diff options
Diffstat (limited to '26121-h')
| -rw-r--r-- | 26121-h/26121-h.htm | 2792 |
1 files changed, 2792 insertions, 0 deletions
diff --git a/26121-h/26121-h.htm b/26121-h/26121-h.htm new file mode 100644 index 0000000..b72c771 --- /dev/null +++ b/26121-h/26121-h.htm @@ -0,0 +1,2792 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Notes and Queries, Issue 33. + </title> + <style type="text/css" media="screen"> +html {margin:0; padding: 0;} +body {margin-left: 10%; margin-right: 10%;} +h1,h2,h3 {text-align: center;} +h2 {margin-bottom: 2em;} +p {margin:1em 0 0 0;} +table {margin-left: auto; margin-right: auto;} +.pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right;} +.center {text-align: center;} +.smcap {font-variant: small-caps;} +.poem {margin-left:10%; margin-right:10%; text-align: left;} +.poem br {display: none;} +.poem .stanza {margin: 1em 0em 1em 0em;} +.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} +.poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} +.poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} +.masthead h1 {margin:0 0 0 0;} +.masthead .subtitle { text-align:center; white-space:pre; line-height: 1.5em; font-size: 125%; } +.masthead .smaller {font-size:smaller;} +.masthead hr {margin:1em auto;} +.masthead hr.half {width: 50%;} +.ralign-thirty {position: absolute; right: 30%;} +.contents {font-size: .90em; margin: 1em 0 0 5em;} +.contents .ralign { position:absolute; right: 30%; } +.contents dt {margin:0 0 1ex 0;} +.contents dd {margin: .25ex 0 0 1em;} +.contents dd + dt { margin:1ex 0 1ex 0;} +.contents .wrapped {margin-right: 50%;} +.fs150em {font-size: 1.50em;} +.smaller {font-size: smaller;} +hr.hidden {visibility: hidden;} +hr {margin: auto;} +hr.chapter {margin-top: 4em; margin-bottom: 3em;} +hr.short {width: 10%;} +hr.quarter {width: 25%;} +hr.half {width: 50%;} +hr.full {width: 85%;} +hr.section { margin-top: 3ex; margin-bottom: 3ex;} +.author {text-align: right;} +.lower {text-transform: lowercase;} +sup { vertical-align: text-top; } +.tnote {background-color:#ccc; margin:2em 10% 2em 10%; padding: 0.5em 1em;} +</style> +</head> +<body> + + +<pre> + +Project Gutenberg's Notes and Queries, Number 33, June 15, 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 33, June 15, 1850 + +Author: Various + +Release Date: July 24, 2008 [EBook #26121] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES, QUERIES, JUNE 15, 1850. *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, V. L. Simpson +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 class='tnote'>Transcriber's Note:<br /> +This text contains Greek <span lang='el' title='kyôn'>κυων</span> and Hebrew <span lang='he' title='lamed'>ל</span> +characters. You may want to change fonts if these characters render as ? or boxes +on your monitor.</p> + +<div><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></div> + +<div class="masthead"> +<h1>NOTES <span class="smaller">AND</span> QUERIES:</h1> + +<div class="subtitle"> +A MEDIUM OF INTER-COMMUNICATION +<span class="smaller">FOR</span> +LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC. +</div> + +<hr /> + +<div class="center"><strong>"When found, make a note of."</strong>—<span class="smcap">Captain Cuttle.</span></div> + +<hr /> + +<table class= 'masthead' summary='masthead'> +<col width='20%' /> +<col width='60%' /> +<col width='20%' /> +<tr> +<td class="tdmhl"><strong>No. 33.]</strong></td> +<td class="tdmhc"><span class="smcap"><strong>Saturday, June</strong></span> <strong>15. 1850.</strong></td> +<td class="tdmhr"><strong>Price Threepence.</strong> <br /><strong>Stamped Edition, 4<i>d.</i></strong></td> +</tr> +</table> + +<hr /> +</div> + +<div class="center fs150em">CONTENTS.</div> +<div><span class="ralign-thirty">Page</span></div> + +<dl class="contents"> +<dt><a href="#Notes"><span class="smcap">Notes</span>:—<br /></a></dt> +<dd><a href="#DR_WHICHCOTE_MICHAEL_AYNSWORTH_AND_LORD">Dr. Whichcote and + Lord Shaftesbury, by S. W. Singer</a><span class="ralign">33</span></dd> +<dd><a href="#THE_REBEL">The Rebel</a> <span class="ralign">34</span></dd> +<dd><a href="#THE_HIPPOPOTAMUS">Notes on the Hippopotamus.</a> <span class="ralign">35</span></dd> +<dd><a href="#FOLK_LORE">Folk Lore:—Northamptonshire Charms for + Wens,<br /> Cramp, Tooth-ache, West or Sty, &c.</a> <span class="ralign">36</span></dd> +<dd><a href="#BRASICHELLEN_AND_SERPILIUS_EXPURGATORY">Brasichellen and + Serpilius, by J. Sansom</a> <span class="ralign">37</span></dd> + +<dt><a href="#Queries"><span class="smcap">Queries</span>:—</a></dt> +<dd><a href="#SIR_GEORGE_BUC">Sir George Buc, by Rev. T. Corser</a> <span class="ralign">38</span></dd> +<dd><a href="#COSAS_DE_ESPANA">Cosas de España</a> <span class="ralign">39</span></dd> +<dd><a href="#CARTERS_DRAWINGS_OF_YORK_CATHEDRAL_MEDAL_OF_STUKELEY">Carter's + Drawings of York Cathedral, by J. Britton</a> <span class="ralign">40</span></dd> + +<dt class="wrapped"><a href="#Minor_Queries">Minor Queries:—</a> +"Imprest" and "Debenture"—Cosen's +MSS.—Barclay's Argenis—Clergy sold for Slaves— +Meaning of Pallet—Tobacco in the East—Stephanus +Brulifer <span class="ralign">40</span></dt> + +<dt><a href="#Replies">Replies:—</a></dt> +<dd><a href="#ASINORUM_SEPULTURA">Asinorum Sepultura</a> <span class="ralign">41</span></dd> +<dd><a href="#POPE_FELIX">Pope Felix</a> <span class="ralign">42</span></dd> +<dd><a href="#REPLIES_TO_NUMISMATIC_QUERIES">Replies to Numismatic Queries</a> <span class="ralign">42</span></dd> +<dd><a href="#AS_LAZY_AS_LUDLUMS_DOG">"As Lazy as Ludlum's Dog"</a> <span class="ralign">42</span></dd> +<dd class="wrapped"><a href="#Replies_to_Minor_Queries">Replies to Minor Queries:—</a>Lord John Townshend— +When Easter ends—Holdsworth and Fuller—Gookin +—"Brozier"—Symbols of Four Evangelists—Catacombs +and Bone-houses—Tace Latin for Candle— +Members for Durham—"A Frog he would," &c.— +Cavell—To endeavour ourselves—Three Dukes— +Christabel—Derivation of "Trianon" <span class="ralign">43</span></dd> + +<dt><a href="#Miscellaneous">Miscellaneous:—</a></dt> +<dd><a href="#NOTES_ON_BOOKS_CATALOGUES_SALES_ETC">Notes on Books, Catalogues, Sales, &c.</a> <span class="ralign">47</span></dd> +<dd><a href="#BOOKS_AND_ODD_VOLUMES">Books and Odd Volumes Wanted</a> <span class="ralign">47</span></dd> +<dd><a href="#Notices_to_Correspondents">Notices to Correspondents</a> <span class="ralign">47</span></dd> +<dd><a href="#NEW_WORKS_IN_GENERAL_LITERATURE">Advertisements</a> <span class="ralign">48</span></dd> +</dl> + +<hr class="chapter quarter" /> +<h2><a name="Notes" id="Notes"></a>Notes.</h2> + +<hr class="section hidden" /> + +<h3><a name="DR_WHICHCOTE_MICHAEL_AYNSWORTH_AND_LORD" +id="DR_WHICHCOTE_MICHAEL_AYNSWORTH_AND_LORD"></a>DR. WHICHCOTE, MICHAEL +AYNSWORTH, AND LORD SHAFTESBURY.</h3> + +<p>Not less remarkable and interesting than the +publication of Dr. Whichcote's Sermons by the +noble author of the <i>Characteristics</i>, is a posthumous +volume (though never designed for the press) +under the following title:—</p> + +<blockquote><p>"Several Letters written by a Noble Lord to a +Young Man at the University.</p> + +<p>"Quo semel est imbuta recens servabit odorem +Testa diu.—<i>Hor. Epist.</i> ii. 1.</p> + +<p>"Printed for J. Roberts, near the Oxford Arms, in +Warwick Lane, 1716. 8vo."</p></blockquote> + +<p>The young man was Michael Aynsworth, of +University College, Oxford, afterwards vicar of +Cornhampton, in Hampshire, and master of the +Free School there. He was a native of Dorsetshire; +his father, who was in narrow circumstances, +living near Wimborne St. Giles's, the seat of Lord +Shaftesbury, by whom the son seems to have been +nobly patronised, on account of his inclination to +learning and virtuous disposition.</p> + +<p>The published letters are only <i>ten</i> in number; +but I have an accurate manuscript transcript of +<i>fifteen</i>, made from the originals by R. Flexman +(who had been a pupil of Aynsworth) in 1768. +The transcriber's account is as follows:—</p> + +<blockquote><p>"After Mr. Aynsworth's death, these letters remained +in the possession of his daughter, and at her +decease passed into the the hands of the Rev. Mr. Upton, +the then vicar of Cornhampton; by him they were lent +to my brother John Baker, of Grove Place, in Hampshire, +who lent them to me. It will be perceived that +the ten printed letters are not given as they were written, +every thing of a private nature being omitted, and passages +only given of other letters, just as the editor +judged proper."</p></blockquote> + +<p>R. Flexman has made some remarks illustrative +of the letters at the end of his transcript, and +added some particulars relating to Lord Shaftesbury. +He justly says,—</p> + +<blockquote><p>"I think these letters will show his lordship in a +more favourable light with respect to the Christian religion +than his <i>Characteristics</i>, which, though they may +be condemned on that account, will ever remain a +lasting monument of the genius of the noble writer. +It is certain, too, the friends of Christianity are obliged +to him for the publication of one of the best volumes +of sermons that ever appeared in the English language. +They are twelve in number, by Dr. Benjamin Whichcote. +These sermons (as well as the preface, which +is admirable) breathe such a noble spirit of Christianity, +as I think will efface every notion that his lordship +was an enemy to the Christian religion. In this +preface he calls Dr. Whichcote (from his pleading in +defence of natural goodness) the 'preacher of good +nature.'"</p></blockquote> + +<p>What follows will, I think, be acceptable to your +correspondents C H. and C. R. S.</p> + +<blockquote><p>"I have heard that the way in which Lord Shaftesbury +got possession of the manuscript sermons was +this:—Going one day to visit his grandmother, the +Countess Dowager, widow of the first Earl, he found +<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>her reading a manuscript; on inquiring what she was +reading, she replied, that it was a sermon. His lordship +expressed his surprise that she should take so +much trouble as to read a manuscript sermon when +there were such numbers in print. She said, she could +find none so good as those she had in manuscript. Lord +Shaftesbury then requested the favour of being allowed +to peruse it, and having done so, he inquired of the +Countess if she had any more, as he should like to read +them all if she had. Having received and read them, +he was so much pleased, that he resolved to print them; +and having them prepared for the press, he published +them with a preface recommending the sermons and +highly praising the author."</p></blockquote> + +<p>It appears that the sermons were prepared for +the press, at Lord Shaftesbury's instance, by the +Rev. William Stephens, rector of Sutton, in +Surrey; but the fact of the preface being by himself +rests on the undoubted evidence of his sister, Lady +Betty Harris (wife of James Harris of Salisbury, +the author of <i>Hermes</i>), who mentioned having +written it from her brother's dictation, he being at +that time too ill to write himself.</p> + +<p>The letters to Michael Aynsworth are very interesting, +from their benevolent, earnest, and truly +pious spirit, and might even now be read with +advantage by a young student of theology: but, +being very severe in many places upon the greater +part of the body of the clergy <i>called</i> the Church +of England, could have been by no means palatable +to the High Church party,—</p> + +<blockquote><p>"Who no more esteem themselves a Protestant +Church, or in union with those of Protestant communion, +though they pretend to the name of Christian, +and would have us judge of the spirit of Christianity +from theirs; which God prevent! lest men should in +time forsake Christianity through their means."</p></blockquote> + +<p>The eleventh letter in the MS. is important on +account of the observations it contains on the +consequences which must inevitably arise from Locke's +doctrine respecting innate ideas. Locke had been +tutor both to Lord Shaftesbury and his father:—</p> + +<blockquote><p>"Mr. Locke, much as I honour him, and well as I +know him, and can answer for his sincerity as a most +zealous Christian believer, has espoused those +principles which Mr. Hobbes set on foot in the last century, +and has been followed by the Tindals and all the other +free authors of our time. 'Twas Mr. Locke that +struck the home blow, (for Hobbes' character and base +slavish principles of government took off the poison of +his philosophy), struck at all fundamentals, threw all +<i>order</i> and <i>virtue</i> out of the world, and made the very +<i>ideas</i> of these (which are the same as those of God), +unnatural and without foundation in our minds."