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diff --git a/27538-h/27538-h.htm b/27538-h/27538-h.htm new file mode 100644 index 0000000..94fd049 --- /dev/null +++ b/27538-h/27538-h.htm @@ -0,0 +1,4507 @@ + +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> +<head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <title>Notes And Queries, Issue 209.</title> + <style type="text/css"> + /*<![CDATA[*/ + <!-- + body {margin-left: 10%; + margin-right: 10%;} + + p {text-align: justify;} + + img {border: 0;} + + .in1 {margin-left: 1em;} /* indentations*/ + .in2 {margin-left: 2em;} + .in4 {margin-left: 4em;} + .in8 {margin-left: 8em;} + .in12 {margin-left: 12em;} + + blockquote {text-align: justify;} + + h1,h2,h3,h4,h5,h6 {text-align: center;} + + pre {font-size: 0.7em;} + + a {text-decoration: none; } + + /*a [name] {position:absolute;}*/ /*Uncomment to fix + links in older versions of Opera (pre 9.01)*/ + + hr {text-align: center; + width: 50%;} + + html>body hr {margin-right: 25%; + margin-left: 25%; + width: 50%;} + + hr.short {text-align: center; + width: 30%} + + html>body hr.short {margin-right: 35%; + margin-left: 35%; + width: 30%; } + + hr.full {width: 100%;} + + html>body hr.full {margin-right: 0%; + margin-left: 0%; + width: 100%;} + + hr.adverts {width: 100%; + height: 5px; + color: black;} + + html>body hr.adverts {margin-right: 0%; + margin-left: 0%; + width: 100%;} + + .note {margin-left: 10%; + margin-right: 10%; + font-size: 0.9em;} + + .tnote {background-color: #EEE; + color: inherit; + margin: 2em 10% 1em 10%; + padding: 0.5em 1em 0.5em 1em;} + + .footnote {margin-left: 10%; + margin-right: 10%; + font-size: 0.9em;} + + .center {text-align: center;} + + .right {text-align: right;} + + .regards {text-align: right; + margin-right: 4em;} + + .salute {text-align: left; + margin-left: 2em;} + + table {margin-left: auto; + margin-right: auto;} + +ins.correction { border-bottom-style: dashed; + border-bottom-color: blue; + border-bottom-width: 1px;} + + .toc {margin-left: 10%; + margin-right: 10%;} + + .toc1 {padding-left: 2em; + text-indent: -1em;} + + .tocnum {text-align: right; + padding-left: 3em; + vertical-align: bottom; } + + table.masthead {margin-left: 0%; + margin-right: 0%; + width: 100%} + + table.insurance {margin-left: 10%; + margin-right: 10%; + empty-cells: show; + width: 80%} + + .tdmhl {text-align: left; + font-size: 1.2em;} + + .tdmhc {text-align: center; + font-size: 1.2em;} + + .tdmhr {text-align: left;} + + .tdr {text-align: right; + padding-left: 2em;} + + .tdl {text-align: left; + padding-left: 2em;} + + .tdc {text-align: center; + padding-left: 2em;} + + .poem {margin-left:10%; + margin-right:10%; + text-align: left;} + + .poem .stanza {margin: 1em 0em 1em 0em;} + + .poem p {margin: 0; + padding-left: 3em; + text-indent: -3em;} + + .poem p.i05 {margin-left: .5em;} + .poem p.i075 {margin-left: .75em;} + .poem p.i1 { margin-left: 1em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i5 { margin-left: 5em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i7 { margin-left: 7em;} + .poem p.i8 { margin-left: 8em;} + .poem p.i0 {margin-left: -.25em;} + .poem .caesura {vertical-align: -200%;} + + .ohdash {letter-spacing: -0.25em;} + + .smcap {font-variant: small-caps;} + + .smfont {font-size: 0.8em;} + .lfont {font-size: 1.5em;} + .sup {vertical-align: .25em; + font-size: .7em;} + +span.pagenum {position: absolute; + left: 1%; right: 91%; + font-size: 8pt;} + + p.author {text-align: right;} + --> + /*]]>*/ + </style> +</head> + +<body> + + +<pre> + +Project Gutenberg's Notes and Queries, No. 209, October 29 1853, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes and Queries, No. 209, October 29 1853 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Geneologists, etc. + +Author: Various + +Release Date: December 15, 2008 [EBook #27538] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + + + + +Produced by Charlene Taylor, Neville Allen, Jonathan Ingram +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + + +</pre> + + +<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. If your system allows for it, hovering over the text will +show a transliteration. Archaic spellings have not been modernized.</p> + +<p><span class="pagenum"><a id="page405" name="page405"></a>{405}</span></p> + +<h1><span class='smcap'>NOTES and QUERIES:</span></h1> + +<h2>A MEDIUM OF INTER-COMMUNICATION<br /> + +<span class='smfont'>FOR</span><br /> + +LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.</h2> + +<hr /> + +<h3>"When found, make a note of."— +<span class='smcap'>Captain Cuttle.</span></h3> + +<hr class="full" /> + +<table class= 'masthead' summary='masthead'> +<col width='20%' /> +<col width='60%' /> +<col width='20%' /> + <tr> + <td class="tdmhl"><b>No. 290.]</b></td> + <td class="tdmhc"><b><span class="smcap">Saturday, October</span> 29. 1853.</b></td> + <td class="tdmhr"><b>Price Fourpence. <br />Stamped Edition, + 5<i>d.</i></b></td> + </tr> + </table> + + <hr class="full" /> + +<h2>CONTENTS.</h2> + +<table class ='toc' summary='Table of Contents'> + +<tr> + <td><span class="smcap">Notes</span>:—</td> + <td class='tocnum'>Page</td> +</tr> + +<tr> + <td class='toc1'>The Scottish National Records</td> + <td class='tocnum'><a href="#page405">405</a></td> +</tr> + +<tr> + <td class='toc1'>Patrick Carey</td> + <td class='tocnum'><a href="#page406">406</a></td> +</tr> + +<tr> + <td class='toc1'>Inedited Lyric by Felicia Hemans, by Weld Taylor</td> + <td class='tocnum'><a href="#page407">407</a></td> +</tr> + +<tr> + <td class='toc1'>"Green Eyes," by Harry Leroy Temple</td> + <td class='tocnum'><a href="#page407">407</a></td> +</tr> + +<tr> + <td class='toc1'>Shakspeare Correspondence, by Samuel Hickson, &c.</td> + <td class='tocnum'><a href="#page408">408</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Minor Notes:</span>—Monumental Inscriptions—Marlborough + at Blenheim—Etymology of "till," "until"—Dog-whipping Day in Hull—State</td> + <td class='tocnum'><a href="#page408">408</a></td> +</tr> + +<tr> + <td><span class="smcap">Queries</span>:—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Polarised Light</td> + <td class='tocnum'><a href="#page409">409</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Minor Queries:</span>—"Salus Populi," &c.—Dramatic + Representations by the Hour-glass—John Campbell + of Jamaica—Hodgkins's Tree, Warwick—The + Doctor—English Clergyman in Spain—Caldecott's + Translation of the New Testament—Westhumble + Chapel—Perfect Tense—La Fleur des Saints— + Oasis—Book Reviews, their Origin—Martyr of + Collet Well—Black as a Mourning Colour—The + Word "Mardel," or "Mardle," whence derived?— + Analogy between the Genitive and Plural—Ballina + Castle—Henry I.'s Tomb—"For man proposes, but + God disposes"—Garrick Street, May Fair—The + Forlorn Hope—Mitred Abbot in Wroughton Church, + Wilts—Reynolds' Portrait of Barretti—Crosses on + Stoles—Temporalities of the Church—Etymology + of "The Lizard"—Worm in Books</td> + <td class='tocnum'><a href="#page410">410</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Minor Queries With Answers:</span>— + Siller Gun of Dumfries + —Margery Trussell—Caves at Settle, Yorkshire— + The Morrow of a Feast—Hotchpot—High and Low + Dutch—"A Wilderness of Monkies"—Splitting + Paper—The Devil on Two Sticks in England</td> + <td class='tocnum'><a href="#page412">412</a></td> +</tr> + +<tr> + <td><span class="smcap">Replies:</span>—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Stone Pillar Worship and Idol Worship, by William + Blood, &c.</td> + <td class='tocnum'><a href="#page413">413</a></td> +</tr> + +<tr> + <td class='toc1'>"Blagueur" and "Blackguard" by Philarète Chasles</td> + <td class='tocnum'><a href="#page414">414</a></td> +</tr> + +<tr> + <td class='toc1'>Harmony of the Four Gospels by C. Hardwick, T. J. + Buckton, Chris. Roberts, &c.</td> + <td class='tocnum'><a href="#page415">415</a></td> +</tr> + +<tr> + <td class='toc1'>Small Words and Low Words, by Harry Leroy Temple</td> + <td class='tocnum'><a href="#page416">416</a></td> +</tr> + +<tr> + <td class='toc1'>A Chapter on Rings</td> + <td class='tocnum'><a href="#page416">416</a></td> +</tr> + +<tr> + <td class='toc1'>Anticipatory Use of the Cross.