosm 402 + Dr. South's Latin Tract against Sherlock, by James + Crossley 402 + Shakspeare Correspondence, by C. Mansfield Ingleby, + S. Singleton, &c. 403 + + MINOR NOTES:--Robert Weston--Sonnet on the Rev. + Joseph Blanco White--English and American Booksellers + --Odd Mistake--Thomas Shakspeare--Early Winters 404 + + QUERIES:-- + Satirical Playing Cards, by T. J. Pettigrew 405 + Movable Metal Types anno 1435, by George Stephens 405 + Portraits at Brickwall House 406 + + MINOR QUERIES:--Christian Names--Lake of Geneva + --Clerical Portrait--Arms: Battle-axe--Bullinger's + Sermons--Gibbon's Library--Dr. Timothy Bright + --Townley MSS.--Order of St. John of Jerusalem + --Consecrated Roses, Swords, &c.--West, Kipling, and + Millbourne--Font Inscriptions--Welsh Genealogical + Queries--The Butler and his Man William--Longhi's + Portraits of Guidiccioni--Sir George Carr--Dean + Pratt--Portrait of Franklin--"Enquiry into the State + of the Union" 406 + + MINOR QUERIES WITH ANSWERS:--Bishop of Oxford + in 1164--Roman Inscription found at Battle Bridge-- + Blow-shoppes--Bishop Hesketh--Form of Prayer for + Prisoners 409 + + REPLIES:-- + Edmund Spenser, and Spensers, or Spencers, of Hurstwood, + by J. B. Spencer, &c. 410 + Throwing old Shoes for Luck, by John Thrupp 411 + Orkneys in Pawn 412 + Hogarth's Pictures, by E. G. Ballard and W. D. Haggard 412 + Phantom Bells and Lost Churches 413 + + PHOTOGRAPHIC NOTES AND QUERIES:--Photographic + Collodion--Filtering Collodion--Photographic Notes + --Colouring Collodion Pictures--Gutta Percha Baths 414 + + REPLIES TO MINOR QUERIES:--Pilgrimages to the Holy + Land--"A Letter to a Convocation Man"--King + Robert Bruce's Coffin-plate--Eulenspiegel or Howleglas + --Sir Edwin Sadleir--Belfry Towers separate from + the Body of the Church--God's Marks--"The Whippiad" + --The Axe that beheaded Anne Boleyn, &c. 415 + + MISCELLANEOUS:-- + Books and Odd Volumes wanted 417 + Notices to Correspondents 418 + Advertisements 418 + + * * * * * + + +NOTES. + + +POETICAL EPITHETS OF THE NIGHTINGALE. + +Having lately been making some research among our British poets, as to +the character of the nightingale's song, I was much struck with the +great quantity and diversity of epithets that I found applied to the +bird. The difference of opinion that has existed with regard to the +quality of its song, has of course led the poetical adherents of either +side to couple the nightingale's name with that very great variety of +adjectives which I shall presently set down in a tabular form, with the +names of the poetical sponsors attached thereto. And, in making this the +subject of a Note, I am only opening up an old Query; for the character +of the nightingale's song has often been a matter for discussion, not +only for poets and scribblers, but even for great statesmen like Fox, +who, amid all the anxieties of a political life, could yet find time to +defend the nightingale from being a "most musical, most melancholy" +bird. + +Coleridge's onslaught upon this line, in his poem of "The Nightingale," +must be well known to all lovers of poetry; and his re-christening of +the bird by that epithet which Chaucer had before given it: + + "'Tis the _merry_ nightingale, + That crowds, and hurries, and precipitates, + With fast thick warble, his delicious notes, + As he were fearful that an April night + Would be too short for him to utter forth + His love-chant, and disburthen his full soul + Of all its music!" + +The fable of the nightingale's origin would, of course, in classical +times, give the character of melancholy to its song; and it is rather +remarkable that AEschylus makes Cassandra speak of the _happy_ chirp of +the nightingale, and the Chorus to remark upon this as a further proof +of her insanity. (Shakspeare makes Edgar say, "The _foul fiend_ haunted +poor Tom in the voice of a nightingale."--_King Lear_, Act III. Sc. 6.) + +Tennyson seems to be almost the only poet who has thoroughly recognised +the great variety of epithets that may be applied to the nightingale's +song, through the very opposite feelings which it {398} seems to +possess the power to awaken. In his _Recollections of the Arabian +Nights_, he says,-- + + "The living airs of middle night + Died round the Bulbul as he sung; + Not he; but something which possess'd + The darkness of the world, _delight_, + _Life_, _anguish_, _death_, _immortal love_, + Ceasing not, mingled, unrepress'd, + Apart from place, withholding time." + +Again, in the _In Memoriam_: + + "Wild bird! whose warble, liquid, sweet, + Rings Eden through the budded quicks, + Oh, tell me where the senses mix, + Oh, tell me where the passions meet, + + "Whence radiate? _Fierce extremes_ employ + Thy spirit in the dusking leaf, + And _in the midmost heart of grief + Thy passion clasps a secret joy_." + +With which compare these lines in _The Gardener's Daughter_: + + "Yet might I tell of meetings, of farewells,-- + Of that which came between, more sweet than each, + In whispers, like the whispers of the leaves + That tremble round a nightingale--_in sighs + Which perfect Joy, perplexed for utterance, + Stole from her sister Sorrow_." + +But the most singular proof that, I think, I have met with, concerning +the diversity of opinion touching the song of the nightingale, is to be +found in the following example. When Shelley (_Prometheus Unbound_) is +describing the luxurious pleasures of the Grove of Daphne, he mentions +(in some of the finest lines he has ever written) "the _voluptuous_ +nightingales, sick with sweet love," to be among the great attractions +of the place: while Dean Milman (_Martyrs of Antioch_), in describing +the very same "dim, licentious Daphne," is particular in mention that +everything there + + "Ministers + _Voluptuous_ to man's transgressions" + +(even including the "winds, and flowers, and waters"); everything, in +short, + + "_Save thou_, sweet _nightingale!_" + +The question is indeed a case of "fierce extremes," as we may see by the +following table of epithets, which are taken from the British poets +only: + + _Amorous._ Milton. + _Artless._ Drummond of Hawthornden. + _Attick_ ("Attica aedon"). Gray. + _Beautiful._ Mackay. + _Charmer._ Michael Drayton, Philip Ayres. + _Charming._ Sir Roger L'Estrange. + _Cheerful._ Philip Ayres. + _Complaining._ Shakspeare. + _Conqueror._ Ford + _Dainty._ Carshaw, Giles Fletcher. + _Darkling._ Milton. + _Dear._ Ben Jonson, Drummond of Hawthornden. + _Deep._ Mrs. Hemans. + _Delicious._ Crashaw, Coleridge. + _Doleful._ Shakspeare. + _Dusk._ Barry Cornwall. + _Enchanting._ Mrs. T. Welsh. + _Enthusiast._ Crashaw. + _Evening._ Chaucer. + _Ever-varying._ Wordsworth. + _Fervent._ Mrs. Hemans. + _Fond._ Moore. + _Forlorn._ Shakspeare, Darwin, Hood. + _Full-hearted._ Author of _The Naiad_ (1816). + _Full-throated._ Keats. + _Gentle._ _The Spanish Tragedy_, Dunbar (Laureate to James IV. + Scot.), Mrs Charlotte Smith. + _Good._ Chaucer, Ben Jonson. + _Gushing._ Campbell. + _Hapless._ Milton. + _Happy._ Keats, Mackay. + _Harmless._ Crashaw, Browne. + _Harmonious._ Browne. + _Heavenly._[1] Chaucer, Dryden, Wordsworth. + _Holy._ Campbell. + _Hopeful._ Crashaw. + _Immortal._ Keats. + _Joyful._ Moore. + _Joyous._ Keble. + _Lamenting._ Shakspeare, Michael Drayton, Drummond of Hawthornden. + _Light-foot._ Crashaw. + _Light-winged._ Keats. + _Liquid._ Milton, Bishop Heber, Tennyson. + _Listening._ Crashaw, Thomson. + _Little._ James I. Scot., Philip Ayres, Crashaw. + _Lone._ Beattie, Mrs. Hemans, Miss London, Mrs. Fanny Kemble, Milman. + _Lonely._ Countess of Winchilsea (1715), Barry Cornwall. + _Loud._ Shelley. + _Loved._ Mason. + _Lovely._ Bloomfield. + _Love-lorn._ Milton, Scott, Collins. + _Lowly._ Mrs. Thompson. {399} + _Lusty._ Chaucer. + _Melancholy._ Milton, Milman. + _Melodious._ Chris. Smart, Ld. Lyttelton, Southey. + _Merry._ _Red Book of Ossory_, fourteenth century (quoted in + "N. & Q.," Vol. ii., No. 54.), Chaucer, Dunbar, Coleridge. + _Minstrel._ Mrs. Charlotte Smith. + _Modest._ Keble. + _Mournful._ Shakspeare, Theo. Lee, Pope, Lord Thurlow, Byron. + _Musical._ Milton. + _Music-panting._ Shelley. + _New-abashed._[2]Chaucer. + _Night-warbling._ Milton, Milman. + _Pale._ Author of _Raffaelle and Fornarina_ (1826). + _Panting._ Crashaw. + _Passionate._ Lady E. S. Wortley. + _Pensive._ Mrs. Charlotte Smith. + _Piteous._ Ambrose Philips. + _Pity-pleading_ (used ironically). Coleridge. + _Plaintive._ Lord Lyttelton, Thomson, Keats, Hood. + _Pleasant._ An old but unknown author, quoted in Todd's + _Illustrations to Gower and Chaucer_, p. 291., ed. 1810. + _Poor._ Shakspeare, Ford. + _Rapt._ Hon. Julian Fane (1852). + _Ravished._ Lilly. + _Responsive._ Darwin. + _Restless._ T. Lovell Beddoes (in _The Bride's Tragedy_, 1822). + _Richly-toned._ Southey. + _Sad._ Milton, Giles Fletcher, Drummond of Hawthornden, Graves, + Darwin, Collins, Beattie, Byron, Mrs. Hemans, Mrs Fanny Kemble, + Hood, T. L. Beddoes. + _Shrill._ Chaucer, Crashaw. + _Silver-sounding._ Richard Barnfield. + _Single._[3] Southey. + _Skilled._ Ford. + _Sleepless._[4] Atherstone. + _Sober-suited._ Thomson. + _Soft._ Milton, James I. Scot., Crashaw, Mrs. Charlotte Smith, Byron. + _Solemn._ Milton, Otway, Graingle. + _Sole-sitting._ Thomson. + _Sorrowing._ Shakspeare. + _Soul-entrancing._ Bishop Heber. + _Supple._ Crashaw. + _Sweet._ Chaucer, James I. Scot., Milton, Spenser, Crashaw, Drummond, + Richard Barnfield, Ambrose Philips, Shelley, Cowper, Thomson, + Young, Darwin, Lord Lyttelton, Mrs. Charlotte Smith, Moore, + Coleridge, Wordsworth, L. E. L., Milman, Hood, Tennyson, P. J. + Bailey, Kenny, Hon. J. Fane. + _Sweetest._ Milton, Browne, Thomson, Turnbull, Beattie. + _Sweet-voiced._ Wither. + _Syren._ Crashaw. + _Tawny._ Cary. + _Tender._ Crashaw, Turnbull. + _Thrilling._ Hon. Mrs. Wrottesley (1847). + _Tuneful._ Dyer, Grainger. + _Unseen._ Byron. + _Vaunting._ Bloomfield. + _Voluptuous._ Shelley. + _Wakeful._ Milton, Coleridge. + _Wailing._ Miss Landon. + _Wandering._ Mrs. Charlotte Smith, Hon. Mrs. Wrottesley. + _Wanton._ Coleridge. + _Warbling._ Milton, Ford, Chris. Smart, Pope, Smollett, Lord + Lyttelton, Jos. Warton, Gray, Cowper. + _Welcome._ Wordsworth. + _Wild._ Moore, Tennyson, J. Westwood (1840). + _Wise._ Waller. + _Wondrous_. Mrs. Fanny Kemble. + +In addition to these 109 epithets, others might be added of a fuller +character; such as "Queen of all the quire" (Chaucer), "Night-music's +king" (Richard Barnfield, 1549), "Angel of the spring" (Ben Jonson), +"_Music's best seed-plot_" (Crashaw), "Best poet of the grove" +(Thomson), "Sweet poet of the woods" (Mrs. Charlotte Smith), "Dryad of +the trees" (Keats), "Sappho of the dell" (Hood); but the foregoing list +of simple adjectives (which doubtless could be greatly increased by a +more extended poetical reading) sufficiently demonstrates the popularity +of the nightingale as a poetical embellishment, and would, perhaps, tend +to prove that a greater diversity of epithets have been bestowed upon +the nightingale than have been given to any other song-bird. + +CUTHBERT BEDE, B.A. + +[Footnote 1: The epithets "heavenly," "holy," "solemn," &c., represent +the nightingale's song, as spoken of by Keats, as the bird's "plaintive +_anthem_;" by Mackay, as its + + "_Hymn_ of gratitude and love;" + +and by Moore also, in his account of the Vale of Cashmere, as + + "The nightingale's _hymn_ from the Isle of Chenars." + +In _A Proper New Boke of the Armony of Byrdes_ (quoted by Dibdin, _Top. +Antiq._, iv. 381.), of unknown date, though probably before 1580, the +nightingale is represented as singing its Te Deum: + + "Tibi Cherubin + Et Seraphin + Full goodly she dyd chaunt, + With notes merely + Incessabile + Voce Proeclamant."] + +[Footnote 2: Chaucer (_Troilus and Creseide_) imagines the nightingale +to "stint" at the beginning of its song, and to be frightened at the +least noise.] + +[Footnote 3: This, and the epithets of "sole-sitting" and "unseen," +refer to the nightingale's love of solitary seclusion.] + +[Footnote 4: + + "He slep no more than doth the nightingale." + + Chaucer, _Cant. Pil._] + + * * * * * + + +ON A PASSAGE IN OROSIUS. + +In King Alfred's version of Orosius, book ii. chap. iv. p. 68., +Barrington, we have an account of an unsuccessful attempt made by one of +Cyrus the Great's officers to swim across a river "mid twam tyncenum," +with two _tynkens_. What was a _tyncen_? That was the question nearly a +hundred years ago, when Barrington was working out his translation; and +the only answer to be found then was contained in the great dictionary +published by Lye and Manning, but is not found now in Dr. Bosworth's +second edition of his Dictionary: "Tynce, _a tench_." + +How the Persian nobleman was to be supported by two little fishes, which +were more likely to land their passenger at the bottom of the river than +on the opposite bank, we are left to guess. But, before we proceed with +the experiment, let us see that we have got the fishes. That tench was +in the Gyndis we have no authority for denying; but, if its Anglian or +Saxon name was such as the dictionary exhibits, we have no trace of it +{400} in the text of Alfred; for under no form of declension, +acknowledged in grammar, will _tynce_ ever give _tyncenum_. We have no +need, then, to spend time in calculating the chance of success, when we +have not the means of making the experiment. + +As either _tync_ or _tynce_ would give _tyncum_, not _tyncenum_, the +latter must come out of _tyncen_ (query, _tynkin_ or _tunkin_, a little +tun, a barrel, or a cask?). Such was the form in which the question +presented itself to my mind, upon my first examination of the passage +three or four years ago, but which was given up without sufficient +investigation, owing to an impression that if such had been the meaning, +it was so simple and obvious that nobody could have missed it. + +An emergency, which I need not explain here, has within these few days +recalled my attention to the subject; and I have no reason to be +ashamed, or to make a secret, of the result. + +_Tyncen_, the diminutive of _tunne_, is not only a genuine Anglo-Saxon +word, but the type of a class, of whose existence in that language no +Saxonist, I may say no Teutonist, not even the perspicacious and +indefatigable Jacob Grimm himself, seems to be aware. The word is +exactly analogous to Ger. _toennchen_, from _tonne_, and proves three +things:--1. That our ancestors formed diminutives in _cen_, as well as +their neighbours in _ken_, _kin_, _chen_; 2. That the radical vowel was +modified: for _y_ is the _umlaut_ of _u_; 3. That these properties of +the dialect were known to Alfred the Great when he added this curious +statement to the narrative of Orosius. + +E. THOMSON. + + * * * * * + + +NOTES ON SEVERAL MISUNDERSTOOD WORDS. + +(_Continued from_ p. 376.) + +_Imperseverant_, undiscerning. This word I have never met with but +twice,--in Shakspeare's _Cymbeline_, with the sense above given; and in +Bishop Andrewes' Sermon preached before Queen Elizabeth at Hampton +Court, A.D. 1594, in the sense of unenduring: + + "For the Sodomites are an example of impenitent wilful sinners; and + Lot's wife of _imperseverant_ and relapsing righteous + persons."--_Library of Ang.-Cath. Theology_, vol. ii. p. 62. + +_Perseverant_, discerning, and _persevers_, discerns, occur respectively +at pp. 43. and 92. of Hawes's _Pastime of Pleasure_ (Percy Society's +edition). The noun substantive _perseverance_=discernment is as common a +word as any of the like length in the English language. To omit the +examples that might be cited out of Hawes's _Pastime of Pleasure_, I +will adduce a dozen other instances; and if those should not _be enough_ +to justify my assertion, I will undertake to heap together two dozen +more. Mr. Dyce, in his _Critique of Knight and Collier's Shakspeare_, +rightly explains the meaning of the word in _Cymbeline_; and quotes an +example of _perseverance_ from _The Widow_, to which the reader is +referred. Mr. Dyce had, however, previously corrupted a passage in his +edition of Rob. Greene's _Dramatic Works_, by substituting, +"perceivance" for _perseverance_, the word in the original quarto of the +_Pinner of Wakefield_, vol. ii. p. 184.: + + "Why this is wondrous being blind of sight, + His deep _perseuerance_ should be such to know us." + +I subjoin the promised dozen: + + "For his dyet he was verie temperate, and a great enemie of excesse + and surfetting; and so carelesse of delicates, as though he had had + no _perseuerance_ in the tast of meates," &c.