</p></blockquote> + +<p>It is remarkable that the volume of Whichcote's +Sermons printed by Lord Shaftesbury should have +been republished at Edinburgh in 1742, with a +recommendatory epistle, by a Presbyterian divine, +Dr. Wishart, principal of the College of Edinburgh. +In the very neat reprint of the collected sermons +given by Dr. Campbell and Dr. Gerard, in 4 vols., +8vo., Aberdeen, 1751, prefixed to the third volume, +we also find Lord Shaftesbury's preface.</p> + +<p class="author smcap">S. W. Singer.</p> + +<p>Mickleham, June 4. 1850.</p> + +<hr class="short section" /> + +<h3><a name="THE_REBEL" id="THE_REBEL"></a>THE REBEL.</h3> + +<p>Sir,—The printed copy of a song which I inclose +is believed, by those who are the best judges, +to be the only copy, either printed or in manuscript, +now in existence. That circumstance may, +perhaps, render it acceptable to you: and I am not +collector of curiosities, and I beg you would do +what you please with it. The verses are plainly +more modern than the motto: for there are, I +think, two allusions to different plays of the +immortal bard of Stratford-on-Avon. But perhaps +you will think that he copied from it, as it is said +he sometimes did from things not so good as his +own. I do not believe, for my own part, that it +was written till after the Great Rebellion. Bishop +Christopherson, I take it, was a Roman Catholic, +but resident in England, and we see that he wrote +in English. The paper, you will observe, is foreign +by the texture, as well as by the water-mark, +which I cannot very well make out; but it seems +to be a bust of somebody; while the type looks +quite English, and therefore it is no proof that +it was printed abroad.</p> + +<p>As I give you my real name, I hope you will +not consider me as holding, or wishing to recommend, +such opinions as are contained in the verses: +and by way of protest, you will allow me to +subscribe myself, your obedient servant,</p> + +<p class="author smcap">Pacificus.</p> + +<p class="smcap center"><strong>The Rebel.</strong></p> + +<p>"A New Song, or Balade, shewing the naughty +conceits of Traytours; that all loial and true-hearted +men may know and eschew the same.</p> + +<blockquote><p>"<i>They counte Peace to be cause of ydelnes, and that it +maketh men hodipekes and cowardes.</i>"—Bp. Christopherson, +<i>Exh. ag. Rebel.</i> 1554.</p></blockquote> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tell me no more of Peace—<br /></span> +<span class="i0">'Tis cowardice disguised;<br /></span> +<span class="i0">The child of Fear and heartless Ease,<br /></span> +<span class="i0">A thing to be despised.<br /></span> +</div><div class="stanza"> +<span class="i0">"Let daffodills entwine<br /></span> +<span class="i0">The seely Shepherd's brow,<br /></span> +<span class="i0">A nobler wreath I'll win for mine,<br /></span> +<span class="i0">The Lawrel's manly bough.<br /></span> +</div><div class="stanza"> +<span class="i0">"May-garlands fitter shew<br /></span> +<span class="i0">On swains who dream of Love;<br /></span> +<span class="i0">And all their cherisance bestow<br /></span> +<span class="i0">Upon the whining dove—<br /></span> +</div><div class="stanza"> +<span class="i0">"I'll have no doves—not I—<br /></span> +<span class="i0">Their softness is disgrace;<br /></span> +<span class="i0">I love the Eagle's lightning eye,<br /></span> +<span class="i0">That stares in Phæbus' face.<br /></span> +</div><div class="stanza"> +<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> +<span class="i0">"I mark'd that noble thing<br /></span> +<span class="i0">Bound on his upward flight,<br /></span> +<span class="i0">Scatter the clouds with mighty wing,<br /></span> +<span class="i0">And breast the tide of light—<br /></span> +</div><div class="stanza"> +<span class="i0">"And scorn'd the things that creep<br /></span> +<span class="i0">Prone-visaged on the Earth;<br /></span> +<span class="i0">To eat it's fruits, to play, to sleep,<br /></span> +<span class="i0">The purpose of their birth.<br /></span> +</div><div class="stanza"> +<span class="i0">"Such softlings take delight<br /></span> +<span class="i0">In Cynthia's sickly beam—<br /></span> +<span class="i0">Give me a heav'n of coal black night<br /></span> +<span class="i0">Slash'd with the watch-fire gleam.<br /></span> +</div><div class="stanza"> +<span class="i0">"They doat upon the lute,<br /></span> +<span class="i0">The cittern and the lyre—<br /></span> +<span class="i0">Such sounds mine eare do little sute,<br /></span> +<span class="i0">They match not my desire.<br /></span> +</div><div class="stanza"> +<span class="i0">"The trumpet-blast—let it come<br /></span> +<span class="i0">In shrieks on the fitful gale,<br /></span> +<span class="i0">The charger's hoof beat time to the drum,<br /></span> +<span class="i0">And the clank of the rider's mail.<br /></span> +</div><div class="stanza"> +<span class="i0">"Not for the heaps untold<br /></span> +<span class="i0">That swell the Miser's hoard,<br /></span> +<span class="i0">I claim the birthright of the bold,<br /></span> +<span class="i0">The dowry of the Sword—<br /></span> +</div><div class="stanza"> +<span class="i0">"Nor yet the gilded gem<br /></span> +<span class="i0">That coronets the slave—<br /></span> +<span class="i0">I clutch the spectre-diadem<br /></span> +<span class="i0">That marshals on the brave.<br /></span> +</div><div class="stanza"> +<span class="i0">"For that—be Sin and Woe—<br /></span> +<span class="i0">All priests and women tell—<br /></span> +<span class="i0">Be Fire and Sword—I pass not tho'<br /></span> +<span class="i0">This Earth be made a Hell.<br /></span> +</div><div class="stanza"> +<span class="i0">"Above the rest to shine<br /></span> +<span class="i0">Is all in all to me—<br /></span> +<span class="i0">It is, unto a soul like mine,<br /></span> +<span class="i0">To be or not to be.<br /></span> +</div></div> + +<blockquote><p>"Printed with Permission of Superiours: And are +to be had of the Printer, at his House hard by the sign +of the Squirrel, over-against the way that leadeth to +the Quay."</p></blockquote> + +<p>P.S. Query, What is a "hodipeke?" Is it a +"hypocrite?" and should not "Phæbus," in the +fourth verse, be "Phœbus?"</p> + +<hr class="short section" /> + +<h3><a name="THE_HIPPOPOTAMUS" id="THE_HIPPOPOTAMUS"></a>THE HIPPOPOTAMUS.</h3> + +<p>The earliest mention of the hippopotamus is in +Herodotus, who in ii. 71. gives a detailed description +of this inhabitant of the Nile. He is stated by +Porphyry to have borrowed this description from +his predecessor Hecatæus (Frag. 292. ap. <i>Hist. Gr. +Fragm.</i>, vol. i. ed. Didot). Herodotus, however, +had doubtless obtained his account of the hippopotamus +during his visit to Egypt. Cuvier (<i>Trad. +de Pline</i>, par Grandsagne, tom. vi. p. 444.) remarks +that the description is only accurate as to the teeth +and the skin; but that it is erroneous as to the +size, the feet, the tail and mane, and the nose. +He wonders, therefore, that it should have been +repeated, with few corrections or additions, by +Aristotle (<i>Hist. An.</i>, ii. 1. and 7.; viii. 24.) and +Diodorus (i. 35.). Compare Camus, <i>Notes sur +l'Histoire des Animaux d'Aristote</i>, p. 418.</p> + +<p>None of the Greek writers appear to have seen +a live hippopotamus; nor is there any account of a +live animal of this species having been brought to +Greece, like the live tiger which Seleucus sent to +Athens. According to Pliny (<i>H. N.</i>, viii. 40.) +and Ammianus Marcellinus (xxii. 15.), the Romans +first saw this animal in the celebrated edileship of +Æmilius Scaurus, 58 <span class="smcap lower">B.C.</span>, when a hippopotamus +and five crocodiles were exhibited at the games, in +a temporary canal. Dio Cassius, however, states +that Augustus Cæsar first exhibited a rhinoceros +and a hippopotamus to the Roman people in the +year 29 <span class="smcap lower">B.C.</span> (li. 22.) Some crocodiles and hippopotami, +together with other exotic animals, were +afterwards exhibited in the games at Rome in the +time of Antoninus Pius (<span class="smcap lower">A.D.</span> 138-80. See Jul. +Capitolin. in <i>Anton. Pio</i>, c. 10.) and Commodus, +against his various exploits of animal warfare in the +amphitheatre, slew as many as five hippopotami +(<span class="smcap lower">A.D.</span> 180-92. See Dio Cass. lxxii. 10. and 19.; +and Gibbon, c. 4.). Firmus, an Egyptian pretender +to the empire in the time of Aurelian, +273 <span class="smcap lower">A.D.</span>, once rode on the back of a hippopotamus +(Flav. Vopiscus, in <i>Firmo</i>, c. 6.): but this feat was +probably performed at Alexandria.</p> + +<p>The hippopotamus being an inhabitant of the +Upper Nile, was imperfectly known to the ancients. +Fabulous anecdotes of its habits are recounted by +Pliny, <i>H. N.</i>, viii. 39, 40., and by Ælian, <i>De Nat. +An.</i>, v. 53. vii. 19. Achilles Tatius, who wrote as +late as the latter half of the fifth century of our +era, says that it breathes fire and smoke (iv. 2.); +while Damascius, who was nearly his contemporary +says that the hippopotamus is an unjust animal, +and represents Injustice in the hieroglyphic writing; +because it first kills its father and then violates its +mother (ap. Phot. <i>Bibl.</i> cod. 242., p. 322., b. 36. +ed. Bekker.).</p> + +<p>Strabo (xv. 1.) and Arrian (<i>Ind.</i>, c. 6.) say that +the products of the Indian rivers are similar to +those of Ethiopia and Egypt, with the exception +of the hippopotamus. They add, however, that +according to Onesicritus, even this exception did +not exist: for that the hippopotamus was found +in the rivers of India. The report of Onesicritus +was doubtless erroneous.</p> + +<p>Herodotus, Aristotle, and the other Greek writers constantly call +this animal +ἵπποϛ ποτάμιοϛ. The +Latin writers use the improper compound <i>hippo-potamus</i>; which, +according to the ordinary rule of Greek composition, means, not +a <i>river-horse</i>, but a <i>horse-river</i>. The only Greek writer in +whom I have found the compound word +ἱπποπόταμοϛ is Damascius, +who wrote in the sixth century. Achilles Tatius, who lived about the +same time, calls the animal +ἵπποϛ του Νείλου + which is, he +says, its Egyptian name. It seems probable that the +<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>word <i>hippopotamus</i> is a Roman corruption of the Greek +substantive and adjective, and is not a proper Greek word. Why this +animal was called a horse is not evident. In shape and appearance it +resembles a gigantic hog. Buffon says that its name was derived from +its <i>neighing</i> like a horse (<i>Quad.</i>, tom. v., p. 165.). But +query whether this is the fact?</p> + +<p>Bochart (<i>Hierozoicon</i>, P. ii., lib. v., c. 15, 16.) +identifies the "behemoth" of Job (c. 40.) with +the hippopotamus, and the "leviathan" with the +crocodile. This view seems to be generally adopted +by modern commentators. (See Winer, <i>Bibl. +Real-Wörterbuch</i>, art. "Nilpferd.")</p> + +<p>A <i>Historia Hippopotami veterum Critica</i>, by +J. G. Schneider, is appended to his edition of +<i>Artedi Synonymia Piscium</i>, p. 247.</p> + +<p>The accounts of the hippopotamus since the +revival of letters, beginning with that published by +Federigo Zerenghi, a Neapolitan surgeon, in 1603 +(see Buffon), appear to have been all derived from +dead specimens, or from the reports of travellers +in Africa. Query, Has there been a live hippopotamus +in Europe since the reign of Commodus, +with the exception of the young animal now in the +Zoological Gardens in the Regent's Park?</p> + +<p class="author">L.</p> + +<hr class="section short" /> + +<h2><a name="FOLK_LORE" id="FOLK_LORE"></a>FOLK LORE.</h2> + +<p class="center"><i>Folk Lore of South Northamptonshire.</i></p> + +<p><i>Charming.