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diff --git a/22624-h/22624-h.htm b/22624-h/22624-h.htm new file mode 100644 index 0000000..976315d --- /dev/null +++ b/22624-h/22624-h.htm @@ -0,0 +1,2922 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN" "http://www.w3.org/TR/html4/strict.dtd"> +<html> + <head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" > + <title> + Notes And Queries, Issue 52. + </title> + + <style type="text/css"> + +<!-- + body {margin-left: 10%; margin-right: 10%; text-align: justify;} + p.center {text-align: center;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.adverts {width: 100%; height: 5px; color: black;} + html>body hr.adverts {margin-right: 0%; margin-left: 0%; width: 100%;} + + .note, .footnote {margin-left: 10%; margin-right: 10%; + font-size: 0.9em;} + + table.nob {margin-left: 4em} + table.allb {border : thin solid black; border-collapse: collapse; margin-left: 4em} + table.allbnomar {border : thin solid black; border-collapse: collapse;} + table.nomar {margin-left: 0em} + td.allb {border : thin solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.vertb {border-left : thin solid black; border-right : thin solid black; + padding-left: 0.5em; padding-right: 0.5em; padding-bottom: 1ex; } + .single p {margin: 0;} + .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;} + p.hg3 {margin-left: -0.3em;} + p.hg1 {margin-left: -0.1em;} + .poem p.i1 {margin-left: 1em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i2hg3 {margin-left: 1.7em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i4hg3 {margin-left: 3.7em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i6hg3 {margin-left: 5.7em;} + .poem p.i8 {margin-left: 8em;} + .poem p.i8hg3 {margin-left: 7.7em;} + .poem p.i12 {margin-left: 12em;} + .poem p.i12hg3 {margin-left: 11.7em;} + .poem p.i10 {margin-left: 10em;} + .poem p.i10hg3 {margin-left: 9.7em;} + .poem p.i16 {margin-left: 16em;} + .poem .caesura {vertical-align: -200%;} + + span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt;} + span.correction {border-bottom: thin dotted red;} + span.special {border-bottom: thin dotted green;} + span.over {text-decoration: overline;} + + .sc {font-variant: small-caps; } + .scac {font-size: small;} + .grk {font-style: normal; font-family:"Palatino Linotype","New Athena Unicode",Gentium,"Lucida Grande", Galilee, "Arial Unicode MS", sans-serif;} + .saxon {font-style: normal; + font-family:sans-serif;} + + p.author {text-align: right; margin-top: -1em;} + p.address {margin-top: -0.5em;} + .cenhead {text-align: center; margin-top: 1em;} + img.middle { border: none; vertical-align: middle } + + // --> + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Notes and Queries, Number 52, October 26, +1850, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes and Queries, Number 52, October 26, 1850 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc + +Author: Various + +Editor: George Bell + +Release Date: September 16, 2007 [EBook #22624] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, ISSUE 52 *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, Keith Edkins +and the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + + +</pre> + +<p><!-- Page 353 --><span class="pagenum"><a name="page353"></a>{353}</span></p> + +<h1>NOTES AND QUERIES:</h1> + +<h2>A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, ANTIQUARIES, +GENEALOGISTS, ETC.</h2> + +<hr class="full" > + +<h3><b>"When found, make a note of."</b>—CAPTAIN CUTTLE.</h3> + +<hr class="full" > + + +<table width="100%" class="nomar" summary="masthead" title="masthead"> + <tr> + <td style="text-align:left; width:25%"> + <p><b>No. 52.</b></p> + </td> + <td style="text-align:center; width:50%"> + <p><b><span class="sc">Saturday, October 26, 1850.</span></b></p> + </td> + <td style="text-align:right; width:25%"> + <p><b>Price Threepence.<br />Stamped Edition 4d.</b></p> + </td> + </tr> +</table> + +<hr class="full" > + +<h2>CONTENTS.</h2> + + +<table width="100%" class="nomar" summary="Contents" title="Contents"> + <tr> + <td style="text-align:left; width:95%"> + </td> + <td style="vertical-align:bottom; text-align:left; width:5%"> + <p>Page</p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p><span class="sc">Notes</span>:—</p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Address to our Friends</p> + </td> + <td style="text-align:right"> + <p><a href="#page353">353</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Shakspeare's Use of the Words "Captious" and "Intenible," by S. W. + Singer</p> + </td> + <td style="text-align:right"> + <p><a href="#page354">354</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Oratories of the Nonjurors, by J. Yeowell</p> + </td> + <td style="text-align:right"> + <p><a href="#page354">354</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Hogarth's Illustrations of Hudibras</p> + </td> + <td style="text-align:right"> + <p><a href="#page355">355</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Folk Lore:—Overyssel Superstition—Death-bed + Superstitions—Popular Rhyme—Death-bed + Mystery—Bradshaw Family</p> + </td> + <td style="text-align:right"> + <p><a href="#page356">356</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Advice to the Editor, and Hints to his Contributors</p> + </td> + <td style="text-align:right"> + <p><a href="#page357">357</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Minor Notes:—Rollin's Ancient History and History of the + Arts and Sciences—Jezebel—Clarendon, Oxford Edition of + 1815—Macaulay's Country Squire—Miching Mallecho</p> + </td> + <td style="text-align:right"> + <p><a href="#page357">357</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p><span class="sc">Queries</span>:—</p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>The Inquisition: The Bohemian Persecution</p> + </td> + <td style="text-align:right"> + <p><a href="#page358">358</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Minor Queries:—Osnaburg Bishopric—Meaning of + "Farlief"—Margaret Dyneley—Tristan + d'Acunha—Production of Fire by Friction—Murderer hanged + when pardoned—Passage from Burke—Licensing of + Books—Le Bon Gendarme</p> + </td> + <td style="text-align:right"> + <p><a href="#page358">358</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p><span class="sc">Replies</span>:—</p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Tasso translated by Fairfax</p> + </td> + <td style="text-align:right"> + <p><a href="#page359">359</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Ale-Draper—Eugene Aram</p> + </td> + <td style="text-align:right"> + <p><a href="#page360">360</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>On the Word "Gradely," by B. H. Kennedy and G. J. Cayley</p> + </td> + <td style="text-align:right"> + <p><a href="#page361">361</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Collar of Esses</p> + </td> + <td style="text-align:right"> + <p><a href="#page362">362</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Replies to Minor Queries:—Symbols of the + Evangelists—Becket's Mother—Passage in Lucan—Combs + buried with the Dead—The Norfolk Dialect—Conflagration of + the Earth—Wraxen</p> + </td> + <td style="text-align:right"> + <p><a href="#page363">363</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p><span class="sc">Miscellaneous</span>:—</p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Notes on Books, Sales, Catalogues, &c.</p> + </td> + <td style="text-align:right"> + <p><a href="#page366">366</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Books and Odd Volumes Wanted</p> + </td> + <td style="text-align:right"> + <p><a href="#page367">367</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Notices to Correspondents</p> + </td> + <td style="text-align:right"> + <p><a href="#page367">367</a></p> + </td> + </tr> + + <tr> + <td style="text-align:left"> + <p>Advertisements</p> + </td> + <td style="text-align:right"> + <p><a href="#page367">367</a></p> + </td> + </tr> +</table> + +<hr class="full" > + +<h2>NOTES.</h2> + +<h3>ADDRESS TO OUR FRIENDS.</h3> + + <p>We this day publish our fifty-second Number. Every Saturday, for + twelve months, have we presented to our subscribers our weekly budget of + "<span class="sc">Notes</span>," "<span class="sc">Queries</span>," and + "<span class="sc">Replies</span>;" and in so doing, we trust, we have + accomplished some important ends. We have both amused and instructed the + general reader; we have stored up much curious knowledge for the use of + future writers; we have procured for scholars now engaged in works of + learning and research, many valuable pieces of information which had + evaded their own immediate pursuit; and, lastly, in doing all this, we + have powerfully helped forward the great cause of literary truth.</p> + + <p>In our Prospectus and opening address we made no great promise of what + our paper should be. That, we knew, must depend upon how far the medium + of intercommunication we had prepared should be approved and adopted by + those for whose special use it had been projected. We laid down a + literary railway: it remained to be seen whether the world of letters + would travel by it. They have done so: we have been especially patronised + by first-class passengers, and in such numbers that we were obliged last + week to run an extra train.</p> + + <p>It is obvious that the use of a paper like "<span class="sc">Notes and + Queries</span>" bears a direct proportion to the extent of its + circulation. What it aims at doing is, to reach the learning which lies + scattered not only throughout every part of our own country, but all over + the literary world, and to bring it all to bear upon the pursuits of the + scholar; to enable, in short, men of letters all over the world to give a + helping hand to one another. To a certain extent, we have accomplished + this end. Our last number contains communications not only from all parts + of the metropolis, and from almost every county in England, but also from + Scotland, Ireland, Holland, and even from Demerara. This looks well. It + seems as if we were in a fair way to accomplish our design. But much yet + remains to be done. We have recently been told of whole districts in + England so benighted as never to have heard of "<span class="sc">Notes + and Queries</span>;" and after an interesting question has been discussed + for weeks in our columns, we are informed of some one who could have + answered it immediately if he had seen it. So long as this is the case + the advantage we may confer upon literature and literary men is + necessarily imperfect. We do what we can to make known our existence + through the customary modes of announcement, and we gratefully + acknowledge the kind assistance and encouragement we derive from our + brethren of the public press; but we would respectfully solicit <!-- Page + 354 --><span class="pagenum"><a name="page354"></a>{354}</span>the + assistance of our friends this particular point. Our purpose is aided, + and our usefulness increased by every introduction which can be given to + our paper, either to a Book Club, to a Lending Library, or to any other + channel of circulation amongst persons of inquiry and intelligence. By + such introductions scholars help themselves as well as us, for there is + no inquirer throughout the kingdom who is not occasionally able to throw + light upon some of the multifarious objects which are discussed in our + pages.</p> + + <p>At the end of our first twelvemonth we thank our subscribers for the + patronage we have received. We trust we shall go on week by week + improving in our work of usefulness, so that at the end of the next + twelvemonth we may meet them with the same pleasure as on the present + occasion. We will continue to do whatever is in our power, and we rely + upon our friends to help us.</p> + +<hr class="short" > + +<h3>SHAKSPEARE'S USE OF THE WORDS "CAPTIOUS" AND "INTENIBLE."</h3> + + <p>In the following passage of <i>All's Well that Ends Well</i>, Act i. + Sc. 3., where Helena is confessing to Bertram's mother, the Countess, her + love for him, these two words occur in an unusual sense, if not in a + sense peculiar to the great poet:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"I love your son:—</p> + <p>My friends were poor, but honest, so's my love:</p> + <p>Be not offended, for it hurts not him,</p> + <p>That he is lov'd of me: I follow him not</p> + <p>By any token of presumptuous suit;</p> + <p>Nor would I have him till I do deserve him:</p> + <p>Yet never know how that desert may be.</p> + <p>I know I love in vain; strive against hope;</p> + <p>Yet, in this <i>captious and intenible</i> sieve</p> + <p>I still pour in the waters of my love,</p> + <p>And lack not to lose still."</p> + </div> + </div> + <p>Johnson was perplexed about the word <i>captious</i>; "which (says he) + I never found in this sense, yet I cannot tell what to substitute, unless + <i>carious</i> for rotten!" Farmer supposed <i>captious</i> to be a + contraction of <i>capacious</i>! Steevens believed that <i>captious</i> + meant <i>recipient</i>, capable of receiving; which interpretation Malone + adopts. Mr. Collier, in his recent edition of Shakspeare, after stating + Johnson's and Farmer's suggestions, says, "where is the difficulty? It is + true that this sense of <i>captious</i> may not have an exact parallel; + but the intention of Shakspeare is very evident: <i>captious</i> means, + as Malone says, capable of <i>taking</i> or <i>receiving</i>; and + <i>intenible</i> (printed <i>intemible</i> in the first folio, and + rightly in the second) incapable of <i>retaining</i>. Two more + appropriate epithets could hardly be found, and a simile more happily + expressive."