—Ringing Bells for the Dead</td> + <td class='tocnum'><a href="#page417">417</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Photographic Correspondence:</span>—Stereoscopic Angles</td> + <td class='tocnum'><a href="#page419">419</a></td> +</tr> + +<tr> + <td class='toc1'><span class="smcap">Replies to Minor Queries:</span>—Berefellarii—"To + know ourselves diseased," &c.—Gloves at Fairs— + "An" before "u" long—"The Good Old Cause" +—Jeroboam of Claret, &c.—Humbug—"Could we + with ink," &c.—"Hurrah!"—"Qui facit per alium + facit per se"—Tsar—Scrape—Baskerville— + Sheriffs of Glamorganshire—Synge Family—Lines + on Woman—Lisle Family—Duval Family</td> + <td class='tocnum'><a href="#page420">420</a></td> +</tr> + +<tr> + <td><span class="smcap">Miscellaneous:</span>—</td> + <td></td> +</tr> + +<tr> + <td class='toc1'>Books and Odd Volumes wanted</td> + <td class='tocnum'><a href="#page423">423</a></td> +</tr> + +<tr> + <td class='toc1'>Notices to Correspondents</td> + <td class='tocnum'><a href="#page424">424</a></td> +</tr> + +<tr> + <td class='toc1'>Advertisements</td> + <td class='tocnum'><a href="#page424">424</a></td> +</tr> + +</table> + +<hr class='full' /> + + +<h2>Notes.</h2> + +<h3>THE SCOTTISH NATIONAL RECORDS.</h3> + +<p>The two principal causes of the loss of these records are, the +abstraction of them by Edward I. in 1292, and the destruction of a +great many others by the reformers in their religious zeal. It so +happens that up to the time of King Robert Bruce, the history is not +much to be depended on. A great many valuable papers connected with +the ancient ecclesiastical state of Scotland were carried off to the +Continent by the members of the ancient hierarchy, who retired there +after the Reformation. Many have, no doubt, been destroyed by time, +and in the destruction of their depositories by revolutions and +otherwise. That a great many are yet in existence abroad, as well as +at home, which would throw great light on Scottish history, and which +have not yet been discovered, there is no doubt, notwithstanding the +unceremonious manner in which many of them were treated. At the +time when the <i>literati</i> were engaged in investigating the +authenticity of Ossian's <i>Poems</i> (to go no farther back), it was +stated that there was in the library of the Scotch College at Douay a +Gaelic MS. of several of the poems of great antiquity, and which, if +produced, would have set the question at rest. On farther inquiry, +however, it was stated that it had been torn up, along with others, +and used by the students for the purpose of kindling the fires. It +is gratifying to the antiquary that discoveries are from time to time +being made, of great importance: it was announced lately that there +had been discovered at the Treasury a series of papers relating to the +rebellion of 1715-16, consisting chiefly of informations of persons +said to have taken part in the rising; and an important mass of papers +relative to the rebellion of 1745-46. There has also been discovered +at the Chapter House at Westminster, the correspondence between Edward +I., Edward II., and their lieutenants in Scotland, Aymer de Valance, +Earl of Pembroke, John, Earl of Warren, and Hugh Cressingham. The +letters patent have also been found, by which, in 1304, William +Lamberton, Bishop of St. Andrew's, testified his having come into +the peace of the king of England, and<span class='pagenum'><a name="page406" id="page406">{406}</a></span> bound himself to answer for the +temporalities of his bishopric to the English king. Stray discoveries +are now and then made in the charter-rooms of royal burghs, as +sometime ago there was found in the Town-house of Aberdeen a charter +and several confirmations by King Robert Bruce. The ecclesiastical +records of Scotland also suffered in our own day; the original +charters of the assembly from 1560 to 1616 were presented to the +library of Sion College, London Wall, London, in 1737, by the +Honorable Archibald Campbell (who had been chosen by the Presbyters +as Bishop of Aberdeen in 1721), under such conditions as might +effectually prevent them again becoming the property of the Kirk of +Scotland. Their production having been requested by a committee of the +House of Commons, the records were produced and laid on the table of +the committee-room on the 5th of May, 1834. They were consumed in the +fire which destroyed the houses of parliament on the 16th of October +of the same year. It was only after 1746, and on the breaking up +of the feudal system, when men's minds began to calm down, that any +attention was paid to Scottish antiquities. Indeed, previous to that +period, had any one asked permission to examine the charter chests +of our most ancient families, purely for a literary purpose, he would +have been suspected of maturing evidence for the purpose of depriving +them of their estates. No such objection now exists, and every +facility is afforded both the publishing clubs and private individuals +in their researches. Much has been done by the Abbotsford, Bannatyne, +Maitland, Roxburgh, Spalding, and other clubs, in elucidating Scottish +history and antiquities, but much remains to be done. "If it were +done, when 'tis done, then 'twere well it were done quickly," as every +day lost renders the attainment of the object more difficult; and it +is to be hoped that these clubs will be supported as they deserve. +<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>[1]</sup></a></p> + +<p>The student of Scottish history will find much useful and important +information in Robertson's <i>Index of Charters</i>; Sir Joseph +Ayloffe's <i>Calendars of Ancient Charters</i>; <i>Documents and +Records illustrative of the History Of Scotland</i>, edited by Sir +Francis Palgrave, 1837; Jamieson's <i>History of the Culdees</i>; +Toland's <i>History of the Druids</i>; Balfour's <i>History of +the Picts</i>; Chalmers' <i>Caledonia</i>; Stuart's <i>Caledonia +Romana</i>; <i>History of the House and Clan Mackay</i>; <i>The +Genealogical Account of the Barclays of Ury for upwards of 700 +Years</i>; Gordon's <i>History of the House of Sutherland</i>; +M'Nicol's <i>Remarks on Johnson's Journey to the Western Isles</i>; +Kennedy's <i>Annals of Aberdeen</i>; Dalrymple's <i>Annals</i>, &c. +&c.</p> + +<p class='author'><span class="smcap">Abredonensis.</span></p> + +<blockquote class="footnote"> +<p><a id="footnote1" name="footnote1"></a><b>Footnote 1</b>: + <a href="#footnotetag1">(return)</a></p> +<p>See <i>Scottish Journal</i>, Edinburgh, 1847, p. 3., for a +very interesting article on the Early Records of Scotland.</p> +</blockquote> + +<hr /> + +<h3>PATRICK CAREY.</h3> + +<p>Looking over Evelyn's <i>Diary</i>, edited by Mr. Barry, 4to., 2nd +edit., London, 1819, I came upon the following. Evelyn being at Rome, +in 1644, says:</p> + +<blockquote><p>"I was especially recommended to Father John, a Benedictine Monk and +Superior of the Order for the English College of Douay; a person of +singular learning, religion, and humanity; also to Mr. Patrick Cary, an +abbot, brother to our learned Lord Falkland, a witty young priest, who +afterwards came over to our church."</p></blockquote> + +<p>It immediately occurred to me, that this "witty young priest" might +be Sir Walter Scott's <i>protégé</i>, and the author of "<i>Triviall +Poems and Triolets</i>, written in obedience to Mrs. Tomkins' commands +by Patrick Carey, Aug. 20, 1651," and published for the first time at +London in 1820, from a MS. in the possession of the editor.</p> + +<p>Sir Walter, in introducing his "forgotten poet," merely informs us +that his author "appears to have been a gentleman, a loyalist, a +lawyer, and a rigid high churchman, if not a Roman Catholic."</p> + +<p>In the first part of this book, which the author calls his "Triviall +Poems," the reader will find ample proof that his character would fit +the "witty young priest" of Evelyn; as well as the gentle blood, +and hatred to the Roundheads of Sir Walter. As a farther proof that +Patrick Carey the priest, and Patrick the poet, may be identical, take +the following from one of his poems, comparing the old Church with the +existing one:</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"Our Church still flourishing w' had seene,</p> +<p class="i4">If th' holy-writt had euer beene</p> +<p class="i4">Kept out of laymen's reach;</p> +<p class="i4">But, when 'twas English'd, men halfe-witted,</p> +<p class="i4">Nay, woemen too, would be permitted,</p> +<p class="i4">T' expound all texts and preach."