</i>—There are few villages in this district +which are not able to boast a professor of the +healing art, in the person of an old woman who +pretends to the power of curing diseases by "charming;" +and at the present day, in spite of coroners' +inquests and parish officers, a belief in the efficacy +of these remedies appears to be undiminished. Two +preliminaries are given, as necessary to be strictly +observed, in order to ensure a perfect cure. First, +that the person to be operated upon comes with a +full and earnest belief that a cure <i>will</i> be effected; +and, secondly, that the phrases "please" and +"thank you" do not occur during the transaction. +The established formula consists in the charmer's +crossing the part affected, and whispering over it +certain mysterious words—doubtless varied +according to the disorder, but the import of which I +have never been able to learn; for as there is a +very prevalent notion that, if once disclosed, they +would immediately lose their virtue, the possessors +are generally proof against persuasion or bribery. +In some cases it is customary for the charmer to +"bless" or hallow cords, or leathern thongs, which +are given to the invalids to be worn round the +neck. An old woman living at a village near +Brackley has acquired a more than ordinary renown +for the cure of agues by this means. According +to her own account, she received the +secret from the dying lips of her mother; who, in +her turn, is said to have received it from her's. +As this old dame is upwards of ninety, and still +refuses to part with her charm, the probability of +it perishing with her, forms a constant theme of +lamentation among her gossips. It must not be +imagined that these ignorant people make a trade +of their supposed art. On the contrary, it is believed +that any offer of pecuniary remuneration +would at once break the spell, and render the +charm of no avail; and though it must be admitted +that the influence and position naturally +accruing to the possessor of such attributes, affords +a sufficient motive for imposture, yet I think, for +the most part, they may be said to be the dupes +of their own credulity, and as fully convinced of +their own infallibility as can be the most credulous +of their admirers.</p> + +<p>The following are a few of the more common +traditionary charms (used without having recourse +to the charmer) at present current among the rural +population of this district.</p> + +<p><i>Warts.</i>—Take one of the large black snails, +which are to be found during summer in every +hedgerow, rub it over the wart, and then hang it +on a thorn. This must be done nine nights successively, +at the end of which times the wart will +completely disappear. For as the snail, exposed +to such cruel treatment, will gradually wither +away, so it is believed the wart, being impregnated +with its matter, will slowly do the same.</p> + +<p><i>Wens.</i>—After a criminal is dead, but still +hanging, his hand must be rubbed thrice over the +wen. (Vide <i>Brand</i>, vol iii. p. 153.) Many persons +are still living who in their younger days have +undergone the ceremony, always, they say, attended +with complete success. On execution days at +Northampton, numbers of sufferers used to congregate +round the gallows, in order to receive the +"dead-stroke," as it is termed. At the last execution +which took place in that town, a very few +only were operated upon, not so much in consequence +of decrease of faith, as from the higher fee +demanded by the hangman.</p> + +<p><i>Epistaxis.</i>—For stopping or preventing bleeding +at the nose, a toad is killed by transfixing it +with some sharp pointed instrument, after which +it is inclosed in a little bag and suspended round +the neck. The same charm is also occasionally +used in cases of fever. The following passage +From Sir K. Digby's <i>Discourse on Sympathy</i> +(Lond. 1658) may enlighten us as to the principle:—</p> + +<blockquote><p>"In time of common contagion, they use to carry +about them the powder of a toad, and sometimes a +living toad or spider shut up in a box; or else they +carry arsnick, or some other venemous substance, which +<i>draws unto it the contagious air</i>, which otherwise would +infect the party." p. 77.</p></blockquote> + +<p><i>Another for the Same.</i>—If it be a man who +suffers, he asks a female to buy him a lace, (if a +<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>female she asks a man), without either giving money, +saying what it is wanted for, or returning thanks +when received. The lace so obtained must be +worn round the neck for the space of nine days; +at the expiration of which, it is said, the patient +will experience no return of the disorder.</p> + +<p><i>Cramp.</i>—We still retain such a high sense of +the efficacy of the form of the cross, that in case of +spasms, or that painful state of the feet in which +they are said to "sleep," it is commonly used, +under the impression that it mitigates, if not entirely +allays, the pain. Warts are also charmed +away by crossing them with elder sticks: and a +very common charm for the cramp consists in the +sufferer's always taking care, when he pulls off his +shoes and stockings, to place them in such a position +as to form a resemblance to the "holy sign."</p> + +<p>Another and very common charm resorted to for +the cure of this painful disorder, consists in the +wearing about the person the patella of a sheep or +lamb, here known as the "cramp-bone." This is +worn as near the skin as possible, and at night is +laid under the pillow. One instance of a <i>human</i> +patella being thus used has come under my notice, +but I believe this to be by no means common.</p> + +<p><i>Toothache.</i>—Few ailments have more charms +for its cure than this. In point of efficacy none +are reckoned better than a tooth taken from the +mouth of a corpse, which is often enveloped in a +little bag, and hung round the neck. A double +nut is also sometimes worn in the pocket for the +same purpose.</p> + +<p><i>Hooping-cough.</i>—A small quantity of hair is +taken frown the nape of the child's neck, rolled up +in a piece of meat, and given to a dog, in the firm +belief that the disease thereby becomes transferred +to the animal. A friend informs me that the same +charm is well known in Gloucestershire.</p> + +<p><i>Rheumatism.</i>—The right forefoot of a hare, worn +constantly in the pocket, is considered a fine amulet +against the "rheumatiz."</p> + +<p><i>West.</i>—In order to be rid of the painful tumour +on the eyelid, provincially known as the <i>west</i> or +<i>sty</i>, it is customary for the sufferer, on the first +night of the new moon, to procure the tail of a +black cat, and after pulling from it one hair, rub +the tip <i>nine</i> times over the pustule. As this has a +very cabalistic look, and is moreover frequently +attended with sundry severe scratches, a gold ring +is found to be a much more harmless substitute; +and as it is said to be equally beneficial with the +former, it is now more commonly used. This +superstition is alluded to by Beaumont and +Fletcher, <i>Mad Lovers</i>, v. 4.:—</p> + +<p> +<span style="margin-left: 1em;">"—— I have a <i>sty</i> here, Chilax.</span><br /> +<br /> +<i>Chi.</i> I have no gold to cure it, not a penny."<br /> +</p> + +<p><i>Thorn.</i>—The following word charm is used to +prevent a thorn from festering:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Our Saviour was of a virgin born,<br /></span> +<span class="i0">His head was crowned with a crown of thorn;<br /></span> +<span class="i0">It never canker'd nor fester'd at all,<br /></span> +<span class="i0">And I hope in Christ Jesus this never shaull [shall]."<br /></span> +</div></div> + +<p>This will remind the reader of the one given by +Pepys, vol. ii. p. 415.</p> + +<p class="author">T. S.</p> + +<hr class="section short" /> + +<h3><a name="BRASICHELLEN_AND_SERPILIUS_EXPURGATORY" + id="BRASICHELLEN_AND_SERPILIUS_EXPURGATORY"></a>BRASICHELLEN AND + SERPILIUS—EXPURGATORY INDEX.</h3> + +<p>I have a note, and should be glad to put a +query, on the subject of a small octavo volume, +of which the title is, "Indicis Librorum Expurgandorum, +in studiosorum gratiam confecti, +tomus primus; in quo quinquaginta auctorum +libri præ cæteris desiderati emendantur. Per Fr. +Io. Mariam Brasichellensem, sacri Palatii Apostolici +Magistrum, in unum corpus redactus, et publicæ +commoditati editus. Superiorum permissu, Romæ, +1607." Speaking of this index, Mendham says:—</p> + +<blockquote><p>"We now advance to perhaps the most extraordinary +and scarcest of all this class of publications. It is the +first, and last, and incomplete Expurgatory Index, which +Rome herself has ventured to present to the world, and +which, soon after the deed was done, she condemned +and withdrew.... After a selection of some of the +rules in the last edition of the Expurgatory Index, the +editor in his address informs the reader, that, understanding +the expurgation of books to be not the least +important part of his office, and wishing to make books +more accessible to students than they were without expurgation, +he had availed himself of the labours of his +predecessors, and, adding his own, issued the present +volume, intending that a second, which was in +great readiness, should quickly follow; (but, alas! it +was not allowed so to do). Dated Rome, from the +Apostolic Palace, 1607.... Nothing more remains +on the subject of this Index, than to report what is +contained in the inaccessible work of Zobelius, <i>Notitia +Indicis</i>, &c., but repeated from by Struvius or Ingler, his +editor, in the <i>Bibliotheca Hist. Lit.</i>—that Brasichellen +or Guanzellus was assisted in the work by Thomas +Malvenda, a Dominican; that another edition was +printed at Bergomi in 1608; that when a fresh one +was in preparation at Antwerp in 1612, it was suppressed; +and that, finally, the author, like Montanus, +found his place in a future index."</p></blockquote> + +<p>The second volume promised never appeared. +The work, however, became exceedingly scarce; +which induced Serpilius, a priest of Ratisbon, in +1723, to print an edition so closely resembling the +original, as to admit of its being represented as the +same. The imposition, however, being detected, +another edition was prepared by Hesselius, a +printer of Altorf, in 1745; and then the remaining +copies of the former threw off their mask, and +appeared with a new title-page as a second edition. +The original and counterfeit editions of this peculiar +work are sufficiently alike to deceive any +person, who should not examine them in literal +juxtaposition; but upon such examination, the deception +<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>is easily apparent. The one, however, +may be fairly considered as a fac-simile of the +other. (See the Rev. Joseph Mendham's <i>Literary +Policy of the Church of Rome exhibited</i>, &c., chap. +iii. pp. 116-128.) Mendham adds, that "there +is a copy of the original edition" of this index "in +the Bodleian Library, Oxford," presented to Sir +Thomas Bodley by the Earl of Essex, together +with the Belgic, Portuguese, Spanish and Neapolitan +Indices, all which originally belonged to the +library of Jerom Osorius, but had become part of +the spoil of the expedition against Cadiz in 1596. +I am acquainted with the Bodleian copy of the +original edition of this rare work; but I wish to +put the Query—Where is a copy of the <i>counterfeit +edition</i> of Serpilius to be seen, either with its +original title-page, or as it appeared afterwards, +when the mask was thrown off? I am not aware +that any one of our public libraries (rich as several +of them are in such treasures) contains a copy of +this curious little impostor.</p> + +<p class="author smcap">J. Sansom.</p> + +<p>8. Park Place, Oxford, May 29. 1850.</p> + +<hr class="section short" /> + +<h2><a name="Queries" id="Queries"></a>Queries</h2> + +<h3><a name="SIR_GEORGE_BUC" id="SIR_GEORGE_BUC"></a>SIR GEORGE BUC.</h3> + +<p>Can any of your readers inform me on what +authority Sir George Buc, the poet, and Master of +the Revels in the reign of James I., is recorded by +his biographers to have been a native of Lincolnshire, +and to have died in 1623? In the <i>Biogr. +Britann.</i>, and repeated by Chalmers, it is stated +that he was born in Lincolnshire, in the sixteenth +century, descended from the Bucs, or Buckes, of +West Stanton and Herthill, in Yorkshire, and +Melford Hall, in Suffolk, and knighted by James I. +the day before his coronation, July 13, 1603. Mr. +Collier, in his <i>Annals of the Stage</i>, vol. i., p. 374, +says, that on the death of Edmund Tylney, in +October, 1610, he succeeded him as Master of the +Revels, and wrote his Treatise on the Office of the +Revels prior to 1615. He also says,—</p> + +<blockquote><p>"In the spring of 1622, Sir George Buc appears to +have been so ill and infirm, as to be unable to discharge +the duties of his situation, and on the 2nd of May in +that year, a patent was made out, appointing Sir John +Astley Master of the Revels."—<i>Biogr. Britann.</i>, p. 419.</p></blockquote> + +<p>Ritson says that he died in 1623. Chalmers +supposed his death to have happened soon after +1622, and states that he certainly died before +August 1629.</p> + +<p>My reason for making these inquiries is, that I +have in my possession a 4to. manuscript volume, +believed to be in the handwriting of this Sir +George Buc, which is quite at variance with these +statements in several particulars. The volume +which is without a date in any part, and has only +the initials of the author, is entitled <i>The Famous +History of Saint George, England's brave Champion. +Translated into Verse, and enlarged. The +three first Chapters by G. B. His first Edition.