--"The Life of + Ariosto," Sir John Harington's Translation of _Orlando Furioso_, p. + 418. + + "In regarde whereof they are tyed vnto these duties: First by a + prudent, diligent, and faithfull care to obserue by what things the + state may be most benefited; and to haue _perseuerance_ where such + marchandize that the state most vseth and desireth may be had with + greatest ease," &c.--_The Trauailer_, by Thomas Palmer: London, + 1606. + + "There are certain kinds of frogs in Egypt, about the floud of + Nilus, that have this _percewerance_, that when by chance they + happen to come where a fish called Varus is, which is great a + murtherer and spoiler of frogs, they use to bear in their mouths + overthwart a long reed, which groweth about the banks of Nile; and + as this fish doth gape, thinking to feed upon the frog, the reed is + so long that by no means he can swallow the frog; and so they save + their lives."--"The Pilgrimage of Kings and Princes," chap. xliii. + p. 294. of Lloyd's _Marrow of History_, corrected and revised by R. + C., Master of Arts: London, 1653. + + "This fashion of countinge the monthe endured to the ccccl yere of + the citie, and was kepte secrete among the byshops of theyr + religion tyl the time that C. Flauius, P. Sulpitius Auarrio, and P. + Sempronius Sophuilongus, then beinge Consuls, against the mynde of + the Senatours disclosed all their solemne feates, published th[=e] + in a table that euery man might haue perseuera[=u]ce of them."--_An + Abridgemente of the Notable Worke of Polidore Vergile, &c._, by + Thomas Langley, fol. xlii. + + "And some there be that thinke men toke occasion of God to make + ymages, whiche wylling to shewe to the grosse wyttes of men some + _perceiueraunce_ of hymselfe, toke on him the shape of man, as + Abraham sawe him and Jacob also."--_Id._, fol. lxi. + +In this passage, as in others presently to be alleged, "notification" +seems to be the drift of the word. + + "Of this vnreuerent religi[=o], Mahomete, a noble ma[=n]e, borne in + Arabie, or, as some report, in Persie, was authour: and his father + was an heathen idolater, and his mother an Ismaelite; wherfore she + had more _perceuerance_ of the Hebrues law."--_Id._, fol. cxlii. + + "Where all feelyng and _perseuer[=a]ce_ of euill is awaie, nothyng + there is euill or found a misse. As if a manne {401} be fallen into + a sound slepe, he feleth not the hardenesse or other incommoditie of + his cabon or couche."--"The Saiynges of Publius, No. 58.," _The + Precepts of Cato, &c., with Erasmus Annotations_: London, 1550. + + "Wherfore both Philip and Alexander (if ye dead haue anie + _perceuerance_) woulde not that the rootes (rooters) out of them + and theyre issue, but rather that the punnishers of those traitors, + should enioye the kingdom of Macedone."--"The XVI Booke of + Justine," fol. 86., Golding's Translation of the _Abridgement of + the Historyes of Trojus Pompeius_: London, 1578. + + "And morouer bycause his setting of vs here in this world is to + aduaunce vs aloft, that is, to witte to the heauenly life, whereof + he giueth vs some _perceyuerance_ and feeling afore hande."--Io. + Calvin. "Sermon XLI., on the Tenth Chap. of Job," p. 209., + Golding's Translation: London, 1574. + + "And so farre are wee off from being able to atteine to such + knowledge through our owne power, that we flee it as much as is + possible, and blindfold our own eyes, to the intent we might put + away all _perceyuerance_ and feeling of God's judgement from + vs."--_Id._, "Sermon XLII.," p. 218. + + "For (as I haue touched already) God of his goodnesse doth not + vtterly barre vs from hauing any _perceyuerance_ at all of his + wisdome: but it behoueth vs to keepe measure."--_Id._, "Sermon + XLIII.," p. 219. + +I shall not cite any more from Golding, but simply observe that the word +occurs again and again in his translations. The remaining three examples +exhibit the noun in a somewhat different sense, viz. "notification," or +"means of discerning:" + + "The time most apt in all the yeare, and affoording greatest + _perseuerance_ for the finding out of the heads of wells and + fountaines, are the moneths of August or September."--_The First + Booke of the Countrie Farme_, p. 8., by Stevens and Liebault, + translated by Svrflet, and edited by G. Markham: London, 1616. + + "He may also gather some _perceiuerance_ by the other markes before + specified; that is to say, by the prints of his foote vpon the + grasse, by the carriages of his head, his dung, gate," &c.--_Id._, + booke vii. p. 685. + + "And this lyfe to men is an high _perseveraunce_, + Or a lyght of faythe wherby they shall be saved." + + "God's Promises," by John Bale; Dodsley's _Old Plays_ (Collier's + edition), vol. i. Part II. Act I. + +By-the-bye, as a specimen of the value of this edition, take the +following passage of this very play: + + "O perfyght keye of David, and hygh scepture of the kyndred of + Jacob; whych openest and no man _speareth_, that speakest and no + man openeth."--Act VII. p. 40. + +On the word _speareth_ the commentator treats his reader to a note; in +which he informs him that _speareth_ means "asketh," and in proof of +this cites one passage from Chaucer, and two from Douglas's _Virgil_. It +might almost appear to be upbraiding the reader with stupidity to +mention that _speareth_ signifieth "bolteth, shutteth;" and that +"speaketh" is a misprint for _speareth_. This verb was a favourite with +Bale. One word more closes my budget for the present. + +_More_, a root. Still in use in Gloucestershire, once of frequent +occurrence. To the examples alleged by Richardson, in his _Dictionary_, +add the following: + + "I se it by ensaunple + In somer tyme on trowes; + Ther some bowes ben leved, + And some bereth none, + There is a meschief in the _more_ + Of swiche manere bowes." + _The Vision of Piers Ploughman_, edited by Thomas + Wright, vol. ii. p. 300. + +At p. 302. you find the sentiment in Latin: + + "Sicut cum videris arborem pallidam et marcidam, intelligis + quod _vitium habet in radice_"--"a meschief in the _more_." + +The Glossary of the editor is silent. + + "It is a ful trie tree, quod he, + Trewely to telle; + Mercy is the _more_ therof, + The myddul stok is ruthe; + The leves ben lele wordes, + The lawe of holy chirche; + The blosmes beth buxom speche, + And benigne lokynge; + Pacience hatte the pure tree," &c. + _Id._, vol. ii. p. 330. + + "It groweth in a gardyn, quod he, + That God made hymselve, + Amyddes mannes body, + The _more_ is of that stokke, + Herte highte the herber, + That it inne groweth." + _Id._, vol. ii. p. 331. + +There should not be any comma, or other stop, at body, because the sense +is--"The root of that stock is amid man's body." + +Mr. Wright's Glossary refers to these last two instances as follows: + + "_More_ (A.-S.) 330, 331., the main or larger part, body (?)" + +At p. 334. we meet with the word again: + + "On o _more_ thei growed." + +And again, at p. 416.: + + "And bite a-two the _mores_." + +May I, in passing, venture to inquire of the editor on what authority he +explains _waselede_ (p. 476.) to be "the pret. of _waselen_ (A.-S.) to +become dirty, dirty oneself?" + + "This Troilus withouten rede or lore, + As man that hath his joies eke forlore, + Was waiting on his lady evermore, + As she that was sothfast croppe and _more_, + Of all his lust or joyes here tofore." + Chaucer's _Troilus and Creseide_, b.v. + +{402} +Afterwards, in the same book, a few stanzas further on, he joins "crop" +and "root" together. + + "Last of all, if these thinges auayle not the cure, I do commend + and allow above all the rest, that you take the iuyce of Celendine + rootes, making them cleane from the earth that doth vse to hang to + the _moores_."--_The Booke of Falconrie_, by George Turbervile, + 1611, p. 236. + + "Chiefely, if the _moare_ of vertue be not cropped, but dayly + rooted deepelyer."--_The Fyrste Booke of the Nobles or of + Nobilitye_, translated from Laurence Humfrey. + +The next and last example from the "Second Booke" of this interesting +little volume I will quote more at large: + + "Aristotle mencioneth in his Politikes an horrible othe vsed in + certaine states, consistinge of the regimente of fewe nobles, in + maner thus: I will hate the people, and to my power persecute them. + Which is the _croppe_ and _more_ of al sedition. Yet too much + practised in oure liues. But what cause is there why a noble man + should eyther despise the people? or hate them? or wrong them? + What? know they not, no tiranny maye bee trusty? Nor how yll + gard[=e] of c[=o]tinuance, feare is? Further, no more may nobilitie + misse the people, then in man's body, the heade, the hande. For of + trueth, the common people are the handes of the nobles, sith them + selues bee handlesse. They labour and sweate for them, with + tillinge, saylinge, running, toylinge: by sea, by l[=a]d, with + h[=a]ds, w't feete, serue them. So as w'oute theyr seruice, they + nor eate, nor drink, nor are clothed, no nor liue. We reade in ye + taleteller Esope, a doue was saued by the helpe of an ant. A lyon + escaped by the benefit of a mowse. We rede agayne, that euen ants + haue theyr choler. And not altogether quite, the egle angered the + bytle bee." + +The reader will notice in this citation another instance of the verb +_miss_, to dispense with. I have now done for the present; but should +the collation of sundry passages, to illustrate the meaning of a word, +appear as agreeable to the laws of a sound philology, as conducive to +the integrity of our ancient writers, and as instructive to the public +as brainspun emendations, whether of a remote or modern date, which +now-a-days are pouring in like a flood--to corrupt long recognised +readings in our idolised poet Shakspeare, in order to make his +phraseology square with the language of the times and his readers' +capacities--I will not decline to continue endeavours such as the +present essay exhibits with a view to stem and roll back the tide. + +W. R. ARROWSMITH. + +Broad Heath, Presteign, Herefordshire. + + * * * * * + + +A WORK ON THE MACROCOSM. + +I intended to have contributed a series of papers to "N. & Q." on the +brute creation, on plants and flowers, &c.; and in a Note on the latter +subject I promised to follow it up. However, as circumstances have +changed my intentions, I think it may be well to mention that I have in +hand a work on Macrocosm, or World of Nature around us, which shall be +published in three separate parts or volumes. The first shall be devoted +to the Brute Creation; the second shall be an Herbal, with a Calendar of +dedicated Flowers prefixed; the third shall contain Chapters on the +Mineral Kingdom: in the last I shall treat of the symbolism of stones, +and the superstitions respecting them. I purpose in each case, as far as +possible, to go to the fountain-head, and shall give copious extracts +from such writers as St. Ildefonso of Toledo, St. Isidore of Seville, +Vincent of Beauvais, St. Basil, Origen, Epiphanius, and the Christian +Fathers. + +As the work I have sketched out for myself will require time to mature, +I shall publish very shortly a small volume, containing a breviary of +the former, which will give some idea of the manner in which I shall +treat the proposed subject. + +Many correspondents of "N. & Q." have evinced great interest in the line +I intend to enter upon. (See Vol. i., pp. 173. 457.; Vol. iv., p. 175.; +Vol. vi., pp. 101. 272. 462. 518.) Their Queries have produced no +satisfactory result. I myself made a Query in my "Chapter on Flowers," +some months ago, respecting Catholic floral directories, and two works +in particular, about which I was most anxious, and which were quoted in +_The Catholic Florist_, London, 1851, and I have received no answer. Mr. +Oakley, indeed, wrote to me to say that he "only edited it, and wrote a +preface," and that he forwarded my Query "to the compiler:" the latter +personage, however, has not favoured me with a reply. + +In spite of all these discouragements, I have taken the step of bringing +my contemplated work before the readers of "N. & Q.," and I shall +gratefully acknowledge any communications relative to legends, +folk-lore, superstitions, symbolism, &c. bearing on the subjects +proposed. As I intend inserting a bibliographical list of the chief +works which come under the scope of each volume, I might receive much +valuable assistance on this point, especially as regards Oriental and +other foreign books, which might escape my researches. As regards the +brute creation, I have gotten, with the kind assistance of the editor of +"N. & Q.," Hildrop's famous reply to Father Bougeant; and I have sent to +Germany for Dr. Kraus's recent work on the subject. + +EIRIONNACH. + + * * * * * + + +DR. SOUTH'S LATIN TRACT AGAINST SHERLOCK. + +None of South's compositions are more striking or characteristic than +his two English tracts against Sherlock, his _Animadversions on +Sherlock's Vindication of the Trinity_, 1693-94, 4to., {403} and his +_Tritheism charged on Sherlock's new Notion of the Trinity_, 1694, 4to. +For caustic wit and tremendous power of vituperation, I scarcely know +any controversial works which surpass, or even equal them. South looked +upon Sherlock with profound scorn as a Sciolist, and hated him most +cordially as a heretic and a political renegade. He accordingly gives +him no quarter, and seems determined to draw blood at every stroke. Mrs. +Sherlock is of course not forgotten, and one of the happiest passages in +the _Tritheism charged_ is the well-known humorous illustration of +Socrates and Xantippe, p. 129. It is somewhat curious that, +notwithstanding these two works of South have attracted so much notice, +it seems to be quite unknown that he also published a Latin tract +against Sherlock, in further continuation of the controversy, in which +the attack is carried on with equal severity. The title of the tract in +question is, _Decreti Oxoniensis Vindicatio in Tribus ad +Modestum ejusdem examinatorem modestioribus Epistolis a Theologo +Transmarino_. Excusa Anno Domini 1696, 4to., pp. 92. The tract, of which +I have a copy, is anonymous, but it is ascribed to South in the +following passages in _The Agreement of the Unitarians with the Catholic +Church_, part i. 1697, 4to., which is included in vol. v. of the 4to. +_Unitarian Tracts_, and evidently written by one who had full +information on the subject. His expressions (p. 62.) are--"Dr. South, in +his Latin Letters, under the name of a Transmarine Divine;" and a little +further on, "Dr. South, in two (English) books by him written, and in +three Latin letters, excepts against this (Sherlock's) explication of +the Trinity." In confirmation of this ascription, I may observe that the +Latin tract is contained in an extensive collection of the tracts in the +Trinitarian Controversy formed by Dr. John Wallis, which I possess, and +in which he has written the names of the authors of the various +anonymous pieces. He took, as is well known, a leading part in the +controversy, and published himself an anonymous pamphlet (not noticed by +his biographers), also in defence of Oxford decrees. On the title-page +of the Latin tract he has written "By Dr. South." I have likewise +another copy in a volume which belonged to Stephen Nye, one of the +ablest writers in the controversy, and who ascribes it in the list of +contents in the fly-leaf, in his handwriting, to Dr. South. These +grounds would appear to be sufficient to authorise our including this +tract in the list of South's works, though, from the internal evidence +of the tract itself alone, I should scarcely have felt justified in +ascribing it to him. + +JAS. CROSSLEY. + + * * * * * + + +SHAKSPEARE CORRESPONDENCE. + + +_Parallel Passages._-- + + "You leaden messengers, + That ride upon the violent wings of fire, + Fly with false aim; _move_ the _still-piecing_ air, + That sings with piercing,--do not touch my lord!" + _All's Well that Ends Well_, Act III. Sc. 2. + + "the elements, + Of whom your swords are tempered, may as well + _Wound_ the loud winds, or with bemock'd at stabs + Kill the _still-closing_ waters, as diminish + One dowle that's in my plume." + _The Tempest_, Act III. Sc. 3. + +There can be little doubt that the clever corrector of MR. COLLIER'S +folio had the last of these passages in view when he altered the word +_move_ of the first, into _wound_ of the second: but in this instance he +overshot the mark, in not perceiving the nice and subtle distinction +which exists between them. The first implies possibility: the second +impossibility. + +In the second, the mention of, to "wound the loud wind, or kill the +still-closing water," is to set forth the absurdness of the attempt; but +in the first passage there is a direct injunction to a possible act: +"Fly with false aim, move the still-piecing air." To say "_wound_ the +still-piecing air" would be to direct to be done, in one passage, that +which the other passage declares to be absurd to expect! + +If it were necessary to disturb _move_ at all, the word _cleave_ would +be, all to nothing, a better substitution than _wound_. + +Whether the annotating of MR. COLLIER'S folio be a real or a +pseudo-antique, it is impossible to deny that its executor must have +been a clever, as he was certainly _a slashing_ hitter. It cannot, +therefore, be wondered that he should sometimes reach the mark: but that +these corrections should be received with that blind and superstitious +faith, so strangely exacted for them, can scarcely be expected. Indeed, +it is to be regretted that they have been introduced to the public with +such an uncompromising claim to authority; as the natural repugnance +against _enforced_ opinion may endanger the success of the few +suggestive emendations, to be found amongst them, which are really new +and valuable. + +A. E. B. + +Leeds. + +P.S.