</p> +</div></div> + +<p>The second part of Carey's poetical essays is entitled "I will sing +unto the Lord," and contains a few "Triolets;" all of an ascetic +savour, and strongly confirmatory of the belief that the author may +have taken the monastic vow:</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"Worldly designes, feares, hopes, farwell!</p> +<p class="i4">Farwell all earthly joyes and cares!</p> +<p class="i4">On nobler thoughts my soule shall dwell;</p> +<p class="i4">Worldly designes, feares, hopes, farwell!</p> +<p class="i4">Att quiett, in my peaceful cell,</p> +<p class="i4">I'le thincke on God, free from your snares;</p> +<p class="i4">Worldly designes, feares, hopes, farwell!</p> +<p class="i4">Farwell all earthly joys and cares.</p> +</div></div> + +<hr /> + +<div class="poem"><div class="stanza"> +<p class="i4">Pleasure att courts is but in show,</p> +<p class="i4">With true content in cells wee meete;</p> +<p class="i4">Yes (my deare Lord!) I've found it soe,</p> +<p class="i4">Noe joyes but thine are purely sweete!"</p> +</div></div> + +<p>The quotation from the Psalms, which forms the title to this second +part, is placed above "a helmet and a shield," which Sir Walter +has transferred<span class='pagenum'><a name="page407" id="page407">{407}</a></span> to his title. This "bears what heralds call a cross +anchorée, or a cross moline, with a motto, <i>Tant que je +puis</i>." With the exception of the rose beneath this, there is no +identification here of Patrick Carey with the Falkland family. This +cross, placed before religious poems, may however be intended to +indicate their subjects, and the writer's profession, rather than his +family escutcheon; although that may be pointed at in the rose alluded +to, the Falklands bearing "on a bend three roses of the field."</p> + +<p class='author'>J. O.</p> + +<p class='note'>["Ah! you do not know Pat Carey, a younger brother of Lord + Falkland's," says the disguised Prince Charles to Dr. Albany + Rochecliffe in Sir Walter Scott's <i>Woodstock</i>. So + completely has the fame of the great Lord Falkland eclipsed + that of his brothers, that many are, doubtless, in the same + blissful state with good Dr. Rochecliffe, although <i>two</i> + editions of the poet's works have been given to the world. + In 1771, Mr. John Murray published the poems of Carey, from + a collection alleged to be in the hands of a Rev. Pierrepont + Cromp, apparently a fictitious name. In 1820, Sir Walter + Scott, ignorant, as he confesses himself, at the time of an + earlier edition, edited once more the poems, employing an + original MS. presented to him by Mr. Murray. In a note in + <i>Woodstock</i>, Sir Walter sums up the information he had + procured concerning the author, which, scanty as it is, is + not without interest. "Of Carey," he says, "the second editor, + like the first, only knew the name and the spirit of the + verses. He has since been enabled to ascertain that the poetic + cavalier was a younger brother of the celebrated Henry Lord + Carey, who fell at the battle of Newberry, and escaped the + researches of Horace Walpole, to whose list of noble authors + he would have been an important addition." The first edition + of the poems appeared under the following title, <i>Poems from + a Manuscript written in the Time of Oliver Cromwell</i>, 4to. + 1771, 1<i>s.</i> 6<i>d.</i>: Murray. It contains only + nine pieces, whereas the present edition contains + thirty-seven.—<span class="smcap">Ed.</span>]</p> + +<hr /> + +<h3>INEDITED LYRIC BY FELICIA HEMANS.</h3> + +<p>A short time since I discovered the following in the handwriting +of Mrs. Hemans, and it accompanied an invitation of a more prosaic +description to a gentleman of her acquaintance, and a relative of +mine, now deceased. I thought it worth preserving, in case any future +edition of her works appeared; but the 13th, 14th, and 15th lines are +defective, from the seal, or some other accident, having torn them +off, and one is missing. And though perhaps it would not be difficult +to restore them, yet I have not ventured to do so myself. The last two +lines appear to convey a melancholy foreboding of the poet's sad and +early fate. Can any one restore the defective parts?</p> + + +<p class='author'><span class="smcap">Weld Taylor.</span></p> + +<p>Bayswater.</p> + + +<p class='center'><i>Water Lilies.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i8">Come away, Puck, while the dew is sweet;</p> +<p class="i8">Come to the dingle where fairies meet.</p> +<p class="i8">Know that the lilies have spread their bells</p> +<p class="i8">O'er all the pools in our mossy dells;</p> +<p class="i8">Stilly and lightly their vases rest</p> +<p class="i8">On the quivering sleep of the waters' breast,</p> +<p class="i8">Catching the sunshine thro' leaves that throw</p> +<p class="i8">To their scented bosoms an emerald glow;</p> +<p class="i8">And a star from the depth of each pearly cup,</p> +<p class="i8">A golden star! unto heaven looks up,</p> +<p class="i8">As if seeking its kindred, where bright they lie,</p> +<p class="i8">Set in the blue of the summer sky.</p> +<p class="i8">.... under arching leaves we'll float,</p> +<p class="i8">.... with reeds o'er the fairy moat,</p> +<p class="i8">.... forth wild music both sweet and low.</p> +<p class="i8">It shall seem from the rich flower's heart,</p> +<p class="i8">As if 'twere a breeze, with a flute's faint sigh.</p> +<p class="i8">Cone, Puck, for the midsummer sun grows strong,</p> +<p class="i8">And the life of the Lily may not belong.—<span class="smcap">Mab.</span></p> +</div></div> +<hr /> + +<h3>"GREEN EYES."</h3> + +<p>Having long been familiar with only one instance of the possession +of eyes of this hue—the well-known case of the "<i>green-eyed</i> +monster Jealousy,"—and not having been led by that association to +think of them as a beauty, I have been surprised lately at finding +them not unfrequently seriously admired. <i>Ex. gr.</i>:</p> + +<div class="poem"><div class="stanza"> +<p class="i2">"<i>Victorian.</i> How is that and <i>green-eyed</i> Gaditana</p> +<p class="i0">That you both wot of?</p> + +<p class="i2"><i>Don Carlos.</i> Ay, soft <i>emerald</i> eyes!"</p> +</div></div> + +<hr class='short' /> + +<div class="poem"><div class="stanza"> +<p class="i2"><i>Victorian.</i> A pretty girl: and in her tender eyes,</p> +<p class="i0">Just that soft shade of <i>green</i> we sometimes see</p> +<p class="i0"> In evening skies."</p> +<p class="i4">Longfellow's <i>Spanish Student</i>, Act II. Sc. 3.</p> +</div></div> + +<p>Mr. Longfellow adds in a note:</p> + +<blockquote><p>"The Spaniards, with good reason, consider this colour of the + eye as beautiful, and celebrate it in a song; as, for example, + in the well-known Villancico:</p></blockquote> + +<div class="poem"><div class="stanza"> +<p class="i4">'Ay ojuelos verdes,</p> +<p class="i4">Ay los mis ojuelos,</p> +<p class="i4">Ay hagan los cielos</p> +<p class="i4">Que de mi te acuerdes!</p> +</div></div> + +<hr class='short' /> + +<div class="poem"><div class="stanza"> +<p class="i4">Tengo confianza,</p> +<p class="i4">De mis verdes ojos.'"</p> +<p class="i6">Böhl de Faber, <i>Floresta</i>, No. 255.</p> +</div></div> + +<p>I have seen somewhere, I think in one of the historical romances of +Alexander Dumas (Père), a popular jingle about</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"La belle Duchesse de Nevers,</p> +<p class="i4">Aux yeux verts," &c.</p> +</div></div> + +<p>And lastly, see <i>Two Gentlemen of Verona</i>, Act IV. Sc. 4., where +the ordinary text has:</p> + +<div class="poem"><div class="stanza"> +<p class="i2">"Her eyes are grey as glass, and so are mine."</p> +</div></div> + +<p>Here "The MS. corrector of the folio 1682 converts 'grey' into +'<i>green</i>:' 'Her eyes are <i>green</i> as<span class='pagenum'><a name="page408" id="page408">{408}</a></span> <i>grass</i>;' and such, +we have good reason to suppose, was the true reading." (Collier's +<i>Shakspeare Notes and Emendations</i>, p. 25.)</p> + +<p>The modern slang, "Do you see anything <i>green</i> in my eye?" can +hardly, I suppose, be called in evidence on the question of beauty +or ugliness. Is there any more to be found in favour of "<i>green +eyes</i>?"</p> + +<p class='author'><span class="smcap">Harry Leroy Temple.</span></p> + +<hr /> + + +<h3>SHAKSPEARE CORRESPONDENCE.</h3> + +<p><i>On the Death of Falstaff</i> (Vol. viii., p. 314.).