</i> +It is extended to nineteen chapters, and comprehends +also the histories of the other six champions, +as well as that of St. George. It is contained in a +thick 4to. volume of 524 closely written pages, in +Russia, and was formerly in the collection of the +Duke of Roxburghe, whose arms are on the sides; +and afterwards in that of Mr. Heber. This MS. +is entirely in the handwriting of Sir George Buc, +as prepared by him for publication. The initials +"G. B." correspond with those of his name, and +the handwriting, having been compared, is found +to be exactly similar to a MS. inscription, in Sir +George Buc's handwriting, prefixed to a copy of +his poem + Δαϕνὶϛ Πολυδτέϕανοϛ + 4to., 1605, presented +by him to Lord Chancellor Ellesmere, and +preserved at Bridgewater House; a fac-simile of +which is given by Mr. Collier in his privately +printed catalogue of that library, p. 41.</p> + +<p>The volume commences with a sort of metrical +preface, entitled <i>The Muse's Apologie</i>, in which he +says,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Consider that my Muse is aged growne,<br /></span> +<span class="i0">Whose pilgrimage to <i>seventy-six is knowne</i>."<br /></span> +</div></div> + +<p>And again:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Thy nimble steps to <i>Norfolk</i> none forbeare,<br /></span> +<span class="i0">I'm confident thou shalt be welcom'd there,<br /></span> +<span class="i0">Where that thy autor <i>hee was bred and borne</i>,<br /></span> +<span class="i0">Though to Parnassus Girles was never sworne."<br /></span> +</div></div> + +<p>The work is dedicated "To the vertuous Lady +and his most honoured friend, the Lady Bacon, at +Readgrave Hall, in Suffolk, wife to S<sup>r</sup> Edmond +Bacon, Prime Baronett of England," commencing +thus:—</p> + +<blockquote><p>"Faire madam,—Having nothing at present, I +thought was fitt (<i>living at so far distance</i>) to present +to y<sup>r</sup> ladyship," &c.</p></blockquote> + +<p>The distance here alluded to was probably +caused by the author's residence in London at that +time. This is followed by some lines "To the +Courteous Reader," beginning,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Some certaine Gentlemen did mee ingage<br /></span> +<span class="i0">To publish forth this work, done in myne age<br /></span> +<span class="i0">That this, my aged act, it may survive<br /></span> +<span class="i0">My funerall and keep me still alive."<br /></span> +</div></div> + +<p>and by others, entitled "The Autor," signed +"Vale, G. B.;" after which are added the following +lines:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Some Poets they are poore, and so am I,<br /></span> +<span class="i0"><i>Except I bee reliev'd in Chancery</i>;<br /></span> +<span class="i0">I scorne to begg, my pen nere us'd the trade,<br /></span> +<span class="i0">This book to please my friends is only made,<br /></span> +<span class="i0">Which is performed by my aged quill,<br /></span> +<span class="i0">For to extend my country my good will.<br /></span> +<span class="i0">Let not my country think I took this paynes<br /></span> +<span class="i0">In expectation of any gaines."<br /></span> +</div></div> + +<p>We know from Mr. Collier's Bridgewater Catalogue, +that Sir George Buc had been indebted to +<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>Lord Ellesmere for certain favours shown him, +probably in some Chancery suit, to which he here +seems to allude, as if still suffering in his pocket +from its ill consequences.</p> + +<p>My first quotation from the poem itself is one of +some importance, as serving to show the probable +time at which it was written. On the reverse of +fol. 9., at the commencement of the poem, an allusion +is thus made to the destruction of Troy:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"And wasted all the buildings of the king,<br /></span> +<span class="i0">Which unto Priamus did glory bring,<br /></span> +<span class="i0">Destroy'd his pallaces, the cittie graces,<br /></span> +<span class="i0">And all the lusters of his royall places,<br /></span> +<span class="i0"><i>Just as Noll Cromewell in this iland did,</i><br /></span> +<span class="i0"><i>For his reward at Tiburne buried.</i>"<br /></span> +</div></div> + +<p>So also, again, on the reverse of fol. 11., in reference +to the abuses and profanations committed +by Cromwell's soldiery in St. Paul's Cathedral, he +says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Pittie it were this faberick should fall<br /></span> +<span class="i0">Into decay, derives its name from Paul,<br /></span> +<span class="i0"><i>But yet of late it suffered vile abuses,</i><br /></span> +<span class="i0"><i>Was made a stable for all traytors' uses</i>,<br /></span> +<span class="i0">Had better burnt it down for an example,<br /></span> +<span class="i0">As Herostratus did Diana's temple."<br /></span> +</div></div> + +<p>And again, at the commencement of the eighth +chapter, fol. 104.:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In this discourse, my Muse doth here intend,<br /></span> +<span class="i0">The honor of Saint Patrick to defend,<br /></span> +<span class="i0">And speake of his adventrous accidents,<br /></span> +<span class="i0">Of his brave fortunes, and their brave events,<br /></span> +<span class="i0">That if her pen were made of <i>Cromwell's rump</i>,<br /></span> +<span class="i0">Yet she should weare it to the very stump."<br /></span> +</div></div> + +<p>At the end of the poem he again alludes to his +great age, and to the time which had been occupied +in writing it, and also promised, if his life should +be prolonged, a second part, in continuation, +which, however, appears never to have been +accomplished:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"My Muse wants eloquence and retoricke,<br /></span> +<span class="i0">For to describe it more scollerlike,<br /></span> +<span class="i0">And doth crave pardon for hir bold adventure,<br /></span> +<span class="i0">When that upon these subjects she did enter.<br /></span> +<span class="i0">'Tis eight months since this first booke was begun,<br /></span> +<span class="i0">Come, Muse, breake off, high time 'tis to adone.<br /></span> +<span class="i0">Travell no further in these martiall straines,<br /></span> +<span class="i0">Till we know what will please us for our paines.<br /></span> +<span class="i0">I know thy will is forward to performe,<br /></span> +<span class="i0">What age doth now deny thy quill t' adorne,<br /></span> +<span class="i0">Whose age is <i>seventy-sixe, compleat in yeares</i>,<br /></span> +<span class="i0">Which in the Regester at large appeares."<br /></span> +<span class="i4">&c. &c. &c. &c.<br /></span> +</div></div> + +<p>Cromwell died Sept. 3. 1658, and was interred +in Westminster Abbey; but his bones were not +removed and buried at Tyburn till the 30th of +January, 1660; very soon after which it is most +probable that this poem was written. Now if the +author was, as he says, seventy-six at this time, he +must have been born about 1583 or 1584, which +will rightly correspond with the account given by +Chalmers and others; and thus he would be about +twenty-two or twenty-three years of age when he +wrote his first poem of Δαϕνὶϛ Πολυδτέϕανοϛ, +twenty-seven when he succeeded to the office of +Master of the Revels. There appears to be no +reason for supposing, with Ritson, that <i>The Great +Plantagenet</i>, which was the second edition of that +poem, and published in 1635, was done "by some +fellow who assumed his name;" but that the variations, +which are very considerable, were made by +the author himself, and printed in his lifetime. +The Dedication to Sir John Finch, Lord Chief +Justice of the Common Pleas, signed "George +Buck," and written exactly in his style; the three +sets of commendatory verses addressed to the +author by O. Rourke, Robert Codrington, and +George Bradley, not in the first edition of the +poem "Upon King Henrie the Second, the first +Plantagenet of England," &c., added to this impression; +all tend to show that the author was then +living in 1635. We learn by the above quotations +from his MS. poem, that his days were further +prolonged till 1660.</p> + +<p>Perhaps some of your numerous readers may be +able to discover some corroborative proofs of this +statement from other sources, and will be kind +enough to favour me, through your paper, with any +evidence which may occur to then, bearing upon +the subject of my inquiries.</p> + +<p class="author smcap">Thomas Corser.</p> + +<p>Stand Rectory.</p> + +<hr class="section hidden" /> +<h3><a name="COSAS_DE_ESPANA" id="COSAS_DE_ESPANA"></a>COSAS DE ESPAÑA.</h3> + +<p>The things of Spain are peculiar to a proverb, +but they are not so exclusively national but we +may find some connection with them in things of +our own country. Any information from readers +of <span class="smcap">Notes and Queries</span>, on a few Spanish things +which I have long sought for in vain, would prove +most acceptable and useful to me.</p> + +<p>1. In <i>Catalogi Librorum Manuscriptorum, Angliæ +et Hiberniæ</i>, &c., under "Library of Westminster +Abbey," at p. 29., I find mentioned the +following MS.: <i>Una Resposal del Reverend Padre +Thomaso Cranmero</i>. It is not now in that library—is +it in any other? I suppose it may be a +translation, made by Francisco Dryander or Enzinas, +translator of the Spanish New Testament, +1543, of—"An Answer by the Right Rev. Father +in God, Thomas, Abp. of Canterbury, unto a crafty +and sophistical cavillation devised by Stephen +Gardener," &c. Dryander came to this country with +Bucer, recommended to Cranmer by Melancthon, +and resided two months in the Archbishop's house +before he went to Cambridge to lecture in Greek.</p> + +<p>2. Ferdinando de Tereda, a Spanish Protestant, +came to this country in 1620. The Lord Keeper +Williams took him into his house to learn Spanish +of him, in order to treat personally with the +Spanish ambassador about the marriage of Prince +<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>Charles and the Infanta. At this instance, +Tereda translated the English Liturgy into Spanish +(1623), and was repaid by presentation to a +prebend at Hereford. On the death of James, in +1625, he left, as he says, the Court, before the +Court left him, and retired to Hereford. Here he +adds: "I composed a large volume <i>De Monachatu</i>, +in Latin; another <i>De Contradictionibus Doctrinæ +Ecclesiæ Romanæ</i>, in the same language; and a +third, entitled <i>Carrascon</i>, also in Latin." In 1631-2 +he vacated his prebend, and went, I conjecture, to +Holland, where he printed <i>Carrascon</i> in <i>Spanish</i> +(1633), being a selection from the Latin. In the +preface to this, which recently had been reprinted, +he proposed to print the other works which he had +prepared, if the Spanish <i>Carrascon</i> brought him +"good news." Do his Latin works exist either in +print or in manuscript?</p> + +<p>3. Juan de Nicholas y Sacharles was another +Spanish Protestant, who came to this country in +1618. He translated the <i>Bouclier de la Foi</i>, by +P. Moulin, into Spanish; he presented it, I conjecture +in MS., to Prince Charles about the year +1620. Is such a MS. known to exist in any of our +libraries?</p> + +<p>4. The recent <i>History of Spanish Literature</i>, by +George Ticknor, has made us generally acquainted, +that the author of the clever "Dialogo de las Lenguas," +printed in <i>Origines de la Lengua Española</i> +by Gregorio Mayans y Siscar, was Juan de Valdes, +to whom Italy and Spain herself owed the +dawning light of the religious reformation which +those countries received. Spaniards well informed +in their own literature have of course been long +aware of the authorship of the "Dialogo de las +Lenguas." But few even of them are aware that +Mayans y Siscar could not, even at so late a period, +venture to reprint the work, as it was written by +Juan de Valdes. He suppressed various passages, +for the Inquisition was in his day too jealous and +powerful for him to risk offence. Notwithstanding, +and as <i>una cosa de España</i>, he printed a few copies +privately, entire. Expurgated books are always +unsatisfactory mutilations. Does any <i>Manuscript</i> +of the "Dialogo de las Lenguas" exist in this +country, in any public or private library?</p> + +<p class="author">Wn.</p> + +<hr class="section short" /> + +<h3><a name="CARTERS_DRAWINGS_OF_YORK_CATHEDRAL_MEDAL_OF_STUKELEY" id="CARTERS_DRAWINGS_OF_YORK_CATHEDRAL_MEDAL_OF_STUKELEY"></a>CARTER'S DRAWINGS OF YORK CATHEDRAL.—MEDAL OF STUKELEY.