--With reference to the above Note, which, although not before +printed, has been for some time in the Editor's hands, I have observed +in a Dublin paper of Saturday, April 9th, a very singular coincidence; +viz. the recurrence of the self-same misprint corrected by Malone, but +retained by Messrs. Collier and Knight in their respective editions of +Shakspeare. Had the parallel expressions _still-closing_, +_still-piecing_, which I have compared in the above paper, been noticed +by these {404} editors, they would no more have hesitated in accepting +Malone's correction than they would object to the same correction in the +misprint I am about to point out; viz. + + "Two planks were pointed out by the witnesses, viz. one with a knot + in it, and another which was piered with strips of wood," + &c.--_Saunders's Newsletter_, April 9th, 3rd page, 1st col. + +_The Passage in "King Henry VIII.," Act III. Sc. 2._ (Vol. vii., pp. 5. +111. 183.).--Is an old Shakspearian to talk rashly in "N. & Q." without +being called to account? "If 'we can,'" says MR. SINGER, "'by no means +part with _have_,' we must interpolate _been_ after it, to make it any +way intelligible, to the marring of the verse." Now, besides the passage +in the same scene-- + + ----"my loyalty, + Which ever has, and ever shall be growing," + +pointed out by your Leeds correspondent, there is another equally in +point in _All's Well that Ends Well_, Act II. Sc. 5., which, being in +prose, settles the question as to whether the omission of the past +participle after the auxiliary was customary in Shakspeare's time. It is +Lafeu's farewell to Parolles: + + "Farewell, Monsieur: I have spoken better of you, than you have or + will deserve at my hand; but we must do good against evil." + +Either this is "unintelligible," and "we must interpolate" _deserved_, +or (the only possible alternative) all three passages are free from MR. +SINGER'S objection. + +C. MANSFIELD INGLEBY. + +Birmingham. + + +_On a Passage in "Macbeth."_--Macbeth (Act I. Sc. 7.) says: + + "I have no spur + To prick the sides of my intent, but only + Vaulting ambition, which o'erleaps itself, + And falls on the other." + +Should not the third line be-- + + "Vaulting ambition, which o'erleaps _its sell_!" + +_Sell_ is saddle (Latin, _sella_; French, _selle_), and +is used by Spenser in this sense. + +"O'erleaping _itself_" is manifest nonsense; whereas the whole passage +has evident reference to horsemanship; and to "vault" is "to carry one's +body cleverly over anything of a considerable height, resting one hand +upon the thing itself,"--exactly the manner in which some persons mount +a horse, resting one hand on the pommel of the saddle. + +It would then be perfectly intelligible, thus-- + + "Vaulting ambition, which o'erleaps its saddle (sell), + And falls on the other (side of the horse)." + +Does MR. COLLIER'S "New Text," or any other old copy, prove this? + +S. SINGLETON. + +Greenwich. + + * * * * * + + +MINOR NOTES. + + +_Robert Weston._--I copy the following from a letter of R. L. Kingston +to Dr. Ducarel in Nichols's _Literary History_, vol. iii. p. 629.: + + "Robert Weston was Lord of Manor of Kilmington in Devon, and + divided his estate among four daughters, reserving to the eldest + son the royalties of his courts. In his will or deed of settlement + is this clause:--'That the Abbot of Newnhams, near Axminster, had + nothing to do in the highway any further than to his land of + Studhays, and that he should stand without the court gate of his + land of Studhays, and take his right ear in his left hand, and put + his right arm next to his body under his left across, and so cast + his reap-hook from him; and so far he shall come.'" + +BALLIOLENSIS. + + +_Sonnet on the Rev. Joseph Blanco White._--Some years ago, I copied the +following sonnet from a newspaper. Can you say where it first made its +appearance? After the annexed testimony of Coleridge, it is needless to +say anything in its praise. + + "SONNET ON THE REV. JOSEPH BLANCO WHITE. + + Mysterious Night! When our first parent knew + Thee from report divine, and heard thy name, + Did he not tremble for this lovely frame, + This glorious canopy of light and blue? + Yet 'neath a curtain of translucent dew, + Bathed in the rays of the great setting flame, + Hesperus, with the host of heaven, came, + And lo! Creation widen'd in man's view. + + Who could have thought such darkness lay conceal'd + Within thy beams, O Sun! Or who could find, + Whilst fly, and leaf, and insect, stood reveal'd, + That to such countless orbs thou mad'st us blind? + Why do we then shun death with anxious strife? + If light can thus deceive--wherefore not life?" + +Coleridge is said to have pronounced this "The finest and most grandly +conceived in our language; at least, it is only in Milton's and in +Wordsworth's sonnets that I recollect any rival." + +BALLIOLENSIS. + + +_English and American Booksellers._--It is rather curious to note, that +whilst English booksellers are emulously vying with one another to +publish editions of _Uncle Toms_, _Queechys_, _Wide Wide Worlds_, &c., +they neglect to issue English works which the superior shrewdness of +{405} Uncle Sam deems worthy of reprinting. Southey's _Chronicle of the +Cid_, which was published by Longman in 1808, and not since printed in +England, was brought out in a very handsome octavo form at Lowell, U. +S., in 1846. And this, the "first American edition," as it is called on +the title-page, can be readily procured from the booksellers in London; +whereas the English original is not to be met with. In like manner, +Macaulay's _Essays_ were collected and published first in America; and +so with Praed's _Poems_, and many others. Uncle Sam has lately +announced collections of Dr. Maginn's and De Quincey's scattered Essays, +for which we owe him our most grateful acknowledgments. + +J. M. B. + +Tunbridge Wells. + + +_Odd Mistake._-- + + "One of the houses on Mount Ephraim formerly belonged to _Judge + Jeffries_, a man who has rendered his name infamous in the annals + of history _by the cruelty and injustice he manifested in presiding + at the trial of King Charles I._"--_Descriptive Sketches of + Tunbridge Wells_, by John Britton, F.S.A., p. 59. + +Voila comment on fait l'histoire! + +J. M. B. + +Tunbridge Wells. + + +_Thomas Shakspeare._--In the year 1597 there resided in Lutterworth in +Leicestershire, only distant from Stratford-upon-Avon, the birth-town of +Shakspeare, a very few miles, one _Thomas Shakspeare_, who appears to +have been employed by William Glover, of Hillendon in Northamptonshire, +gentleman, as his agent to receive for him and give an acquittance for a +considerable sum of money. + +Having regard to the age in which this Thomas Shakspeare lived, coupled +with his place of residence, is it not probable he was a relative of the +great Bard? + +CHARLECOTE. + + +_Early Winters._--I heard it mentioned, when in St. Petersburg very +lately, that they have never had so early a commencement of winter as +this last year since the French were at Moscow. + +I find in accounts of the war, that the winter _commenced_ then (1812) +on November 7, N. S., with deep snow. Last year (1852) it commenced at +St. Petersburg on October 16, N. S., as noted in my diary, with snow, +which has remained on the ground ever since, accompanied at times with +_very_ severe frost. + +Query: Can November 7, N. S., be the correct date? If it is, this last +winter's commencement must be unprecedented; as I have always heard it +remarked, that the winter began unusually early the year the French were +at Moscow. + +I may mention as a note, that by the last accounts from Russia, they say +the ice in the Gulf of Finland was four and a half feet thick. + +J. S. A. + +Old Broad Street. + + * * * * * + + +QUERIES. + + +SATIRICAL PLAYING CARDS. + +I have lately been much interested in a pack of cards, complete +(fifty-two) in their number and suits, engraved in the time of the +Commonwealth at the Hague, and representing the chief personages and the +principal events of that period. I have been able, by reference to +historical authorities, and, in particular, to the Ballads and +Broadsides in the British Museum, forming the collection presented to +the nation by George III., to explain the whole pack, with the exception +of two. These are "Parry, Father and Sonne," and "Simonias slandering +the High Priest, to get his Place." The former simply represents two +figures, without any thing to offer a clue to any event; the latter +gives the representation of six Puritans, forming an assembly, who are +being addressed by one of the body. I cannot find any notice of +Simonias, or to whom such a name has been applied, in any of the +Commonwealth tracts with which I am acquainted. Probably some of your +readers can help me in this matter. Of these cards I can find no notice: +they are not mentioned by Singer, and appear to have escaped the +indefatigable research of Mr. Chatto. They were purchased at the Hague, +more than thirty years since, for thirty-three guineas, and are +exceedingly curious: indeed they form a bundle of Commonwealth tracts. +All the principal persons of the time figure in some characteristic +representation, and the private scandal is also recognised in them. +Thus, Oliver is to be found under a strong conflict with Lady Lambert; +Sir Harry Mildmay solicits a citizen's wife, for which his own corrects +him; and he is also being beaten by a footboy,--which event is alluded +to in Butler's _Posthumous Works_. General Lambert, of whom your pages +have given some interesting information, is represented as "The Knight +of the Golden Tulip," evidently in reference to his withdrawal with a +pension to Holland, where he is known to have ardently cultivated +flowers, and to have drawn them in a very superior manner. I hope this +communication may enable me to complete my account of these cards, the +explanation of which may probably throw light upon some of the stirring +events of that extraordinary period of our history. + +T. J. PETTIGREW. + +Saville Row. + + * * * * * + + +MOVABLE METAL TYPES ANNO 1435. + +A vellum MS. has lately come into my possession, containing the Service +for the Dead, Prayers, &c., with the tones for chanting, &c., in Latin, +written for a German Order, apparently about the year 1430. + +This tome, which is in small 4to., is very remarkable and valuable on +account of the binding. This is red leather, stamped with double lines +forming lozenges, and powdered with additional stamps, Or, a lion, a +fleur-de-lys, an eagle, and a star. The whole is on the plain leather, +without any gilding. + +But in addition hereto, a full inscription runs along each back, at top +and bottom and each side, stamped with _movable metal types_ applied by +hand, {406} without gold, as is done by the bookbinder to this day in +blind stamping. + +The legend on the first back is as follows: + + _At top._--"DIEZ . PUCHLE[=I] + _Continued to the right._--IST . S. . MARGRETEN . + _At the bottom._--SCHUEST . AB[=T] . ZU . + _Continued to the left._--S. . KATHERE[=I] . ZU . MUR." + +That is,-- + + "Diez puchlein ist schwester Margreten, sehuest abtisse zu + Sankt Katherein zu Mur." + +The legend on the last back is,-- + + _At top._--"NACH . CRIST . + _Continued to the right._--GEPURT . MCCCCXXXV . + _At bottom._--UVART . GEPUN + _Continued to the left._--D[=E] . DIEZ . PUCH ... K." + +That is,-- + + "Nach Crist gepurt MCCCCXXXV uvart gepunden diez puch ... k." + +The whole inscription will therefore be, in English,-- + + THIS BOOKLET + IS SISTER MARGARET'S, + SISTER-ABBESS AT + SAINT CATHERINE'S AT MUR. + + AFTER CHRIST'S + BIRTH, 1435, + WAS BOUN- + DEN THIS BOOK ... K. + +A letter or two is illegible, from the injury made by the clasp, before +the last K. Both the clasps are torn away, perhaps from their having +been of some precious metal. Has this K anything to do with Koester? + +Can any particulars be given of the abbess, monastery, and town +mentioned? + +Is any other specimen of movable _metal_ types known of so early a date? + +GEORGE STEPHENS. + +Copenhagen. + + * * * * * + + +PORTRAITS AT BRICKWALL HOUSE. + +Among the pictures at Brickwall House, Northiam, Sussex, are the +following portraits by artists whose names are not mentioned either in +Bryan, or Pilkington, or Horace Walpole's notices of painters. I shall +be thankful for any information respecting them. + + 1. A full-length portrait in oils (small size) on canvas (29 inches + by 24) of a gentleman seated, dressed in a handsome loose gown, red + slippers, and on his head a handsome, but very peculiar velvet cap; + on the ground, near him, a squirrel; and on a table by his side, a + ground plan of some fortification. "John Sommer _pinxit_, 1700." + +N. B.--The late Capt. Marryatt, and subsequently another gentleman, +guessed it to be a portrait of Wortley Montague from the peculiar dress; +but the fortification would seem to indicate a military personage. The +picture is well painted. + + 2. A half-length portrait in oils (small size) on canvas (20-1/2 + inches by 17), of an old lady seated; a landscape in the background. + A highly finished and excellent picture; the lace in her cap is most + elaborate. "T. Vander Wilt, 1701." + +N. B.--I conclude this is the artist's name, though possibly it may be +the subject's. + + 3. A pair of portraits (Kit Kat size), of John Knight of Slapton, + Northamptonshire, aged seventy-two; and Catherine his wife, aged + thirty-seven. "Lucas Whittonus _pinxit_, 1736." + +N. B.