</p> + + <p>We no doubt all know, by intuition as it were, what Shakspeare meant; + but "the great master of English," as <span class="sc">Mr. Hickson</span> + very justly calls him, would never have used <i>captious</i>, as applied + figuratively to a <i>sieve</i>, for <i>capable of taking or + receiving</i>.</p> + + <p><i>Intenible</i>, notwithstanding the hypercriticism of Mr. Nares + (that "it is incorrectly used by Shakspeare for <i>unable to hold</i>;" + and that "it should properly mean <i>not to be held</i>, as we now use + <i>untenable</i>") was undoubtedly used in the former sense, and it was + most probably so accepted in the poet's time; for in the <i>Glossagraphia + Anglicana Nova</i>, 1719, we have "Untenable, that <i>will not or cannot + hold</i> or be holden long."</p> + + <p>With regard to <i>captious</i>, it is not so much a matter of surprise + that none of all these learned commentators should fail in their + <i>guesses</i> at the meaning, as that none of them should have remarked + that the sense of the Latin <i>captiosus</i>, and of its congeners in + Italian and old French, is <i>deceitful</i>, <i>fallacious</i>; and Bacon + uses the word for <i>insidious, ensnaring</i>. There can be no doubt that + this is the sense in which Shakspeare used it. Helen speaks of her + hopeless love for Bertram, and says:</p> + +<blockquote class="b1n"> + + <p>"I know I love in vain, strive against hope; yet in this + <i>fallacious</i> and <i>unholding</i> sieve I still pour in the waters + of my love, and fail not to lose still."</p> + +</blockquote> + + <p>When we speak of a <i>captious</i> person, do we mean one <i>capable + of taking or receiving</i>? Then how much more absurd would it be to take + it in that impossible sense, when figuratively applied in the passage + before us! Bertram shows himself <i>incapable of receiving</i> Helena's + love: he is truly <i>captious</i> in that respect.</p> + + <p>In French the word <i>captieux</i>, according to the Academy, is only + applied to language, though we may say <i>un homme captieux</i> to + signify a man who has the art of <i>deceiving</i> or leading into error + by captious language.</p> + + <p>It is not impossible that the poet may have had in his mind the + fruitless labour imposed upon the Danaïdes as a punishment, for it has + been thus moralised:</p> + +<blockquote class="b1n"> + + <p>"These virgins, who in the flower of their age pour water into pierced + vessels which they can never fill, what is it but to be always bestowing + over love and benefits upon the ungrateful."</p> + +</blockquote> + + <p class="author"><span class="sc">S. W. Singer</span>. + + <p>Mickleham, Oct. 4. 1850.</p> + +<hr class="short" > + +<h3>ORATORIES OF THE NONJURORS.</h3> + + <p>As the nooks and corners of London in olden times are now engaging the + quiet musings of most of the topographical brotherhood, perhaps you can + spare a nook or a corner of your valuable periodical for a few notes on + the Oratories of those good men and true—the Nonjurors. "These were + honourable men in their generation," and were made of most unbending + materials.</p> + +<p><!-- Page 355 --><span class="pagenum"><a name="page355"></a>{355}</span></p> + + <p>On the Feast of St. Matthias, Feb. 24, 1693, the consecrations of Dr. + George Hickes and Thomas Wagstaffe were solemnly performed according to + the rites of the Church of England, by Dr. William Lloyd, bishop of + Norwich; Dr. Francis Turner, bishop of Ely; and Dr. Thomas White, bishop + of Peterborough, at the Bishop of Peterborough's lodgings, at the Rev. + William Giffard's house at Southgate in Middlesex: Dr. Ken, bishop of + Bath and Wells, giving his consent.</p> + + <p>Henry Hall was consecrated bishop in the oratory of the Rev. Father in + Christ, John B—— [Blackburne?], in Gray's Inn, on the + festival of St. Barnabas, June 11, 1725.</p> + + <p>Hilkiah Bedford was consecrated in the oratory of the Rev. + R—— R—— [Richard Rawlinson], in Gray's Inn, on + the festival of St. Paul, Jan. 25, 1720. Ralph Taylor was also + consecrated at the same time and place.</p> + + <p>Henry Gandy was consecrated at his oratory in the parish of St. + Andrew's, Holborn, on the festival of St. Paul, Jan. 25, 1716.</p> + + <p>Grascome was interrupted by a messenger whilst he was ministering to + his little congregation in Scroope's Court, near St. Andrew's Church.</p> + + <p>Jeremy Collier officiated at Broad Street, London, assisted by the + Rev. Samuel Carte, the father of the historian.</p> + + <p>Mr. Hawkes officiated for some time at his own house opposite to St. + James' Palace.</p> + + <p>On Easter-day, April 13, 1718, at the oratory of his brother, Mr. + William Lee, dyer, in Spitalfields, Dr. Francis Lee read a touching and + beautiful declaration of his faith, betwixt the reading of the sentences + at the offertory and the prayer for the state of Christ's church. It was + addressed to the Rev. James Daillon, Count de Lude, then officiating.</p> + + <p>Charles Wheatly, author of <i>A Rational Illustration of the Book of + Common Prayer</i>, in a letter to Dr. Rawlinson, the nonjuring titular + bishop of London, says:</p> + +<blockquote class="b1n"> + + <p>"I believe most of the books in Mr. Laurence's catalogue were really + in his library. Most of his chapel furniture I had seen; but his pix, and + his cruet, his box for unguent, and oil, I suppose you do not inquire + after."</p> + +</blockquote> + + <p>Roger Laurence was the learned author of <i>Lay Baptism Invalid</i>. + Query, Where did he officiate?</p> + + <p>The Rev. John Lindsay, the translator of Mason's <i>Vindication of the + Church of England</i>, for many years officiated as minister of a + nonjuring congregation in Trinity Chapel, Aldersgate Street, and is said + to have been their last minister.</p> + + <p>Thoresby, in his <i>Diary</i>, May 18, 1714, says, "I visited Mr. + Nelson (author of the <i>Fasts and Festivals</i>), and the learned Dr. + George Hickes, who not being at liberty for half an hour, I had the + benefit of the prayers in the adjoining church, and when the Nonjuring + <i>Conventicle</i> was over, I visited the said Dean Hickes, who is said + to be bishop of ——" [Thetford]. Both Nelson and Hickes + resided at this time in Ormond Street; probably the conventicle was at + one of their houses. It should be noted that Thoresby, having quitted the + Conventicles of the Dissenters, had only recently joined what he calls + the Church <i>established by law</i>. He appears to have known as much + about the principles of the Nonjurors as he did of Chinese music.</p> + + <p>Dr. Welton's chapel in Goodman's Fields being visited (1717) by + Colonel Ellis and other justices of the peace, with proper assistants, + about two hundred and fifty persons were found there assembled, of whom + but forty would take the oaths. The doctor refusing them also, was + ordered to be proceeded against according to law.</p> + + <p>This reminds me of another Query. What has become of Dr. Welton's + famous Whitechapel altar-piece, which Bishop Compton drove out of his + church. Some doubts have been expressed whether that is the identical one + in the Saint's Chapel of St. Alban's Abbey. A friend has assured the + writer that he had seen it about twenty years ago, at a Roman Catholic + meeting-house in an obscure court at Greenwich. It is not there now. The + print of it in the library of the Society of Antiquaries is accompanied + with these MS. lines by Mr. Mattaire:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"To say the picture does to him belong,</p> + <p>Kennett does Judas and the painter wrong;</p> + <p>False is the image, the resemblance faint,</p> + <p>Judas, compared to Kennett, was a saint."</p> + </div> + </div> + <p>One word more. The episcopal seal of the nonjuring bishops was a + shepherd with a sheep upon his shoulders. The crozier which had been used + by them, was, in 1839, in the possession of John Crossley Esq., of + Scaitcliffe, near Todmorden.</p> + + <p class="author"><span class="sc">J. Yeowell.</span> + + <p>Hoxton.</p> + +<hr class="short" > + +<h3>HOGARTH'S ILLUSTRATIONS OF HUDIBRAS.</h3> + +<blockquote class="b1n"> + + <p>"Butler's <i>Hudibras</i>, by Zach. Grey, LL.D. 2 vols. 8vo. + Cambridge, 1744.</p> + + <p>"Best edition. Copies in fine condition are in considerable request. + The cuts are beautifully engraved, and Hogarth is much indebted to the + designer of them; but who he was does not appear."</p> + +</blockquote> + + <p>The above remarks in Lowndes's <i>Bibliographical Manual</i> having + caught my attention, they appeared to me somewhat obscure and + contradictory; and as they seemed rather disparaging to the fame of + Hogarth, of whose works and genius I am a warm admirer, I have taken some + pains to ascertain what may have been Mr. Lowndes's meaning.</p> + + <p>On examining the plates in Dr. Grey's edition, they are all inscribed + "<i>W. Hogarth inv<sup>t</sup>, J. Mynde sc<sup>t</sup></i>." <!-- Page + 356 --><span class="pagenum"><a name="page356"></a>{356}</span>How, then, + can Hogarth be said to be <i>much indebted to the designer of them</i>, + if we are to believe the words on the plates themselves—"<i>W. + Hogarth inv<sup>t</sup>"?</i></p> + + <p>It is clear that Mr. Lowndes supposes the designer of these plates to + have been some person distinct from Hogarth; and he was right in his + conjecture; but he was ignorant of the name of the artist alluded to.</p> + + <p>Whoever he was, he can have little claim to be regarded as the + original designer; he was rather employed as an expurgator; for these + plates are certainly copies of the two sets of plates invented and + engraved by Hogarth himself in 1726.</p> + + <p>All that this second designer performed was, to revise the original + designs of Hogarth's, in order to remove some <i>glaring indecencies</i>; + and this, no doubt, is what Mr. Lowndes means, when he says that + "<i>Hogarth is much indebted to the designer of them</i>."</p> + + <p>The following passage in a letter from Dr. Ducaral to Dr. Grey, dated + Inner Temple, May 10th, 1743, printed In Nichols's <i>Illustrations</i>, + will furnish us with <i>the name</i> of the artist in + question:—</p> + +<blockquote class="b1n"> + + <p>"I was at <i>Mr. Isaac Wood's the painter</i>, who showed me the + twelve sketches of <i>Hudibras</i>, which he designs for you. I think + they are extremely well adapted to the book, and that the designer shows + how much he was master of the subject."</p> + +</blockquote> + + <p>In the preface to this edition, Dr. Grey expresses his obligations "to + the ingenious <i>Mr. Wood, painter, of Bloomsbury-square</i>."</p> + + <p>In the fourth volume of Nichols's <i>Illustrations of Literature</i> + are some interesting letters from Thos. Potter, Esq., to Dr. Grey, which + throw much light on the subject of this edition of <i>Hudibras</i>.</p> + + <p>I cannot conclude these observations without expressing my dissent + from the praise bestowed upon the engravings in this work. Mr. Lowndes + says "<i>the cuts are beautifully engraved</i>." With the exception of + the head of Butler by Vertue, the rest are very spiritless and + indifferent productions.</p> + + <p class="author">J. T. A.</p> + +<hr class="short" > + +<h3>FOLK LORE.</h3> + + <p><i>Overyssel Superstition.</i>—Stolen bees will not thrive; they + pine away and die.</p> + + <p class="author"><span class="sc">Janus Dousa.</span> + + <p><i>Death-bed Superstitions.</i>—When a child is dying, people, + in some parts of Holland, are accustomed to shade it by the curtains from + the parent's gaze; the soul being supposed to linger in the body as long + as a compassionate eye is fixed upon it. Thus, in Germany, he who sheds + tears when leaning over an expiring friend, or, bending over the + patient's couch, does but wipe them off, enhances, they say, the + difficulty of death's last struggle. I believe the same poetical + superstition is recorded in <i>Mary Barton, a Tale of Manchester + Life</i>.</p> + + <p class="author"><span class="sc">Janus Dousa.</span> + + <p><i>Popular Rhyme.</i>—The following lines very forcibly express + the condition of many a "country milkmaid," when influence or <i>other + considerations</i> render her incapable of giving a final decision upon + the claims of two opposing suitors. They are well known in this district, + and I have been induced to offer them for insertion, in the hope that if + any of your correspondents are possessed of any variations or additional + stanzas, they may be pleased to forward them to your interesting + publication.</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Heigh ho! my heart is low,</p> + <p>My mind runs all on <i>one</i>;</p> + <p>W for William true,</p> + <p>But T for my love Tom."</p> + </div> + </div> + <p class="author">T. W.</p> + + <p>Burnley, Lancashire</p> + + <p><i>Death-bed Mystery.</i>—It may, perhaps, interest <span + class="sc">Mr. Sansom</span> to be informed that the appearance described + to him is mentioned as a known fact in one of the works of the celebrated + mystic, Jacob Behmen, <i>The Three Principles</i>, chap. 19. "Of the + going forth of the Soul." I extract from J. Sparrow's translations., + London, 1648.