</h3> + +<p>I shall be glad to ascertain, if possible, through +the medium of your columns, who is now the +possessor of a volume of elaborate <i>Drawings of +York Cathedral</i>, which were made by the late John +Carter, F. S. A., for Sir Mark M. Sykes, Bart. +Mr. Carter was paid a large sum on account of +these drawings during the progress of his task, but +after the death of the baronet, he demanded such +an extravagant price that the executors declined +to take the volume. At the sale of the artist's +effects it was sold to Sir Gregory Page Turner, +Bart., for 315<i>l.</i> It again came to the hammer, +and was purchased by John Broadley, Esq., at +whose sale it was disposed of for 100<i>l.</i> I cannot +ascertain the purchaser on the last occasion, and +am very desirous to learn where the drawings are +now to be found.</p> + +<p>The same artist also prepared a series of drawings +illustrative of English costume from the +earliest period. This volume was executed for +Thomas Lister Parker, Esq., but, like the former, +has passed into the custody of other persons, and +I am now ignorant of its possessor.</p> + +<p>I have not yet received any reply to my inquiry +in Vol. i. p. 122., respecting a large bronze medal +of Dr. Stukeley, with a view of Stonehenge on the +reverse, evidently executed soon after his decease. +I believe it to be unique, but should be glad to +know if dies were ever engraved from this design.</p> + +<p class="author smcap">J. Britton.</p> + +<p>Burton Street, June 1. 1850.</p> + +<hr class="section short" /> + +<h2><a name="Minor_Queries" id="Minor_Queries"></a>Minor Queries.</h2> + +<p><i>"Imprest" and "Debenture."</i>—When a person +fulfilling any employment under any of the Government +Boards has occasion to draw "money on +account," an "imprest," addressed to the pay-master +under that Board, is issued for the required +sum; but when the final payment is made upon +the "closing of the account," the "debenture" +takes the place of the "imprest." Out of what +verbal raw material are these words manufactured? +I know of no other use of the word "imprest" as +a substantive; and though we see "debenture" +often enough in railway reports, I cannot perceive +the analogy between its meanings in the two cases.</p> + +<p class="author">D. V. S.</p> + +<p>Home, May 17.</p> + + +<p><i>Cosin's MSS.</i>—Basire, in his <i>Brief of the Life, +&c. of Bishop Cosin</i>, appended to his <i>Funeral +Sermon</i> (Lond. 1673, p. 69.), after noticing +several MS. works of Cosin's, some of which have +not yet seen the light, adds, "These remains are +earnestly recommended to his pious executor's +care for publication."</p> + +<p>Can any of your correspondents kindly inform +me, who are the lineal representatives of Cosin's +pious executor? Basire mentions three "imperfect" +works of Bishop Cosin's in manuscript: viz. +<i>Annales Eccles.</i>, <i>Historia Conciliorum</i>, <i>Chronologia +Sacra</i>. Is it known what has become of +them? They appear to have fallen, with other +MSS., into the hands of his executor.</p> + +<p class="author smcap">J. Sansom.</p> + +<p><i>Barclay's Argenis.</i>—What are the latest editions +of this romance—the best, in Cowper's opinion, +ever written, which Coleridge laments as being so +<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>little known, and which has been translated, I +believe, into all the European languages? What +are the principal as well as the latest <i>English</i> +translations?</p> + +<p class="author smcap">Jartzberg.</p> + + +<p><i>Clergy sold for Slaves.</i>—Walker, in his <i>Sufferings +of the Clergy</i>, says, "There was a project +on foot to sell some of the most eminent" (of the +masters of colleges, doctors in divinity, &c.) "to +the Turks for slaves; and a considerable progress +was made in that horrid purpose." And, writing +of Dr. Ed. Layfield, under the head of "London +Cathedrals," Walker again says, that "at last, in +the company of others, he was clapt on shipboard +under hatches;" and that "they were threatened +to be sold slaves to the Algerines, or to some of +our own plantations." Again, it is recorded in +Bishop Cosin's life, that by his will "he gave +towards the redemption of Christian captives at +Algiers, 500<i>l.</i>; towards the relief of the distressed +loyal party in England, 800<i>l.</i>:"—upon which I +should be glad to put a Query; viz., Is there +sufficient ground for supposing, that any of the +loyal party were really sold for slaves during the +rebellion? If otherwise, will Cosin's bequest throw +any light upon R. W. B.'s Query, vol. i., p. 441.?</p> + +<p class="author smcap">J. Sansom.</p> + + +<p><i>Meaning of Pallet.</i>—About a mile from Hume +Castle, on the Scotch border, is a rock hill, which +is called Hume <i>Pallet</i>.</p> + +<p>The only other name of the kind in this district +is Kilpallet, in the heart of the Lammermuir hills, +on the borders of Berwickshire and East Lothian. +There was at this latter place once a religious +house of some kind, and a burying ground, now +hardly visible.</p> + +<p>What is the meaning of the word <i>Pallet</i>?</p> + +<p class="author">J. S. Q.</p> + + +<p><i>Tobacco in the East.</i>—Can any of your readers +inform me whether tobacco is indigenous to any +part of Asia? Also, whether the habit of smoking +(opium or tobacco), now universal <i>over the East</i>, +dates there from before the discovery of America? +And if not, from what period?</p> + +<p class="author">Z. A. Z.</p> + + +<p><i>Stephanus Brulifer.</i>—Can any of your correspondents +kindly refer me to a library containing +a copy of Stephanus Brulifer, in lib. iv. <i>Sentent. +Seraphici Doctoris Bonaventuræ</i>, 8vo. Basil. 1507?</p> + +<p class="author smcap">J. Sansom.</p> + +<hr class="section short" /> +<h2><a name="Replies" id="Replies"></a>Replies.</h2> + +<h3><a name="ASINORUM_SEPULTURA" id="ASINORUM_SEPULTURA"></a>ASINORUM SEPULTURA.</h3> + +<p>To discover the origin of this phrase, your correspondent +(Vol. ii., p. 8-9.) need not go further +than to his Bible.</p> + +<blockquote><p>"Sepultura asini sepelietur, putrefactus et projectus +extra portas Jerusalem."—<i>Jerem.</i> xxii. 19.: cf. xxxvi. 30.</p></blockquote> + +<p>With regard to the extract given by Ducange, +at the word "Imblocatus," from a "vetus formula +Excommunicationis præclara," it is evident that +the expressions,—</p> + +<blockquote><p>"Sint cadavera eorum in escam volatilibus cœli, et +bestiis terræ, et non sint qui sepeliant eos,"</p></blockquote> + +<p>have been derived from S. Jerome's Latin version +from the Hebrew of Psal. lxxix. 2, 3.:</p> + +<blockquote><p>"Dederunt cadavera servorum tuorum escam volatilibus +cœli; carnes sanctorum tuorum bestiis terræ. +Effuderunt sanguinem eorum quasi aquam in circuitu +Hierusalem, et non erat qui sepeliret."—Vide Jacobi +Fabri Stapulensis <i>Quincuplex Psalterium</i>, fol. 116. b., +Paris, 1513; Sabatier, tom. ii. p. 162. Ib. 1751.</p></blockquote> + +<p class="author">R. G.</p> + +<p>The use of this term in the denunciation against +Jehoiakim, more than six centuries <span class="smcap lower">B.C.</span>, and the +previous enumeration of crimes in the 22nd chapter +of Jeremiah, would seem sufficiently to account +for its origin and use in regard to the disposal of +the dead bodies of excommunicated or notorious +malefactors, by the earliest Christian writers or +judges. The Hebrew name of the ass, says Parkhurst, +is "derived from its turbulence when excited +by lust or rage;" and the animal was also made +the symbol of slothful or inglorious ease, in the +case of Issachar, <span class="smcap lower">B.C.</span> 1609: Genesis, xlix. 14. It +is thus probable some reference to such characteristics +of the brute and the criminal, rather than +any mere general allusion to throwing the dead +bodies of inferior or unclean animals (of which the +dog was a more common type) under any rubbish +beyond the precincts of the city, may have been +intended, by specifying this animal in prescribing +an ignominious sepulture.</p> + +<p class="author smcap">Lamba.</p> + +<p>It can hardly have escaped the notice of your +Querist (although the instance is not one adduced +by Ducange), that the phrase, "burial of an ass" +קְבוּרַת חֲמוֹר for "no burial at all," is as +old as the time of the prophet Jeremiah. (Vide +chap. xxii. 19.) The <i>custom</i> referred to being of +religious origin, might lead us to the sacred books +for the origin of the <i>phrase</i> denoting it; and it +seems natural for the Christian writers, in any +mention of those whose bodies, like that of Jehoiakim, +were for their sins deprived of the rites of +sepulture, to use the striking phrase already provided +for them in Scripture; and as natural for +that phrase to continue in use even after the somewhat +more civilised custom of "imblocation" had +deprived it of its original reference to "the dead +body's being cast out in the day to the heat, and +in the night to the frost." (Jer. xxxvi. 30.)</p> + +<p class="author smcap">J. Eastwood.</p> + +<p>This phrase is, I think, accounted for by the ass +being deprived of interment in consequence of the +uses made of its dead carcass. After a description +of the adaptation of his bones to instrumental +music, Aldrovandus continues as follows:—</p> + +<div><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span></div> + +<blockquote><p>"De corio notissimum, post obitum, ne quid asini +unquam <i>conquiescat</i>, foraminibus delacerari, indeque +factis cribris, assiduæ inservire agitationi; unde dicebat +Apuleius: cedentes hinc inde miserum corium, nec +cribris jam idoneum relinquunt. Sed et Albertus pollicetur +asinorum corium non solum utile esse ad soleas +calceorum faciendas, sed etiam quæ ex illa parte fiunt, +in qua onera fuerunt, non consumi, etsi ille qui utitur, +eis continuo peregrinando in lapidibus portaverit, et +tandem ita indurare ut pedes sustinere nequeant."—<i>De +Quadruped.</i>, p. 351.</p></blockquote> + +<p class="author">T. J.</p> + +<hr class="section short" /> + +<h3><a name="POPE_FELIX" id="POPE_FELIX"></a>POPE FELIX.</h3> + +<p>Four Popes of the name have filled the chair of +St. Peter.</p> + +<p>The first suffered martyrdom under Aurelian. +He is honoured with a festival at Rome on the 29th +May.</p> + +<p>The second also received the crown of martyrdom, +under Constantine. His festival is kept on +the 29th July.</p> + +<p>The third is commemorated as a holy confessor +on the 25th February. He was a collateral ancestor +of Pope St. Gregory the Great, who mentions +him in his writings.</p> + +<p>Gregory had three aunts by the father's side, +who all became nuns. One of them, Tarsilla, a +lady of pious and beatified life, and of very advanced +age, had one night a vision of Pope Felix, +who was then dead. He seemed to point towards +the mansions of eternal glory, and to invite her to +enter. She soon after sickened, and her end +visibly approached. While a number of her friends +were standing around her couch, she suddenly exclaimed, +looking upwards, "Stand aside, stand +aside, Jesus is coming;" and with a look of ineffable +love, she presently expired. This story is +related by St. Gregory.</p> + +<p>This Pope is the best known of the four on account +of his relationship to St. Gregory.</p> + +<p>The fourth of the name was also a confessor. +His festival occurs on the 30th January.</p> + +<p class="author">J. A. S.</p> + +<p>Edinburgh, May 27. 1850.</p> + +<hr class="section short" /> +<h3><a name="REPLIES_TO_NUMISMATIC_QUERIES" id="REPLIES_TO_NUMISMATIC_QUERIES"></a>REPLIES TO NUMISMATIC QUERIES.</h3> + +<p>I beg to offer the following remarks in reply +to the numismatic queries of E. S. T. (Vol. i., +p. 468.):—</p> + +<p>1. I can only account for the Macedonian coin +being struck in lead, by supposing it to be the +work of an ancient forger.</p> + +<p>2. Third brass coins of Tiberius are not uncommon; +I have one in my cabinet of the sort +described. Obv. head of Tiberius, <span class="smcap lower">TI. CAESAR. +DIVI. AVG. F. AVGVSTVS</span>; Rev. the altar of Lyons, +<span class="lower smcap">ROM. ET. AVG.</span></p> + +<p>3. The coin of Herennia Etruscilla is probably +a base or plated denarius, the silver having been +worn off. Silver coins sometimes acquire a black +tarnish, so that they are not to be distinguished +from brass without filing the edge, or steeping +them in acid. If a genuine brass coin, it should +have the S. C. for <i>Senatus Consultum</i>.</p> + +<p>4. The coin of Macrinus was struck at Antioch +in Syria, of which famous city there exists a regular +series of imperial coins from Augustus to +Valerian. One in my possession has Δ above the +<span class="lower smcap">S. C.</span>, and Ε below for ΔΗΜΑΡΧ. ΕΞΟΥΣΙΑΣ, <i>Tribunitia +Potestate</i>. May not these be the letters +described by E. S. T. as <span class="lower smcap">L. C.</span>?