—The remarks +of your correspondents J. B. and <span class="smcap">Nemo</span> on this subject are so +obvious, and I think I may also admit in a measure so just, that +it appears to me only respectful to them, and to all who may feel +reluctant to give up Theobald's reading, that I should give some +detailed reason for dissenting from their conclusion.</p> + +<p>In the first place, when Falstaff began to "play with flowers and +smile upon his fingers' ends," it was no far-fetched thought to place +him in fancy among green fields; and if the disputed passage were in +immediate connexion with the above, the argument in its favour would +be stronger. But, unfortunately, Mrs. Quickly brings in here the +conclusion at which she arrives: "I knew there was but one way; +<i>for</i>," she adds, as a farther reason, and referring to the +physical evidences upon his frame of the approach of death, "his +nose was as sharp as a pen on a table of green frieze." We can hardly +imagine him "babbling" at this moment. "How now, Sir John, quoth I;" +she continues, apparently to rouse him: "What, man! be of good cheer. +<i>So</i> [thus roused] 'a cried out—God, God, God! three or four +times: now, I to <i>comfort</i> him," &c. Does this look as though he +were in the happy state of mind your correspondents imagine? I take +no account of his crying out of sack and of women, &c., as that might +have been at an earlier period. At the same time it does not follow, +had Shakspeare intended to replace him in fancy amid the scenes of his +youth, that he should have talked of them. A man who is (or imagines +he is) in green fields, does not talk about green fields, however +he may enjoy them. Both your correspondents seem to anticipate this +difficulty, and meet it by supposing Falstaff to be "babbling +snatches of hymns;" but this I conceive to be far beyond the limits +of reasonable conjecture. In fact, the whole of their very beautiful +theory rests upon the very disputed passage in question. At an earlier +period apparently, his mind did wander; when, as Mrs. Quickly says, +he was "rheumatick," meaning doubtless <i>lunatic</i>, that is, +delirious; and then he talked of other things. When he began to +"fumble with the sheets, and play with flowers, and smile upon his +fingers' ends," though for a moment he might have fancied himself +even "in his mother's lap," or anything else, he was clearly past +all "babbling." In saying this, I treat Falstaff as a human being who +lived and died, and whose actions were recorded by the faithfullest +observer of Nature that ever wrote.</p> + +<p class='author'><span class="smcap">Samuel Hickson.</span></p> + + +<div class="poem"><div class="stanza"> +<p class="i0"><i>Passage in "Tempest.</i>"—</p> + +<p class="i2">"Thy banks with pioned and twilled brims,</p> +<p class="i2">Which spongy April at thy best betrims,</p> +<p class="i2">To make cold nymphs chaste crowns."</p> + +<p class="i8"><i>Tempest</i>, Act IV. Sc. 1.</p> +</div></div> + +<p>The above is the reading of the first folio. <i>Pioned</i> is +explained by <span class="smcap">Mr. Collier</span>, "to dig," as in Spenser; but +<span class="smcap">Mr. Halliwell</span> (<i>Monograph Shakspeare</i>, vol. i. p. +425.) finds no authority to support such an interpretation. <span class="smcap">Mr. +Collier's</span> anonymous annotator writes "tilled;" but surely this +is a very artificial process to be performed by "spongy April." Hanmer +proposed "peonied;" Heath, "lilied;" and <span class="smcap">Mr. Halliwell</span> admits +this is more poetical (and surely more correct), but appears to prefer +"twilled," embroidered or interwoven with flowers. A friend of mine +suggested that "lilied" was peculiarly appropriate to form "cold +nymphs chaste crowns," from its imputed power as a preserver of +chastity: and in <span class="smcap">Mr. Halliwell's</span> folio, several examples +are quoted from old poets of "peony" spelt "piony;" and of both +<i>peony</i> and <i>lily</i> as "defending from unchaste thoughts." +Surely, then, the reading of the first folio is a mere typographical +error, and <i>peonied</i> and <i>lilied</i> the most poetical and +correct.</p> + +<p class='author'><span class="smcap">Este.</span></p> + +<hr /> + + +<h3>Minor Notes.</h3> + +<p><i>Monumental Inscriptions</i> (Vol. viii., p. 215. &c.).—I +have never seen the monumental inscription of Theodore Palæologus +accurately copied in any book. When in Cornwall lately, I took the +trouble to copy it, and as some of your readers may like to see the +thing as it is, I send it line for line, word for word, and letter for +letter. It is found, as is well known, in the little out-of-the-way +church of St. Landulph, near Saltash.</p> + +<blockquote><p>Here lyeth the body of Theodoro Paleologus<br /> + Of Pesaro in Italye, descended from y<sup>e</sup> Imperyail<br /> + Lyne of y<sup>e</sup> last Christian Emperors of Greece<br /> + Being the sonne of Camilio, y<sup>e</sup> son̄e of Prosper<br /> + the sonne of Theodoro the sonne of Iohn, y<sup>e</sup> sonne<br /> + of Thomas, second brother to Constantine<br /> + Paleologus, the 8th of that name and last of<br /> + y<sup>t</sup> lyne y<sup>t</sup> raygned in Constantinople, untill subdewed<br /> + by the Turkes, who married with Mary<br /> + Y<sup>e</sup> daughter of William Balls of Hadlye in<br /> + Souffolke Gent, & had issue 5 children, Theodoro,<br /> + Iohn, Ferdinando, Maria & Dorothy, and departed<br /> + this life at Clyfton y<sup>e</sup> 21<sup>th</sup> of January, 1636."</p></blockquote> + +<p class='author'><span class="smcap">Ed. St. Jackson.</span></p> + + + +<p><span class='pagenum'><a name="page409" id="page409">{409}</a></span><i>Marlborough at Blenheim.</i>—Extract from a MS. sermon preached +at Bitton (in Gloucestershire?) on the day of the thanksgiving for +the victory near Hochstett, anno 1704. (By the Reverend Thomas Earle, +afterwards Vicar of Malmesbury?)</p> + +<blockquote><p>"And so I pass to the great and glorious occasion of this + day, w<sup>h</sup> gives us manifold cause of praise and thanksgiving to + Almighty God for ... mercies and deliverances. For y<sup>e</sup> happy + success of her Majesty's arms both by land and sea [under the] + Duke of Marlborough, whose fame now flies through the world, + and whose glorious actions will render his name illustrious, + and rank him among the renowned worthies of all ages. Had that + threatning Bullet, w<sup>h</sup> bespattered him all over with dirt, + only that he might shine the brighter afterwards; had it, I + say, took away his Life, he had gone down to the grave with + the laurels in his hand."</p></blockquote> + +<p>Is this incident of the bullet mentioned in any of the cotemporary +accounts of the battle?</p> + +<p class='author'>E.</p> + + +<p><i>Etymology of "till," "until."</i>"—Many monosyllables in language +are, upon examination, found to be in reality compounds, disguised +by contraction. A few instances are, <i>non</i>, Lat. ne-un-(us); +<i>dont</i>, Fr. de-unde; <i>such</i>, Eng. so-like; <i>which</i>, +who-like. In like manner I believe <i>till</i>, to-while, and +<i>until</i>, unto-while. Now <i>while</i> is properly a substantive, +and signifies <i>time</i>, corresponding to <i>dum</i>, Lat., in many +of its uses, which again is connected with <i>diu</i>, <i>dies</i>, +both which are used in the indefinite sense of <i>a while</i>, as well +as in the definite sense of <i>a day</i>. <i>Adesdum</i>, come here +a while; <i>interdum</i>, between whiles. If τε (Gr.) is +connected with this root, then ἑστε, to-while, till. Lawrence +Minot says, "<i>To time</i> (till) he thinks to fight."</p> + +<p><i>Dum</i> has the double meaning of <i>while</i> and <i>to-while</i>.</p> + +<p class='author'><span class="smcap">E. S. Jackson.</span></p> + + +<p><i>Dog-whipping Day in Hull.