</p> + +<blockquote class="b1n"> + + <p>"Seeing then that Man is so very earthly, therefore he hath none but + earthly knowledge, except he be regenerated in the Gate of Deep. He + always supposeth that the Soul (at the deceasing of the Body) goeth only + out at the Mouth, and he understandeth nothing concerning its deep + Essences above the Elements. <i>When he seeth a blue Vapor go forth out + of the Mouth of a dying Man</i> (which maketh a strong smell all over the + chamber), then he supposeth that is the Soul."</p> + +</blockquote> + + <p class="author"><span class="sc">A. Roffe.</span> + + <p><i>Bradshaw Family.</i>—There is a popular belief in this + immediate part of the country, which was formerly a stronghold of the + Jacobites, that no Bradshaw has ever flourished since the days of the + regicide. They point to old halls formerly in possession of Bradshaws, + now passed into other hands, and shake their heads and say, "It is a bad + name,—no Bradshaw will come to good." I heard this speech only + yesterday in connexion with Halton Hall (on the Lune); but the feeling is + common, and not confined to the uneducated classes.</p> + + <p>Haigh Hall remains in the possession of the descendants of the family + from which Judge Bradshaw was descended, because, so said my informant, + the heiress married a "loyal Lindsay" (the Earl of Balcarras).</p> + + <p class="author">E. C. G.</p> + + <p>Lancaster.</p> + +<hr class="short" > + +<p><!-- Page 357 --><span class="pagenum"><a name="page357"></a>{357}</span></p> + +<h3>ADVICE TO THE EDITOR, AND HINTS TO HIS CONTRIBUTORS.</h3> + + <p>My signature <span title="S" class="grk">Σ</span>. having been + adopted by another correspondent, I have been obliged to discontinue + it.</p> + + <p>My other signature <span title="Ph" class="grk">Φ</span>., which I + have used since your commencement, is in your last number applied to the + contribution of another gentleman, although the same number contains two + articles of mine with that signature.</p> + + <p>As this is palpably inconvenient, pray accept the following</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">ADVICE TO THE EDITOR</p> + </div> + + <div class="stanza"> + <p>A contributor sending a Note or a Query,</p> + <p class="i1">Considers what signature's better;</p> + <p>And lest his full name too oft should prove weary,</p> + <p class="i1">He sometimes subscribes with a letter.</p> + </div> + + <div class="stanza"> + <p>This letter in English or Greek thus selected,</p> + <p class="i1">As his personal mark he engages;</p> + <p>From piracy, therefore, it should be protected,</p> + <p class="i1">Throughout all the rest of your pages.</p> + </div> + + <div class="stanza"> + <p>By a contrary practice confusion is sown,</p> + <p class="i1">And annoyance to writers of spirit,</p> + <p>Who wish not to claim any Notes but their own,</p> + <p class="i1">Or of less or superior merit.</p> + </div> + + <div class="stanza"> + <p>I submit in such cases no writer would grumble,</p> + <p class="i1">But give you his hearty permission,</p> + <p>When two correspondents on one mark should stumble,</p> + <p class="i1">To make to the last an addition.</p> + </div> + + <div class="stanza"> + <p>You are bound to avoid ev'ry point that distresses,</p> + <p class="i1">And prevent all collision that vexes,</p> + <p>Preserving the right of each collar of SS,</p> + <p class="i1">And warding the blows of cross XX.</p> + </div> + </div> +<hr class="full" > + +<h2>MINOR NOTES.</h2> + + <p><i>Rollin's Ancient History and History of the Arts and + Sciences.</i>—It may be useful to note, for the benefit of some of + your student readers, that the most procurable editions of Rollin's + <i>Ancient History</i> are deficient, inasmuch as they do not contain his + History of the Arts and Sciences, which is an integral part of the work. + After having possessed several editions of the work of Rollin, I now have + got Blackie's edition of 1837, in 3 vols. 8vo., edited by Bell; and I + learn from its preface that this is the only edition published since 1740 + containing the History of the Arts and Sciences.</p> + + <p>How comes it that the editions since 1740 have been so castrated ?</p> + + <p class="author"><span class="sc">Iota.</span> + + <p>Liverpool, October 16. 1850.</p> + + <p><i>Jezebel.</i>—The name of this queen is, I think, incorrectly + translated in all the <i>Bible Dictionaries</i> and <i>Cyclopædias</i> + that have come under my notice. It was common amongst all ancient nations + to give <i>compound</i> names to persons, partly formed from the names of + their respective <i>divinities</i>. This observation applies particularly + to the Assyrians, Babylonians, and their dependencies, together with the + Phoenicians, Carthaginians, Egyptians, and Greeks. Hence we find, both in + scripture and profane history, a number of names compounded of + <i>Baal</i>, such as <i>Baal</i>-hanan, Gen. xxxvi. 38., the gift, grace, + mercy, or favour of <i>Baal</i>; the name of the celebrated Carthaginian + general, Hanni<i>bal</i>, is the same name transposed. The father of the + Tyrian prince, Hiram, was called Abi<i>bal</i>, my father is <i>Baal</i>, + or <i>Baal</i> is my father. Esh<i>baal</i>, the fire of <i>Baal</i>; + Jerub<i>baal</i>, let <i>Baal</i> contend, or defend his cause; + Meri<i>baal</i>, he that resists <i>Baal</i>, or strives against the + <i>idol</i>, were Hebrew names, apparently imposed to ridicule those + given in honor of <i>Baal</i>. The father of <i>Jezebel</i> was called + Eth<i>baal</i>, Kings xvi. 31., (classically, Itho<i>balus</i>,) with + <i>Baal</i>, towards <i>Baal</i>, or him <i>that rules</i>. Lastly, + Hasdru<i>bal</i> signifies help or assistance of <i>Baal</i>. Will some + of the talented contributors to "<span class="sc">Notes and + Queries</span>" inform me what is the <i>composition</i> and + <i>meaning</i> of <i>Jezebel</i>, as it has hitherto baffled my own + individual researches? Is it the contracted <i>feminine form</i> of + Hasdru<i>bal</i>?</p> + + <p class="author">W. G. H.</p> + + <p><i>Clarendon, Oxford Edition of 1815.</i>—The following curious + fact, relating to the Oxford edition of Lord Clarendon's History in 1815, + was communicated to me by a gentleman who was then officially interested + in the publication, and personally cognisant of the circumstances.</p> + + <p>In the year 1815, the University of Oxford determined to reprint + Clarendon's <i>History of the Rebellion</i>, and to add to it that of the + Irish rebellion; but as it was suspected by one of the delegates of the + press, that the edition from which they were printing the "Irish + Rebellion" was spurious, as it attributed the origin of the rebellion + <i>to the Protestants instead of the Catholics</i>; a much earlier copy + was procured from Dublin, through the chaplain of the then Lord + Lieutenant, which <i>reversed the accusation</i> which was contained in + the copy from which the University had been about to print.</p> + + <p class="author">J. T. A.</p> + + <p>September 30. 1850.</p> + + <p><i>Macaulay's Country Squire.</i>—I suppose I may take it for + granted that all the world has long since been made merry by Mr. + Macaulay's description of "the country squire on a visit to London in + 1685." (<i>History of England</i>, vol. i. p. 369.)</p> + + <p>I am not aware that Steele's description of a country gentleman under + similar circumstances has ever been referred to; it is certainly far from + being as graphic as Mr. Macaulay's; but the one may at all events serve + to illustrate the other, and to prove that Urbs had not made any very + great progress in <i>urbanity</i> between 1685 and 1712.</p> + +<blockquote class="b1n"> + + <p>"If a country gentleman appears a little curious in observing the + edifices, signs, clocks, coaches, and dials, <!-- Page 358 --><span + class="pagenum"><a name="page358"></a>{358}</span>it is not to be + imagined how the polite rabble of this town, who are acquainted with + these objects, ridicule his rusticity. I have known a fellow with a + burden on his head steal a hand down from his load, and slily twirl the + cock of a squire's hat behind him; and while the offended person is + swearing or out of countenance, all the wag-wits in the highway are + grinning in applause of the ingenious rogue that gave him the tip, and + the folly of him who had not eyes all round his head to prevent receiving + it."—<i>Spectator</i>, No. 354.</p> + +</blockquote> + + <p class="author"><span class="sc">C. Forbes</span>. + + <p>October 11.</p> + + <p><i>Miching Mallecho.</i>—The Writer of the review of + <i>Urquhart's Travels</i> in the <i>Quart. Rev.</i> for March 1850, who + is, in all probability, identical with the author of the <i>Handbook of + Spain</i>, felicitously suggests that <i>Miching Mallecho</i> is a mere + misprint for the Spanish words <i>Mucho Malhecho</i>, <i>much + mischief</i>: <i>Hamlet</i>, iii. 2. Imagining that I had seen this + ingenious conjecture somewhere in print before, I referred to, and was + disappointed when I found it not in Knight's <i>Shakspeare</i> (library + ed.). Recently, in looking over Dr. Maginn's admirable dissections of + <i>Dr. Farmer's Essay on the Learning of Shakspeare</i>, I discovered + what I was in search of, and beg to present it to the notice of your + readers.</p> + +<blockquote class="b1n"> + + <p>"That the text is corrupt, I am sure; and I think Dr. Farmer's + substitution of <i>mimicking malhecco</i>, a most unlucky attempt at + emendation. In the old copies it is <i>munching malicho</i>, in which we + find traces of the true reading, <i>mucho malhecho</i>, much + mischief.</p> + + <p>"'Marry, <i>mucho malhécho</i>—it means + mischief.'"—<i>Fraser's Magazine</i>, Dec. 1839, p. 654.</p> + +</blockquote> + + <p class="author">J. M. B.</p> + +<hr class="full" > + +<h2>Queries.</h2> + +<h3>THE INQUISITION—THE BOHEMIAN PERSECUTION.</h3> + + <p>My query as to the authorship of <i>The Adventures of Gaudentio di + Lucca</i> has drawn so satisfactory a reply from your correspondents + (whom I beg to thank most heartily for the information they have + communicated), that I am induced to ask you to aid me in ascertaining the + authorships of the following works of which I have copies:—</p> + +<blockquote class="b1n"> + + <p>"Histoire de l'Inquisition et son Origine. A Cologne, chez Pierre + Marteau, <span class="scac">M.DC.XCIII.</span>" 1 vol. 12mo.</p> + +</blockquote> + + <p>Is this the same work as that mentioned in Watt's <i>Bib. Brit.</i> + as—</p> + +<blockquote class="b1n"> + + <p>"The History of the Inquisition and its Origin, by James Marsollier, + 1693." 12mo.?</p> + +</blockquote> + + <p>I have often searched for a copy of this work in English, but have + never found it. Was it ever translated into English?</p> + +<blockquote class="b1n"> + + <p><span class="sc">"L'Inquisizione processata opera storica e + curiosa,</span> Divisa in due Tomi. <span class="sc">In Colonia Appresso + Paulo della Tenaglia</span>, <span class="scac">M.DC.LXXXI."</span></p> + +</blockquote> + + <p>I should like to know something of the authorship of these volumes, + and of the circumstances under which they were published.</p> + +<blockquote class="b1n"> + + <p>"The Slaughter-House, or a brief description of the Spanish + Inquisition, &c., gathered together by the pains and study of James + Salgado." N.D.</p> + +</blockquote> + + <p>The biographical dictionaries within my reach give no account of + Salgado. Who was he?</p> + +<blockquote class="b1n"> + + <p>"Historia Persecutionium Ecclesiæ Bohemicæ jam inde à primordiis + Conversionis suæ ad Christianismum hoc est, 894, ad annum usque 1632, + Ferdinando Secundo Austriaco regnante, &c., anno Domini <span + class="scac">M D CXLVIII</span>." 1 vol. 32mo.</p> + +</blockquote> + + <p>I have an English translation of this small work, published in 1650. + Can any of your readers inform me who were the authors? (The preface + concludes, "In our banishment in the year 1632. N. N. N., &c.")</p> + + <p class="author"><span class="sc">Iota</span>. + + <p>Liverpool, October, 1850.</p> + +<hr class="full" > + +<h2>Minor Queries.</h2> + + <p><i>Osnaburg Bishopric.</i>—Can any of your correspondents inform + me who succeeded the late Duke of York as Bishop of Osnaburg? how the + Duke of York attained it? and whether there were any ecclesiastical + duties attached to it? or whether the appointment was a lay one?</p> + + <p class="author">B. M.</p> + + <p><i>Meaning of "Farlief".</i>—May I ask for a definition of the + word "farlief", used in Devonshire to designate some service or payment + to the lord of the manor by his copyholders, apparently analogous to the + old feudal "relief"?</p> + + <p class="author">V. J. S.</p> + + <p><i>Margaret Dyneley.</i>—In Stanford Dingley Church, Berkshire, + there is a "brass" of <i>Margaret Dyneley</i>, from whose family, I + presume, the parish has received its appellation of <i>Dingley</i>. As, + however, I have not yet succeeded in obtaining any account as to this + lady or her ancestors, I should feel obliged by any information which + your learned correspondents only be able to afford.</p> + + <p class="author">J. H. K.</p> + + <p><i>Tristan d'Acunha.