</p> + +<p class="author smcap">J. C. Witton.</p> + + +<p><i>Coins of Constantius II.</i>—Can any numismatist +kindly inform me by what marks the coins of Constantius +II., the son of Constantine the Great, are +distinguished from those of Constantius Gallus, his +nephew? Mr. Akerman, in his <i>Rare and Inedited +Roman Coins</i>, gives the following titles as common +to both, but does not afford any rule for appropriating +their coins:—</p> + +<p class="smaller"> +CONSTANTIVS. NOB. CAES.<br /> +FL. IVL. CONSTANTIVS. NOB. CAES.<br /> +D. N. CONSTANTIVS. NOB. C.<br /> +D. N. CONSTANTIVS. NOB. CAES.<br /> +</p> + +<p class="author smcap">J. C. Witton.</p> + +<hr class="section short" /> +<h3><a name="AS_LAZY_AS_LUDLUMS_DOG" id="AS_LAZY_AS_LUDLUMS_DOG"></a>AS LAZY AS LUDLUM'S DOG.</h3> + +<p class="center">(Vol. i., p. 382.)</p> + +<p>I feel obliged by the extract from the <i>Doctor</i> +given by J. M. B. (Vol. i., p. 475.), though it only +answers by a kind of implication the Query I proposed. +That implication is, that, instead of Ludlum +and his dog being personages of distinction in +their own way and in their own day, the proverb +itself is merely one framed on the principle of +alliteration, and without precise or definite "meaning." +This is very full of meaning, as anyone +may convince himself by observing the active +energy of every muscle of all dogs in the act of +barking. What can typify "laziness" more emphatically +than a dog that "lays him[self] down +to bark?"</p> + +<p>A <i>jingle</i> of some kind is essential to a proverb. +If a phrase or expression have not this, it never +"takes" with the masses; whilst, having this, and +being capable of any possible and common application, +it is sure to live, either as a proverb or a +"saw," as the case may be. Alliteration and +rhyme are amongst the most frequent of these +"jingles;" and occasionally a "pun" supplies +their place very effectively. We find these conditions +fulfilled in the proverbs and saws of every +people in the eastern and western world, alike in +the remotest antiquity and in our own time. But +are they therefore "without meaning?" Do not +these qualities help to give them meaning, as well +as to preserve them through their long and varied +existence?</p> + +<p>But there is another principle equally essential +<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>to the constitution of a legitimate and lasting proverb; +or rather two conjointly, <i>metre</i> and <i>euphony</i>. +These may be traced in the proverb as completely +as in the ballad; and precisely the same contrivances +are employed to effect them in both cases +where any ruggedness in the natural collocation +of the words may present itself. For instance, +change in the accent, the elision or the addition of +a letter or syllable, the lengthening of a vowel, +transposition, and a hundred other little artifices. +The euphony itself, though sometimes a little imperfect, +is also studied with the same kind of care +in the older and purer proverbs of all languages.</p> + +<p>Attention to metre and euphony will generally +enable us to assign, amongst the forms in which +we pick up and note any particular proverb, the +original and legitimate one; especially when combined +with brevity and "pith." As a case in +point, our friend Ludlum will serve our purpose +for comparison. Who does not see at a glance, +taking account of the principles which govern the +construction of a proverb, that the Sheffield version, +as I gave it, <i>must be</i> more genuine than +Southey's version, quoted by J. M. B.? Besides +this, I may add, that a friend, whose early days +were spent in Sheffield, has told, me (since the +Query was proposed) that he has heard his mother +tell some legend of "the fat Miss Ludlum." After +all, therefore, the proverb may be founded on a +fat old maid and her fat poodle. I can hardly, +then, deem my inquiry answered.</p> + +<p>J. M. B. quotes two others from the <i>Doctor</i>; +one for the purpose, as would appear by his marking +the words, to illustrate the alliterative principle. +The following are variations which I have +heard:—"As proud as the cobbler's dog, that +took [or <i>as</i> took—the most general vernacular +form, for the sake of euphony] the wall of a dung-cart, +and got crushed for his pains." "As queer +as Dick's hatband as went nine times round and +wouldn't tie."</p> + +<p>On these I will only remark, that few persons +would pronounce dung-cart as J. M. B. implies, +even for alliteration; and, indeed, when so even +marked to the eye, it is not without an effort that +we can read accordingly. As to Dick's hatband, +it is expressed in a peculiarly clumsy and round-about +manner by Southey.</p> + +<p>One word more. J. M. B. quotes as a <i>proverb</i>—one +of those without meaning—"As busy as +Batty;" and says, "no one knows who Batty was." +Surely, the inference that Batty was not a real +personage in some distant age—that he was a +mere myth—must be a <i>non sequitur</i> from the premises +before us. Perhaps Mr. Batty was a person +of notable industry—perhaps remarkable for always +beings in a "fluster"—perhaps the rural Paul +Pry of his day and district. He has left, too, a +large progeny; whether as regards the name alone, +or whichever of the characters he bore.</p> + +<p>This jingle upon words partakes largely of the +character of the <i>pun</i>. It, however, reminds me of +a mode of speech which universally prevailed in +the north of Lincolnshire thirty years ago, and +which probably does so yet. A specimen will explain +the whole:—"I'm as throng as throng." +"He looks as black as black." "It's as wet as +wet." I have heard this mode used so as to produce +considerable emphasis; and it is more than +possible, that some of the jingles have thus originated, +and settled into proverbs, now without any +obvious meaning, but originally very forcible +ones.</p> + +<p class="author">D. V. S.</p> + +<p>Shooter's Hill, May 18.</p> + +<hr class="section short" /> +<h2><a name="Replies_to_Minor_Queries" id="Replies_to_Minor_Queries"></a>Replies to Minor Queries.</h2> + + +<p><i>Lord John Townshend's Poetical Works</i> (Vol. ii., +p. 9.)—were never, I believe, collected, nor indeed +distinctly known, though they well deserve to be. +He told me himself that he wrote "Jekyl," in what +is called <i>The Rolliad</i>; and he mentioned some +other of his contributions; but I did not <i>make a +note</i>, and regret that I can say no more. Mr. +Rogers or Lord Lansdowne might.</p> + +<p class="author">C.</p> + + +<p><i>When Easter ends.</i>—Mr. H. Edwards, in this +day's number (No. 31., p. 9.), asks when Easter ends. +I fancy this question is in some degree answered +by remarking, that it, together with other festivals +of the Church, viz. The Nativity, &c., are celebrated +for eight days, which is the octave. The +reason, says Wheatley, of its</p> + +<blockquote><p>"Being fixed to eight days, is taken from the practice +of the Jews, who, by God's appointment, observed +the greater festivals, some of them for seven days, and +one, the Feast of Tabernacles, for eight days. And +therefore the Primitive Christians lengthened out their +higher feast to eight days."</p></blockquote> + +<p>If this be true, Easter will end on the conclusion +of the Sunday after Easter day; but whether our +present Parliament is sufficiently Catholic to admit +this, in the interpretation of the Act, is questionable.</p> + +<p>In the Spanish Church Easter continues till the +feast of Whitsuntide is past; and during this +period all fasts are forbidden.</p> + +<p>The Romish Church has ten high festivals having +octaves.</p> + +<p>I trust this slight sketch may in some way help +Mr. Edwards to a conclusion.</p> + +<p class="author">R. J. S.</p> + +<p><i>When does Easter end?</i> (Vol. ii., p. 9.).—In the +case stated, at 12 o'clock on the night of Easter +Sunday.</p> + +<p class="author">C.</p> + + +<p><i>Holdsworth and Fuller.</i>—In A. B. R.'s communication +(Vol. i., p. 484.) some symptoms of inaccuracy +must be noted before a satisfactory reply +can be given to his Query.</p> + +<div><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span></div> +<p>1. He has erred in adopting the spelling of +Holdsworth's name (viz. Holsworth) which appears +in the title-page of <i>The Valley of Vision</i>. +2. This work is very incorrectly styled "the sermon," +inasmuch as it consists of twenty-one +sermons. 3. My copy bears date 1661, not 1651. +4. If Holdsworth's hand was "legible only to himself," +we may sincerely commiserate the misfortune +of his nephew, Dr. Richard Pearson, who +had to prepare for the press 737 folio pages of +his <i>Prælectiones Theologicæ</i>, &c.: Lond. 1661. +5. There is not the smallest reason for thinking +it "probable" that Dean Holdsworth "preached +other men's sermons." Respecting our great +Caroline divines it would seldom have been right +to say—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quos (Harpyiarum more)<br /></span> +<span class="i0">Convectare juvat prædas, et vivere rapto."<br /></span> +</div></div> + +<p>Now, as to what Dr. Holdsworth really wrote, +and with regard to that for which he is not responsible, +it is to be observed, that he was so +averse to the publication of any of his works, that +he printed but a single sermon (on Psalm cxliv. +15.), and that not until he had been three times +urged to the task by his royal master King +Charles I. The pagination of this discourse is +quite distinct from that of the twenty unauthentic +sermons which follow it in the quarto volume, and +which commence at signature <span class="smcap">B</span>. These are thus +described by Dr. Pearson, <i>ad Lectorem</i>: "Cæteræ +quæ prostant Anglicè venales, à prædone illo +stenographico tam laceræ et elumbes, tam miserè +deformatæ sunt, ut parum aut nihil agnoscas +genii et spiritûs Holdsworthiani."</p> + +<p class="author">R. G.</p> + + +<p><i>Gookin</i> (Vol. i., pp. 385, 473, 492.).—Vincent +Gookin was nominated by Cromwell one of the +six representatives of Ireland in the Barebones +Parliament; and he was returned for Bandon and +Kinsale (which together sent one member) in +each of the three subsequent Cromwellian Parliaments.</p> + +<p>Lord Orrery, writing to the Duke of Ormond, +June 15, 1666, speaks of Captain Robert Gooking, +as one of the chief persons in the west of Cork +county, and describes him as rich and having good +brains, loyal, and ready to fight against French or +Irish, as every thing he has depends on his new +title. (Orrery's <i>State Letters</i>, ii. p. 13. Dublin +edition.) A little further on (p. 43.), Lord +Orrery names the same Robert Gooking as recommended +by the chief gentlemen in the west +of Cork to be captain of a troop of horse in the +militia.</p> + +<p class="author">CH.</p> + +<p>"<i>Brozier</i>" (Vol. i., p. 485.), "<i>Sock</i>," "<i>Tick.</i>"—I +well remember the phrase, "brozier my dame," signifying +to "eat her out of house and home." I had +forgotten that a boy at Eton was "brozier," +when he had spent all his pocket-money. As a +supplemental note, however, to Lord Braybrooke's +remarks upon this latter signification, I would remind +old Etonians of a request that would sometimes +slip out from one in a "broziered" state, +viz. that a schoolfellow would <i>sock</i> him, <i>i.e.</i> treat +him to <i>sock</i> at the pastrycook's; and this favour +was not unfrequently granted <i>on tick, i.e.</i> on credit +with the purveyor of sweets.</p> + +<p>In reply to your noble correspondent's Query, +I beg to say that Halliwell, in his <i>Dictionary of +Archaic and Provincial Words</i>, both spells and defines +thus: "Brosier. A bankrupt. <i>Chesh.</i>" Mr. +H. says no more; but this seems to decide that the +word does not exclusively belong to Eton. I +could have fancied that on such classic ground it +might possibly have sprung from βρώσκω, fut. -σω], +<i>to devour</i>.</p> + +<p>Is <i>sock</i> only a corruption of <i>suck</i>, indicating a +lollipop origin? or what is its real etymological +root?</p> + +<p>Richardson most satisfactorily says, that to "go +on <i>tick</i>" is to give a note or <i>ticket</i> instead of payment.</p> + +<p class="author smcap">Alfred Gatty.</p> + +<p>Ecclesfield, May 27. 1850.</p> + +<p>This Eton phrase, the meaning of which is very +correctly explained <span class="smcap">Lord Braybrooke</span> (Vol. i., +p. 485.), appears to be connected with the Cheshire +provincialism, which is thus interpreted in Wilbraham's +<i>Cheshire Glossary</i>:—</p> + +<blockquote><p>"'Brosier, <i>s.</i> a bankrupt.' It is often used by boys +at play, when one of them has nothing further to stake."