</i>—There was some time since the +singular custom in Hull, of whipping all the dogs that were found +running about the streets on October 10; and some thirty years since, +when I was a boy, so common was the practice, that every little urchin +considered it his duty to prepare a whip for any unlucky dog that +might be seen in the streets on this day. This custom is now obsolete, +those "putters down" of all boys' play in the streets—the new +police—having effectually stopped this cruel pastime of the Hull +boys. Perhaps some of your readers may be able to give a more correct +origin of this singular custom than the one I now give from tradition:</p> + +<blockquote><p>"Previous to the suppression of monasteries in Hull, it was + the custom for the monks to provide liberally for the poor and + the wayfarer who came to the fair, held annually on the 11th + of October; and while busy in this necessary preparation the + day before the fair, a dog strolled into the larder, snatched + up a joint of meat and decamped with it. The cooks gave the + alarm; and when the dog got into the street, he was pursued by + the expectants of the charity of the monks, who were waiting + outside the gate, and made to give up the stolen joint. + Whenever, after this, a dog showed his face, while this + annual preparation was going on, he was instantly beaten + off. Eventually this was taken up by the boys; and, until the + introduction of the new police, was rigidly put in practice by + them every 10th of October."</p></blockquote> + +<p>I write this on October 10, 1853: and so effectually has this custom +been suppressed, that I have neither seen nor heard of any dog having +been this day whipped according to ancient custom.</p> + +<p class='author'><span class="smcap">John Richardson.</span></p> + +<p>13. Savile Street, Hull.</p> + + +<p><i>State</i>: <i>Hamlet</i>, Act I. Sc. 1.—Professor Wilson proposed +that in the "high and palmy <i>state</i> of Rome," <i>state</i> should +be taken in the sense of <i>city</i>:</p> + +<blockquote><p>"Write henceforth and for ever <i>State</i> with a towering + capital. State, properly republic, here specifically and + pointedly means Reigning City. The ghosts walked in the + city, not in the republic."—Vide "Dies Boreales," No. III., + <i>Blackwood</i>, August, 1849.</p></blockquote> + +<p>Query, Has this reading been adopted by our skilled Shakspearian +critics?</p> + +<p>Coleridge uses <i>state</i> for <i>city</i> in his translation of +<i>The Death of Wallenstein</i>, Act III. Sc. 7.:</p> + +<div class="poem"><div class="stanza"> +<p class="i8">"What think you?</p> +<p class="i4">Say, shall we have the <i>State</i> illuminated</p> +<p class="i4">In honour of the Swede?"</p> +</div></div> + +<p class='author'>J. M. B.</p> + +<hr class='full' /> + + +<h2>Queries.</h2> + + +<h3>POLARISED LIGHT.</h3> + +<p>During the last summer, while amusing myself with verifying a +statement of Sir D. Brewster respecting the light of the rainbow, viz. +that it is polarised in particular planes, I observed a phenomenon +which startled me exceedingly, inasmuch as it was quite new to me at +the time; and, notwithstanding subsequent inquiries, I cannot find +that it has been observed by any other person. I found that <i>the +light of the blue sky is partially polarised</i>. When analysed with +a Nicols' prism, the contrast with the surrounding clouds is very +remarkable; so much so, indeed, that clouds of extreme tenuity, which +make no impression whatever on the un-assisted eye, are rendered +plainly visible.</p> + +<p>The most complete polarisation seems to take place near the horizon; +and, when the sun is near the meridian, towards the west and east. The +depth of colour appears to be immaterial, as far as I have been +able to ascertain with an instrument but rudely constructed for the +purpose. The light is polarised in planes passing through the<span class='pagenum'><a name="page410" id="page410">{410}</a></span> eye of +the observer, and arcs of great circles intersecting the sun's disc.</p> + +<p>From the absence (so far as I am aware) of all mention of this +remarkable fact in works on the subject, I am led to conclude that it +is something new; should this, however, turn out otherwise, I shall be +obliged by a reference to any author who explains the phenomenon. +The greater intensity towards the horizon would point to successive +refractions as the most probable theory.</p> + + +<p class='author'>H. C. K.</p> + + +<hr class='full' /> + + +<h2>Minor Queries.</h2> + +<p><i>"Salus Populi," &c.</i>—What is the origin of the saying, "Salus +populi suprema lex?"</p> + + +<p class='author'>E. M.</p> + + +<p><i>Dramatic Representations by the Hour-glass.</i>—I have seen it +stated (but am now unable to trace the reference) that, in the infancy +of the drama, its representations were sometimes regulated by the +hour-glass. Does the history of the art, either among the Greeks or +the Romans, furnish any well authenticated instance of this practice?</p> + + +<p class='author'><span class="smcap">Henry H. Breen.</span></p> + +<p>St. Lucia.</p> + + +<p><i>John Campbell of Jamaica.</i>—I shall be very much obliged if any +of your readers can give me any information respecting John Campbell, +Esq., of Gibraltar, Trelawny, Jamaica, who died in January, 1817, at +Clifton (I believe), but to whose memory a monument was erected in +Bristol Cathedral by his widow. I should be glad to know her maiden +name, and whether he left any surviving family? Also how he was +related to a family <i>going by the name</i> of Hanam or Hannam, who +lived at Arkindale, Yorkshire, about one hundred years before the date +of his decease; he appears, too, to have had some connexion with a +person named Isaac Madley, or Bradley, and through his mother with +the Turners of Kirkleatham. This inquiry is made in the hope of +unravelling a genealogical difficulty which has hitherto baffled all +endeavour to solve it.</p> + + +<p class='author'>D. E. B.</p> + +<p>Leamington.</p> + + +<p><i>Hodgkins's Tree, Warwick.</i>—In the plan of Warwick, drawn on +Speed's Map of that county, is a tree at the end of West Street, +called on the plan "Hodgkins's Tree:" against this tree is represented +a gun, pointed to the left towards the fields.—Can any of your +readers furnish the tradition to this tree pertaining?</p> + + +<p class='author'>O. L. R. G.</p> + + +<p><i>The Doctor, &c.</i>, p. 5., one volume edition.—The sentence in +the Garamna tongue, if anagrammatised into "You who have written Madoc +and Thalaba and Kehama," would require a <i>k</i> to be substituted +for an <i>h</i> in <i>Whehaha</i>. Query, Is this the proper mode of +interpretation, or is there a misprint?</p> + +<p><i>Saheco</i>, p. 248.—What name are these composite initials +meant to represent? The others are easily deciphered. Should we read +<i>Saneco</i>=Sarah Nelson Coleridge?</p> + + +<p class='author'>J. M. B.</p> + + +<p><i>English Clergyman in Spain.</i>—I am anxious to discover the +capacity in which a certain clergyman was present with the English +army in Spain early in the eighteenth century (probably with Lord +Peterborough's expedition). Can any readers of "N. & Q." refer me to +any book or record from which I can obtain this information?</p> + + +<p class='author'>D. Y.</p> + + +<p><i>Caldecott's Translation of the New Testament.</i>—I have a +translation of the New Testament by a Mr. John Caldecott, printed and +sold by J. Parry and Son, Chester, dated 1834. It is entitled <i>Holy +Writings of the First Christians, called the New Testament</i> (the +text written from the common version, but altered by comparing with +the Greek), with notes. I shall be glad to know who Mr. Caldecott +was or is? and whether the edition appeared under the auspices of any +society or sect of Christians?</p> + + +<p class='author'>S. A. S.</p> + +<p>Bridgewater.</p> + + +<p><i>Westhumble Chapel.</i>—There is a ruin of a chapel in the hamlet +of Westhumble, in Mickleham, Surrey. At what time was it built? To +what saint consecrated? and from what cause was it allowed to fall +into its present ruinous and desecrated condition?</p> + + +<p class='author'>J. P. S.</p> + + +<p><i>Perfect Tense.</i>—In Albités' "Companion" to <i>How to speak +French</i>, one of the first exercises is to turn into French the +following phrase, "I have seen him yesterday." I should be much +obliged to <span class="smcap">Mr. J. S. Warden</span> (to whom all readers of "N. & +Q." stand so greatly indebted for his excellent article on "Will and +Shall"), if he would state the rule for the use of the perfect tense +in English in respect to specified time, and the <i>rationale</i> +involved in such rule.</p> + + +<p class='author'><span class="smcap">C. Mansfield Ingleby.</span></p> + +<p>Birmingham.</p> + + +<p><i>La Fleur des Saints.