</i>—<span class="sc">Cosmopolite</span> + will be glad to have references to any authentic sources of information + respecting the island of Tristan d'Acunha.</p> + + <p><i>Production of Fire by Friction.</i>—In most of the accounts + written by persons who have visited the South Sea Islands, we meet with + descriptions of the method adopted by the natives to produce fire by the + rapid attrition of two bits of wood. Now I wish to ask whether any person + has ever seen the same effect produced in this country by similar means? + If not, to what cause is the difficulty—if such difficulty really + exists—attributable?</p> + +<p><!-- Page 359 --><span class="pagenum"><a name="page359"></a>{359}</span></p> + + <p>Does it depend upon the nature of the wood used, the condition of the + atmosphere, or the dexterity of the operator? I have not quoted any + particular passages, as they are sufficiently familiar to readers of + voyages and travels in the South Sea hemisphere; and although they + exhibit some diversity in the <i>modus operandi</i>, the principle + involved is essentially the same in each mode. I need scarcely add, that + I am of course well aware of the means by which, whether by accident or + design, heat is ordinarily generated by friction in this country.</p> + + <p class="author">D.</p> + + <p>Rotherfield.</p> + + <p><i>Murderer hanged when pardoned.</i>—I have a copy of the + <i>Protestant's Almanack</i> for 1680, full of MS. notes of the period, + written by one of the Crew family. Among other matter it states:</p> + +<blockquote class="b1n"> + + <p>"A man was hung for a murder in Southwark (I think), notwithstanding + the king's pardon had been obtained for him, and he actually had it in + his pocket at the time."</p> + +</blockquote> + + <p>Will some kind friend oblige me with further information of this case, + or tell me where I may obtain it?</p> + + <p class="author"><span class="sc">Gilbert.</span> + + <p><i>Burke, Passage from.</i>—The following passage is quoted as a + motto <i>from Burke</i>:—</p> + +<blockquote class="b1n"> + + <p>"The swarthy daughters of Cadmus may hang their trophies on high, for + when all the pride of the chisel and the pomp of heraldry yield to the + silent touches of time, a single line, a half worn-out inscription, + remain faithful to their trust."</p> + +</blockquote> + + <p>In what composition of Burke's is it to be found?</p> + + <p class="author">Q.(2.)</p> + + <p><i>Licensing of Books.</i>—Can any of your readers inform me + what was the law in 1665 relative to the licensing of books? also when it + was introduced (or revived), and when modified? I find in a manual of + devotion printed in that year the following page, after the + preface:—</p> + +<blockquote class="b1n"> + + <p>"I have perused this book, and finding nothing in it but what may tend + to the increase of private devotion and piety, I recommend it to my Lord + the Bishop of London for his licence to have it printed."</p> + +</blockquote> + + <p class="author"><span class="sc">Jo. Duresme.</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2hg3">"Imprimatur:</p> + <p>Tho. Grigg, R. P. D. Hamff.</p> + <p class="i2">Ep. Lond. a Sac. Dom.</p> + <p>Ex Ædibus, Lond.</p> + <p class="i2">Mart. 28. 1665."</p> + </div> + </div> + <p class="author">R. N.</p> + + <p><i>Captain John Stevens.</i>—I should be glad to learn some + account of <i>Capt. John Stevens</i>, the continuator of Dugdale's + <i>Monasticon</i> in 1722. He is generally considered to have edited the + English abridgment of the <i>Monasticon</i>, in one vol. 1718, though a + passage in Thoresby's <i>Diary</i> mentions that it contained "some + reflections upon the Reformation, which the <i>Spanish Priest</i>, who is + said to be translator and abridger of the three Latin volumes, would not + omit."</p> + + <p>A note by the editor of Thoresby's <i>Diary</i> says that—</p> + +<blockquote class="b1n"> + + <p>"Mr. Gough was uncertain by whom this Translation and Abridgment was + prepared. He supposed that it was done by Captain Stevens, the author, or + rather compiler of a valuable, Supplement to the <i>Monasticon</i>, in + which he was assisted by Thoresby."</p> + +</blockquote> + + <p class="author">J. T. A.</p> + + <p><i>Le Bon Gendarme.</i>—Close to the boundary stone which + separates the parishes of Fulham and Hammersmith, and facing the lane + which leads to Brook Green, on the Hammersmith Road, is a way-side + public-house, known as "The Black Bull." So late as three months ago, in + addition to the sign of the Black Bull, there was painted over the door, + but somewhat high up, a worn-out inscription, "Le Bon Gendarme," as if + that had originally been the name of the inn. These words have been + lately effaced altogether: but as they no doubt relate to some + circumstance or adventure which had happened in or near to the place, + perhaps some reader of the "<span class="sc">Notes and Queries</span>" + will have the goodness to satisfy the curiosity of one who has asked at + the inn in vain for a solution.</p> + + <p class="author">U. U. C.</p> + + <p>University Club.</p> + +<hr class="full" > + +<h2>REPLIES.</h2> + +<h3>TASSO TRANSLATED BY FAIRFAX.</h3> + + <p>The variation in the first stanza of Fairfax's <i>Godfrey of + Bulloigne</i> has been long known to bibliographers, and was pointed out + in <i>The Critical Review</i> more than thirty years ago. I cannot fix on + the particular number, but it contained a long notice of the version of + Tasso by Fairfax, and the very stanzas extracted by T. N. The translator + could not please himself with the outset of his undertaking, and hence + the recorded substitution; but it is not known that he carried his + fastidiousness so far as to furnish a <i>third</i> version of the first + stanza, as well as of the "Argument" of the introductory canto, differing + from both the others. In the instance pointed out by T. N. the + substitution was effected by pasting the <i>approved</i> stanza over the + <i>disapproved</i> stanza; but the <i>third</i> version was given by + reprinting the whole leaf, which contains other variations of typography, + besides such as it was thought necessary to make in the first stanza.</p> + + <p>I formerly had copies of the book, dated 1600, including all three + variations; but the late Mr. Wordsworth having one day looked + particularly at that with the reprinted leaf, and expressing a <!-- Page + 360 --><span class="pagenum"><a name="page360"></a>{360}</span>strong + wish to possess it, I gave it to him, and I presume that it remained in + his library at his death. What I speak of happened full twenty years + ago.</p> + + <p><i>The Critical Review</i> of the date I refer to (I am pretty + confident that it was of the early part of 1817) contained a good deal of + information regarding Fairfax and his productions; but it did not mention + one fact of importance to show the early estimation and popularity of his + translation of the <i>Gerusalemme Liberata</i>, viz., that although it + was published in 1600, it is repeatedly quoted in <i>England's + Parnassus</i>, printed in the same year, and containing extracts, as most + people are aware, from all the distinguished poets of that day, and + somewhat earlier. This circumstance ascertains also that Fairfax's Tasso + came out before <i>England's Parnassus</i>, although both bear the date + of 1600 on the title-pages.</p> + + <p class="author"><span class="sc">The Hermit of Holyport.</span> + + <p><i>Fairfax's Tasso.</i>—In my copy of the second edition, 1624, + the first stanza of the first book is given precisely as in Mr. Knight's + reprint. But in the very beautiful edition published by Bensley, 1817, + and edited by Mr. Singer, that stanza which T. N. terms an "elegant + variation," introduces the canto. The editor's preface states that the + <i>first</i> edition, 1600, had been followed in that re-impression, + "admitting some few corrections of errors, and emendations of + orthography, from the <i>second</i>, I printed in 1624." Of this second + edition it is remarked that "it appears to have been revised by some + careful corrector of the press; yet nothing material is changed but the + orthography of particular words." No notice is taken of the difference + between the first stanza of the second edition, and that of the first + edition, identical with the cancel in T. N.'s copy. Possibly, <i>both</i> + the copies of these two editions, which happened to come under the + editor's notice, had this cancel, and so presented no variation from each + other. If, however, <i>all</i> the copies of the second edition contained + the stanza as given by Mr. Knight, and Mr. Singer's opinion (drawn from + the dedicatory verses to Prince Charles, prefixed to <i>some</i> copies + of the second edition) that this edition <i>was</i> seen, and probably + corrected, by the author, be well-founded, it would seem to follow that + Fairfax finally preferred the stanza in this its first and later state, + and as it appears in Mr. Knight's edition. If the "cancel-slip" be an + "elegant" variation, may not the original stanza be regarded as more + vigorous?</p> + + <p class="author">G. A. S. + + <p><i>Fairfax's Tasso.</i>—In the elegant edition published by Mr. + Singer in 1817, the first stanza is printed according to the variation + noticed by your correspondent T. N. (Vol. ii., p. 325.), "I sing the + warre," &c., and the original stanza is printed at the end of the + first book, with a note stating that the pasted slip is found "in most + copies" of the first edition. My copy contains no such peculiarity, but + it is of course possible that the pasted slip may have been removed. The + second edition (folio, London, 1624) has the stanza in the form in which + it originally stood in the first, beginning "The sacred armies," + &c.</p> + + <p class="author">J. F. M + +<hr class="short" > + +<h3>ALE-DRAPER.—EUGENE ARAM.</h3> + +<p class="cenhead">(Vol. ii., p. 310.)</p> + + <p>Your correspondent D. asks whether the word <i>ale-draper</i> was ever + in "good use." The only place in which I can find it is Bailey's + <i>Dictionary</i>, where it occurs thus:</p> + +<blockquote class="b1n"> + + <p>"Ale-draper (a humorous name), a seller of malt liquors; an + alehouse-keeper or victualler."</p> + +</blockquote> + + <p>The humour, I suppose, consists in applying to one kind of occupation + that which was commonly given to another; in taking <i>draper</i> from + the service of cloth, and pressing it by force into that of <i>ale</i>. + That it was ever considered as a word of respectable standing, can hardly + be imagined. In such writers as Tom Brown it is most likely to occur.</p> + + <p>1. With reference to Eugene Aram, D.'s remark about the + <i>over-ingeniousness</i> of his defence has been anticipated by Paley, + who was present at the trial, and said that Aram would not have been + hanged had he less studiously defended himself. That laboured address to + the jury must have employed his thoughts for years. I should like very + much to know whether anyone has ever attempted to verify the references + which he gives to the cases in which he says that bones have been found. + The style of the speech has been much praised, but is surely not very + surprising when it is considered that Johnson had previously written the + <i>Rambler</i>. The composition wants ease.</p> + + <p>2. Ever since I began to read about Eugene Aram, and that is some + years ago, I have had a settled opinion that his attainments, and perhaps + his abilities, had been greatly overrated. He was doubtless a man of + considerable mental powers; but we cannot but suspect that had he + acquired all the learning which is attributed to him, he would have + attracted more notice than it was his fortune to obtain.</p> + + <p>3. Mr. Scatchard's attempts, and all other attempts, to clear him from + "blood-guilty stain," must be equally futile, for he himself confessed + his guilt while he was in prison.</p> + + <p>Some time ago, a dozen years or more, there appeared in the + <i>Literary Gazette</i>, as a communication from a correspondent, an + anecdote concerning Aram, which well deserves to be repeated. During the + time that he was in the school of Lynn, it was the custom for the + head-master, at the termination of every half-year, to invite the parents + of the boys to an entertainment, and all <!-- Page 361 --><span + class="pagenum"><a name="page361"></a>{361}</span>who accepted the + invitation were expected to bring with them the money due on account of + their sons, which, <i>postquam exempta fames epulis</i>, they paid into + the head-master's hands. The master would thus retire to rest with a + considerable sum in his possession. On one of these occasions, after he + had gone to his chamber and supposed that all the family were in bed, he + heard a noise in a passage not far distant, and, going out to see what + was the cause of it, found Aram groping about in the dark, who, on being + asked what he wanted, said that he had been obliged to leave his room on + a necessary occasion, and had missed his way to the place which he + sought. The passage was not one into which he was likely to wander by + mistake, but the master accepted his excuse, and thought no more of the + matter till Aram was arrested for the robbery and murder of Clarke, when + he immediately recollected the circumstance, and suspected that he had + intended on that night to commit another robbery or murder. I have not + the number of the <i>Literary Gazette</i> in which this statement was + given to refer to, but I am sure that I have repeated the substance of it + correctly, and remember that it was inserted as being worthy of credit. + It is another illustration of the fact that the nature of a man is + unchangeable.