--Inferior portraits by some provincial artist. I conclude Lucas is +the surname, and Whittonus indicates his locality; if so, what place? + +Whilst on this subject, I would add another Query respecting a picture +in this house: a very highly finished portrait (small size) by Terburgh, +of a gentleman standing, in black gown, long brown wig, and a book on a +table by him. "Andries de Graeff. Obiit lxxiii., MDCLXXIIII." + +Can you tell me anything about this old gentleman? + +T. F. + + * * * * * + + +MINOR QUERIES. + + +_Christian Names._--Can any of your correspondents inform me when it +became a common practice to have more than one Christian name? Lord Coke +says (_Co. Litt. 3 a_): + + "And regularly it is requisite that the purchaser be named by the + name of baptism and his surname, and that special heed be taken to + the name of baptism; _for that a man cannot have two names of + baptism as he may have divers surnames._" + +And further on he says: + + "If a man be baptized by the name of Thomas, and after, at his + confirmation by the bishop, he is named John, he may purchase by + the name of his confirmation.... And this doth agree with our + ancient books, where it is holden that a man may have divers names + at divers times, _but not divers Christian names_." + +It appears, then, that during the first half of the seventeenth century +a man could not have two Christian names. + +Also, at what period did the custom arise of using as Christian names +words which are properly surnames? + +ERICAS. + + +_Lake of Geneva._--The chronicler Marius (in the second volume of _Dom +Bouquet_) mentions that, in the reign of the sons of Clotaire, an +earthquake or landslip, in the valley of the Upper Rhone, enlarged the +Lemannus, or Genevese Lake, by thirty miles of length and twenty of +breadth, destroying towns and villages. Montfaucon, in his _Monumens de +la Monarchie_, i. p. 63., {407} states that the Lake of Geneva was +formed on this occasion: absurdly, unless he means that upon this +occasion its limits were extended to Geneva, having previously +terminated further east. What vestiges of this catastrophe are now +perceptible? + +A. N. + + +_Clerical Portrait._--May I request the assistance of "N. & Q." in +discovering the name of a reverend person whose portrait I have recently +met with in my parish? The individual from whom I procured it could give +me no other history of it, but that he had bought it at the sale of the +effects of a respectable pawnbroker in the village many years ago. + +Afterwards I learned from another resident in the parish that he well +remembered visiting the shop of the same broker, in company with another +gentleman still living, when this identical portrait was the subject of +conversation, and the broker went into his private room and brought out +a book, conceived to be a magazine, from which he read a description of +the person of whom this was the portrait, to the following effect, viz., +"That he was born of obscure parentage in the parish of Glemham, +Suffolk; that he was sent to school, and afterwards became a great man +and a dignitary of the church, if not a bishop; and became so wealthy +that he gave a large sum for the repairs of Norwich Cathedral." + +These are the only particulars which I have yet ascertained as to the +portrait, for neither of the gentlemen who were present at this +transaction with the broker, though they agree in the circumstances +which I have above narrated, can remember _the name_ of my great +unknown. + +I look, however, with confidence to the wide range of your +correspondents, and hope to receive some clue which may guide me to the +wished-for discovery. + +The portrait is an oil painting, a fine full florid face, with a long +wig of black curly hair resting on the shoulders, gown and band, date +probably from Queen Anne to George II. + +J. T. A. + + +_Arms: Battle-axe._--With some quarterings of Welsh arms in Bisham +(Marlow) of Hobey, is one of three battle-axes. The same appear near +Denbigh, supposed taken in with a L. R. from Vaughan. Query, What family +or families bore three battle-axes? + +A. C. + + +_Bullinger's Sermons._--Will some of your correspondents kindly give me +some information regarding a volume of sermons by Henry Bullinger, which +I have reason to believe is of rather rare occurrence? It is +_Festorum dierum Domini et Servatoris nostri Jesu Christi +Sermones Ecclesiastici: Heinrycho Bullingero, Authore._ There is a +vignette, short preface (on title-page), with a Scripture motto, Matt. +xvii. Date is, "Tiguri apud Christoph. Froschoverum a. MDLVIII." +I believe there is a copy in the University Library, Cambridge. + +ENIVRI. + +Monkstown, Dublin. + + +_Gibbon's Library._--Matthews, in his _Diary of an Invalid_, says, when +visiting Gibbon's house at Lausanne, "His library still remains; but it +is buried and lost to the world. It is the property of Mr. Beckford, and +lies locked up in an uninhabited house at Lausanne" (1st edit. 1820, p. +319.). This was written about 1817. Was the library ever transferred to +Fonthill or to Bath, or does it still remain at Lausanne? + +J. H. M. + + +_Dr. Timothy Bright._--Can any of your correspondents inform me whether +this gentleman, author of a _Treatise on Melancholy_, an edition of +Fox's _Martyrs_, &c., was an ancestor of the Rev. Henry Bright, prebend +of Worcester Cathedral, and instructor of Samuel Butler, author of +_Hudibras_? + +H. A. B. + + +_Townley MSS._--I request to know, where are the Townley MSS.?* They +are quoted by Nicolas in the Scope and Grosvenor Rolls? Also, where are +the MSS. often referred to in the _History of the House of Yvery_ as +then penes the Earl of Egmont; and also a folio of Pedigrees by Camden +Russet? + +H. T. ELLACOMBE. + + [* For a notice of the Townley MSS., see "N. & Q.," Vol. iv., p. + 103.] + +_Order of St. John of Jerusalem._--1. Who were the members of the +British Language of St. John of Jerusalem, when Elizabeth took away +their property? + +2. What members of the British Language were present when, in 1546, the +English commander Upton attacked and defeated the famous Corsair Dragut +at Tarschien in Malta? Also, what members of it were present when the +Chevalier Repton, Grand Prior of England in 1551, was killed, after +signally defeating the Turks in another attack which they made on the +island? + +3. What became of the records of the Language? + +N.B.--Some of them, belonging to the Irish branch of it, were lately +bought of a Jew by a private gentleman in the Grand Duchy of Baden. They +are supposed to have been deposited for security at Heidersheim near +Fribourg, which was the chief seat of the German Language of the Order. + +R. L. P. + +Wartensee, Lake of Constance. + + +_Consecrated Roses, Swords, &c._--Where will any account be found of the +origin of the custom, which has long prevailed at Rome, of the Pope's +blessing, on the eve at certain festivals, roses and {408} other +articles, and which were afterwards frequently presented to sovereigns +and potentates as tokens of friendship and amity? + +G. + + +_West, Kipling, and Millbourne._--In 1752 there was a firm of West and +Kipling in Holborn: the Christian name of West was Thomas; and there is +reason to believe that he had two sons, Francis and Thomas. A George +Millbourne, Esq., of Spring Gardens, married a cousin of Thomas West, +the partner of Kipling: these facts are referred to in the will of a +lady proved A.D. 1764. Can any reader of "N. & Q." furnish me with +materials or references from which I may gather information of these +families of West and Millbourne? The smallest contribution will be +thankfully received by + +F. S. + + +_Font Inscriptions._--I would request the favour of any such of ancient +date. A collection of them would be interesting. I can give three. + +At Lullington, Somerset, on a Norman font, in characters of that date: + + "In hoc Fontu sacro pereunt delicta lavacro." + +At Bourn, Lincoln: + + "Su[=p] o[=m]e no[=m] I H C est no[=m] q[=d]e." + +At Melton Mowbray: + + "Sancta Trinitas misere nobis." + +H. T. ELLACOMBE. + + +_Welsh Genealogical Queries_.--Can JOHN AP WILLIAM AP JOHN (Vol. vii., +p. 292.), or some other reader, enlighten me as to who the following +personages were, or where a pedigree of them is to be found: + + 1. Gwladys, da. of Ithel ap Rhys ap Morgan, of Ewias ap Morgan Hir + ap Testyn ap Gwrgant, of 4th royal tribe, who ma. Madog ap + Griffith.--Burke's _Landed Gentry_, "Hughes of Gwerclas." + + 2. Beatrix, da. of Eignion ap David ap Myles ap Griffith ap Owen, + lord of Bromfield; and Honet ap Jago ap Ydwall, prince of Wales, who + ma. William Belward, baron of Malpas. + + 3. Gwernwy, cousin of Bleddyn ap Cynfyn, called prince of the 14th + royal tribe, whose grand-da. Hunydd ma. Meredith ap Bleddyn.--_V. + Burke_, as above. + + 4. Gwentlian, wife of the above Gwernwy, da. of Rhys ap Morgan. + + 5. Griffin, son of Wenovewyn, whose da. ma. Fulke Fitzwarine, a + baron, 1295--1314.--_V._ Burke's _Extinct Peerage_. + + 6. Gladys, da. of Rygwallon, prince of Wales, said by Sir Wm. Segar + to be wife of Walter FitzOther, ancestor of Lords Windsor; and what + authority is there for this match?--_V. Collins_, &c. + +As these Queries are not of general interest, I inclose a stamped +envelope for the answers. + +E. H. Y. + + +_The Butler and his Man William._--These mythological personages, the +grotesque creation of Mr. Grosvenor Bedford's fertile imagination, are +frequently referred to and dilated on in the letters addressed to him by +Southey (_Life of Southey_, by his Son, vol. ii. p. 335., &c.), when +urging Mr. Bedford to write a Pantagruelian romance on their lives and +adventures, which however was never accomplished. What therefore is the +meaning of the following paragraph, which appears at the conclusion of +the review of volume ii. of Southey's _Life_, contained in the _Gent.'s +Mag._ for April, 1850, p. 359.? + + "We will only add, that with respect to the _Butler_ mentioned at + p. 335., the editor seems but imperfectly informed. His portrait, + and that of his _man William_, are now hanging on the walls of our + study. His Life is on our table. He himself has long since returned + to the 'august abode' from which he came." + +J. M. B. + +Tunbridge Wells. + + +_Longhi's Portraits of Guidiccioni._--The Count Alessandro Cappi of +Ravenna is about to publish an elaborate life of his fellow-townsman +_Luca Longhi_, with very copious illustrations from that painter's +works. + +He has ransacked Italy in vain for a portrait of Monsignor Giovanni +Guidiccioni, President of Romagna, painted by Luca Longhi in 1540. This +portrait possesses more than ordinary interest, since (to use the words +of Armenini, author of _Veri Precetti della Pittura_) "fu predicato per +maraviglioso in Roma da Michelangelo Buonarrotti." Count Cappi, +supposing that the picture may have found its way to England, hopes by +the publication of this notice to discover its whereabouts. Any +correspondent who shall be kind enough to furnish him, through this +journal, with the desired information, may be assured of his "piu vera +riconoscenza." + +W. G. C. + + +_Sir George Carr._--Wanted, pedigree and arms, wife's name and family, +of Sir George Carr, who was joint clerk of the council of Munster from +1620 to 1663, or thereabouts. Sir George had two sons at least, William +and Thomas; William was alive in 1673. Whom did he marry, and what +family had he? + +Y. S. M. + +Dublin. + + +_Dean Pratt._--DR. HESSEY will feel obliged to any reader of "N. & Q." +who can answer the following questions. + +At what College of what University did Dr. Samuel Pratt, Dean of +Rochester, receive his education, and by whom was he ordained? + +He was born in 1658, left Merchant Taylors' school (where he passed his +early years) in 1677, and was created D.D. by royal mandate, at +Cambridge, in 1697, but no college is attached to his {409} name in the +list of Cambridge graduates. Still, if he was of neither university, it +seems difficult to account for his having had the successive preferments +of Chaplain to the Princess of Denmark, Almoner to the Duke of +Gloucester, Clerk of the Closet to the Queen, and in 1706 Dean of +Rochester. He died in 1728, aged seventy-one. + +Merchant Taylors'. + + +_Portrait of Franklin._--I have heard of a story to the effect that when +Franklin left England, he presented a portrait of himself, by West, to +Thurlow. I am exceedingly anxious to know if there is any foundation for +this, as during the last week I saw in a shop near the chapel here, a +portrait of the philosopher which I rather suspect to be the one alluded +to. + +H. G. D. + +Knightsbridge. + + +"_Enquiry into the State of the Union._"--A book of much importance has +fallen into my hands, entitled-- + + "An Enquiry into the State of the Union of Great Britain. The past + and present State of the public Revenues. By the _Wednesday's_ Club + in _Friday Street_. London: printed for A. and W. Bell, at the + Cross Keys, Cornhill; J. Watts, in Bow Street, Covent Garden: and + sold by B. Barker and C. King, in Westminster Hall; W. Mears and J. + Brown, without Temple Bar; and W. Taylor, in Paternoster Row. + 1717." + +Can any of your correspondents throw a light upon this _Wednesday's_ +Club, in Friday Street? Was it a real club or fictitious? + +By so doing you would greatly oblige me, and afford important +information to this office. + +JAMES A. DAVIES. + +National Debt Office. + + * * * * * + + +MINOR QUERIES WITH ANSWERS. + + +_Bishop of Oxford in 1164._--Among the names of the bishops who signed +the Constitutions of Clarendon I see "Bartholomeus Oxoniensis +Episcopus." How is this signature accounted for? There are no other +signatures of suffragan or inferior bishops attached. + +W. FRASER. + +Tor-Mohun. + + [Clearly a misprint for Bartholomeus _Exoniensis_ Episcopus, the + celebrated Bartholomew Iscanus, the opponent of Thomas a Becket. + Our correspondent should have given the title of the work where he + found the signatures, as they are not appended to the + "Constitutions" in Matthew Paris, Spelman, or Wilkins.] + + +_Roman Inscription found at Battle Bridge._--I shall be very much +obliged if any one of your numerous readers or correspondents will be so +kind as to furnish me with an authentic copy of the inscription on the +Roman stone which in July 1842 was found at Battle Bridge, St. Pancras, +and also state where the original stone is to be seen. The account of +the discovery of the stone is mentioned in a paragraph which appeared in +_The Times_ newspaper of the 30th July, 1842, in the following manner: + + "ANTIQUITIES DISCOVERED.--A Roman inscription has within these few + days past been discovered at Battle Bridge, otherwise, by an absurd + change of denomination, known as King's Cross, New Road, St. + Pancras. This discovery appears fully to justify the conjectures of + Stukeley and other antiquaries, that the great battle between the + Britons under Boadicea and the Romans under Suetonius Paulinus took + place at this spot. Faithful tradition, in the absence of all + decisive evidence, still pointed to the place by the appellation of + Battle Bridge. The inscription, which in parts is much obliterated, + bears distinctly the letters 'LEG. XX.' The writer of this notice + has not yet had an opportunity personally to examine it, but speaks + from the information of an antiquarian friend. The twentieth + legion, it is well known, was one of the four which came into + Britain in the reign of Claudius, and contributed to its + subjugation: the vexillation of this legion was in the army of + Suetonius Paulinus when he made that victorious stand in a + fortified pass, with a forest in his rear, against the insurgent + Britons. The position is sketched by Tacitus, and antiquaries well + know that on the high ground above Battle Bridge there are vestiges + of Roman works, and that the tract of land to the north was + formerly a forest. The veracity of the following passage of Tacitus + is therefore fully confirmed:--'Deligitque locum artis + faucibus, et a tergo sylva clausum; satis cognito, nihil hostium, + nisi in fronte, et apertam planitiem esse, sine metu insidiarum.' + He further tells us that the force of Suetonius was composed of + 'Quartadecima legio cum _vexillariis vicessimariis_ et e proximis + auxiliares.'" + +S. R. + + [A sketch of this fragment of stone, discovered by Mr. E. B. Price, + is given in the _Gentleman's Magazine_ for August, 1842, p. 144.] + + +_Blow-shoppes._-- + + "Wild bores, bulls, and falcons bredde there in times paste; now, + for lakke of woodde, blow-shoppes decay there."--Leland's _Itin._, + Hearne's edit., vol. vii. p. 42. + +What is the meaning of _blow-shoppe_? + +J. B. + + [Leland appears to refer to blacksmiths' forges, which decayed for + lack of wood.] + + +_Bishop Hesketh_ (Vol. vii., p 209.).