</i>—To Molière's <i>Le Tartufe</i> (Act I. +Sc. 2.) occur the following lines:</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"Le traitre, I'autre jour, nous rompit de ses mains</p> +<p class="i4">Un mouchoir qu'il trouva dans une <i>Fleur des Saints</i>,</p> +<p class="i4">Disant que nous mêlions, par un crime effroyable,</p> +<p class="i4">Avec la sainteté les parures du diable."</p> +</div></div> + +<p>Can any of your readers inform me what <i>Fleur des Saints</i> was? +Was it a book? If so, what were its contents?</p> + + +<p class='author'>C. P. G.</p> + + +<p><i>Oasis.</i>—Can any correspondent inform me of the correct quantity +of the second syllable of this word? In Smith's <i>Geographical +Dictionary</i> it is marked long, while Andrews' <i>Lexicon</i> gives +it<span class='pagenum'><a name="page411" id="page411">{411}</a></span> short, neither of them giving any reason for their respective +quantities.</p> + + +<p class='author'>T.</p> + + +<p><i>Book Reviews, their Origin.</i>—Dodsley published in 1741 <i>The +Public Register, or the Weekly Magazine</i>. Under the head of +"Records of Literature," he undertook to give a compendious account +of "whatever works are published either at home or abroad worthy the +attention of the public." Was this <i>small</i> beginning the origin +of our innumerable reviews?</p> + + +<p class='author'><span class="smcap">W. Cramp.</span></p> + + +<p><i>Martyr of Collet Well.</i>—One James Martyr, in 1790, bought of +George Lake the seat called Collet Well, in the parish of Otford. Can +any reader of "N. & Q." tell from what family this Martyr sprang, and +what their armorial bearings are?</p> + + +<p class='author'>Q. M. S.</p> + + +<p><i>Black as a Mourning Colour.</i>—Can any of your correspondents +kindly inform me when black was first known in England, as the colour +of mourning robes? We read in <i>Hamlet</i>:</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"'Tis not alone my inky cloak, good mother,</p> +<p class="i4">Nor customary suits of solemn black,</p> +<p class="i4">That can denote me truly."</p> +</div></div> + +<p class='author'>W. W.</p> + +<p>Malta.</p> + + +<p><i>The Word "Mardel," or "Mardle," whence derived?</i>—It is in +common use in the east of Norfolk in the sense of <i>to gossip</i>, +thus "He would <i>mardel</i> there all day long," meaning, waste his +time in gossiping.</p> + + +<p class='author'><span class="smcap">J. L. Sisson.</span></p> + + +<p><i>Analogy between the Genitive and Plural.</i>—In a note by Rev. +J. Bandinel, in Mr. Christmas' edition of Pegge's <i>Anecdotes of the +English Language</i>, 1844, the question is asked at p. 167.:</p> + +<blockquote><p>"Why is there such an analogy, in many languages, between the + genitive and the plural? In Greek, in Latin, in English, and + German, it is so. What is the cause of this?"</p></blockquote> + +<p>Can you point me to any work where this hint has been carried out?</p> + + +<p class='author'>H. T. G.</p> + +<p>Hull.</p> + + +<p><i>Ballina Castle.</i>—Where can I see a view of Ballina Castle, in +the county of Mayo? and what is the best historical and descriptive +account of that county, or of the town of Castlebar, or other places +in the county?</p> + + +<p class='author'>O. L. R. G.</p> + + +<p><i>Henry I.'s Tomb.</i>—Lyttleton, in his <i>History of England</i>, +quoting from an author whose name I forget, states that no monument +was ever erected to the memory of this king in Reading Abbey. Man, on +the contrary, in his <i>History of Reading</i>, without quoting his +authority, states that a splendid monument was erected with recumbent +figures of Henry and Adelais, his second wife; which was destroyed by +the mistaken zeal of the populace during the Reformation.</p> + +<p>Which of these statements is the true one? And if Man's be, on what +authority is it probably founded?</p> + + +<p class='author'><span class="smcap">Pembrokiensis.</span></p> + + +<p><i>"For man proposes, but God disposes."</i>—This celebrated saying +is in book i. ch. xix. of the English translation of <i>De Imitatione +Christi</i>, of which Hallam says more editions have been +published than of any other book except the Bible.—Can any of your +correspondents tell me whether the saying originated with the author, +Thomas A. Kempis?</p> + + +<p class='author'>A. B. C.</p> + + +<p><i>Garrick Street, May Fair.</i>—In Hertford Street, May Fair, there +is fixed in the wall of a house (No. 15.) a square stone on which is +inscribed:</p> + +<blockquote><p>"Garrick Street, January 15, 1764."</p></blockquote> + +<p>I shall be glad to know the circumstances connected with this +inscription, which is not in any way alluded to in the works +descriptive of London to which I have referred.</p> + + +<p class='author'>C. I. R.</p> + + +<p><i>The Forlorn Hope.</i>—The "Forlorn Hope" is the body of men who +volunteer first to enter a besieged town, after a breach has been +made in the fortifications. That I know: but it is evidently some +quotation, and if any of your readers should be able to give any +information as to its origin, and where it is to be found, I should, +as I said before, be much obliged.</p> + + +<p class='author'><span class="smcap">Fenton.</span></p> + + +<p><i>Mitred Abbot in Wroughton Church, Wilts.</i>—Not very long ago, +while this church was under repair, there was discovered on one of +the pillars, behind the pulpit, a fresco painting of a mitred abbot. I +have corresponded with the rector on the subject, but unfortunately he +kept no drawing of it; and all the information he is able to afford me +is, that "the vestments were those ordinarily pourtrayed, with scrip, +crosier," &c. Such being the case, I have troubled "N. & Q." with +this Query, in the hope that some one may be able to give me farther +information as to date, name, &c.</p> + + +<p class='author'><span class="smcap">Rusell Gole.</span></p> + + +<p><i>Reynolds' Portrait of Barretti.</i>—Can any of your correspondents +inform me where the portrait of Barretti, by Sir Joshua Reynolds, now +is?</p> + + +<p class='author'><span class="smcap">Geo. R. Corner.</span></p> + + +<p><i>Crosses on Stoles.</i>—When were the three crosses now usually +embroidered on priests' stoles in the Roman Catholic Church +introduced? Were they used in England before the Reformation? In +sepulchral brasses the stoles, although embroidered and fringed, and +sometimes also enlarged at the ends, are (so far as I have observed) +without the crosses. If used, what was their form?</p> + + +<p class='author'>H. P.</p> + + +<p><i>Temporalities of the Church.</i>—Is<span class='pagenum'><a name="page412" id="page412">{412}</a></span> there any record existing of +a want of money for the maintenance of the clergy, or for other +pious uses, in any part of the world before the establishment of +the Christian religion under Constantine? or of any necessity +having arisen for enforcing the payment of tithes or offerings by +ecclesiastical censures during that period?</p> + + +<p class='author'>H. P.</p> + + +<p><i>Etymology of "The Lizard."</i>—What is the etymology of the name +"The Lizard," as applied in our maps to that long low green point, +stretching out into the sea at the extreme south of England? My idea +of the etymology would be (judging from the name and pronunciation +of a small town in the immediate neighbourhood of the point) +<i>lys-ard</i>, from two Celtic words: the first, <i>lys</i>, as found +in the name <i>Lismore</i>, and others of a like class in Ireland and +the Highlands of Scotland; the second <i>ard</i>, a long point running +into the sea. In Cornwall, to my ear, the name had quite the Celtic +intonation <i>L̄ys-̄ard</i>; not at all like <i>L̆iz̄ard</i>, +as we would speak it, short.</p> + + +<p class='author'><span class="smcap">C. D. Lamont.</span></p> + +<p>Greenock.</p> + + +<p><i>Worm in Books.</i>—Can you or any of your numerous correspondents +suggest a remedy for the worm in old books and MSS.? I know of a +valuable collection in the muniment room of a nobleman in the country, +which is suffering severely at the present time from the above +destructive agent; and although smoke has been tried, and shavings of +Russia leather inserted within the pages of the books, the evil +still exists. As this question has most likely been asked before, +and answered in your valuable little work, I shall be obliged by your +pointing out in what volume it occurs, as I have not a set by me to +refer to and thus save you the trouble.