</p> + + <p>Bulwer's novel, which elevates Aram from a school-assistant into a + private gentleman, may have pleased those, if there were such, who knew + nothing of Arum's acts before they began to read it. But all who knew + what Aram was, must be disgusted at the threshold. I regarded the book, + at the time of its appearance, as one of the most presumptuous + falsifications of biography that had ever been attempted. It is not easy + to see why Bulwer might not have made an equally interesting story, if he + had kept Aram in his proper station.</p> + + <p class="author">J. S. W. + + <p>Stockwell.</p> + +<hr class="short" > + +<h3>ON THE WORD "GRADELY."</h3> + + <p>Permit me to make a few remarks on the word <i>gradely</i>:—</p> + + <p>1. It seems to have no connexion with the Latin noun <i>gradus</i>, + Angl. <i>grade</i>, step.</p> + + <p>2. Its first syllable, <i>grade</i>, is both a substantive and an + adjective; and <i>gradely</i> itself both adjective and adverb, as + <i>weakly</i>, <i>sickly</i>, <i>godly</i>, &c.</p> + + <p>3. It is not confined to Lancashire or to England, but appears in + Scotland as <i>graith</i> (ready), <i>graith</i> (furniture); whence + <i>graithly</i> (readily), to <i>graith</i>, <i>grathe</i>, or + <i>graid</i> (prepare), &c. See Jamieson's <i>Sc. Dict.</i> and + <i>Supplement</i>.</p> + + <p>4. It is in fact the Anglo-Saxon <i>gerad</i>, which is both + substantive and adjective. As a substantive it means condition, + arrangement, plan, reason, &c. As an adjective, it means prudent, + well-prepared, expert, exact, &c. The <i>ge</i> (Gothic <i>ga</i>) is + merely the intensive prefix; the root being <i>rad</i> or <i>rath</i>. + The form in <i>ly</i> (adjective or adverb), without the prefix <i>g</i>, + appears in the Anglo-Saxon <i>raedlic</i>, prudent, expert; + <i>raedlice</i>, expertly. This interesting root, which appears as + <i>re</i>, <i>ra</i>, <i>red</i>, <i>rad</i>, <i>rath</i>, &c.; + sometimes by transposition, as <i>er</i>, <i>ar</i>, <i>erd</i>, &c. + (perhaps also as <i>reg</i>, <i>rag</i>, <i>erg</i>, <i>arc</i>, + &c.), seems to represent the nobler qualities of man: thought, + reason, counsel, speech, deliberate action; and perhaps, also, + government.</p> + + <p>Thus in the Semitic family of languages we have the radicals + <i>rââ</i> (saw, foresaw, counselled); <i>râdhâ</i> (helped, ruled); + <i>râthâd</i> (arranged); <i>râto</i> (directed, instructed); and others, + with their numerous derivatives.</p> + + <p>The Indo-European family gives us, in Sanscrit, <i>râ</i> or + <i>râe</i> (ponder, experience); <i>rât</i> (speak); <i>râdh</i> + (accomplish); <i>râj</i> (excel); <i>râgh</i> (attain, reach); and + others, with derivatives. In Greek, <i>rheô</i> (speak), transp. + <i>erô</i> or <i>werô</i> (whence <i>verbum</i>, <i>wort</i>, + <i>word</i>); <i>rherô</i> or <i>rhedô</i> (do), transp. <i>erdô</i>, + also <i>ergô</i> (whence <i>werke</i>, <i>work</i>); <i>archô</i> (rule), + and others, with derivatives. In Latin, <i>reor</i> (think), whence + <i>ratus</i> and <i>ratio</i> (reason); <i>res</i> (thing, action); + <i>rego</i> (rule), with derivatives (<i>rex</i>, <i>regula</i>, + <i>rectus</i>, &c.). In Celtic (Welsh), <i>rhe</i> (active); + <i>rheswm</i> (reason); <i>rhaith</i> (judgment, right); <i>rhi</i> + (prince); <i>rhag</i> (van, before). In Sclavonic, <i>rada</i>, + <i>rade</i> (counsel); <i>redian</i> (to direct), &c.</p> + + <p>In the Teutonic dialects (Gothic, Anglo-Saxon, German, Dutch, Swedish, + Danish, Icelandic, Scotch, and English) the forms of this root are very + numerous. Thus we have, in Anglo-Saxon, <i>rad</i>, <i>raed</i> + (counsel); <i>raedlich</i>, <i>grad</i>, as above, whence <i>geradien</i> + (to prepare), and other words. In German, <i>rede</i> (discourse); + <i>rath</i> (counsel); <i>reden</i> (to speak); <i>regel</i> (a rule); + <i>recht</i> (right); <i>gerecht</i> (just); <i>gerade</i> (exactly), + &c.; <i>bereiten</i> (prepare), &c. In English, <i>ready</i>, + <i>read</i>, <i>rule</i>, <i>right</i>, <i>riddle</i>, <i>reason</i>, + <i>rather</i>, to which we must add <i>gradely</i>. In Scotch, + <i>red</i>, <i>rede</i>, <i>rade</i>, <i>rath</i>, &c., with the + words mentioned above; of which <i>graith</i> (furniture) is the German + <i>geräth</i>. Your readers will derive much information on this class of + words by reference to Jamieson, under <i>red</i>, <i>rede</i>, + <i>rath</i>, <i>graith</i>, &c.</p> + + <p class="author"><span class="sc">Benj. H. Kennedy.</span> + + <p>Shrewsbury, Oct. 19.</p> + + <p><i>Gradely</i>.—It seems rather a rash step to differ from the + mass of critical authority with which your last number has brought this + shy, old-fashioned provincial word into a blaze of literary notoriety. + Yet I cannot help conceiving the original form of this adverb to be + <i>grathedly</i> (<a href="images/009a.png"><img src="images/009a.png" + class="middle" style="height:1.8ex" alt="Old English: geraðlic" /></a>, + root <a href="images/009b.png"><img src="images/009b.png" class="middle" + style="height:1.8ex" alt="Old English: rað" /></a>, with the preteritive + prefix <a href="images/009c.png"><img src="images/009c.png" + class="middle" style="height:1.8ex" alt="Old English: ge" /></a>) or + <i>gerathely</i>. In our Yorkshire dialect, to <i>grathe</i> (pronounced + <i>gradhe</i>) means, to make ready, to put in a state of <i>order</i> or + <i>fitness</i>. A man inconveniently accoutred or furnished with + implements for the performance of some operation on which he was + employed, <!-- Page 362 --><span class="pagenum"><a + name="page362"></a>{362}</span>observed to me the other day, "I's ill + grathed for't job"—rather a terse Saxon contrast to my latinized + paraphrase.</p> + + <p><i>Grathedly</i> would then mean, "In a state of good order, fitness, + readiness, or perfection."</p> + + <p>To the cognate German <i>gerade</i> adv., I find the senses, + "directly, just, exactly, <i>perfectly</i>, rightly."</p> + + <p>The prevailing impression given by your numerous testimonials as to + the character of the word <i>gradely</i>, is one of decency, order, + rightness, perfectness.</p> + + <p>I fancy the whole family (who might be called the children of + <i>rath</i>), viz. <a href="images/009b.png"><img src="images/009b.png" + class="middle" style="height:1.8ex" alt="Old English: rað" /></a>, + <i>rathe</i> (<i>gerathe, grathedly, gradely</i>), <i>rather</i> (only a + Saxon form of <i>readier</i>), have as a common primeval progenitor the + Sanscrit <a href="images/010a.png"><img src="images/010a.png" + class="middle" style="height:2.2ex" alt="Sanskrit: radh" /></a> + (<i>radh</i>), which is interpreted "a process towards perfection;" in + other words, "a becoming ready."</p> + + <p class="author"><span class="sc">G. J. Cayley.</span> + + <p>Wydale, Oct. 21.</p> + + <p>P.S.—<i>Greadly</i> is probably a transposition for + <i>geradly</i>. The Yorkshire pronunciation of <i>gradely</i> is almost + as if written <i>grared-ly</i>.</p> + + <p>I think it probable that the words <i>greed, greedily</i>, are from + the same radicle. By the way, is <i>radix</i> perhaps derived from <a + href="images/010b.png"><img src="images/010b.png" class="middle" + style="height:2.2ex" alt="Sanskrit: rad" /></a> (<i>rad</i>), a tooth + (from the fang-like form of roots), whence <i>rodere</i> and possibly + <i>radius</i>?</p> + +<hr class="short" > + +<h3>COLLAR OF ESSES.</h3> + + <p>Although the suggestion made by C. (Vol. ii., p. 330.), <i>viz.</i> + that the Collar of Esses had a "mechanical" origin, resulting from the + mode of forming "the chain," and that "the <i>name</i> means no more than + that the links were in the shape of the letter S.," could only be + advocated by one unacquainted with the real formation of the collar, yet, + as I am now pledged before the readers of "<span class="sc">Notes and + Queries</span>" as the historiographer of livery collars, it may be + expected that I should make some reply. This may be accompanied with the + remark, that, about the reign of Henry VIII., a collar occurs, which + might be adduced in support of the theory suggested by the <span + class="sc">Rev. Mr. Ellacombe</span>, and adopted by C. It looks like a + collar formed of esses; but it is not clear whether it was meant to do + so, or was merely a rich collar of twisted gold links. That was the age + of ponderous gold collars, but which were arbitrary features of + ornamental costume, not collars of livery. Such a collar, however, + resembles a series of esses placed obliquely and interlaced, as thus: + <i>SSSS</i>; not laid flat on their sides, as figured by C. Again, it is + true an (endless) <i>chain</i> of linked esses was formed merely by + attaching the letters <a href="images/010c.png"><img + src="images/010c.png" class="middle" style="height:1.5ex" alt="three + letter Ss horizontally" /></a> like hooks together. This occurs on the + cup at Oriel College, Oxford, engraved in Shaw's <i>Ancient Furniture</i> + in Shelton's <i>Oxonia Illustrata</i>, and in the <i>Gentleman's + Magazine</i> for August last; but the connexion of this with the English + device is at least very doubtful. The cup is not improbably of foreign + workmanship, and Menneus assigns such a collar to the knights of Cyprus; + even there the S was not without its attributed import:</p> + +<blockquote class="b1n"> + + <p>"Per literam autem S. quæ <i>Silentii</i> apud Romanos nota fuit, + secretum societatis et amicitiæ simulachrum, individuamque pro patriæ + defensione <i>Societatem</i> denotari."—<i>Fr. Mennenii Deliciæ + Equest. Ordinum</i>, 1613. 12mo. p. 153.</p> + +</blockquote> + + <p>However, the answer to the suggestion of <span class="sc">Mr. + Ellacombe</span> and C. consists in this important distinction, that the + Lancastrian livery collar was <i>not a chain</i> of linked esses, but a + collar of leather or other stiff material, upon which the letters were + <i>distinctly</i> figured at certain intervals; and when it came to be + made of metal only, the letters were still kept distinct and upright. On + John of Ghent's collar, in the window of old St. Paul's (which I have + already mentioned in p. 330.), there are only five,</p> + + <div class="poem"> + <div class="stanza"> + <p>S S S S S,</p> + </div> + </div> + <p>at considerable intervals. On the collar of the poet Gower the letters + occur thus,—</p> + + <div class="poem"> + <div class="stanza"> + <p>SSSSS SSSSS.</p> + </div> + </div> + <p>On that of Queen Joan of Navarre, at Canterbury, thus,—</p> + + <div class="poem"> + <div class="stanza"> + <p>S | S | S | S | S | S |</p> + </div> + </div> + <p>There is then, I think, little doubt that this device was the + <i>symbolum</i> or <i>nota</i> of some word of which S was the initial + letter; whether <i>Societas</i>, or <i>Silentium</i>, or + <i>Souvenance</i>, or <i>Soveraigne</i>, or <i>Seneschallus</i>, or + whatever else ingenuity or fancy may suggest, this is the + question,—a question which it is scarcely possible to settle + authoritatively without the testimony of some unequivocal contemporary + statement. But I flatter myself that I have now clearly shown that the + esses were neither the <i>links of a chain</i> nor yet (as suggested in a + former paper) identical with the <i>gormetti fremales</i>, or + horse-bridles, which are said to have formed the livery collar of the + King of Scots.</p> + + <p class="author"><span class="sc">John Gough Nichols.</span> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Christus purpureum gemmati textus in auro</p> + <p>Signabat Labarum, Clypeorum insignia Christus</p> + <p>Scripserat; ardebat summis crux addita cristis."</p> + </div> + </div> + <p>By the same sort of reasoning—viz. conjecture—that <span + class="sc">Mr. John Gough Nichols</span> adheres to the opinion that the + Collar of SS. takes its name from the word <i>Seneschallus</i>, it might + be contended that the initial letters of the lines above quoted + mystically stand for "Collar, S. S." Enough, however, has already been + written on this unmeaning point to show that some of us are "great + gowks," or, in other words, stupid guffs, to waste so much pen, ink, and + paper on the subject.</p> + + <p>There are other topics, however, connected with the Collar of SS. + which are of real interest to a <!-- Page 363 --><span class="pagenum"><a + name="page363"></a>{363}</span>numerous section of the titled aristocracy + in the United Kingdom; and it is with these, as bearing upon the heraldic + and gentilitial rights of the subject, that I am desirous to grapple. + <span class="sc">Mr. Nichols</span>, and those who pin faith upon his + <i>dicta</i>, hold that the Collar of SS. was a livery ensign bestowed by + our kings upon certain of their retainers, in much the same sense and + fashion as Cedric the Saxon is said to have given a collar to Wamba, the + son of Witless. For myself, and all those entitled to carry armorial + bearings in the kingdom, I repudiate the notion that the knightly golden + Collar of SS. was ever so conferred or received. Further, I maintain that + there was a distinction between what <span class="sc">Mr. Nichols</span> + calls "the Livery Collar of SS.," and the said knightly golden Collar of + SS., as marked and broad as is the difference between the Collar of the + Garter and the collar of that four-footed dignitary which bore the + inscription,</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"I am the Prince's Dog at Kew,</p> + <p>Pray whose Dog are you?"