--There is evidently an error in +your note respecting the death of Bishop Hesketh, but it is one common +to all the lists of Manx bishops to which I have access. You state that +he died in 1510: it is certain that he was living in 1520. + +He was a son of Robert Hesketh, of Rufford, co. Lanc., and his brother +Richard Hesketh, "learned in the lawe," and who is stated by Kimber to +have been Attorney-General to King Hen. VIII., {410} by his will, dated +15th August, 1520, appointed his "trusty brethren Hugh, bishopp of +Manne, and Thomas Hesketh, esquier," executors, and proceeded: + + "I wyll that the said Bishopp shall haue a goblett of syluer w't a + couir, and my said brothir Thomas to haue a pouncid bool of syluer, + a counterpoynt, and a cordyn gemnete bedde w't the hangings, a + paire of fustyan blanketts, and a paire of shetys, and a fether + bedde that lyeth uppon the same bedde, for their labours." + +So that the vacancy, if there really was any, between his death and the +consecration of Bishop Stanley, is much less than is generally supposed. + +H. A. + + [Our authority for the date of Bishop Hesketh's death was Bishop + Hildesley's MS. list of the Manx bishops, which he presented to the + British Museum, and which appears to have been carefully compiled. + His words are, "Huan Hesketh died 1510, and was buried in his + cathedral of St. Germans in Peel." It is clear, however, there is + an error somewhere, which did not escape the notice of William + Cole, the Cambridge antiquary; for in his MS. Collections, vol. + xxvi. p. 24., he has the following entry:--"Huan Hesketh was living + 13 Henry VIII., 1531, at which time Thomas Earl of Derby appointed, + among others, Sir Hugh Hesketh, Bishop of Man, to be one of his + executors. (See Collins's _Peerage_, vol. ii. p. 33.) Wolsey was + appointed supervisor of the will, and is in it called Lord + Chancellor: he was so made 1516, which proves that he was alive + after 1510. The will of Richard Hesketh, Esq.--to be buried in his + chapel at Rufford: executors, Hugh Hesketh, Bishop of Man, his + brother; and Thomas Hesketh, Esq.--was proved Nov. 13, 1520. (In + _Reg. Manwaring_, 3.) He continued bishop, I presume, forty-three + years, from 1487 to 1530. It is plain he was so thirty-four + years."] + +_Form of Prayer for Prisoners._-- + + "It is not, perhaps, generally known, that we have a form of prayer + for prisoners, which is printed in the Irish Common Prayer-Book, + though not in ours. Mrs. Berkeley, in whose preface of prefaces to + her son's poems I first saw this mentioned, regrets the omission; + observing, that the very fine prayer for those under sentence of + death, might, being read by the children of the poor, at least keep + them from the gallows. The remark is just."--Southey's _Omniana_, + vol. i. p. 50. + +What Irish Common Prayer-Book is here meant? I have the books issued by +the late Ecclesiastical History Society, but do not see the service +among them. Could the prayer referred to be transferred to "N. & Q.;" or +where is the said Irish Prayer-Book to be found? + +THOMAS LAWRENCE. + +Ashby-de-la-Zouch. + + [The Book of Common Prayer according to the use of the Church of + Ireland, we believe, may frequently be met with. An edition in + folio, 1740, is in the British Museum, containing "The Form of + Prayer for the Visitation of Prisoners, treated upon by the + Archbishops and Bishops, and the rest of the Clergy of Ireland, and + agreed upon by Her Majesty's License in their Synod, holden at + Dublin in the Year 1711." We are inclined to think that Mrs. + Berkeley must have intended its beautiful exhortation--not the + prayer--for the use of the poor. See "N. & Q.," Vol. vi., p. 246.] + + * * * * * + + +REPLIES. + + +EDMUND SPENSER, AND SPENSERS, OR SPENCERS, OF HURSTWOOD. + +(Vol. vii., pp. 303. 362.) + +Without entering on the question as to possible connexion of the poet +with the family above mentioned, the discussion may be simplified by +solving a difficulty suggested by CLIVIGER (p. 362.), arising from +Hurstwood Hall (_another estate in Hurstwood_) having been possessed by +Townley, and by explaining, 1st, The identity of the tenement once owned +by Spencers; 2ndly, The seeming cause of Whitaker's silence; and, 3rdly, +The certainty of possession by the Spencers. + +I. The former estate of the Spencers in Hurstwood is a tenement which +was purchased by the late Rev. John Hargreaves from the representatives +of William Ormerod, of Foxstones, in Cliviger, in 1803, and which had +been conveyed in 1690, by John Spencer, then of Marsden, to Oliver +Ormerod of Hurstwood, and his son Laurence; the former of these being +youngest son, by a second marriage, of Peter Ormerod of Ormerod, and +co-executor of his will in 1650. So much for the locality. + +II. As for Dr. Whitaker's silence, I know, from correspondence with him +(1808-1816), that, from an irregularity in the Prerogative Office, he +was not aware of this will, and uninformed as to this second marriage, +or the connexion of this purchaser's family with the parent house; and I +think it as probable that he was as unaware of the ancient possession of +the purchased tenement by Spencers, as it is certain that this theory as +to the connexion of the poet with it was _then_ unknown. If otherwise, +he would doubtless have extended his scale, and included it. + +III. As to the certainty of possession by Spencers, I have brief +extracts from deeds as to this tenement as follows:-- + +1677. Indenture of covenants for a fine, between _John Spencer the +elder_, and Oliver Ormerod of Cliviger, and note of fine. + +1687. Will of same _John Spencer_, late of Hurstwood, mentioning +possession of this tenement as the inheritance of his +_great-grandfather_, _Edmund Spencer_. + +1689. Family arrangements of _John Spencer_ (the son) as to same +tenement, then in occupation of "Oliver Ormeroyde" before mentioned. + +{411} +1690. Conveyance from _John Spencer_ to O. and L. O., as before +mentioned. + +In _Gentleman's Magazine_, August, 1842 (pp. 141, 142.), will be found +numerous notices of these Spen_c_ers or Spen_s_ers, with identified +localities from registers. + +I think that this explanation will solve the difficulty suggested by +CLIVIGER. On the main question I have not grounds sufficient for an +opinion, but add a reference to _Gentleman's Magazine_, March, 1848, p. +286., for a _general objection_ by MR. CROSSLEY, President of the +Chetham Society, who is well acquainted with the locality. + +LANCASTRIENSIS. + +I was about to address some photographic Queries to the correspondents +of "N. & Q." when a note caught my attention relating to Edmund Spenser +(in the Number dated March 26.). The Mr. F. F. Spenser mentioned therein +was related to me, being my late father's half-brother. I regret to say +that he died very suddenly at Manchester, Nov. 2, 1852. During his +lifetime, he took much pains to clear up the doubts about the locality +of the poet's retirement, and his relatives in the North; and has made +out a very clear case, I imagine. On a visit to Yorkshire in 1851, I +spent a few days with him, and took occasion to urge the necessity of +arranging the mass of information he had accumulated on the subject; +which I have no doubt he would have done, had not his sudden death +occurred to prevent it. These facts may be of some interest to +biographers of the poet, and with this object I have ventured to trouble +you with this communication. + +J. B. SPENCER. + +11. Montpellier Road, Blackheath. + + * * * * * + + +THROWING OLD SHOES FOR LUCK. + +(Vol. ii., p. 196.; Vol. v., p. 413.; Vol. vii., pp. 193. 288.) + +I do not know whether you will permit me to occupy a small portion of +your valuable space in an attempt to suggest an origin of the custom of +throwing an old shoe after a newly married bride. + +Your correspondents assume that the old shoe was thrown after the bride +_for luck_, and for luck only. I doubt whether it was so in its origin. + +Among barbarous nations, all transfers of property, all assertions and +relinquishments of rights of dominion, were marked by some external +ceremony or rite; by which, in the absence of written documents, the +memory of the vulgar might be impressed. When, among Scandinavian +nations, land was bought or sold, a turf was delivered by the trader to +the purchaser: and among the Jews, and probably among other oriental +nations, a shoe answered the same purpose. + +In Psalm lx., beginning with "O God, thou hast cast me off," there +occurs the phrase, "Moab is my washpot, over Edom have I cast out my +shoe." Immediately after it occurs the exclamation, "O God! who has cast +us off!" A similar passage occurs in Psalm cix. + +By this passage I understand the Psalmist to mean, that God would +thoroughly cast off Edom, and cease to aid him in war or peace. This +interpretation is consistent with the whole tenor of the Psalm. + +The receiving of a shoe was an evidence and symbol of asserting or +accepting dominion or ownership; the giving back a shoe, the symbol of +rejecting or resigning it. + +Among the Jews, the brother of a childless man was bound to marry his +widow: or, at least, he "had the refusal of her," and the lady could not +marry again till her husband's brother had formally rejected her. The +ceremony by which this rejection was performed took place in open court, +and is mentioned in Deut. xxv. If the brother publicly refused her, "she +loosed his shoe from off his foot, and spat in his face;" or, as great +Hebraists translate it, "spat before his face." _His_ giving up the shoe +was a symbol that _he_ abandoned all dominion over her; and _her_ +spitting before _him_ was a defiance, and an assertion of independence. +This construction is in accordance with the opinions of Michaelis, as +stated in his _Laws of Moses_, vol. ii. p. 31. + +This practice is still further illustrated by the story of Ruth. Her +nearest kinsman refused to marry her, and to redeem her inheritance: he +was publicly called on so to do by Boaz, and as publicly refused. And +the Bible adds, "as it was the custom in Israel concerning changing, +that a man plucked off his shoe and delivered it to his neighbour," the +kinsman plucked off his shoe and delivered it to Boaz as a public +renunciation of Ruth, of all dominion over her, and of his right of +pre-marriage. + +These ceremonies were evidently not unknown to the early Christians. +When the Emperor Wladimir made proposals of marriage to the daughter of +Raguald, she refused him, saying, "That she would not take off her shoe +to the son of a slave." + +There is a passage in _Gregory of Tours_ (c. 20.) where, speaking of +espousals, he says, "The bridegroom having given a ring to the fiancee, +presents her with a shoe." + +From Michelet's _Life of Luther_ we learn, that the great reformer was +at the wedding of Jean Luffte. After supper, he conducted the bride to +bed, and told the bridegroom that, according to common custom, he ought +to be master in his own house _when_ his wife was not there: and for a +symbol, he took off the husband's shoe, and put it upon the head of the +bed--"afin qu'il prit ainsi la domination et gouvernement." + +{412} +I would suggest for the consideration of your correspondents that the +throwing a shoe after a bride was a symbol of renunciation of dominion +and authority over her by her father or guardian; and the receipt of the +shoe by the bridegroom, even if accidental, was an omen that that +authority was transferred to him. + +JOHN THRUPP. + +Surbiton. + + * * * * * + + +ORKNEYS IN PAWN. + +(Vol. vii., pp. 105. 183.) + +That the Orkney and Zetland Islands were transferred by Denmark to +Scotland in 1468, in pledge for payment of part of the dower of the +Princess of Denmark, who was married to James III., King of Scotland, +under right of redemption by Denmark, is an admitted historic fact; but +it is asserted by the Scottish, and denied by the Danish historians, +that Denmark renounced her right of redemption of these Islands. The +question is fully discussed, with references to every work and passage +treating of the matter, in the first introductory note to the edition of +_The General Grievances and Oppressions of the Isles of Orkney and +Shetland_, published at Edinburgh, 1836. And the writer of the note is +led to the conclusion that there was no renunciation, and that Denmark +still retains her right of redemption. Mr. Samuel Laing, in his _Journal +of a Residence in Norway_, remarks, that the object of Torfaeus' +historical work, _Orcades, seu Rerum Orcadensium Historiae libri tres_, +compiled by the express command of Christian V., King of Denmark, was to +vindicate the right of the Danish monarch to redeem the mortgage of the +sovereignty of these islands; and he adds, that in 1804, Bonaparte, in a +proclamation addressed to the army assembled at Boulogne for the +invasion of England, descanted on the claim of Denmark to this portion +of the British dominions. In a note he has the farther statement, that +in 1549 an assessment for paying off the sum for which Orkney and +Zetland were pledged was levied in Norway by Christian III. (_Vide_ +Laing's _Norway_, 1837, pp. 352, 353.) From the preceding notice, it +would appear, that Denmark never renounced her right of redemption, now +merely a matter of antiquarian curiosity. And it is pertinent to +mention, that the connexion of Orkney and Zetland was with Norway, not +Denmark. I observe in the Catalogue of MSS., in the Cottonian Library in +the British Museum (Titus C. VII. art. 71. f. 134.), "Notes on King of +Denmark's Demand of the Orcades, 1587-8," which may throw some light on +the matter. + +In the historical sketch given by Broctuna, Kenneth II., King of +Scotland, is said to have taken the Orkneys from the Picts A.D. 838; and +that they remained attached to that kingdom till 1099, when Donald Bain, +in recompense of aid given to him by Magnus, King of Norway, gifted all +the Scotch isles, including the Orkneys, to Norway. This is not what is +understood to be the history of Orkney. + +In the middle of the ninth century, Harold Harfager, one of the reguli +of Norway, subdued the other petty rulers, and made himself king of the +whole country. The defeated party fled to Orkney, and other islands of +the west: whence, betaking themselves to piracy, they returned to ravage +the coast of Norway. Harold pursued them to their places of refuge, and +conquered and colonised Orkney about A.D. 875. The Norwegians at that +time destroyed or expelled the race then inhabiting these islands. They +are supposed to have been Picts, and to have received Christianity at an +earlier date, but it is doubtful if there were Christians in Orkney at +that period: however, Depping says expressly, that Earl Segurd, the +second Norwegian earl, expelled the Christians from these isles. I may +remark, that the names of places in Orkney and Zetland are Norse, and +bear descriptive and applicable meanings in that tongue; but hesitate to +extend these names beyond the Norwegian colonisation, and to connect +them with the Picts or other earlier inhabitants. No argument can be +founded on the rude and miserable subterraneous buildings called Picts' +houses, which, if they ever were habitations, or anything else than +places of refuge, must have belonged to a people in a very low grade of +civilisation. Be this as it may, Orkney and Zetland remained under the +Norwegian dominion from the time of Harold Harfager till they were +transferred to Scotland by the marriage treaty in 1468, a period of +about six hundred years. What cannot easily be accounted for, is the +discovery of two Orkney and Zetland deeds of the beginning of the +fifteenth century prior to the transfer, written not in Norse, but in +the Scottish language. + +R. W. + + * * * * * + + +HOGARTH'S PICTURES. + +(Vol. vii., p. 339.) + +The numerous and interesting inquiries of AN AMATEUR respecting a +catalogue of Hogarth's works has brought to my recollection the +discovery of one of them, which I was so fortunate as to see in its +original situation. About the year 1815 I was invited by a friend, who +was an artist, to visit a small public-house in Leadenhall Street, to +see a picture by Hogarth: it was "The Elephant," since, I believe, +pulled down, being in a ruinous condition. In the tap-room, on the wall, +almost obscured by the dirt and smoke, and grimed by the rubbing of +numberless foul jackets, was an indisputable picture by the renowned +Hogarth. It represented the meeting of the committee of the {413} South +Sea Company, and doubtless the figures were all portraits. It was +painted in his roughest manner; but every head was stamped with that +character for which he stood unrivalled. I have since heard that, when +the house was pulled down, this picture was sold as one of the lots, in +the sale of furniture, and bought by a dealer. It was painted on the +wall, like a fresco; and how to remove it was the difficulty. On +sounding the wall it was found to be lath and plaster, with timber +framework (the usual style of building in the reign of Elizabeth). It +was therefore determined to cut it out in substance, which was +accordingly performed; and by the help of chisels, thin crowbars, and +other instruments, it was safely detached. The plaster was then removed +from the back down to the priming, and the picture was backed with +strong canvas. It was then cleaned from all its defilement, and, on +being offered for sale at a good price, was bought by a nobleman, whose +name I have not heard, and is now in his collection. + +I do not know whether your correspondent has heard of Hogarth's portrait +of Fielding. The story, as I have heard or read it, is as +follows:--Hogarth and Garrick sitting together after dinner, Hogarth was +lamenting there was no portrait of Fielding, when Garrick said, "I think +I can make his face."