</p> + + +<p class='author'><span class="smcap">Alethes.</span></p> + + +<hr class='full' /> + + +<h2>Minor Queries with Answers.</h2> + +<p><i>Siller Gun of Dumfries.</i>—Can any of your readers tell me the +history of the "Siller Gun of Dundee" [Dumfries], and give me an +account of the annual shooting for it?</p> + + +<p class='author'>O. L. R. G.</p> + + +<blockquote><p>[The Siller gun of Dumfries is a small silver tube, like the + barrel of a pistol, but derives great importance from its + being the gift of James VI., that monarch having ordained + it as a prize to the best marksman among the corporations of + Dumfries. The contest was, by royal authority, licensed to + take place every year; but in consequence of the trouble and + expense attending it, the custom has not been so frequently + observed. Whenever the festival was appointed, the 4th of + June, during the long reign of George III., was invariably + chosen for that purpose, being his majesty's birthday. The + institution itself may be regarded as a memorial of the + <i>Waponshaw</i>, or showing of arms, the shooting at butts + and bowmarks, and other military and gymnastic sports, + introduced by our ancestors to keep alive, by competition and + prizes, the martial ardour and heroic spirit of the people. + In archery, the usual prize to the best shooter was a silver + arrow: at Dumfries the contest was transferred to fire-arms. + See the preface to the <i>Siller Gun</i>, a poem in five + cantos, by John Mayne, 1836.]</p></blockquote> + +<p><i>Margery Trussell.</i>—Margery, daughter and coheiress of Roger +Trussell, of Macclesfield, married Edmund de Downes (of the old +Cheshire family of Downes of Taxall, Shrigley, &c.) in the fourth year +of Edward II. Query, What arms did she bear? and were the Trussells +of Macclesfield of the same family as that which, in consequence of a +marriage with an heiress of Mainwaring, settled at Warmineham, in the +reign of Edward III., and whose heiress, in later times, married a De +Vere, Earl of Oxford?</p> + + +<p class='author'><span class="smcap">W. Sneyd.</span></p> + +<p>Denton.</p> + + +<blockquote><p>[In the Harleian MS. 4031. fol. 170. is a long and curious + pedigree of the Trussells and their intermarriage with the + Mainwarings, in the person of Sir William Trussell, Lord of + Cubbleston, with Maud, daughter and heiress of Sir Warren + Mainwaring. The arms are: Argent a fret gu. bezanté for + Trussell. The same arms are found on the window of the church + of Warmineham in Cheshire. These would consequently be + the arms of Margery, daughter of Roger Trussell. The arms + originally were: Argent a cross formée flory gu.; but changed + on the marriage of Sir William Trussell of Mershton, co. + Northampton, with Rose, daughter and heiress to William + Pantolph, Lord of Cubbleston, who bore, Argent a fret gu. + bezanté.]</p></blockquote> + +<p><i>Caves at Settle, Yorkshire.</i>—Being engaged on antiquarian +investigations, I have found it necessary to refer to some discoveries +made in the caves at Settle in Yorkshire, of which my friends in that +county have spoken. Now, I cannot find any printed account. I have +referred to all the works on the county antiquities, and particularly +to Mr. Phillips's book lately published (which professes to describe +local antiquities), but in vain. I cannot find any notice of them. It +is very likely some one of your better-informed readers may be able to +assist me.</p> + + +<p class='author'><span class="smcap">Brigantia.</span></p> + +<p>Battersea.</p> + + +<blockquote><p>[See two letters by Charles Roach Smith and Joseph Jackson in + <i>Archæologia</i>, vol. xxix. p. 384., on the "Roman Remains + discovered in the Caves near Settle in Yorkshire." Our + correspondent has perhaps consulted the following work:—<i>A + Tour to the Caves in the Environs of Ingleborough and Settle, + in the West Riding of Yorkshire</i>, 8vo. 1781.]</p></blockquote> + +<p><i>The Morrow of a Feast.</i>—It appears from the papers, that the +presentation of the civic functionaries to the Cursitor Baron at +Westminster, took place on Sept. 30. Pray is this the <i>morrow</i> of +St. Michael, as commonly supposed? Does not the analogy of "Morrow of +All Souls" (certainly the<span class='pagenum'><a name="page413" id="page413">{413}</a></span> same day as All Souls Day, <i>i.e.</i> Nov. +2) point out that the Morrow of St. Michael is the 29th, <i>i.e.</i> +Michaelmas Day. That <i>morrow</i> was anciently equivalent to +morning, we may infer from the following passages:</p> + +<blockquote><p>"Upon a morrow tide."—Gower, <i>Conf. Am.</i>, b. iii.</p></blockquote> + +<div class="poem"><div class="stanza"> +<p class="i2">"Tho' when appeared the third morrow bright,</p> +<p class="i2">Upon the waves," &c.</p> +<p class="i8">Spenser's <i>Fairy Queen</i>, <span class="smcap">II</span>. xii. 2.</p><br/> +<p class="i6">"Good morrow."—<i>Passim.</i></p> + +</div></div> +<p class='author'>R. H.</p> + + +<blockquote><p>[Is not our correspondent confounding the morrow of <i>All + Saint</i>s, which the 2nd of November certainly is, with the + morrow of <i>All Souls</i>? Sir H. Nicolas, in his most useful + <i>Chronology of History</i>, says most distinctly:—"The + morrow of a feast is the day following. Thus, the feast of St. + Peter ad Vincula is the 1st of August, and the morrow of that + feast is consequently the 2nd of August."—P. 99.]</p></blockquote> + +<p><i>Hotchpot.</i>—Will you kindly tell me what is the derivation of +the local term <i>hotchpot</i>, and when it was first used?</p> + + +<p class='author'>M. G. B.</p> + + +<blockquote><p>[The origin of this phrase is involved in some obscurity. + Jacob, in his <i>Law Dictionary</i>, speaks of it as "from the + French," and his definition is <i>verbatim</i> that given in + <i>The Termes of the Law</i> (ed. 1598), with a very slight + addition. Blackstone (book <span class="smcap">ii.</span> cap. 12.) says, "which + term I shall explain in the very words of Littleton: 'It + seemeth that this word <i>hotchpot</i> is in English a + pudding; for in a pudding is not commonly just one thing + alone, but one thing with other things together.' By this + housewifely metaphor our ancestors meant to inform us that the + lands, both those given in frankmarriage, and those descending + in fee-simple, should be mixed and blended together, and then + divided in equal portions among all the daughters."]</p></blockquote> + +<p><i>High and Low Dutch.</i>—Is there any essential difference between +High and Low Dutch; and if there be any, to which set do the Dutchmen +at the Cape of Good Hope belong?</p> + + +<p class='author'>S. C. P.</p> + + +<blockquote><p>[High and Low Dutch are vulgarisms to express the German and + the Dutch languages, which those nations themselves call, for + the German <i>Deutsch</i>, for the Dutch <i>Holländisch</i>. + The latter is the language which the Dutch colonists of the + Cape carried with them, when that colony was conquered by them + from the Portuguese; and has for its base the German as spoken + before Martin Luther's translation of the Bible made the + dialect of Upper Saxony the written language of the entire + German empire.]</p></blockquote> + +<p><i>"A Wilderness of Monkeys."</i>—Would you kindly inform me where +the expression is to be found: "I would not do such or such a thing +for a wilderness of monkeys?"</p> + + +<p class='author'>C. A.</p> + +<p>Ripley.</p> + + +<blockquote><p>["<i>Tubal.</i> One of them showed me a ring that he had of + your daughter for a monkey.</p> + +<p>"<i>Shylock.</i> Out upon her! Thou torturest me,</p> + +<p>"<i>Tubal:</i> it was my turquoise; I had it of Leah, when I was a bachelor: + I would not have given it for <i>a wilderness of + monkies</i>."—<i>Merchant of Venice</i>, Act III. Sc. 1.]</p></blockquote> + +<p><i>Splitting Paper.</i>—Could any of your readers give the receipt +for splitting paper, say a bank-note? In no book can I find it, but I +believe that it is known by many.</p> + + +<p class='author'>H. C.</p> + +<p>Liverpool.</p> + + +<blockquote><p>[Paste the paper which is to be split between two pieces of + calico; and, when thoroughly dry, tear them asunder. The paper + will split, and, when the calico is wetted, is easily removed + from it.]</p></blockquote> + +<p><i>The Devil on Two Sticks in England.</i>—Who is the author of a +work, entitled as under?