</p> + </div> + </div> + <p>In his last communication <span class="sc">Mr. Nichols</span> lays it + down that "livery collars were perfectly distinct from collars of + knighthood;" adding, they did not exist until a subsequent age. Of course + the collars of such royal orders of knighthood as have been established + since the days of our Lancastrian kings had necessarily no existence at + the period to which he refers. But Gough (not <span class="sc">Mr. Gough + Nichols</span>) mentions that the Collar of SS. was upon the monument of + Matilda Fitzwalter, of Dunmow, who lived in the reign of King John; and + Ashmole instances a monument in the collegiate church at Warwick, with + the portraiture of Margaret, wife of Sir William Peito, said to have been + sculptured there in the reign of Edward III. What credit then are we to + attach to <span class="sc">Mr. N.</span>'s averment, that the "Collar of + Esses was not a badge of knighthood, nor a badge of personal merit, but + was a collar of livery, and the idea typified by livery was feudal + dependence, or what we now call party?" What sort of feudal dependence + was typified by the ensign of equestrian nobility upon the necks of the + two ladies named, or upon the neck of Queen Joan of Navarre? <span + class="sc">Mr. Nichols</span> states that in the first Lancastrian reigns + the Collar of SS. had no pendant, though, afterwards, it had a pendant + called "the king's beast." On the effigy of Queen Joan the collar + certainly has no pendant, except the jewelled ring of a trefoil form. But + on the ceiling and canopy of the tomb of Henry IV., his arms, and those + of his queen (Joan of Navarre), are surrounded with Collars of SS., the + king's terminating in an eagle volant (rather an odd sort of a beast), + whilst the pendant of the queen's has been defaced.</p> + + <p><span class="sc">Mr. Nichols</span>, in a postscript, puts this query + to the antiquaries of Scotland: "Can any of them help me to the authority + from which Nich. Upton derived his livery collar of the King of Scotland + de gormettis fremalibus equorum?" If Mr. N. puts this query from no other + data than the citation given in my former paper upon this subject (vide + Vol. ii., p. 194.), he need not limit it to the antiquaries of Scotland. + Upton's words are as follows:—</p> + +<blockquote class="b1n"> + + <p>"Rex etiam scocie dare solebat pro signo vel titulo suo, unum + collarium de gormettis fremalibus equorum de auro vel argento."</p> + +</blockquote> + + <p>This passage neither indicates that a King of Scotland is referred to, + nor does it establish that the collar was given as a livery sign or + title. It merely conveys something to this purport, that the king was + accustomed to give to his companions, as a sign or title, a collar of + gold or silver shaped like the bit of a horse's bridle.</p> + + <p><span class="sc">Mr. Nichols</span> takes exception to Favine as an + heraldic authority. Could that erudite author arise from his grave, I + wonder how he would designate <span class="sc">Mr. Nichols's</span> + lucubrations on livery collars, &c. But hear Matthew Paris: that + learned writer says Equites Aurati were known in his day "by a gold ring + on their thumbs, by a chain of gold about their necks, and gilt spurs." + Let us look to Scotland: Nesbit says, vol. ii. p. 87.:</p> + +<blockquote class="b1n"> + + <p>"Our knights were no less anciently known by belts than by their gilt + spurs, swords, &c. In the last place is the collar, an ensign of + knightly dignity among the Germans, Gauls, Britains, Danes, Goths, + &c. In latter times it was the peculiar fashion of knights amongst us + to wear golden collars composed of SS."</p> + +</blockquote> + + <p>Brydson, too, in his <i>Summary View of Heraldry in reference to the + Usages of Chivalry, and the General Economy of the Feudal System</i>, (a + work of uncommon ingenuity, deserving to be called the Philosophy of + Heraldry), observes, p. 186, ch. v., that knights were distinguished by + an investiture which implied superior merit and address in arms—by + the attendance of one or more esquires—by the title <span + class="sc">Sir</span>—by wearing a crest—a helmet of peculiar + form—apparel peculiarly splendid—polished armour of a + particular construction—gilded spurs—and a <span + class="sc">Golden Collar</span>.</p> + + <p>He states, ch. iv., p. 132.:</p> + +<blockquote class="b1n"> + + <p>"In the fifth dissertation of Du Cange it is shown that the splendid + habits which the royal household anciently received at the great + festivals, were called '<span class="sc">Liveries</span>,' being + delivered or presented from the king."</p> + +</blockquote> + + <p>But he nowhere countenances for a moment any of the errors entertained + by <span class="sc">Mr. John Gough Nichols</span>, which these remarks + are intended to explode.</p> + + <p><span class="sc">Mr. Nichols</span> has not yet answered B.'s query. + Nor can he answer it until he previously admits that he is wrong upon the + four points enumerated in my opening article (Vol. ii., p. 194.).</p> + + <p class="author"><span class="sc">Armiger.</span> + +<hr class="full" > + +<p><!-- Page 364 --><span class="pagenum"><a name="page364"></a>{364}</span></p> + +<h2>Replies to Minor Queries</h2> + + <p><i>Symbols of the Evangelists</i> (Vol. i., pp. 375. 471.; vol. ii., + pp. 13. 45. 205.).—Should the inquirer not have access to the + authorities which, as is stated in p. 471., are referred to by <span + class="sc">Dr. Wordsworth</span>, or not have leisure to avail himself of + his copious references, he may be glad to find that in the <i>Thesaurus + Theologico Philologicus</i> (vol. ii. pp. 57.-62.), there is a + dissertation containing an analysis of more than fifty authors, who have + illustrated the visions of Ezekiel and St. John, and an explanation of + the Sententiarum Divortia of Irenæus, Jerome, and Augustine, respecting + the application of the symbols, or of the quæstio vexata—quodnam + animal cui Evangelistæ comparandum sit. Thomasius, the author of this + dissertation, suggests that to recall to mind the symbol applied to Luke, + we should remember the expression denoting elephantes, <i>boves + lucas</i>. Abundant information is also supplied on this subject by that + hierophantic naturalist, Aldrovandus, <i>de Quadrup. Bisulcis</i>, p. + 180. et seq. Nor should Daubuz be neglected, the learned commentator on + the Revelations.</p> + + <p class="author">T. J.</p> + + <p><i>Becket's Mother</i> (Vol. ii., pp. 106. 270.).—In support of + the view of <span class="sc">Mr. Foss</span> with regard to Becket's + mother, against that propounded by J. C. R. (Vol. ii., p. 270.), I would + mention that <i>Acon</i> is the ordinary mediæval name for the city of + <i>Acre</i>, and appears in the earlier deeds relating to the hospital in + Cheapside, while the modern form occurs in those of later date; + <i>e.g.</i> Pat. 18 Edw. II., "S. Thomæ Martyris <i>de Aconia</i>;" Pat. + 14 Edw. III., "S. Thomæ Martyris Cantuarensis de <i>Acon</i>;" but Rot. + Parl. 23 Hen. VI., "Saint Thomas the Martir of <i>Acres</i>," "the Martyr + of Canterbury of <i>Acres</i>." (Deeds in Dugdale, <i>Monast.</i> vi. + 646, 647.)</p> + + <p>This would seem to identify the distinctive name of the hospital with + the city in the Holy Land but the following passage from the + <i>Chronicle</i> of Matthew of Westminster (p. 257.) seems quite + conclusive on this point, as it connects that city with Becket in a + manner beyond all dispute:—</p> + +<blockquote class="b1n"> + + <p>"Anno gratiæ 1190. Obsessa est <i>Acon</i> circumquaque Christianorum + legionibus, et arctatur nimis. <i>Capella Sancti Thomæ martyris ibidem + ædificatur</i>."</p> + +</blockquote> + + <p>If, as J. C. R. supposes, there was no connexion between the saint and + Acre in Syria, the foundation of a chapel to his honour in or near that + city would seem quite unaccountable. However this may be, the truth of + the beautiful legend of his mother can, I fear, be never proved or + disproved.</p> + + <p>While on this subject, let me, at the risk of being tedious to your + readers, quote the amusing tale told by Latimer, with regard to this + hospital, in his "Sixth Sermon preached before Edward VI." (Parker Soc + ed., p. 201.):—</p> + +<blockquote class="b1n"> + + <p>"I had rather that ye should come [to hear the Word of God] as the + tale is by the gentlewoman of London: one of her neighbours met her in + the street and said, 'Mistress, whither go ye?' 'Marry,' said she; 'I am + going to St. Thomas of Acres, to the sermon; I could not sleep all this + last night, and I am going now thither; I never failed of a good nap + there.' And so I had rather ye should go a-napping to the sermons than + not to go at all."</p> + +</blockquote> + + <p>On the name "S. Nicholas <i>Acon</i>," I can throw no light. Stow is + quite silent as to its signification.</p> + + <p class="author"><span class="sc">E. Venables.</span> + + <p>Herstmonceux.</p> + + <p><i>Becket's Mother.</i>—I am, in truth, but a new subscriber, + and when I wrote the remarks on <span class="sc">Mr. Foss</span>'s note + (Vol. ii., p. 270.), had not seen your first volume containing the + communications of <span class="sc">Mr. Matthews</span> (p. 415.) and + <span class="sc">Dr. Rimbault</span> (p. 490.). The rejection of the + story that Becket's mother was a Saracen rests on the fact that no trace + of it is found until a much later time, when the history of "St. Thomas + of Canterbury" had been embellished with all manner of wonders. <span + class="sc">Mr. Matthews</span> may find some information in the + <i>English Review</i>, vol. vi. pp. 40-42. <span class="sc">Dr. + Rimbault</span> is mistaken in saying that the life of St. Thomas by + Herbert of Boshain "is published in the <i>Quadrilogus</i>, Paris, 1495." + It was one of the works from which the <i>Quadrilogus</i> was + <i>compiled</i>; but the only entire edition of it is that by Dr. Giles, + in his <i>S. Thomas Cantauriensis</i>.</p> + + <p class="author">J. C. R.</p> + + <p><i>Passage in Lucan</i> (Vol. ii., p. 89.).—The following are + parallel passages to that in Lucan's <i>Pharsalia</i>, b. vii. 814., + referred to by <span class="sc">Mr. Sansom</span>.</p> + + <p>Ovid. <i>Metam.</i> 1. 256.:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Esse quoque in fatis reminiscitur affore tempus,</p> + <p>Quo mare, quo tellus, correptaque regia cœli</p> + <p>Ardeat; et mundi moles operos laboret."</p> + </div> + </div> + <p>Cic. <i>De Nat. Deor.</i> 11. 46.:—</p> + +<blockquote class="b1n"> + + <p>"Ex quo eventurum nostri putant id, de quo Panætium addubitare + dicebant, ut ad extremum omnis mundus ignesceret; cum, humore consumto, + neque terra ali posset neque remearet ær; cujus ortus, aqua omni + exhausta, esse non posset," etc.</p> + +</blockquote> + + <p>Cic. <i>De Divinatione</i>, 1. 49.:—</p> + +<blockquote class="b1n"> + + <p>"Nam et natura futura præsentiunt, ut aquarum fluxiones et + deflagrationem futuram aliquando cœli atque terrarum," etc.</p> + +</blockquote> + + <p>Cic. <i>Acad. Quæst.</i> iv. 37.:—</p> + +<blockquote class="b1n"> + + <p>"Erit ei persuasum etiam, solem, lunam, stellas omnes, terram, mare, + deos esse ... fore tamen aliquando ut omnis hic mundus ardore deflagret," + etc.</p> + +</blockquote> + + <p>Cic. <i>Somn. Scipionis,</i> vii.:—</p> + +<blockquote class="b1n"> + + <p>"Propter eluviones exustionesque terrarum quas accidere tempore certo + necesse est, non modo æternam, sed ne diuturnam quidem gloriam assequi + possumus."</p> + +</blockquote> + + <p>Seneca, <i>Consol. ad Marciam</i>, sub fine:—</p> + +<blockquote class="b1n"> + + <p>"Cum tempus advenerit quo se mundus renovaturus <!-- Page 365 --><span + class="pagenum"><a name="page365"></a>{365}</span>extinguat ... et omni + flagrante materia uno igne quicquid nunc ex disposito lucet, + ardebit."</p> + +</blockquote> + + <p>Id. <i>Natural Quæst</i>. iii. 28.:—</p> + +<blockquote class="b1n"> + + <p>"Qua ratione inquis? Eadem qua conflagratio futura est ... Aqua et + ignes terrenis dominantur. Ex his ortus et ex his interitus est," + etc.</p> + +</blockquote> + + <p>There are also the Sybilline verses (quoted by Lactantias <i>de Ira + Dei</i>, cap. xxiii.):—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"<span title="Kai pote tên orgên theon ouk eti pra'unonta," class="grk">Καί ποτε τὴν ὀργὴν θεὸν οὐκ ἔτι πραΰνοντα,</span></p> + <p><span title="All' exembrithonta, kai exoluonta te gennan" class="grk">Ἀλλ' ἐξεμβρίθοντα, καὶ εξολύοντά τε γένναν</span></p> + <p><span title="Anthrôpon, hapasan hup' emprêsmou perthonta." class="grk">Ἀνθρώπον, ἅπασαν ὑπ' ἐμπρησμοῦ πέρθοντα.</span>"</p> + </div> + </div> + <p>Plato has a similar passage in his <i>Timæus</i>; and many others are + quoted by Matthew Pole in his <i>Synopsis Criticorum Script. Sacræ + Interpretum</i>; on 2 Pet. iii. 6. 