--"Pray, try my dear Davy," said the other. Garrick +then made the attempt, and so well did he succeed, that Hogarth +immediately caught the likeness, and exclaimed with exultation, "Now I +have him: keep still, my dear Davy." To work he went with pen and ink, +and the likeness was finished by their mutual recollections. This sketch +has been engraved from the original drawing, and is preserved among +several original drawings and prints in the _illustrated_ copy of +Lysons's _Environs_, vol. i. p. 544., in the King's Library, British +Museum. + +While I am writing about unnoticed pictures by what may be called +_erratic_ artists, I may mention that in the parlour of the "King's +Head," corner of New Road and Hampstead Road, on the panel of a +cupboard, is a half-length of a farmer's boy, most probably the work of +G. Morland, who visited this house on his way to Hampstead, and probably +paid his score by painting this picture; which is well known to have +been his usual way of paying such debts. + +E. G. BALLARD. + +Agreeably to the suggestion of AN AMATEUR, I beg to send you the +following list of pictures, from a catalogue in my possession: + + CATALOGUE of the Pictures and Prints, the property of the late Mrs. + Hogarth, deceased, sold by Mr. Greenwood, the Golden Head, + Leicester Square, Saturday, April 24, 1790. + +_Pictures by Mr. Hogarth._ + + 41. Two portraits of Ann and Mary Hogarth. + 42. A daughter of Mr. Rich the comedian, finely coloured. + 43. The original portrait of Sir James Thornhill. + 44. The heads of six servants of Mr. Hogarth's family. + 45. His own portrait--a head. + 46. A ditto--a whole-length painting. + 47. A ditto, Kit Kat, with the favourite dog, exceeding fine. + 48. Two portraits of Lady Thornhill and Mrs. Hogarth. + 49. The first sketch of the Rake's Progress. + 50. A ditto of the altar of Bristol Church. + 51. The Shrimp Girl--a sketch. + 52. Sigismunda. + 53. A historical sketch, by Sir James Thornhill. + 54. Two sketches of Lady Pembroke and Mr. John Thornhill. + 55. Three old pictures. + 56. The bust of Sir Isaac Newton, terra cotta. + 57. Ditto of Mr. Hogarth, by Roubilliac. + 58. Ditto of the favourite dog, and cast of Mr. Hogarth's hand. + +W. D. HAGGARD. + + * * * * * + + +PHANTOM BELLS AND LOST CHURCHES. + +(Vol. vii., pp. 128. 200. 328.) + +In a little brochure entitled _Christmas, its History and Antiquity_, +published by Slater, London, 1850, the writer says that-- + + "In Berkshire it is confidently asserted, that if any one watches + on Christmas Eve he will hear _subterranean bells_; and in the + mining districts the workmen declare that at this sacred season + high mass is performed with the greatest solemnity on that evening + in the mine which contains the most valuable lobe of ore, which is + supernaturally lighted up with candles in the most brilliant + manner, and the service changed by unseen choristers."--P. 46. + +The poet Uhland has a beautiful poem entitled _Die Verlorne Kirche_. +Lord Lindsay says: + + "I subjoin, in illustration of the symbolism, and the peculiar + emotions born of Gothic architecture, _The Lost Church_ of the poet + Uhland, founded, I apprehend, on an ancient tradition of the + Sinaitic peninsula."--_Sketches of Christian Art._ + +I give the first stanza of his translation: + + "Oft in the forest far one hears + A passing sound of distant bells; + Nor legends old, nor human wit, + Can tell us whence the music swells. + From the _Lost Church_ 'tis thought that soft + Faint ringing cometh on the wind: + Once many pilgrims trod the path, + But no one now the way can find." + +See also _Das Versunkene Kloster_, by the same sweet poet, +commencing: + + "Ein Kloster ist versunken + Tief in den wilden See." + +After Port Royal (in the West Indies) was submerged, at the close of the +seventeenth century, sailors in those parts for many years had {414} +stories of anchoring in the chimneys and steeples, and would declare +they heard the church bells ringing beneath the water, agitated by the +waves or spirits of the deep. + +The case of the Round Towers seen in Lough Neagh, I need not bring +forward, as no sound of bells has ever been heard from them. + +There is one _lost church_ so famous as to occur to the mind of every +reader, I mean that of the Ten Tribes of Israel. After the lapse of +thousands of years, we have here an historical problem, which time, +perhaps, will never solve. We have a less famous, but still most +interesting, instance of a lost church in Greenland. Soon after the +introduction of Christianity, about the year 1000, a number of churches +and a monastery were erected along the east coast of Greenland, and a +bishop was ordained for the spiritual guidance of the colony. For some +four hundred years an intercourse was maintained between this colony and +Norway and Denmark. In the year 1406 the last bishop was sent over to +Greenland. Since then the colony _has not been heard of_. Many have been +the attempts to recover this lost church of East Greenland, but hitherto +in vain. + +I could send you a Note on a cognate subject, but I fear it would occupy +too much of your space,--that of _Happy Isles_, or _Islands of the +Blessed_. The tradition respecting these happy isles is very +wide-spread, and obtains amongst nearly every nation of the globe; it +is, perhaps, a relic of a primeval tradition of Eden. Some have caught +glimpses of these isles, and some more favoured mortals have even +landed, and returned again with senses dazzled at the ravishing sights +they have seen. But in every case after these rare favours, these mystic +lands have remained invisible as before, and the way to them has been +sought for in vain. Such are the tales told with reverent earnestness, +and listened to with breathless interest, not only by the Egyptians, +Greeks, and Romans of old, but by the Irishman, the Welshman, the +Hindoo, and the Red Indian of to-day. + +EIRIONNACH. + + * * * * * + + +PHOTOGRAPHIC NOTES AND QUERIES. + + +_Photographic Collodion_ (Vol. vii., p. 314.).--In a former +communication I pointed out the wide differences in the various +manipulations prescribed for making the photographic _gun cotton_ by +several photographers: differences most perplexing to persons of small +leisure, and who are likely to lose half the opportunities of a +photographic season, whilst puzzling over these diversities of +proceeding. Suffer me now to entreat some one to whom all may look up +(perhaps your kind and experienced correspondent DR. DIAMOND will do +this service, so valuable to young photographers) to clear up the +differences I will now "make a note of," viz. as to the amount of dry +photographic gun cotton to be used in forming the prepared collodion. + +On comparing various authors, and _reducing_ their directions to a +standard of _one ounce of ether_, I find the following differences: +viz., DR. DIAMOND (Vol. vi., p. 277.) prescribes _about_ three grains of +gun cotton; Mr. Hennah (_Directions, &c._, p. 5.) about seven grains; +the Count de Montizon (_Journ. of Phot. Soc._, p. 23.) eight grains; +whilst Mr. Bingham (_Supplement to Phot. Manip._, p. 2.) directs about +_thirty-four_ grains! in each case to a single ounce of ether. + +These differences are too wide to come within even Mr. Archer's "long +range," that "the proportions ... must depend entirely upon the strength +and the thickness required ... the skill of the operator and the season +of the year." (Archer's _Manual_, p. 17.) + +COKELY. + + +_Filtering Collodion._--Count de Montizon, in his valuable paper on the +collodion process, published in the second number of the _Journal of the +Photographic Society_, objects to filtration on the ground that the +silver solution is often injured by impurities contained in the paper. +It may be worth while to state, that lime, and other impurities, may be +removed by soaking the filter for a day or two, before it is used, in +water acidulated with nitric acid; after which it should be washed with +hot water and dried. + +T. D. EATON. + + +_Photographic Notes_ (Vol. vii., p. 363.).--I wish to correct an error +in my communication in "N. & Q." of April 9: in speaking of "a more +_even_ film," I meant a film more _evenly sensitive_. I am sorry I have +misled MR. SHADBOLT as to my meaning. I have very rarely any "spottings" +in my pictures; but I always drop the plates once or twice into the +bath, after the two minutes' immersion, to wash off any loose particles. +I also drain off all I can of the nitrate of silver solution before +placing the glass in the camera, and for three reasons:--1. Because it +saves material; 2. Because the lower part of dark frame is kept free +from liquid; 3. Because a "flowing sheet" of liquid must interfere +somewhat with the passage of light to the film, and consequently with +the sharpness of the picture. I think it is clear, from MR. SHADBOLT'S +directions to MR. MERITT, that it is no very easy thing to cement a +glass bath with marine glue. + +J. L. SISSON. + + +_Colouring Collodion Pictures_ (Vol. vii., p. 388.).--In your impression +of April 16, there is a typographical error of some importance relative +to lifting the collodion in and out of the bath: "The plate, after being +plunged in, should be allowed to repose quietly from twenty to thirty +_minutes_," &c. This should be _seconds_. The error arose, in all {415} +probability, from my having used the contractions 20" to 30". + +It may appear somewhat droll for any one to answer a question on which +he has _not_ had experience; but I beg to offer as a _suggestion_ to + PHOTO, that if he wishes to use collodion pictures for the purpose of +dissolving views, he should first copy them in the camera as transparent +objects so as to _reverse_ the light and shade, then varnish them with +DR. DIAMOND'S solution of amber in chloroform, when they will bear the +application of transparent colours ground in varnish, such as are used +for painting magic-lantern slides. + +GEO. SHADBOLT. + + +_Gutta Percha Baths_ (Vol. vii., p. 314.).--In "N. & Q." for March 26, I +ventured to recommend to H. HENDERSON gutta percha, as a material for +nitrate of silver baths. I did this from a knowledge that hundreds of +them were in use, but chiefly because I have found them answer so well. +In the same Number the Editor gives MR. HENDERSON very opposite advice; +and, had I seen his opinion before my notes appeared, I should certainly +have kept them back. But it is, I think, a matter of some importance, +especially to beginners, to have it settled, whether gutta percha has +the effect of causing "unpleasant markings" in collodion pictures or +not. With all due deference to the Editor's opinion, I do not believe +that gutta percha baths are injurious to the finished picture. I have +never any markings in my glass positives now, but what may be traced +with certainty to some unevenness in the film or dirtiness on the glass. +And I hope that the number of beginners who are using gutta percha +baths, and who are troubled with these unpleasant markings (as all +beginners are, whether they use glass or gutta percha), will not, +without some very careful experiments, lay the fault upon the gutta +percha. In the Number for April 2, the Editor thanks me for what he is +pleased to call "the very beautiful specimen of _my skill_." This was a +small glass positive, which I sent him in accordance with an offer of +mine in a former note. Now, _that_ was rendered sensitive in a gutta +percha bath, which I have had in use for months; and I think I may +appeal to the Editor as to the absence of all unpleasant markings in it. +Probably it may be a good plan for those who make the baths for +themselves to adopt the following simple method of cleaning them at +first. Fill the bath with water, changing it every day for a week or so. +Then wash it with strong nitric acid, and wash once or twice afterwards. +Always keep the nitrate of silver solution in the bath, with a cover +over it. Never filter, unless there is a great deal of extraneous matter +at the bottom. If glass baths are used, cemented together with +sealing-wax, &c., I imagine they might be as objectionable as gutta +percha. The number of inquiries for a diagram of my head-rest, &c., from +all parts of the kingdom--Glasgow, Paisley, Manchester, Leicester, +Leeds, Newcastle, Durham, &c. &c.--proves the very large number of +photographic subscribers "N. & Q." possesses. I think, therefore, it +cannot but prove useful to discuss in its pages the question of the +advantage or disadvantage of gutta percha. + +J. L. SISSON. + +Edingthorpe Rectory, North Walsham. + + * * * * * + + +REPLIES TO MINOR QUERIES. + + +_Pilgrimages to the Holy Land_ (Vol. v., p. 289.).--I beg to inform W. +M. R. E. (Vol. vii., p. 341.) that, though I have never met with a +printed copy of the "Itinerary to the Holy Land" of _Gabriele +Capodilista_ (the Perugia edition of 1472, mentioned by Brunet, being +undoubtedly a book of very great rarity, and perhaps the only one ever +printed), I have in my possession a very beautiful manuscript of the +work on vellum, which appears to have been presented by the author to +the nuns of St. Bernardino of Padua. It is a small folio; and the first +page is illuminated in a good Italian style of the fifteenth century. It +is very well written in the Venetian dialect, and commences thus: + + "Venerabilibus ac Devotissimis D[=n]e Abbatissae et + Monialibus Ecclesiae Sancti Bernardini de Padua salut[=e] in + D[=NO].--Ritrovandomi ne li tempi in questa mia opereta descripti, + Io Gabriel Capodelista Cavalier Padoano dal su[=m]o Idio inspirato + et dentro al mio cor concesso fermo proposito di vistare + personalmente el Sanctissimo loco di Jerusalem," &c. + +This MS., which was formerly in the library of the Abbati Canonici, I +purchased, with others, at Venice in 1835. + +If W. M. R. E. has any wish to see it, and will communicate such wish to +me through the medium of the publisher of "N. & Q.," I shall be happy to +gratify his curiosity. I do not know whether there is any MS. of +Capodilista's Itinerary in the British Museum. + +W. SNEYD. + + +"_A Letter to a Convocation Man_" (Vol vii., p. 358.).--The authorship +of the tract concerning which MR. FRASER inquires, is assigned to Sir +Bartholomew Shower, not by the Bodleian Catalogue only, but also by Sir +Walter Scott, in his edition of the Somers' _Tracts_ (vol. ix. p. 411.), +as well as by Dr. Watt, in his _Bibliotheca Britannica_. The only +authorities for ascribing it to Dr. Binckes which I have been able to +discover, are Dr. Edmund Calamy, in his _Life and Times_ (vol. i. p. +397.), and the Rev. Thomas Lathbury, in his _History of the Convocation +of the Church of England_ (p. 283.); but neither of those authors gives +the source from which his information is {416} derived: and Mr. +Lathbury, who appears perfectly unaware that the tract had ever been +ascribed to Sir Bartholomew Shower, a lawyer, remarks: "It is worthy of +observation that the author of the _letter_ professes to be a lawyer, +though such was not the case, Dr. Binckes being a clergyman." Dr. +Kennett also, in his _Ecclesiastical Synods_, p. 19., referred to by Mr. +Lathbury, speaking of Archbishop Wake's reply, says: "I remember one +little prejudice to it, that it was wrote by a divine, whereas the +argument required an able lawyer; and the very writer of the _Letter to +a Convocation Man_ suggesting himself to be of that profession, there +was the greater equity, there should be the like council of one side as +there had been of the other."