</p></blockquote> + +<p>The noun <i>brosier</i>, as Mr. Wilbraham indicates, +seems to be derived from the old word <i>brose</i>, or, +as we now say, <i>bruise</i>. A <i>brosier</i> would therefore +mean a broken-down man, and therefore a bankrupt. +The verb <i>to brosier</i>, as used at Eton, would +easily be formed from the substantive. In the +mediæval Latin, <i>ruptura</i> and <i>ruptus</i> were used to +signify <i>bankruptcy</i> and a <i>bankrupt</i>. See Duncange, +<i>Gloss.</i> in vv.</p> + +<p class="author smcap">Etoniensis.</p> + +<p>The word <i>brozier</i>, or (as I always heard it +pronounced) <i>brosier</i>, does not, or did not exclusively +belong to Eton. It was current at Hackney +School, an establishment formerly on the site of +the present Infant Orphan Asylum, and had the +precise meaning attributed to it by Lord Braybrooke. +It was used both as a verb and as a substantive, +but of its origin and etymology I am +ignorant. The last master of Hackney School +was the Rev. Dr. Heathcote, who died, I believe, +about 1820. The schoolhouse was a very large +and a very old building. May I take this opportunity +of asking if anything is known of its history? +There was a tradition prevalent among the +boys, that it had been an hospital in the time of +the Plague.</p> + +<p>I recollect there was another singular word +<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>current at Hackney, viz. "buckhorse," for a smart +box on the ear.</p> + +<p class="author">C. M.</p> + +<blockquote><p>[Buckhorse was a celebrated bruiser, whose name +has been preserved in this designation of a blow, in +the same way as that of his successor "Belcher" has +been in that of the peculiar style of silk handkerchief +which he always wore.]</p></blockquote> + + +<p><i>Symbols of Four Evangelists.</i>—Among the +several replies to <span class="smcap">Jartzberg's</span> Query (Vol. i., +p. 385.), I do not observe any notice of Sir T. Brown's +account of the symbols of the four Evangelists. +I will therefore copy part of a note I +have on the subject, though see it is unfortunately +without any other reference than the <i>name</i> +of the author.</p> + +<p>After giving <i>Jonathan's</i> opinion of the four +principal or legionary standards among the Israelites, +Sir T. Brown adds:</p> + +<blockquote><p>"But Abenegra and others, besides the colours of +the field, do set down other charges,—in Reuben's, the +form of a man or mandrake,—in that of Judah, a lion,—in +Ephraim's, an ox; in Dan's, the figure of an eagle. +And thus, indeed, the four figures in the banners of the +principal squadrons of Israel are answerable unto the +Church in the vision of Ezekiel, every one carrying +the form of all these.... And conformable hereunto, +the pictures of the Evangelists (whose Gospels +are the Christian banners) are set forth with the addition +of a man or angel, an ox, a lion, and an eagle. +And these symbolically represent the office of angels +and ministers of God's will, in whom is required, understanding +as in a man, courage and vivacity as in a +lion, service and ministerial officiousness as in the ox, +expedition or celerity of execution as in the eagle."</p></blockquote> + +<p class="author smcap">J. Sansom.</p> + + +<p><i>Catacombs and Bone-houses</i> (Vol. i. p. 171.).—Part +I. of a <i>History of the Hundred of Rowell</i> by +Paul Cypher (published by J. Ginns, Rowell,) +has recently fallen in my way, and as I understand +the writer is a medical gentleman residing +in the village (or town), I condense from the account +of the "Bone Caverns," p. 39-42., such +particulars as may answer the Query of Rev. A. Gatty.</p> + +<p>The number of skeletons, as is asserted by those +who have taken the trouble to calculate, is 30,000. +The vault in which they are deposited is a long +cryptiform structure, with a low groined roof, and +the bones are carefully packed in alternate strata +of skulls, arms, legs, and so forth. They seem to +have been discovered by a gravedigger about 150 +years since. Nothing is known with certainty +respecting the date of this vast collection. Some +conjecture that the remains here deposited are the +consequence of a sanguinary battle in very early +times, and profess to discover peculiarities in the +osseous structure, showing a large proportion of +the deceased to have been natives of a distant +land; that all were in the prime of life; and that +most of the skulls are fractured, as though with +deadly weapons. Others, again, say they are the +remains of the slain at Naseby.</p> + +<blockquote><p>"I have examined carefully and at leisure the crania, +and can discover none but the mesobreginate skulls +common to these islands.... I have discovered more +than one skull, in which the alveolar sockets were entirely +absorbed,—an effect of age rarely produced under +eighty years, I should imagine. And as to the marks +of injury visible on some, they will be attributed, I +think, by the impartial observer, rather to the spade +and foot of the sexton, than the battle-axe and stout +arm of the ancient Briton."</p></blockquote> + +<p>As to the supposition that these relics were +brought from Naseby, it is sufficient to observe +that the number of the slain in that engagement +did not exceed one thousand.</p> + +<blockquote><p>"That most of these bodies were lying in the earth +for a number of years is proved, I think, by these several +circumstances: First, a careful examination of the interior +of many of the skulls, shows that roots have vegetated +within them, the dry fibres of which I have often +observed; next, the teeth are nearly all absent, and it +is notoriously one of the first effects of inhumation upon +the osseous system, by which the teeth are loosened; +and lastly, we have two sources from which bodies may +have been exhumed and reinterred beneath the mother +church; and those are the Chapel of the Virgin and that +moiety of the original graveyard, which has evidently +at some long distant time, been taken from the church."</p></blockquote> + +<p>Human bones have been dug up in front of +Jesus Hospital, to the south-east of the church-yard. +At the eastern extremity of the cavern is +a rude sketch apparently intended to represent +the Resurrection.</p> + +<p class="author smcap">Arun.</p> + +<p><i>Tace Latin for a Candle</i> (Vol. i., p. 385).—I +am not aware of "Tace is Latin for a candle" +in any earlier book than Swift's <i>Polite Conversation</i>; +but it must have been threadbare in his +time, or he would not have inserted it in that great +collection of platitudes:—</p> + +<blockquote><p>"<i>Lord Smart.</i> Well, but after all, Tom, can you tell +me what is Latin for a goose?</p> + +<p>"<i>Neverout.</i> O, my Lord, I know that; why, Brandy +is Latin for a goose, and <i>Tace</i> is Latin for a candle."</p></blockquote> + +<p class="author">H. B. C.</p> + + +<p><i>Members for Durham—why none prior to</i> +1673-4 (Vol. ii., p. 8.).—Because Durham was an +episcopal palatine, which had jurisdictions, and +even, in olden times, a Parliament of its own. +Several bills were brought in between 1562 and +1673, to give M.P.'s to both county and city; but +an act was only passed in the latter year. The first +writ was moved, it is said, in 1675; but the first +return is dated in Whitworth, 1679. (Oldfield's +<i>Parl. Hist.</i>, iii. 425.)</p> + +<p class="author">C.</p> + + +<p>"<i>A Frog he would</i>," <i>&c.</i>—I am in my sixth +decade, and pretty far on in it too; and I can recollect +<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>this jingle as long as I can recollect anything. +It formed several stanzas (five or six at +least), and had its own tune. There was something +peculiarly attractive and humorous to the +unformed ear and mind in the ballad, (for as a +ballad it was sung,) as I was wont to hear it. I +can therefore personally vouch for its antiquity +being half a century. But, beyond this, I must +add, that my early days being spent in a remote +provincial village (high up the Severn), and the +ballad, as I shall call it, being <i>universally known</i>, I +cannot help inferring that it is of considerable +antiquity. Anything of then recent date could +hardly be both generally known and universally +popular in such a district and amongst such a +people. Whether it had a local origin there or +not, it would be difficult to say but I never heard +it spoken of as having any special application to +local persons or affairs. Of course there are only +two ways of accounting for its popularity,—either +its application, or its jingle of words and tune. If +I may venture a "guess," it would be, that it had +originally a political application, in some period +when all men's minds were turned to some one +great politico-religious question; and this, not unlikely, +the period of the Cavaliers and Roundheads. +We know how rife this kind of warfare was in that +great struggle. Or again, it might be as old as +the Reformation itself, and have a reference to +Henry the Eighth and Anna Boleyn.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The frog he would a-wooing go,<br /></span> +<span class="i0">Whether his mother would let him or no,"<br /></span> +</div></div> + +<p>would not inaptly represent the "wide-mouthed +waddling frog" Henry—"mother church,"—and +the "gleesome Anna" would be the "merry +mouse in the mill." It may be worth the while of +gentlemen conversant with the ballad literature +and political squibs of both the periods here indicated, +to notice any traces in other squibs and +ballads of the same imagery that is employed in +this. It would also be desirable, if possible, to get +a complete copy of these verses. My own memory +can only supply a part, or rather disjointed parts: +but I think it probable that it may be easily obtained +by persons resident in the counties bordering +on North Wales, especially in Shropshire or +Herefordshire, and perhaps in Cheshire or Staffordshire.</p> + +<p>I should not have thought of troubling you with +my own reminiscences as an answer to an antiquarian +question, but for the fact that even these +go further back than any information that has been +sent you.</p> + +<p class="author">T. S. D.</p> + +<p>Shooter's Hill, June 7.</p> + + +<p><i>Cavell</i> (Vol. i., p. 473.).—To cast cavells, +<i>i.e.</i> to cast lots, is in constant every-day use in +Northumberland. The Teutonic derivation given +is correct.</p> + +<p class="author">W.</p> + + +<p><i>To endeavour Ourselves—The Homilies.</i>—Perhaps +your correspondents G. P. (Vol. i., p 125.), +and C. I. R. (Vol. i., p. 285) may, from the following +passages, conclude that "ourselves", is the +object of the verb "endeavour."</p> + +<blockquote><p>"He did this to this intent, 'that the whole clergy, +in the mean space, might apply themselves to prayer, +not doubting but that all his loving subjects would +occupy themselves to God's honour, and so endeavour +themselves that they may be more ready,'" &c. &c.—Heylin, +<i>Hist. of the Reform. from an Act passed in +Edward VI.'s Reign</i>, 1548.</p> + +<p>"Let us endeavour ourselves, both inwardly in our +hearts, and also outwardly with our bodies, diligently +to exercise this godly exercise of fasting."—<i>Homily +on Fasting</i> (end).</p> + +<p>"Only show yourselves thankful in your lives, determine +with yourselves to refuse and avoid all such +things in your conversation as should offend his eyes of +mercy. Endeavour yourselves that way to rise up +again, which way ye fell into the well or pit of sin."—<i>Hom. +on the Resur.</i> (near the end).</p> + +<p>"From henceforth let us endeavour ourselves to +walk in a new life."—<i>Hom. of Repentance</i>, Pt. 2. (end).</p></blockquote> + +<p>There are many other similar passages in the +"Homilies". I have also noticed the following +Latimer's Sermons:—</p> + +<blockquote><p>"The devil, with no less diligence, endeavoureth +himself to let and stop our prayers."—Vol. i. p. 829. +Parker Soc. edit.</p> + +<p>"Every patron, when he doth not diligently endeavor +himself to place a good and godly man in his +benefice, shall make answer before God."—Vol. ii. +p. 28.</p> + +<p>"Let them endeavour themselves." [I have forgotten +the reference in this case, but it is in vol. i.]</p> + +<p>"How much, then, should we endeavour ourselves +to make ready towards this day, when it shall not be +a money matter, but a soul matter." (ii. p. 62)</p></blockquote> + +<p>As I am engaged on a work on the "Homilies," +I should feel very grateful for any allusions to +them in writers between 1600 and 1650, and for +any notices of their being read in churches during +that period. Can any of your readers inform me +where the fullest account may be found of the +state of preaching in England prior to the Reformation?</p> + +<p class="author smcap">Thomas Cox.</p> + +<p>Preston, May 25. 1850.</p> + + +<p><i>Three Dukes</i> (Vol. ii., p. 9.).