10.; to which I beg to refer <span + class="sc">Mr. Sansom</span>; and also to Burnet's <i>Sacred Theory of + the Earth</i>, book iii. ch. 3.</p> + + <p class="author"><span class="sc">T. H. Kersley.</span> + + <p>King William's College, Isle of Man.</p> + + <p><i>Combs buried with the Dead</i> (Vol. ii., pp. 230. 269.).—On + reference to Sir Thomas Browne's <i>Hydriotaphia</i>, I find two passages + which may supply the information your correspondent seeks as to the + reason for combs being buried with human remains. In section i., pp. 26, + 27. (I quote from the Edinburgh reprint of 1822, published by Blackwood) + the author says:</p> + +<blockquote class="b1n"> + + <p>"In a field of Old Walsingham, not many months past (1658), were + digged up between forty and fifty urns, deposited in a dry and sandy + soil, not a yard deep, not far from one another, not all strickly of one + figure, but most answering these described; some containing two pounds of + bones, distinguishable in skulls, ribs, jaws, thigh-bones, and teeth, + with fresh impressions of their combustion, besides extraneous + substances, like pieces of small boxes, or <i>combs</i>, handsomely + wrought, handles of small brass instruments, brazen nippers, and in one + some kind of opale."</p> + +</blockquote> + + <p>And again he says (pp. 36, 37.):</p> + +<blockquote class="b1n"> + + <p>"From exility of bones, thinness of skulls, smallness of teeth, ribs, + and thigh-bones, not improbable that many thereof were persons of minor + age, or women. Confirmable also from things contained in them. In most + were found substances resembling <i>combs</i>, plates like boxes, + fastened with iron pins, and handsomely overwrought like the necks or + bridges of musical instruments, long brass plates overwrought like the + handles of neat implements, <i>brazen nippers to pull away hair</i>, and + in one a kind of opale, yet maintaining a bluish colour.</p> + + <p>"Now that they accustomed to burn or bury with them things wherein + they excelled, delighted, or which were dear unto them, either as + farewells unto all pleasure, or vain apprehension that they might use + them in the other world, is testified by all antiquity."</p> + +</blockquote> + + <p>The instances which he appends relate only to the Pagan period, and he + does not appear to have known that a similar practice prevailed in the + sepulture of Christians—if, indeed, such a custom was general, and + not confined to the particular case mentioned by your correspondent.</p> + + <p class="author"><span class="sc">J. H. P. Leresche.</span> + + <p><i>The Norfolk Dialect</i> (Vol. ii., p. 217.).—</p> + + <p><i>Mauther.</i>—A word peculiar to East Anglia, applied to a + girl just grown up, or approaching to womanhood.</p> + + <p>"Ipse eodem agro [Norfolciensi] ortus, a Dan. <i>moer</i>," virgo, + puella, "deflectit."—<i>Spelman</i>.</p> + + <p>Spelman assures us, in endeavouring to rescue the word from the + contempt into which it had fallen, that it was applied by our very early + ancestors, even to the noble virgins who were selected to sing the + praises of heroes; they were called <i>scald-moers</i>, q.d. singing + mauthers!</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"En quantum in spretâ jam voce antiquæ gloria."</p> + </div> + + <div class="stanza"> + <p class="hg3">"Ray spells the word <i>mothther</i>.</p> + </div> + + <div class="stanza"> + <p class="hg3">"<i>P.</i> I am a <i>mother</i> that do want a service.</p> + </div> + + <div class="stanza"> + <p class="hg3">"<i>Qu.</i> O thou'rt a Norfolk woman (cry thee mercy),</p> + <p class="i2">Where maids are <i>mothers</i>, and <i>mothers</i> are maids."—R. Brome's <i>Engl. Moor</i>, iii. 1.</p> + </div> + </div> + <p>It is written also <i>modder</i>.</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"What! will Phillis then consume her youth as an ankresse,</p> + <p>Scorning daintie Venus? Will Phillis be a <i>modder</i>,</p> + <p>And not care to be call'd by the deare-sweete name of a mother?"—A. Fraunce's <i>Ivy Church</i>, A. 4. b.</p> + </div> + </div> + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Away! you talk like a foolish <i>mauther</i>"—</p> + </div> + </div> + <p>says Restive to Dame Pliant in <i>Ben Jonson. Alchemist</i>, IV. 7. So + Richard says to Kate, in <i>Bloomfield's Suffolk ballad:—</i></p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"When once a giggling <i>mawther</i> you,</p> + <p class="i1">And I a red-faced chubby boy."—<i>Rural Tales</i>, 1802, p. 5.</p> + </div> + </div> + <p>Perhaps it is derived from the German <a href="images/015a.png"><img + src="images/015a.png" class="middle" style="height:2ex" alt="Fraktur: + magd" /></a> with the termination een or -den added, as in the + Lincolnshire dialect, hee-der, and shee-der, denote the male and female + sex.</p> + + <p><i>Gotsch.</i>—A jug or pitcher with one ear or handle. Forby + thinks it may be derived from the Italian <i>gozzo</i>, a throat.</p> + + <p><i>Holl.</i>—From the Saxon holh. German <a + href="images/015b.png"><img src="images/015b.png" class="middle" + style="height:2ex" alt="Fraktur: hohle" /></a>, a ditch.</p> + + <p><i>Anan!</i> = How! what say you? Perhaps an invitation to come near, + in order to be better heard, from the Saxon nean, near. Vid. + Brockett's,—Jennings, and Wilbraham's Chesh. Glossaries.</p> + + <p><i>To be Muddled.</i>—That is, confused, perplexed, tired. + Doubtless from the idea of thickness, want of clearness; so, muddy is + used for a state of inebriety.</p> + + <p><i>Together.</i>—In Low Scotch, thegether, seemingly, but not + really, an adverb, converted to a noun, and used in familiarly addressing + a number of persons collectively. Forby considers <i>to</i> and the + article <i>the</i> identical; as to-day, to-night, in Low Scotch, the + day, the night, are in fact, this day, this night; so <!-- Page 366 + --><span class="pagenum"><a name="page366"></a>{366}</span>that the + expression together may mean "the gathering," the company assembled.</p> + + <p>The authorities I have used are Forby's <i>Vocabulary of East + Anglia</i>; Moor, <i>Suffolk Words and Phrases</i>; and Lemon, <i>English + Etymology</i>; in which, if <span class="sc">Icenus</span> will refer, he + will find the subject more fully discussed.</p> + + <p class="author">E. S. T + + <p><i>Conflagration of the Earth</i> (Vol. ii., p. 89.).—The + eventful period when this globe, or "the fabric of the world,"<a + name="footnotetag1" href="#footnote1"><sup>[1]</sup></a> will be "wrap'd + in flames" and "in ruin hurl'd," is described in language, or at least, + in sense similar to the quotations of our correspondent in p. 89., by the + poets, philosophers, fathers, and divines here referred to:—</p> + + <p>Lucan, lib. i. 70. et seqq. 75.:—</p> + +<blockquote class="b1n"> + + <p>"Omnia mistis Sidera sideribus concurrent."</p> + +</blockquote> + + <p>Seneca <i>ad Marciam</i>, cap. ult.:—</p> + +<blockquote class="b1n"> + + <p>"Cum tempus advenerit, quo se mundus renovaturus extinguat, viribus + ista se suis cedent, et sidera sideribus incurrent, et omni flagrante + materia uno igne quicquid nunc ex disposito lucet, ardebit."</p> + +</blockquote> + + <p><i>Quæst. Nat.</i> iii. 27., which contains a commentary on St. + Peter's expression, "Like a thief in the night:"—</p> + +<blockquote class="b1n"> + + <p>"Nihil, inquit, difficile est Naturæ, ubi ad finem sui properat. Ad + originem rerum parcè utitur viribus, dispensatque se incrementis + fallentibus; subitò ad ruinam et toto impetu venit ... Momento fit cinis, + diu silua."</p> + +</blockquote> + + <p>Compare Sir T Browne's <i>Rel. Med.</i> s. 45.</p> + + <p>Seneca, <i>Hercul. Œt.</i> 1102.</p> + + <p>Ovid. <i>Metamorph.</i> lib. i. s. viii.</p> + + <p>Diplilus as quoted by Dr. H. More, <i>Vision. Apoc.</i> vi. 9.</p> + + <p>Cicero, <i>Acad.</i> lib. ii. 37. "Somn. Scipionis."</p> + + <p>—— <i>de Nat. Deorum.</i> lib. ii. 46.</p> + + <p>Pliny, <i>Nat. Hist.</i> lib. vii. cap. 16.</p> + + <p>These are the opinions of writers before Christ; whether they were + derived from Scripture, it is not now my purpose to discuss. See also + Lipsii <i>Physiologia.</i> On the agreement of the systems of the Stoics, + of the Magi, and of the Edda, see Bishop Percy's Notes to Mallet's + <i>Northern Antiquities</i>, vol. ii.</p> + + <p>The general conflagration and purgatorial fire were among the tenets + of the Sibylline books, and maintained by many Fathers of the Greek and + Latin churches down to the sixth century. See <i>Blondel on the + Sibyls</i>, and Arkudius <i>adversus</i> Barlaam. Among modern writers on + this subject, it will be sufficient to name Magius <i>de Mundi + Exustione</i>, Dr. H. More, and Dr T. Burnet. Ray, in the third of his + <i>Physico-Theological Discourses</i>, discusses all the questions + connected with the dissolution of the world.</p> + + <p class="author">T. J. + +<div class="note"> + <a name="footnote1"></a><b>Footnote 1:</b><a + href="#footnotetag1">(return)</a> + <p>Magius, "that prodigy of learning en pure perte" (Villebrune), + concludes from the words of the text "the <i>heavens</i> shall pass + away," that the <i>universe</i> will be dissolved; but that it will + undergo mutation only, not annihilation.—Cf. Steuches <i>de Perenni + Philosophia</i>, lib. x. </p> + +</div> + <p><i>Wraxen</i>, (Vol. ii., p. 207.).—<span class="sc">G. W. + Skyring</span> will find the following explanation in Halliwell's + <i>Dictionary of Provincial and Archaic Words</i>, "to grow out of + bounds, spoken of weeds," c. Kent. Certainly an expressive term as used + by the Kentish women.</p> + + <p class="author">J. D. A. + + <p><i>Wraxen.</i>—Probably analogous to the Northumbrian + "<i>wrax</i>, wraxing, wraxed," signifying to stretch or (sometimes) to + sprain.</p> + + <p>A peasant leaving overworked himself, would say he had <i>wraxed</i> + himself; after sitting, would walk to <i>wrax</i> his legs. Falling on + the ice would have <i>wraxed</i> his arm; and of a rope that has + stretched considerably, he would say it had <i>wraxed a gay feck</i>.</p> + + <p>It may possibly have come, as a corruption, from the verb <i>wax</i>, + to grow. It is a useful and very expressive word, although not recognised + in polite language.</p> + + <p class="author">S. T. R. + + <p><i>Wraxen.</i>—Rax or Wrax is a very common word in the north of + England, meaning to stretch, so that when the old Kentish woman told + <span class="sc">Mr. Skyring's</span> friend her children were wraxen, + she meant their minds were so overstretched during the week, that they + required rest on Sunday.</p> + + <p class="author">W. + +<hr class="full" > + +<h2>Miscellaneous.</h2> + +<h3>NOTES OF BOOKS, SALES, CATALOGUES, ETC.</h3> + + <p>Of the various changes which have been made of late years in public + education, there is not one so generally admitted to be an improvement as + that which has made the study of</p> + + <div class="poem"> + <div class="stanza"> + <p class="i6hg3">"The tongue</p> + <p>Which Shakspeare spake,"</p> + </div> + </div> + <p>an essential part of the system and probably no individual has so + effectually contributed towards this important end as Dr. Latham, the + third edition of whose masterly and philosophical volume, entitled <i>The + English Language</i>, is mow before us. Dr. Latham has ever earnestly and + successfully insisted on the <i>disciplinal</i> character of grammatical + studies in general, combined with the fact, that the grammatical study of + one's own language is exclusively so; and having established this theory, + he has, by the production of various elementary works, exhibiting a happy + combination of great philological acquirements with the ability to apply + them in a logical and systematic manner, enabled those who shared his + views to put that theory into practice. Hence the change in our + educational system to which we have alluded. His volume entitled <i>The + English Language</i> is, however, addressed to a higher class of <!-- + Page 367 --><span class="pagenum"><a + name="page367"></a>{367}</span>readers, and this third edition may justly + be pronounced the most important contribution to the history of our + native tongue which has yet been produced; and, as such every student of + our early language and literature must, with us, bid it welcome.</p> + + <p>We have received the following Catalogues;—Cole's (15. Great + Turnstile, Holborn) List No. XXIX. of curious Old Books; Kerslake's (3. + Park Street, Bristol) Valuable Books containing Selections from Libraries + at Conishead Priory; of Prof. Elrington; T. G. Ward, &c.</p> + +<hr class="short" > + +<h3>BOOKS AND ODD VOLUMES WANTED TO PURCHASE.</h3> + +<p class="cenhead"><i>Odd Volumes</i></p> + + <p><span class="sc">Camden's Britannia</span>, ed. by Gough, Vol. I.</p> + + <p><span class="sc">Warton's</span> Edition of <span + class="sc">Pope</span>. 8vo. 1797 Vol. IX. In boards.</p> + + <p>*** Letters, stating particulars and lowest price, <i>carriage + free</i>, to be sent to Mr. <span class="sc">Bell</span>, Publisher of + "NOTES AND QUERIES," 186. Fleet Street.</p> + +<hr class="full" > + +<h2>Notices to Correspondents.</h2> + + <p>V. F. S. <i>will find an answer to his Query respecting</i> "Auster + Tenements" <i>in our first Vol</i>., p. 307.</p> + + <p>J. C., <i>who inquires respecting the author of the oft-quoted + saying</i>, "Quem Deus vult perdere," <i>is referred to our first + Vol.