--It has occurred to me that the mistake of +assigning the tract to Dr. Binckes may possibly have been occasioned by +the circumstance that another tract, with the following title, published +in 1701, has the initials W. B. at the end of it,--_A Letter to a +Convocation Man, by a Clergyman in the Country_. I have examined both +tracts, and they are quite different, and leave no appearance of having +proceeded from the same hand. + +TYRO. + +Dublin. + + +_King Robert Bruce's Coffin-plate_ (Vol vii., p. 356.) was a modern +forgery, but not discovered to be so, of course, until after publication +of the beautiful engraving of it in the _Transactions of the Scottish +Society of Antiquaries_, which was made at the expense of, and presented +to the Society by, the barons of the Exchequer. + +I believe that a notice of the forgery was published in a subsequent +volume. + +W. C. TREVELYAN. + + +_Eulenspiegel or Howleglas_ (Vol. vii., p. 357.).--The following extract +from my note-book may be of use: + + "The German Rogue, or the Life and Merry Adventures, Cheats, + Stratagems, and Contrivances of Tiel Eulenspiegle. + + 'Let none Eulenspiegle's artifices blame, + For Rogues of every country are the same.' + + London, printed in the year MDCCIX. The only copy of this edition I + ever saw was one which had formerly belonged to Ritson, and which I + purchased of Thomas Rodd, but afterwards relinquished to my old + friend Mr. Douce." + +This copy, therefore, is no doubt now in the Bodleian. I have never +heard of any other. + +While on the subject of Eulenspiegel, I would call your correspondent's +attention to some curious remarks on the Protestant and Romanist +versions of it in the _Quarterly Review_, vol. xxi. p. 108. + +I may also take this opportunity of informing him that a very cleverly +illustrated edition of it was published by Scheible of Stuttgart in +1838, and that a passage in the _Hettlingischen Sassenchronik_ +(Caspar Abel's Sammlung, p. 185.), written in 1455, goes to prove that +Dyll Ulnspiegel, as the wag is styled in the Augsburgh edition of 1540, +is no imaginary personage, inasmuch as under the date of 1350 the +chronicler tells of a very grievous pestilence which raged through the +whole world, and that "dosulfest sterff Ulenspeygel to Moellen." + +I am unable to answer the Query respecting Murner's visit to England. +The most complete account of his life and writings is, I believe, that +prefixed by Scheible to his edition of Murner's _Narrenbeschwoerung_, and +his satirical dissertation _Ob der Koenig von England ein Luegner sey, +oder der Luther_. + +WILLIAM J. THOMS. + + +_Sir Edwin Sadleir_ (Vol. vii., p. 357.).--Sir Edwin Sadleir, of Temple +Dinsley, in the county of Hertford, Bart., was the third son of Sir +Edwin Sadleir (created a baronet by Charles II.), by Elizabeth, daughter +of Sir Walter Walker, Knt., LL.D. His elder brothers having died in +infancy, he succeeded, on his father's death in 1672, to his honour and +estates, and subsequently married Mary, daughter and coheiress of John +Lorymer, citizen and apothecary of London, and widow of William Croone, +M.D. This lady founded the algebra lectures at Cambridge, and also +lectures in the College of Physicians and the Royal Society. (See +Chauncy's _Historical Antiquities of Hertfordshire_, folio edit., 397, +or 8vo. edit., ii. 179, 180.; Ward's _Lives of the Gresham Professors_, +322. 325.; Sir Ralph Sadler's _State Papers_, ii. 610.; Weld's _History +of the Royal Society_, i. 289.) In the Sadler State Papers, Sir Edwin +Sadleir is stated to have died 30th September, 1706: but that was the +date of Lady Sadleir's death; and, according to Ward, Sir Edwin Sadleir +survived her. He died without issue, and thereupon the baronetcy became +extinct. + +C. H. COOPER. + +Cambridge. + + +_Belfry Towers separate from the Body of the Church_ (Vol. vii., p. +333.).--The tower of the parish church of Llangyfelach, in +Glamorganshire, is raised at some little distance from the building. In +the legends of the place, this is accounted for by a belief that the +devil, in his desire to prevent the erection of the church, carried off +a portion of it as often as it was commenced; and that he was at length +only defeated by the two parts being built separate. + +SELEUCUS. + +In addition to the bell towers unconnected with the church, noticed in +"N. & Q." (Vol. vii., p. 333.), I beg to call the attention of J. S. A. +to those of Woburn in Bedfordshire, and Henllan in Denbighshire. The +tower of the former church stands at six yards distance from it, and is +a small square building with large buttresses and four pinnacles: it +{417} looks picturesque, from being entirely covered with ivy. The +tower, or rather the steeple, at Henllan, near Denbigh, is still more +remarkable, from its being built on the top of a hill, and looking down +upon the church, which stands in the valley at its foot. + +CAMBRENSIS. + + +_God's Marks_ (Vol. vii., p. 134.).--These are probably the "yellow +spots" frequently spoken of in old writings, as appearing on the +finger-nails, the hands, and elsewhere, before death. (See Brand's +_Popular Ant._, vol. iii. p. 177., Bohn's edit.) In Denmark they were +known under the name _Doeding-knib_ (dead man's nips, ghost-pinches), and +tokened the approaching end of some friend or kinsman. Another Danish +name was _Doedninge-pletter_ (dead man's spots); and in Holberg's _Peder +Paars_ (book i. song, 4.) _Doedning-knaep_. See S. Aspach, _Dissertatio de +Variis Superstitionibus_, 4to., Hafniae, 1697, p. 7., who says they are +of scorbutic origin; and F. Oldenburg, _Om Gjenfaerd ellen Gjengangere_, +8vo., Kjoebenhavn, 1818, p. 23. + +GEORGE STEPHENS. + +Copenhagen. + + +"_The Whippiad_" (Vol. vii., p. 393.).--The mention of _The Whippiad_ by +B. N. C. brought to my recollection a MS. copy of that satire in this +library, and now lying before me, with the autograph of "Snelson, Trin. +Coll. Oxon., 1802." There are notes appended to this copy of the verses, +and not knowing where to look in _Blackwood's Magazine_ for the satire, +or having a copy at hand in order to ascertain if the notes are printed +there also, or whether they are only to be found in the MS., perhaps +your correspondent B. N. C. will have the goodness to state if the +printed copy has notes, because, if there are none, I would copy out for +the "N. & Q." those that are written in the MS., as no doubt they would +be found interesting and curious by all who value whatever fell from the +pen of the highly-gifted Reginald Heber. + +Perhaps the notes may be the elucidations of some college cotemporary, +and not written by Heber. + +J. M. + +Sir R. Taylor's Library, Oxford. + + +_The Axe that beheaded Anne Boleyn_ (Vol. vii., p. 332.).--In Britton +and Brayley's _Memoirs of the Tower of London_, they mention (in +describing the Spanish Armoury) the axe which tradition says beheaded +Anne Boleyn and the Earl of Essex; but a foot-note is added from Stow's +_Chronicle_, stating that the _hangman_ cut off the head of Anne with +one stroke of his _sword_. + +THOS. LAWRENCE. + +Ashby-de-la-Zouch. + + +_Palindromical Lines_ (Vol. vii., pp. 178. 366.).--Besides the +_habitats_ already given for the Greek inscription on a font, I have +notes of the like at Melton Mowbray; St. Mary's, Nottingham; in the +private chapel at Longley Castle; and at Hadleigh. At this last place, +it is noted in a church book to be taken out of Gregory Nazienzen (but I +never could find it), and a reference is made to Jeremy Taylor's _Great +Exemplar_, "Discourse on Baptism," p. 120. sect. 17. + +It may be worth noticing that this Gregory was, for a short time, in the +fourth century, bishop of Constantinople; and in the Moslemised +cathedral of St. Sophia, in that city, according to Grelot, quoted in +Collier's _Dictionary_, the same words--with the difference that "sin" +is put in the plural, _sic_: + + "~NIPSON ANOMEMATA ME MONAN OPSIN~"-- + +were written in letters of gold over the place at the entrance of the +church, between two porphyry pillars, where stood two urns of marble +filled with water, the use of which, when it was a Christian temple, +must be well known. The Turks now use them for holding drinking water, +and have probably done so since the time when the church was turned into +a mosque, after the conquest of Constantinople by Mahomet II., in the +fifteenth century. What could induce ZEUS (p. 366.) to call this +inscription "sotadic?" It may more fitly be called holy. + +H. T. ELLACOMBE. + +Clyst St. George. + +These lines also are to be found on the marble basins for containing +holy water, in one of the churches at Paris. + +W. C. TREVELYAN. + +The Greek inscription mentioned by Jeremy Taylor is on the font in +Rufford Church. + +H. A. + + +_Heuristisch_ (Vol. vii., p. 237.).--In reply to H. B. C. of the U. U. +Club, I beg to give the explanation of the word _heuristisch_, with its +cognate terms, from Heyse's _Allgemeines Fremdwoerterbuch_, 10th edition, +Hanover, 1848: + + "Heureka, gr. (von heuriskein, finden), ich hab' es gefunden, + gefunden! Heuristik, _f._ die Erfindungskunst; _heuristisch_, + erfindungskuenstlich, erfinderisch; heuristische Methode, + entwickelnde Lehrart, welche den Schueler zum Selbstfinden der + Lehrsaetze anleitet." + +J. M. + +Oxford. + + * * * * * + + +MISCELLANEOUS. + + +BOOKS AND ODD VOLUMES + +WANTED TO PURCHASE. + + VIEWS OF ARUNDEL HOUSE IN THE STRAND, 1646. London, published by T. + Thane, Rupert Street, Haymarket. 1792. + PARKER'S GLOSSARY OF ARCHITECTURE. 2nd Edition. + PICKERING'S STATUTES AT LARGE. 8vo. Edit. Camb. From 46 Geo III. + cap. 144. (Vol. XLVI. Part I.) to 1 Wm. IV. + EUROPEAN MAGAZINE. Nos. for May, 1817; January, February, May, + June, 1818; April, June, July, October, and December, 1819. + STANHOPE'S PARAPHRASE OF EPISTLES AND GOSPELS. London, 1732. Vols. + III. and IV. + THE LAWYER AND MAGISTRATE'S MAGAZINE, complete or single Volumes, + _circa_ 1805-1810.{418} + PHELP'S HISTORY AND ANTIQUITIES OF SOMERSETSHIRE. Part 4., and + Parts 9. to end. + BAYLE'S DICTIONARY. English Version, by DE MAIZEAUX. London, 1738. + Vols. I. and II. + SWIFT'S (DEAN) WORKS. Dublin; G. Faulkner. 19 volumes. 1768. Vol. I. + TODD'S CYCLOPAEDIA OF ANATOMY AND PHYSIOLOGY. + TRANSACTIONS OF THE MICROSCOPICAL SOCIETY OF LONDON. Vols. I. and II. + ARCHAEOLOGIA. Vols. III., IV., V., VIII. Boards. + MARTYN'S PLANTAE CANTABRIGIENSES. 12mo. London, 1763. + ABBOTSFORD EDITION OF THE WAVERLEY NOVELS. Odd Vols. + THE TRUTH TELLER. A Periodical. + J. L. PETIT'S CHURCH ARCHITECTURE. 2 Vols. + R. MANT'S CHURCH ARCHITECTURE CONSIDERED IN RELATION TO THE MIND OF + THE CHURCH. 8vo. Belfast, 1840. + CAMBRIDGE CAMDEN SOCIETY'S TRANSACTIONS. Vol. III.--ELLICOTT ON + VAULTING. + QUARTERLY REVIEW, 1845. + COLLIER'S FURTHER VINDICATION OF HIS SHORT VIEW OF THE STAGE. 1708. + CONGREVE'S AMENDMENT OF COLLIER'S FALSE AND IMPERFECT CITATIONS. 1698. + BEDFORD'S SERIOUS REFLECTIONS ON THE ABUSES OF THE STAGE. 8vo. 1705. + +*** _Correspondents sending Lists of Books Wanted are requested to send +their names._ + +*** Letters, stating particulars and lowest price, _carriage free_, to +be sent to MR. BELL, Publisher of "NOTES AND QUERIES." 186. Fleet +Street. + + * * * * * + + +NOTICES TO CORRESPONDENTS. + +_E. P._ Schiller's _Wallenstein_ and _Ghost-Seer_, Goethe's _Faust_, and +Kant's _Philosophy_, have been translated into English. + +_RECNAC._ We cannot undertake to tell our Correspondent what is the +distinction between Epic and Ballad Poetry. + +_Y. S. M._, who writes respecting _Fees for searching Parish Registers_, +is referred to our _4th Vol._, _p. 473._, _and our 5th Vol._, _pp. 36. +207._ + +_S. A. S. (Bridgewater)._ Will our Correspondent repeat his Query +respecting _Loselerius Vilerius_? + +_QUESOR._ Lord Bacon's _History of Henry VII._ was first published in +1622. + +_W. B._ The mercury does not lose its power by use, but should when it +becomes oxydized, be strained by squeezing it through wash-leather. + +_PROTOSULPH._ The gilding would have been wasted. Our observations +respecting blowing on the glass apply equally when the protosulphate is +used. That developing solution will keep. Stains may be removed from the +finger by cyanide of potassium; but this must be used cautiously, as it +is very poisonous. + +A few complete sets of "_NOTES AND QUERIES_," _Vols. i._ to _vi._, price +Three Guineas, may now be had; for which early application is desirable. + +"_NOTES AND QUERIES_" is published at noon on Friday, so that the +Country Booksellers may receive Copies in that night's parcels, and +deliver them to their Subscribers on the Saturday. + + * * * * * + +MAITLAND ON THE DARK AGES--NEW EDITION. + +In 8vo., price 10s. 6d., the Third Edition of + +THE DARK AGES; a Series of ESSAYS intended to illustrate the State of +RELIGION and LITERATURE in the 9th, 10th, 11th, and 12th Centuries. By +the REV. S. R. MAITLAND, F.R.S. and F.S.A., some time Librarian to the +late Archbishop of Canterbury, and Keeper of the MSS. at Lambeth. + +RIVINGTONS. St. Paul's Church Yard, and Waterloo Place; + +Of whom may be had, by the same Author, + + 1. ESSAYS ON THE REFORMATION in ENGLAND. 13s. + 2. EIGHT ESSAYS ON VARIOUS SUBJECTS (1852). 4s. 6d. + 3. ERUVIN; ESSAYS on Subjects connected with the NATURE, HISTORY, + and DESTINY of MAN. Second Edition. 5s. + + * * * * * + +PUTZ'S ANCIENT GEOGRAPHY AND HISTORY, BY ARNOLD AND PAUL. + +Now ready, in 12mo., price 6s. 6d., the Second Edition of + +HANDBOOK OF ANCIENT GEOGRAPHY and HISTORY. With Questions. Translated +from the German of Putz, by the REV. R. B. PAUL, M.A., and edited by the +late REV. THOMAS KERCHEVER ARNOLD, M.A. + +Also, by the same Editors, + + 1. HANDBOOK OF MEDIAEVAL HISTORY AND GEOGRAPHY. 4s. 6d. + 2. HANDBOOK OF MODERN HISTORY AND GEOGRAPHY. 5s. 6d. + + "The leading characteristic of these Handbooks is their exceeding + simplicity, the excellent order with which they are arranged, the + completeness of their details, and the remarkable accuracy and + elaborate erudition which they exhibit in every page. They have + this further advantage, which it is impossible to + over-estimate--that they bring down their respective subjects to + the very latest period, and present us with the results of the most + recent investigations of the critics and antiquaries by whom they + have been discussed."--_Dublin Review._ + +RIVINGTONS. St. Paul's Church Yard, and Waterloo Place. + + * * * * * + +EURIPIDIS BACCHAE WITH ENGLISH NOTES. + +Now ready, in 12mo., price 3s. + +EURIPIDIS BACCHAE, with ENGLISH NOTES, from the German of SCHOeNE. By the +REV. HENRY BROWNE, M.A., Canon of Waltham in the Cathedral Church, and +Chaplain to the Lord Bishop of Chichester. (Forming a New Volume of +ARNOLD'S SCHOOL CLASSICS.) + +Recently published in this Series, edited by the late REV. T. K. ARNOLD, +M.A. + + 1. EURIPIDIS HIPPOLYTUS. With ENGLISH NOTES. 3s. + 2. ---- HECUBA. With ENGLISH NOTES. 3s. + 3. SOPHOCLIS OEDIPUS COLONEUS. 4s. + 4. ---- OEDIPUS TYRANNUS. 4s. + 5. ---- PHILOCTETES. 3s. + 6. ---- AJAX, 3s. + 7. ---- ANTIGONE. 4s. + +*** The last five with English Notes, translated from the German of +SCHNEIDEWIN. + + 8. ECLOGAE ARISTOPHANICAE, The CLOUDS. 3s. 6d. + 9. ECLOGAE ARISTOPHANICAE, The BIRDS. 3s. 6d. + +*** With English Notes by PROFESSOR FELTON. + +RIVINGTONS, St. Paul's Church Yard, and Waterloo Place. + + * * * * * + +Now ready, Fourth Edition, enlarged, with numerous Illustrations and +Diagrams, price 1s. in wrappers, cloth gilt 1s. 6d. + +A PRACTICAL MANUAL of PHOTOGRAPHY. With the latest Improvements in the +Collodion Process, and Microscopic and Stereoscopic Pictures, &c. +Published by CLARK, 17. Warwick Lane, London: and sold by all +Booksellers. Upon receipt of 18 Postage Stamps a Copy can be forwarded +free. + + * * * * * + +On May 2nd will be published, Part I. of MR. PARKER'S NEW MAGAZINE, THE +NATIONAL MISCELLANY. A New Monthly Periodical of General Literature. + +On the Second of May it is designed to commence the publication of a New +Monthly Periodical, to be entitled THE NATIONAL MISCELLANY. As its name +imports, it will be a Magazine of General Literature, giving itself free +range over every subject likely to be of general interest. + +THE NATIONAL MISCELLANY is an attempt to supply high-principled and +high-toned Literature of a secular kind, which may be safely taken up by +thoughtful persons when their more serious reading is over, and which +may also indirectly act for good on those who thrust all religious works +aside. + +It will be issued in Shilling Monthly Parts, and the type and paper will +be of a superior kind. + +All communications and books for review must be addressed to the Editor, +under cover to Mr. Parker, 377. Strand. + +London: JOHN HENRY PARKER, 377. Strand. + + * * * * * + +MR. KINGSLEY'S NEW WORK. + +This day, 2 vols. post 8vo., 18s. + +HYPATIA; or New Foes with and Old Face. By CHARLES KINGSLEY, Jun., +Rector of Eversley. Reprinted from "Fraser's Magazine." + +London: JOHN W. PARKER & SON, West Strand. + + * * * * * + +This day is published, price 6s. 6d. + +THE CAMBRIDGE UNIVERSITY CALENDAR FOR THE YEAR 1853. + + "Deum timeto: regem honorato: virtutem colito disciplinis + bonis operam dato."