—The verses themselves +called them "three <i>bastard</i> dukes;" but +the only bastard duke I can find at that time was +the Duke of Monmouth; all the other creations of +the king's bastards were subsequent to that date. +And even if, by poetical licence or courtly anticipation, +they could be called <i>dukes</i>, they were all +too young to have any share in such a fray. I +must further observe, that <i>Evelyn's Diary</i> is silent +as to any such events, though he is, about that +time, justly indignant at the immoralities of the +<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>Court. The "park" referred to, but not named +in the verses, is the disreputable place called +"Whetstone Park," near Holborn.</p> + +<p class="author">C.</p> + + +<p><i>Christabel</i> (Vol. i., p. 262.).—After a long hunt +among Manx and Highland superstitions, I have +just found that the passage I was in search of +belongs to "the Debateable Land."</p> + +<blockquote><p>"'Reverend father,' replied Magdalen, 'hast thou +never heard that there are spirits powerful to rend the +walls of a castle asunder when once admitted, which +yet <i>cannot enter the house unless they are invited, nay, +dragged over the threshold</i>? Twice hath Roland Grœme +been thus drawn into the household of Avenel by those +who now hold the title. Let them look to the issue.'"—<i>The +Abbot</i>, chap. 15., ad fin., <i>and note</i>.</p></blockquote> + +<p class="author smcap">C. Forbes.</p> + +<p>Temple, April 15.</p> + +<p><i>Derivation of "Trianon"</i> (Vol. i., p. 439.; vol. ii., +p. 13.).—Your correspondent <span class="smcap">Aredjid Kooes</span> is +certainly right: Trianon was the <i>name of a village</i>, +which formerly stood on the site of these two +chateaux. (See Vatout, and all the histories of +Versailles.) I would take this occasion of suggesting, +that it is essential to the value of your work +that your correspondents should be careful not to +<i>lead</i> us astray by mere <i>guesses</i>. What authority +has your correspondent J. K. R. W. (Vol. ii., p. 13.) +for asserting that "<i>trianon</i> is a word meaning a +<i>pavilion</i>?" And if, as I believe, he has not the +slightest, I appeal to him whether it is fair to the +public to assert it so confidently.</p> + +<p class="author">C.</p> + +<hr class="section short" /> +<h2><a name="Miscellaneous" id="Miscellaneous"></a>Miscellaneous.</h2> + +<h3><a name="NOTES_ON_BOOKS_CATALOGUES_SALES_ETC" id="NOTES_ON_BOOKS_CATALOGUES_SALES_ETC"></a>NOTES ON BOOKS, CATALOGUES, SALES, ETC.</h3> + +<p>We recently called attention to Mr. Colburn's new +Edition of <i>The Diary and Correspondence of John +Evelyn</i>. We have now to announce from the same +publisher an inedited work by Evelyn, entitled <i>The +History of Religion</i>, to be printed from the original +MS. in the Library at Wotton. The work, which it +is said contains a condensed statement and investigation +of the natural and scriptural evidences, is the result of +an endeavour on Evelyn's part to satisfy himself amidst +the startling manifestations of infidelity, fanaticism, and +conflicting opinion by which he found himself surrounded.</p> + +<p>Sir Fortunatus Dwarris has just put forth a privately +printed Letter to J. Payne Collier, Esq., in which he +endeavours to solve the great political Query of George +the Third's time. His pamphlet is called <i>Some new +Facts and a Suggested New Theory as to the Authorship +of the Letters of Junius</i>. Sir Fortunatus' theory, which +he supports with a good deal of amusing illustration +by way of proof, is, that Junius, to use the language of +Mark Tapley, was "a Co.," "that the writer was one, +but the abettors were many," that Sir Philip Francis +was the head of the Firm, but that among the sleeping +partners were Lords Temple, Chatham, and George +Sackville, the three Burkes, Colonel Barré, Dyer, +Loyd, Boyd, and others.</p> + +<p>It can scarcely be necessary to remind our Archæological +friends that the Annual Meeting of the Institute +at Oxford will commence on Tuesday next. The selection +of Oxford as the place of meeting was a most happy +one, and from the preparations which have been made, +both by the Heads of Houses and the Managers of the +Institute, there can be little doubt of the great success +of this Oxford Congress of Archæologists.</p> + +<p>Messrs. Sotheby and Co. will commence on Monday, +the 24th of this month, the Sale of the second portion +of the valuable stock of Messrs. Payne and Foss, including +an excellent collection of Classics, Philology, +History, and Belles Lettres,—a recent purchase from +the Library of a well-known collector,—and about fifteen +hundred volumes bound by the most eminent binders. +The sale of this portion will occupy nine days.</p> + +<p>We have received the following catalogues:—John +Russell Smith (4. Old Compton Street), A Rider +Catalogue of Second-hand Books; John Miller's (43. +Chandos Street) Catalogue, No. 7. for 1850, of Books +Old and New; William Heath's (29-1/2. Lincoln's Inn +Fields) Select Catalogue of Second-hand Books; and +Bernard Quaritch's (16. Castle Street, Leicester Square) +Catalogue No. 17. of Books, comprising Architecture, +Fine Arts, Dialects, and Languages of Europe and +Asia; and Cole's (15. Great Turnstile) List No. XXVI. +of very Cheap Second-hand Books.</p> + +<hr class="section short" /> +<h3><a name="BOOKS_AND_ODD_VOLUMES" id="BOOKS_AND_ODD_VOLUMES"></a>BOOKS AND ODD VOLUMES</h3> + + +<p class="center">WANTED TO PURCHASE.</p> + +<p class="center">(<i>In continuation of Lists in former Nos.</i>)</p> + +<p class="smaller"> +<span class="smcap">Arcana of Science.</span> 1829.<br /> +<span class="smcap">Andrew Stewart's Letters to Lord Mansfield on the Douglas Case.</span> About 1793.<br /> +<span class="smcap">Newman on the Arians.</span><br /> +<span class="smcap">Lawson on the Hebrews.</span><br /> +<span class="smcap">Westphalii Monumenta Inedita Rer. Germanicarum.</span><br /> +<span class="smcap">Bircherodius de Cornibus Et Cornutis</span>, 4to. Hafniæ.<br /> +</p> + +<p class=" smaller center"><i>Odd Volumes.</i></p> + +<blockquote class="smaller"><p>The first volume of <span class="smcap">The Works of Alexander Pope, Esq.</span> +London, printed in the year 1772. No publisher named.</p> + +<p>The third volume of <span class="smcap">The Works of Shakspeare</span>, in Ten Vols. +Edinburgh, printed by Marten and Wotherspoon. 1767.</p> + +<p>⁂ Letters, stating particulars and lowest price, <i>carriage free</i>, +to be sent to Mr. <span class="smcap">Bell</span>, Publisher of "NOTES AND +QUERIES," 186. Fleet Street.</p></blockquote> + +<hr class="section short" /> +<h3><a name="Notices_to_Correspondents" id="Notices_to_Correspondents"></a>Notices to Correspondents.</h3> + +<p><span class="smcap">Chaucer's Tomb.</span> <i>Will</i> J. W. P., <i>who has forwarded +to us a contribution to the Restoration of Chaucer's Monument, +favour us with his name and address?</i></p> + +<p><span class="smcap">Title-Page and Index to Volume the First.</span> +<i>The preparation of the Index with that fulness which +can alone render it useful, has taken more time than was +anticipated. It will, however, be ready very shortly.</i></p> + +<p><i>Covers for the First Volume are preparing, and will be +ready for Subscribers with the Title-Page and Index.</i></p> + +<div><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span></div> +<hr class="chapter hidden" /> +<h2><a name="NEW_WORKS_IN_GENERAL_LITERATURE" id="NEW_WORKS_IN_GENERAL_LITERATURE"></a>NEW WORKS IN GENERAL LITERATURE</h2> + +<hr class="section short" /> + +<p class="center">I.</p> + +<p>MEMOIRS OF THE DUKES OF URBINO +(1440 to 1630). By <span class="smcap">James Dennistoun</span>, of Dennistoun. With +numerous Portraits, Plates, Facsimiles, and Woodcuts. 3 vols. +square crown 8vo. 2l. 8s.</p> + +<p class="center">II.</p> + +<p>SIR ROGER DE COVERLEY. From "The +Spectator." With Notes, &c., by <span class="smcap">W. H. Willis</span>; and Twelve +fine Woodcuts from drawings by <span class="smcap">F. Tayler</span>. Crown 8vo. 15s.; +morocco, 27s.</p> + +<p class="center">III.</p> + +<p>Mrs. JAMESON'S SACRED and LEGENDARY +ART; or, LEGENDS of the SAINTS and MARTYRS. +New Edition, complete in One Volume; with Etchings by the +Author, and Woodcuts. Square crown 8vo. 28s.</p> + +<p class="center">IV.</p> + +<p>Mrs. JAMESON'S LEGENDS OF THE +SAINTS AND MARTYRS, as represented in the Fine Arts. +With Etchings by the Author, and Woodcuts. Square crown +8vo. 28s.</p> + +<p class="center">V.</p> + +<p>THE CHURCH IN THE CATACOMBS: a +Description of the Primitive Church of Rome. By <span class="smcap">Charles +Maitland</span>. New Edition, with Woodcuts. 8vo. 14s.</p> + +<p class="center">VI.</p> + +<p>Mr. MACAULAY'S HISTORY OF ENGLAND, +from the Accession of James II. New Edition. Vols. I. +and II. 8vo. 32s.</p> + +<p class="center">VII.</p> + +<p>JOHN COAD'S MEMORANDUM of the +SUFFERINGS of the REBELS sentenced to Transportation by +Judge Jeffreys. Square fcap. 8vo. 4s. 6d.</p> + +<p class="center">VIII.</p> + +<p>AN INTRODUCTION TO ENGLISH ANTIQUITIES. +Intended as a Companion to the History of +England. BY <span class="smcap">James Eccleston</span>. With many Wood Engravings. +8vo. 12s.</p> + +<p class="center">IX.</p> + +<p>Mr. A. RICH'S ILLUSTRATED COMPANION +to the LATIN DICTIONARY and GREEK LEXICON. +With about 2,000 Woodcuts, from the Antique. +Post 8vo. 21s.</p> + +<p class="center">X.</p> + +<p>MAUNDER'S TREASURY OF KNOWLEDGE +and LIBRARY of REFERENCE: a Compendium +of Universal Knowledge. New Edition. Fcap. 8vo. 10s.; +bound 12s.</p> + +<p class="center">XI.</p> + +<p>MAUNDER'S BIOGRAPHICAL TREASURY; +a New Dictionary of Ancient and Modern Biography; +comprising about 12,000 Memoirs. New Edition, with Supplement. +Fcap. 8vo. 10s.; bound, 12s.</p> + +<p class="center">XII.</p> + +<p>MAUNDER'S SCIENTIFIC AND LITERARY +TREASURY: a copious portable Encyclopædia of +Science and the Belles Lettres. New Edition. Fcap. 8vo. 10s.; +bound, 12s.</p> + +<p class="center">XIII.</p> + +<p>MAUNDER'S HISTORICAL TREASURY: +comprising an Outline of General History, and a separate History +of every Nation. New Edition. Fcap. 8vo. 10s.; bound, 12s.</p> + +<p class="center">XIV.</p> + +<p>MAUNDER'S TREASURY OF NATURAL +HISTORY, or, a Popular Dictionary of Animated Nature. +New Edition; with 900 Woodcuts. Fcap. 8vo. 10s.; bound, 12s.</p> + +<p class="center">XV.</p> + +<p>SOUTHEY'S COMMON-PLACE BOOK. +<span class="smcap">First Series</span>—CHOICE PASSAGES, &c. <span class="smcap">Second Edition</span>, +with Medallion Portrait. Square crown 8vo. 18s.</p> + +<p class="center">XVI.</p> + +<p>SOUTHEY'S COMMON-PLACE BOOK. +<span class="smcap">Second Series</span>—SPECIAL COLLECTIONS. Edited by the +<span class="smcap">Rev. J. W. Warter</span>, B.D., the Author's Son-in-Law. Square +crown 8vo. 18s.</p> + +<p class="center">XVII.</p> + +<p>SOUTHEY'S COMMON-PLACE BOOK. +<span class="smcap">Third Series</span>—ANALYTICAL READINGS. Edited by Mr. +<span class="smcap">Southey</span>'s Son-in-Law, the Rev. <span class="smcap">J. W. Warter</span>, B.D. Square +crown 8vo. 21s.</p> + +<p class="center">XVIII.</p> + +<p>SOUTHEY'S COMMON-PLACE BOOK. +<span class="smcap">Fourth and Concluding Series</span>—ORIGINAL MEMORANDA, +&c. Edited by the Rev. J. W. <span class="smcap">Warter</span>, B.D., Mr. <span class="smcap">Southey's</span> +Son-in-Law. Square crown 8vo. [Nearly Ready.]</p> + +<p class="center">XIX.</p> + +<p>SOUTHEY'S THE DOCTOR. &c. Complete +in One Volume, with Portrait, Bust, Vignette, and coloured +Plate. Edited by the Rev. J. W. <span class="smcap">Warter</span>, B.D., the Author's +Son-in-Law. Square crown 8vo. 21s.</p> + +<p class="center">XX.</p> + +<p>SOUTHEY'S LIFE and CORRESPONDENCE. +Edited by his Son, the Rev. C. C. <span class="smcap">Southey</span>, M.A.; +with Portraits and Landscape Illustrations. 6 vols. post 8vo. 63s.</p> + +<hr class="half section" /> + +<p class="center">LONDON:</p> + +<p class="center">LONGMAN, BROWN, GREEN, AND LONGMANS.</p> + +<hr class="full section" /> + + +<p class="smaller">Printed by <span class="smcap">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="smcap">George Bell</span>, of No. 186. Fleet Street, in the Parish of St. Dunstan in +the West, in the City of London, Publisher, at No. 186. Fleet Street aforesaid.—Saturday, June 15. 1850.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 33, June +15, 1850, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES, QUERIES, JUNE 15, 1850. *** + +***** This file should be named 26121-h.htm or 26121-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/6/1/2/26121/ + +Produced by Charlene Taylor, Jonathan Ingram, V. L. Simpson +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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> |