</i>, pp. 347. 351. 421. 476.; <i>and to a further illustration of it + in</i> No. 50., p. 317.</p> + + <p><i>We have received</i> "A Plan for a Church-History Society," <i>by + the Rev. Dr. Maitland, to which we will call the attention of our readers + next week.</i></p> + + <p>W. L. B.'<i>s description of the coin found at Horndon is not + sufficiently clear. It is, doubtless, a billon piece of the lower empire. + If he will send us an impression, in</i> sealing-wax, <i>we may probably + be enabled to give him a description of it.</i></p> + + <p><span class="sc">Clericus</span>. "As Lazy as Ludlam's Dog" <i>is one + of the sayings quoted by Southey in</i> The Doctor. See, too, <span + class="sc">Notes and Queries</span>, Vol. I., pp. 382. 475.</p> + + <p><span class="sc">Armiger</span> <i>will find a letter addressed to him + at the Publisher's.</i></p> + + <p><span class="sc">Volume the First of Notes and Queries</span>, <i>with + Title-page and very copious Index, is now ready, price</i> 9s. 6d., + <i>bound in cloth, and may be had, by order, of all Booksellers and + Newsmen.</i></p> + + <p><i>The Monthly Part for October, being the Fifth of</i> Vol. II., + <i>is also now ready, price</i> 1s. 3d.</p> + +<blockquote class="b1n"> + + <p>Errata. In No. 51. p. 347, for "<span title="theion" class="grk" + >θεῖον</span>" read "<span title="theôn" class="grk" + >θεῶν</span>;" for "Perchi" read "Perchè;" and + also the curious misprints (caused by a transposition of type) alluded to + in the following note:—</p> + + <p>"Referring to my friend R. G.'s 'Bibliographical Queries' (which are + always worth referring to), will you allow me to ask yourself, and him if + you cannot tell, whether it is by the mistake of your printer, or of the + original one, that in the fourth Query (p. 324. line 10.) the letters of + two words are so transposed that 'Vrbe germanie' is turned into 'Vrbanie + germe?'"</p> + +</blockquote> + + <p class="author">S. R. M. + +<hr class="full" > + +<p class="cenhead">In 8vo., price 6d. (by post, 8d.),</p> + + <p>A PLAN for a CHURCH-HISTORY SOCIETY. By <span class="sc">S. R. + Maitland</span> D.D. F.R.S. and F.A.S., sometime Librarian to the late + Archbishop of Canterbury, and Keeper of the MSS. at Lambeth.</p> + +<p class="cenhead"><span class="sc">Rivingtons</span>, St. Paul's Church Yard, and Waterloo Place.</p> + +<hr class="full" > + + <p>JOURNAL FRANCAIS, publié à Londres. COURRIER de l'EUROPE, fondé en + 1840, paraissant le Samedi, donne dans chaque numéro les nouvelles de la + semaine, les meilieurs articles de tous les journaux de Paris, la + Semaine, Dramatique par Th. Gautier on J. Janin la Révue de Paris par + Pierre Durand, et reproduit en entier les romans, nouvelles, etc., en + vogue par les premiers écrivains de France. Prix 6<i>d.</i></p> + +<p class="cenhead">London: <span class="sc">Joseph Thomas</span>, 1. Finch Lane.</p> + +<hr class="full" > + + <p>SHAKSPEARE.—<i>The whole of the Editions of Shakspeare published + in Folio</i>, Viz., First, Second, Third, and the Second Edition of the + Third, (with the additional Plays), Fourth Edition, and the Reprint of + the First, in all 6 Vols. Folio, red morocco extra, gilt leaves, with + borders of gold on the sides, only 170<i>l.</i> A Copy of the First + Edition sold lately by Auction for 155<i>l.</i> Also on Sale, a + Collection of Missals, Rare and Curious Books.</p> + +<p class="cenhead"><span class="sc">W. H. Elkins</span>, 47. Lombard Street, City.</p> + +<hr class="full" > + +<p class="cenhead">NEW PUBLICATIONS.</p> + + <p>DR. R. G. LATHAM ON THE ENGLISH LANGUAGE. THIRD EDITION. 8vo. + 15<i>s.</i> (<i>Ready</i>.)</p> + + <p>GRIESBACH'S GREEK TESTAMENT. NEW EDITION. Fcap. 8vo. 6<i>s.</i> + 6<i>d.</i></p> + + <p>PROFESSOR ERICHSEN on the STUDY of SURGERY. 8vo. 1<i>s.</i></p> + + <p>GREGORY'S EDITION of REICHENBACH on MAGNETISM. 8vo. 12<i>s.</i> + 6<i>d.</i></p> + + <p>LIEBIG, KOPP, and HOFMANN'S PROGRESS of CHEMISTRY for 1847 and 1848. 2 + Vols. 8vo. 1<i>l.</i> 12<i>s.</i></p> + + <p>DR. LARDNER'S RAILWAY ECONOMY. 12mo. 12<i>s.</i></p> + + <p>A SECOND PART of PROFESSOR POTTER'S OPTICS. 8vo. (<i>Nearly + Ready</i>.)</p> + + <p>POETRY for the PRACTICE of ELOCUTION, SELECTED for the USE of the + LADIES' COLLEGE. Fcap. 8vo. 2<i>s.</i> 6<i>d.</i> (<i>Ready</i>.)</p> + + <p>SECOND EDITION of DR. W. SMITH'S TACITUS. English Notes. 12mo. + 5<i>s.</i></p> + + <p>SECOND EDITION of ROBSON'S LATIN EXERCISES. 12mo. 6<i>s.</i> + 6<i>d.</i></p> + + <p>NEWTH'S STATICS, DYNAMICS, AND HYDROSTATICS. 12mo. 6<i>s.</i></p> + + <p>DESCRIPTIVE CATALOGUES OF SCHOOL BOOKS, and of SCIENTIFIC and LITERARY + WORKS, published by T., W., and M, may be had on application.</p> + + <p>London: <span class="sc">Taylor</span>, <span + class="sc">Walton</span>, and <span class="sc">Maberly</span>, 28. Upper + Gower Street, and 27. Ivy Lane, Paternoster Row.</p> + +<hr class="full" > + +<p class="cenhead">FOR SALE, CHEAP,</p> + + <p>BYZANTINÆ HISTORIÆ SCRIPTORES, Gr. et Lat., editio nova, consilio B. + G. Niebuhrii instituta, opera ejusdem Niebuhrii, Bekkeri, Schopeni, + Dindorfii aliorumque parata. 46 Vols. 8vo. sewed. Bonnæ, 1828—1849. + Published at 25<i>l.</i>; price only 10<i>l.</i> 10<i>s.</i></p> + +<p class="cenhead"><span class="sc">G. Willis</span>, Great Piazza, Covent Garden.</p> + +<hr class="full" > + + <p>CHEAP BOOKS.—Messrs. WALLER and SON beg to inform their + customers and the public, they have just published a <span class="sc">New + Catalogue</span>, Part III., 1850, consisting of Miscellaneous Books, in + the best condition, including Statutes at Large, 25 vols. 4to. for + 15<i>l.</i> 15<i>s.</i>, published at 70<i>l.</i> <span + class="sc">Alison's Europe</span>, 20 vols. cloth 4<i>l.</i> 14<i>s.</i> + 6<i>d.</i> Curious Bibles and Proclamations, Illustrated News, + &c.</p> + + <p>Catalogues forwarded Free by addressing to 188. Fleet Street.</p> + +<hr class="full" > + +<p><!-- Page 368 --><span class="pagenum"><a name="page368"></a>{368}</span></p> + +<h2>Bibliographical Works,</h2> + +<h3><i>Which are kept constantly ready for reference to every Visitor.</i></h3> + + <p>***The Books themselves will be given <i>gratis</i> to every one + purchasing for four times the amount of their cost.</p> + +<hr class="short" > + + <p>BIBLIOTHECA AUCTORUM CLASSICORUM.—An Alphabetical Catalogue of + the Editions of the Greek and Latin Classics, their Translations, + Commentaries, and Dissertations, that have appeared in Germany and the + adjacent Countries [from 1700] up to the end of 1846. By <span + class="sc">W. Engelmann</span>. 8vo. 6<i>s.</i></p> + + <p>ERSCH.—Bibliographisches Handbuch der Philologischen Literatur + der Deutschen von 1750 bis 1845, in systemat. Ordnung mit Registern. 3rd + Edit. 8vo. 10<i>s.</i> 6<i>d.</i></p> + + <p>WAGNER.—Grundriss der Klassischen Bibliographie. 8vo. Bresl. + 1840 8<i>s.</i> 6<i>d.</i></p> + + <p>BIBLIOTHECA PHILOLOGICA.—I. Catalogue of Greek, Latin, and + Oriental Grammars, Dictionaries, &c., from 1750 to 1839. by <span + class="sc">W. Engelmann</span>. 8vo. 1840. 3<i>s.</i></p> + + <p>BIBLIOTHECA PHILOLOGICA.—II. Bibliothek der Neueren + Sprachen—Grammars, Dictionaries, &c. of Modern Languages, and + their Ancient and Modern Dialects, 1800—1841. 5<i>s.</i> 6<i>d.</i> + A Supplement, 1841—1849, 2<i>s.</i> 6<i>d.</i></p> + + <p>VATER'S LITERATURE OF LANGUAGES.—Die Literatur der Grammatiken, + Lexica und Wörtersammlungen aller Sprachen der Erde, v. <span + class="sc">J. S. Vater</span>. 2nd Edit. By <span class="sc">Julg</span>. + 8vo. Berlin, 1847. 10<i>s.</i> 6<i>d.</i></p> + + <p>BIBLIOTHECA ORIENTALIS.—Manuel de Bibliographie Orientale. I. + Livres Arabes, Persans et Turcs. Par Dr. <span class="sc">J. T. + Zenker</span>. 8vo. 1845. 8<i>s.</i></p> + + <p>BIBLIOTHECA SANSCRITÆ.—Concinnavit <span + class="sc">Gildemeister</span>. 8vo. 6<i>s.</i></p> + + <p>WINER.—Handbuch der Theologischen Literatur, vorzüglich d. + Protestantischen. 2 vols. 8vo., and Supplement up to the end of 1841. + 14<i>s.</i></p> + + <p>THESAURUS LIBRORUM REI CATHOLICÆ, with Supplement and Systematic + Index. 1850. 20<i>s.</i></p> + + <p>ERSCH.—Bibliographisches Handbuch der Philosophischen Literatur + der Deutschen, in systemat. Ordnung. 3d. Edit. 8vo. 1850. 3<i>s.</i> + 6<i>d.</i></p> + + <p>KAYSER'S BÜCHER-LEXICON, from 1750 to 1846. 6 vols. 4to., and Index, + to 1832, 5<i>l.</i> 8<i>s.</i> Vol. VII., 1833—1841, 35<i>s.</i> + Vol VIII., 1841—1846, 37<i>s.</i></p> + + <p>***A General Catalogue of all Books published in Germany.</p> + + <p>BIBLIOGRAPHIE BIOGRAPHIQUE, ou Dictionnaire de 26,000 Ouvrages, tant + anciens que modernnes, relatifs à l'Histoire de la Vie publicque et + privée des Hommes celèbres, par <span class="sc">E. M. Oettinger</span>. + Clth. brds. imp. 4to. Leipzig. 2<i>l.</i> 8<i>s.</i></p> + + <p>***Arranged alphabetically under the heads of the persons whose + biographies are enumerated.</p> + + <p>BIBLIOTHEK der schönen Wissenshaften (German Belles-Lettres), 2 vols. + 8vo.—Vol. II., 1836—1845, 8vo. 6<i>s.</i></p> + + <p>SCHWAB und KLÜPFEL.—Wegweiser durch die Literatur der Deutschen. + 2d Ed. 8vo. 1847. 5<i>s.</i></p> + + <p>BIBLIOTHECA JURIDICA.—Works on Roman, International, German Law. + &c., published in Germany from 1750—1830, (price 6<i>s.</i> + 6<i>d.</i>). Supplement, 1839—1848, with Indexes, 8vo. 3<i>s.</i> + 6<i>d.</i></p> + + <p>BIBLIOTHECA MEDICO-CHIRURGICA ET ANATOMICO-PHYSIOLOGICA.—A + Catalogue of all Works on Medicine, Surgery, Midwifery, Anatomy, and + Physiology, that have appeared in Germany from 1750 to 1847, with + Indexes, by <span class="sc">W. Engelmann</span>. 8vo. (740 pp.) + 7<i>s.</i> 6<i>d.</i></p> + + <p>N.B. Comparative Anatomy in the "<span class="sc">Bibliotheca + Zoologica</span>."</p> + + <p>BIBLIOTHECA ZOOLOGICA et PALÆONTOLOGICA.—The Literature of + Zoology and Palæontology, or a Systematic Catalogue of the Works on + Zoology and Fossil Animals and Plants, Comparative Anatomy, &c., + which have appeared in Europe to the end of 1845. Ed. by <span + class="sc">W. Engelmann</span>, 8vo. sd. 9<i>s.</i></p> + + <p>THESAURUS LITERATURÆ BOTANICÆ, omnium gentium, curavit <span + class="sc">G. A. Pritzel</span>. (to be completed in 8 fasc.). Fasc. I. + to V., A—Z, and Suppl., 1<i>l.</i> 15<i>s.</i></p> + + <p>BIBLIOTHECA MECHANICO-TECHNOLOGICA.—German Books on Arts, + Trades, Manufactures, Railroads, Machine-building, &c.; also + Buildings, Architecture, Ornaments, &c. Vol. I. to 1843, 6<i>s.</i>; + Vol. II., 1843 to 1849, 2<i>s.</i> 6<i>d.</i></p> + + <p>DEUTSCHLANDS MILITAIR LITERATUR, 1830 to 1850. Uebersicht der Karten + u. Pläne Central Europas. 2 vols. 8vo. 9<i>s.</i> 6<i>d.</i></p> + + <p>BIBLITOHECA ŒCONOMICA. Literatur der Haus u. Laudwirthschaft. + 8vo. sd. 1841. 5<i>s.</i></p> + + <p>BIBLIOTHECA MAGICA ET PNEUMATICA, by Dr. <span + class="sc">Grässe</span>. 8vo. 1843. 3<i>s.</i></p> + + <p>LITERATUR des SCHACHSPIELS, herausg. v. <span class="sc">A. + Schmid</span>. 8vo. Wien, 1847. 10<i>s.</i> 6<i>d.</i></p> + + <p>BIBLIOTHECA SHAHILUDII.—Bibliothèque du Jeu des Echecs, by <span + class="sc">E. M. Oettinger</span>. 8vo. 1844. 2<i>s.</i></p> + + <p>DANSK-NORSK CATALOG.—Catalogue Librorum in Dania et Norvegia + editorum, 1841. Two Supplements, 1841—1844.</p> + + <p>NORSK BOG-FORTEGNELSE, 1814-1847. Norwegian Books and Maps. 8vo. + Christian. 5<i>s.</i> 6<i>d.</i></p> + + <p>SVENSK BOKHANDELS-KATALOG, 1845. Supplements, with Indexes to 1848. + Stockholm.</p> + + <p>DUTCH CATALOGUES.—Naamlijst van Bocken, 1790—1838, and 2 + Supplements to 1848.</p> + +<hr class="short" > + + <p><i>The following Catalogues, being not merely Catalogues of Stock, may + be had</i> gratis:—</p> + + <p>1. WILLIAMS and NORGATES'S CATALOGUE OF GERMAN THEOLOGICAL BOOKS, 2 + Stamps.</p> + + <p>2. WILLIAMS and NORGATE'S CATALOGUE OF GENERAL GERMAN LITERATURE, 4 + Stamps.</p> + + <p>3. WILLIAMS and NORGATES SCHOOL CATALOGUE OF ELEMENTARY AND CLASSICAL + WORKS. Greek and Latin, German, Dutch, Danish, Swedish, &c., 1 + Stamp.</p> + + <p>4. WILLIAMS AND NORGATE'S CLASSICAL CATALOGUE. Supplement from + 1844—1849, 1 Stamp. A complete Catalogue reprinting.</p> + + <p>5. WILLIAMS AND NORGATES'S LINGUISTIC AND ORIENTAL CATALOGUES + (Reprinting).</p> + + <p>6. WILLIAMS AND NORGATE'S GERMAN BOOK CIRCULAR. <span class="sc">New + Books</span> published Quarterly and sent Gratis to their Customers.</p> + +<hr class="short" > + +<h3>WILLIAMS AND NORGATE,</h3> + +<p class="cenhead"><b>Importers of German, Classical, Oriental, Dutch, Danish, Swedish, Russian Books, &c.</b></p> + +<p class="cenhead">14. HENRIETTA STREET, COVENT GARDEN.</p> + +<hr class="full" > + + <p>Printed by <span class="sc">Thomas Clark Shaw</span>, of No. 8. New + Street Square, at No. 5. New Street Square, in the Parish of St. Bride in + the City of London; and published by <span class="sc">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, October 26. 1850.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 52, October +26, 1850, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, ISSUE 52 *** + +***** This file should be named 22624-h.htm or 22624-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/2/6/2/22624/ + +Produced by Charlene Taylor, Jonathan Ingram, Keith Edkins +and the Online Distributed Proofreading Team at +https://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. 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