--_Stat. Acad. Cantab._ + +Cambridge: JOHN DEIGHTON. + +Sold in London by LONGMAN & CO.; F. & J. RIVINGTON; WHITTAKER & CO.; +SIMPKIN & CO.; JOHN W. PARKER & SON; GEORGE BELL; and by DEIGHTON & +LAUGHTON, Liverpool. + + * * * * * + +NEW ACHROMATIC MICROSCOPES on MR. PRITCHARD'S Construction, Micrometers, +Polarizing Apparatus, Object-glasses, and Eye-pieces. S. STRAKER +supplies any of the above of the first quality, and will forward by post +free a new priced List of Microscopes and Apparatus. + +162. FLEET STREET, LONDON. + + * * * * *{419} + +PHOTOGRAPHIC PICTURES.--A Selection of the above beautiful Productions +may be seen at BLAND & LONG'S, 153. Fleet Street, where may also be +procured Apparatus of every Description, and pure Chemicals for the +practice of Photography in all its Branches. + +Calotype, Daguerreotype and Glass Pictures for the Stereoscope. + +BLAND & LONG, Opticians, Philosophical and Photographical Instrument +Makers, and Operative Chemists, 153. Fleet Street. + + * * * * * + +Just published, price 1s., free by Post 1s. 4d., + +THE WAXED-PAPER PHOTOGRAPHIC PROCESS of GUSTAVE LE GRAY'S NEW EDITION. +Translated from the French. + +Sole Agents in the United Kingdom for VOIGHTLANDER & SON'S celebrated +Lenses for Portraits and Views. + +General Depot for Turner's, Whatman's, Canson Freres, La Croix, and +other Talbotype Papers. + +Pure Photographic Chemicals. + +Instructions and Specimens in every Branch of the Art. + +GEORGE KNIGHT & SONS, Foster Lane, London. + + * * * * * + +PHOTOGRAPHY.--HORNE & CO.'S Iodized Collodion, for obtaining +Instantaneous Views, and Portraits in from three to thirty seconds, +according to light. + +Portraits obtained by the above, for delicacy of detail rival the +choicest Daguerreotypes, specimens of which may be seen at their +Establishment. + +Also every description of Apparatus, Chemicals, &c. &c. used in this +beautiful Art.--123. and 121. Newgate Street. + + * * * * * + +TO PHOTOGRAPHERS.--Pure Chemicals, and every requisite for the practice +of Photography, according to the instructions of Le Gray, Hunt, +Brebisson, and other writers, may be obtained, wholesale and retail, of +WILLIAM BOLTON (formerly Dymond & Co.), Manufacturer of pure Chemicals +for Photographic and other purposes. Lists may be had on application. + +Improved Apparatus for iodizing paper in vacuo, according to Mr. +Stewart's instructions. + +146. HOLBORN BARS. + + * * * * * + +PHOTOGRAPHIC PAPER.--Negative and Positive Papers of Whatman's, +Turner's, Sanford's, and Canson Freres' make. Waxed-Paper for Le Gray's +Process. Iodized and Sensitive Paper for every kind of Photography. + +Sold by JOHN SANFORD, Photographic Stationer, Aldine Chambers, 13. +Paternoster Row, London. + + * * * * * + +PHOTOGRAPHY.--Collodion (Iodized with the Ammonio-Iodide Of Silver).--J. +B. HOCKIN & CO., Chemists, 289. Strand, were the first in England who +published the application of this agent (see _Athenaeum_, Aug. 14th). +Their Collodion (price 9d. per oz.) retains its extraordinary +sensitiveness, tenacity, and colour unimpaired for months: it may be +exported to any climate, and the Iodizing Compound mixed as required. J. +B. HOCKIN & CO. manufacture PURE CHEMICALS and all APPARATUS with the +latest Improvements adapted for all the Photographic and Daguerreotype +processes. Cameras for Developing in the open Country. GLASS BATHS +adapted to any Camera. Lenses from the best Makers. Waxed and Iodized +Papers, &c. + + * * * * * + +CLERICAL, MEDICAL, AND GENERAL LIFE ASSURANCE SOCIETY. + + * * * + +Established 1824. + + * * * + +FIVE BONUSES have been declared: at the last in January, 1852, the sum +of 131,125l. was added to the Policies, producing a Bonus varying with +the different ages from 24-1/2 to 55 per cent. on the Premiums paid +during the five years, or from 5l. to 12l. 10s. per cent. on the +Sum assured. + +The small share of Profit divisible in the future among Shareholders +being now provided for, the ASSURED will hereafter derive all the +benefits obtainable from a Mutual Office, WITHOUT ANY LIABILITY OR RISK +OF PARTNERSHIP. + +POLICIES effected before the 30th June next, will be entitled, at the +next Division, to one year's additional share of Profits over later +Assurers. + +On Assurances for the whole of Life only one half of the Premiums need +be paid for the first five years. + +INVALID LIVES may be Assured at rates proportioned to the risk. + +Claims paid _thirty_ days after proof of death, and all Policies are +_Indisputable_ except in cases of fraud. + +Tables of Rates and forms of Proposal can be obtained of any of the +Society's Agents, or of + +GEORGE H. PINCKARD, Resident Secretary. + +_99. Great Russell Street, Bloomsbury, London._ + + * * * * * + +AMICABLE LIFE ASSURANCE SOCIETY, 50. Fleet Street, London. + +Incorporated by Charter of Queen Anne, A.D. 1706. + + _Directors._ + + G. Baillie, Esq. + The Hon. F. Byng. + R. H. Coote, Esq. + J. E. Davies, Esq. + G. De Morgan, Esq. + W. Everett, Esq. + G. Ogle, Esq. + M. B. Peacock, Esq. + C. Phillips, Esq. + J. Round, Esq. + The Rt. Hon. Sir E. Ryan. + T. Thompson. M.D., F.R.S. + +_Physician._--Francis Boott, M.D., 24. Gower Street, Bedford Square. +_Solicitor._--Charles Rivington, Esq., Fenchurch Buildings. +_Bankers._--Messrs. Goslings & Sharpe, Fleet Street. + +This Society has been established nearly a century and a half, and is +the oldest Life Assurance Institution in existence. Its principles are +essentially those of Mutual Assurance, and the whole of the profits are +divided among the Members. + +Assurances are granted, if desired, without participation in Profits, at +reduced rates of Premium, and upon every contingency depending on human +life. + +The Tables of Mortality, deduced from the Society's own experience, +having satisfied the Directors that the Rates of Premium on Single Lives +might be reduced with perfect safety, a new Table has accordingly been +prepared, and the terms upon which Assurances are now effected with this +Office are shown in the subjoined extract:-- + +-------------------------------------------- + Age. | With Profits. | Without Profits. +-------------------------------------------- + | L s. d. | L s. d. + 15 | 1 15 3 | 1 11 9 + 20 | 1 19 7 | 1 15 8 + 25 | 2 4 2 | 1 19 9 + 30 | 2 9 9 | 2 4 9 + 35 | 2 16 10 | 2 11 2 + 40 | 3 5 0 | 2 18 6 + 45 | 3 15 9 | 3 8 2 + 50 | 4 9 9 | 4 0 9 + 55 | 5 8 9 | 4 17 10 + 60 | 6 15 0 | 6 1 6 +-------------------------------------------- + +Prospectuses and every information may be obtained at the Office. + +HENRY THOS. THOMSON, Registrar. + + * * * * * + +HEAL & SON'S ILLUSTRATED CATALOGUE OF BEDSTEADS, sent free by post. It +contains designs and prices of upwards of ONE HUNDRED different +Bedsteads: also of every description of Bedding, Blankets, and Quilts. +And their new warerooms contain an extensive assortment of Bed-room +Furniture, Furniture Chintzes, Damasks, and Dimities, so as to render +their Establishment complete for the general furnishing of Bed-rooms. + +HEAL & SON, Bedstead and Bedding Manufacturers, 196. Tottenham Court +Road. + + * * * * * + +WESTERN LIFE ASSURANCE AND ANNUITY SOCIETY, 3. PARLIAMENT STREET, +LONDON. Founded A.D. 1842 + + * * * * * + + _Directors._ + + H. E. Bicknell, Esq. + W. Cabell, Esq. + T. S. Cocks, Jun. Esq. M.P. + G. H. Drew, Esq. + W. Evans, Esq. + W. Freeman, Esq. + F. Fuller, Esq. + J. H. Goodhart, Esq. + T. Grissell, Esq. + J. Hunt, Esq. + J. A. Lethbridge, Esq. + E. Luens, Esq. + J. Lys Seager, Esq. + J. B. White, Esq. + J. Carter Wood, Esq. + + _Trustees._ + +W. Whately, Esq., Q.C.: L. C. Humfrey, Esq., Q.C.: George Drew, Esq. + +_Physician._--William Rich. Basham, M.D. + +_Bankers._--Messrs. Cocks, Biddulph, and Co., Charing Cross + +VALUABLE PRIVILEGE. + +POLICIES effected in this Office do not become void through temporary +difficulty in paying a Premium, as permission is given upon application +to suspend the payment at interest, according to the conditions detailed +in the Prospectus. + +Specimens of Rates of Premium for Assuring 100l. with a Share in +three-fourths of the Profits:-- + + Age L s. d. + 17 1 14 4 + 22 1 18 8 + 27 2 4 5 + 32 2 10 8 + 37 2 18 6 + 42 3 8 2 + +ARTHUR SCRATCHLEY, M.A., F.R.A.S. Actuary. + +Now ready, price 10s. 6d., Second Edition, with material additions. +INDUSTRIAL INVESTMENT and EMIGRATION; being a TREATISE on BENEFIT +BUILDING SOCIETIES, and on the General Principles of Land Investment, +exemplified in the Cases of Freehold Land Societies, Building Companies, +&c. With a Mathematical Appendix on Compound Interest and Life +Assurance. By ARTHUR SCRATCHLEY, M.A., Actuary to the Western Life +Assurance Society, 3. Parliament Street, London. + + * * * * * + +BENNETT'S MODEL WATCH, as shown at the GREAT EXHIBITION. No. 1. Class +X., in Gold and Silver Cases, in five qualities, and adapted to all +Climates, may now be had at the MANUFACTORY, 65. CHEAPSIDE. Superior +Gold London-made Patent Levers, 17, 15, and 12 guineas. Ditto, in Silver +Cases, 8, 6, and 4 guineas. First-rate Geneva Levers, in Gold Cases, 12, +10, and 8 guineas. Ditto, in Silver Cases, 8, 6, and 5 guineas. Superior +Lever, with Chronometer Balance, Gold, 27, 23, and 19 guineas. Bennett's +Pocket Chronometer, Gold, 50 guineas; Silver, 40 Guineas. Every Watch +skilfully examined, timed, and its performance guaranteed. Barometers, +2l., 3l., and 4l. Thermometers from 1s. each. + +BENNETT, Watch, Clock, and Instrument Maker to the Royal Observatory, +the Board of Ordnance, the Admiralty, and the Queen. + +65. CHEAPSIDE. + + * * * * *{420} + +THE PHOTOGRAPHIC INSTITUTION, + +168. NEW BOND STREET, NEXT THE CLARENDON. + + * * * + + +An Exhibition of Photographic Pictures + +By the best English and Continental Artists will be opened at the +PHOTOGRAPHIC INSTITUTION, 168. NEW BOND STREET, on THURSDAY, APRIL 28. +The Collection will include a great variety of new and important +Pictures recently taken by eminent Photographers, and some of the best +specimens from the late Exhibition at the Society of Arts.--Admission +6d. + + * * * + +CALOTYPE PORTRAITS. + +(_By Licence of the Patentee._) + +MR. PHILIP DELAMOTTE begs to announce that he has concluded an +arrangement with the Patentee, Mr. H. F. Talbot, which enables him to +take Portraits by the newly-discovered Collodion Process. The advantages +which this process offers are,--Excellence of Likeness, great +Convenience, and the opportunity of Multiplying copies of the same +Portrait to any extent. These Portraits have the appearance of beautiful +mezzotint engravings, with the superior accuracy which Sun-painting must +insure. One moment suffices to obtain the likeness, and no constrained +position is required. Hence a happy expression of face is instantly +caught, and young children may be taken without difficulty. To those who +wish for several copies of the same Portrait, the Calotype offers every +facility, as an unlimited number of impressions may be printed, by the +agency of the sun, from the glass plate. These will all be exactly equal +to the first, and may be had at a moderate cost. + +TO ARTISTS AND SCULPTORS. + +MR. DELAMOTTE will be happy to photograph Artist' Paintings and Statues, +and supply two or more impressions as may be desired. He also undertakes +to photograph, under the superintendence of the Artist, the Life Model, +Costume, or any required object, and to deliver the negative plate. + +TO ENGINEERS AND ARCHITECTS. + +MR. DELAMOTTE is ready to enter into engagements to photograph Buildings +and Engineering Works of all kinds, either in progress or when +completed. In illustration of the advantages to be derived by Engineers +from Photography, MR. DELAMOTTE begs to refer to Mr. Fenton's Views of +Mr. Vignolles' Bridge across the Dnieper at Kieff, and to his own views +of the Progress of the Crystal Palace at Sydenham. + +TO THE NOBILITY AND GENTRY. + +MR. DELAMOTTE has made arrangements which enable him to take +photographic views of Country Mansions, Ancient Castles and Ruins, +Villas, Cottages, Bridges or Picturesque Scenery of any description, and +to supply as many copies as may be desired. + +TO THE CLERGY. + +MR. DELAMOTTE will be happy to receive commissions to take photographic +views of Churches--either Exterior or Interiors--Rectories or +School-houses. He will also be willing to make special arrangements for +Portraits of Clergymen, when several copies of the same portrait are +required. + +TO AMATEURS AND STUDENTS. + +MR. DELAMOTTE gives lessons in every branch of the Photographic Art, but +more especially in the Collodion Process, which he undertakes to teach, +together with the best method of Printing, in Six Lessons. + +For Terms apply to MR. PHILIP DELAMOTTE, Photographic Institution, 168. +New Bond Street. + + * * * * * + +Just published, price 10s. 6d. + +THE PHOTOGRAPHIC ALBUM. + +PART III. + +_Containing Four Pictures._ + + TINTERN ABBEY. By ROGER FENTON. + THE BOY IN THE ARCH. By PHILIP DELAMOTTE. + BURNHAM BEECHES. By ROGER FENTON. + KENILWORTH CASTLE. By PHILIP DELAMOTTE. + +Parts I. and II. are now reprinted and _good_ impressions of the +pictures are guaranteed. Part IV. will be ready in May. + +*** The Publisher apologizes for the long delay in issuing Part III. and +reprinting the two former Parts. Photographers will readily understand +why no quantity of good impressions could have been printed during the +last four months. + + * * * + +Now ready, price 16s. + +PHOTOGRAPHIC STUDIES. + +By GEORGE SHAW, Esq. (of Queen's College, Birmingham). + +_Comprising_, + + A MILL STREAM, + A FOREST SCENE, + A RUSTIC BRIDGE, + A WELSH GLEN. + +These Pictures are of large size, and are very carefully printed. + +*** Should this Number meeting with the approbation of the Public, +Professor Shaw will continue the Series. + + * * * + +Nearly ready, + +THE PRACTICE OF PHOTOGRAPHY. + +A MANUAL for STUDENTS and AMATEURS. + +Edited by PHILIP DELAMOTTE, F.S.A. + +Illustrated with a Photographic Picture taken by the Collodion Process, +and a Diagram of Six Colours, with its result in a Photographic +impression. + +This Manual will contain much practical information of a valuable +nature. + + * * * + +Preparing for Publication, in Parts, price One Guinea each, + +PROGRESS OF THE CRYSTAL PALACE AT SYDENHAM. + +Exhibited in a Series of Photographic Views taken by PHILIP DELAMOTTE. + +This Work will be found of much service to Engineers and Architects, and +all who are interested in the Crystal Palace. + +*** Some of these Views may be had for the Stereoscope. + + * * * + +Preparing for Publication, + +A SERIES OF PHOTOGRAPHIC PICTURES. + +By HUGH OWEN, ESQ. (of Bristol.) + + * * * + +LONDON: Published by JOSEPH CUNDALL, at the PHOTOGRAPHIC INSTITUTION, +168. NEW BOND STREET. + + * * * * * + +Printed by THOMAS CLARK SHAW, of No. 10. Stonefield Street, in the +Parish of St. Mary, Islington, 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, April 23. 1853. + + + + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 182, April +23, 1853, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + +***** This file should be named 22369.txt or 22369.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/3/6/22369/ + +Produced by Charlene Taylor, Jonathan Ingram, Pat A. Benoy +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + +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 +http://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 http://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 +http://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 http://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 http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. diff --git a/22369.zip b/22369.zip Binary files differnew file mode 100644 index 0000000..3a82c7a --- /dev/null +++ b/22369.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..2cb8e51 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #22369 (https://www.gutenberg.org/ebooks/22369) |