</p> + +<p>"The Devil upon Two Sticks in England; being a Continuation + of Le Diable Boiteux of Le Sage. London: printed at the + Logographic Press, and sold by T. Walter, No. 169. Piccadilly; + and W. Richardson, under the Royal Exchange, 1790."</p> + +<p>It is a work of very considerable merit, an imitation in style and +manner of Le Sage, but original in its matter. It is published in six +volumes 8vo.</p> + + +<p class='author'><span class="smcap">William Newman.</span></p> + + +<blockquote><p>[William Coombe, Esq., the memorable author of <i>The + Diaboliad</i>, and <i>The Tour of Dr. Syntax in Search of the + Picturesque</i>.]</p></blockquote> + +<hr class='full' /> + + +<h2>Replies.</h2> + +<h3>STONE PILLAR WORSHIP AND IDOL WORSHIP.</h3> + + +<p class='center'>(Vol. v., p. 121.; Vol. vii., p. 383.)</p> + +<p><i>Stone Pillar Worship.</i>—Sir <span class="smcap">J. E. Tennent</span> inquires +whether any traces of this worship are to be found in Ireland, and +refers to a letter from a correspondent of Lord Roden's, which states +that the peasantry of the island of Inniskea, off the coast of Mayo, +hold in reverence a stone idol called <i>Neevougi</i>. This word I +cannot find in my Irish dictionary, but it is evidently a diminutive, +formed from the word <i>Eevan</i> (Iomhaigh), image, or +idol: and it is remarkable that the scriptural Hebrew term for idol +is identical with the Irish, or nearly so—<span class='lfont'>אָוֶנ</span> +(<i>Eevan</i>), derived from a root signifying <i>negation</i>, and +applied to the vanity of idols, and to the idols themselves.</p> + +<p>I saw at Kenmare, in the county of Kerry, in the summer of 1847, a +water-worn fragment of clay slate, bearing a rude likeness to the +human form, which the peasantry called <i>Eevan</i>. Its original +location was in or near the old graveyard of Kilmakillogue, and it +was regarded with reverence as the image of some saint in "the ould +auncient times," as an "ould auncient" native of Tuosist (the lonely +place) informed me. In the same immediate neighbourhood is a gullaune +(gallán), or stone pillar, at which the peasantry used +"to give<span class='pagenum'><a name="page414" id="page414">{414}</a></span> rounds;" also the curious small lakes or tarns, on which the +islands were said to move on July 8, St. Quinlan's [Kilian?] Day. (See +Smith's <i>History of Kerry</i>.)</p> + +<p>However, such superstitious usages are fast falling into desuetude; +and, whatever may have been the early history of Eevan, it is a +sufficient proof of no vestige of stone pillar worship remaining in +Tuosist, that, to gratify the whim of a young gentleman, some peasants +from the neighbourhood removed this stone fragment by boat to Kenmare +the spring of 1846, where it now lies, perched on the summit of a +limestone rock in the grounds of the nursery-house.</p> + + +<p class='author'>J. L.</p> + +<p>Dublin.</p> + + +<p><i>Idol Worship.</i>—The islands of Inniskea, on the north-west coast +of Ireland, are said to be inhabited by a population of about four +hundred human beings, who speak the Irish language, and retain among +them a trace of that government by chiefs which in former times +existed in Ireland. The present chief or king of Inniskea is an +intelligent peasant, whose authority is universally acknowledged, +and the settlement of all disputes is referred to his decision. +Occasionally they have been visited by wandering schoolmasters, but +so short and casual have such visits been, that there are not +ten individuals who even know the letters of any language. Though +nominally Roman Catholics, these islanders have no priest resident +among them, and their worship consists in occasional meetings at +their chief's house, with visits to a holy well. Here the absence of +religion is filled with the open practice of pagan idolatry; for in +the south island a stone idol, called in the Irish <i>Neevougi</i>, +has been from time immemorial religiously preserved and worshipped. +This god, in appearance, resembles a thick roll of homespun flannel, +which arises from a custom of dedicating a material of their dress to +it whenever its aid is sought: this is sewed on by an old woman, +its priestess, whose peculiar care it is. They pray to it in time of +sickness. It is invoked when a storm is desired to dash some helpless +ship upon the coast; and, again, the exercise of its power is +solicited in calming the angry waves to admit of fishing.</p> + +<p>Such is a brief outline of these islanders and their god; but of +the early history of this idol no authentic information has yet been +obtained. Can any of your numerous readers furnish an account of it?</p> + + +<p class='author'><span class="smcap">William Blood.</span></p> + +<p>Wicklow.</p> + + +<hr class='full' /> + +<h3>"BLAGUEUR" AND "BLACKGUARD."</h3> + +<p class='center'>(Vol. vii., p. 77.)</p> + +<p>I cannot concur in opinion with <span class="smcap">Sir Emerson Tennent</span>, +who thinks he has a right to identify the sense of our low word +<i>blagueur</i> with that of your lower one, <i>blackguard</i>. I +allow that there some slight similitude of pronunciation between +the words, but I contend that their sense is perfectly distinct, or, +rather, wholly different; as distant, in fact, as is the date of their +naturalisation in our respective idioms. Your <i>blackguard</i> had +already won a "local habitation and a name" under the reigns of Pope +and his immediate predecessor Dryden. Of all living unrespectable +characters our own <i>blagueur</i> is the youngest, the most innocent, +and the shyest. He is entirely of modern growth. He has but lately +emerged from the soldier's barracks, the suttler's shop, and the +mess-room. As a prolific tale-teller he amused the leisure hours of +superannuated sergeants and half-pay subalterns. Ten or twelve years +ago he had not yet made his appearance in plain clothes; he is now +creeping and winding his way with slow and sure steps from his +old haunts into some first-rate coffee-houses and shabby-genteel +drawing-rooms, which Carlyle calls <i>sham gentility</i>. He bears on +his very brow the newest <i>flunky-stamp</i>. The poor young fellow, +after all, is no villain; he has no kind of connexion with the +horrid rascal <span class="smcap">Sir Emerson Tennent</span> alludes to—with the +<i>blackguard</i>. That he is a boaster, a talker, an idiot, a +nincompoop; that he scatters "words, words, words," as Polonius did of +old; that he is bombastic, wordy, prosy, nonsensical, and a fool, +no one will deny. But he is no rogue, though he utters rogueries and +drolleries. No one is justified in slandering him.</p> + +<p>The <i>blackguard</i> is a dirty fellow in every sense of the word—a +<i>gredin</i> (a cur), the true translation, by-the-bye, of the word +<i>blackguard</i>. Voltaire, who dealt largely in Billingsgate, was +very fond of the word <i>gredin</i>:</p> + +<blockquote><p>"Je semble à trois <i>gredins</i>, dans leur petit cerveau,<br /> +Que pour être imprimés et reliés en veau," &c.</p></blockquote> + +<p>The word <i>blagueur</i> implies nothing so contemptuous or offensive +as the word <i>blackguard</i> does. The emptiness of the person to +whom it applies is very harmless. Its etymon <i>blague</i> (bladder, +<i>tobacco-bag</i>), the pouch, which smoking voluptuaries use to +deposit their tobacco, is perfectly symbolic of the inane, bombastic, +windy, and long-winded speeches and sayings of the <i>blagueur</i>. +Every French commercial traveller, buss-tooter, and Parisian jarvy +is one. When he deports himself with modesty, and shows a gentlemanly +tact in his peculiar avocation, we call him a <i>craqueur</i> (a +cracker). "Ancient Pistol" was the king of <i>blagueurs</i>; Falstaff, +of <i>craqueurs</i>. I like our <i>Baron de Crac</i>, a native of the +land of white-liars and honey-tongued gentlemen (Gascony). The genus +<i>craqueur</i> is common here: as it shoots out into a thousand +branches, shades, varieties, and modifications, judicial, political, +poetical, and so on, it would be<span class='pagenum'><a name="page415" id="page415">{415}</a></span> quite out of my province to +pursue farther the description of <i>blagueur</i>-land or +<i>blarney</i>-land.</p> + +<p>P.S.—Excuse my French-English.</p> + + +<p class='author'><span class="smcap">Philarète Chasles</span>, Mazarinæus.</p> + +<p>Paris, Palais de l'Institut.</p> + + +<hr class='full' /> + +<h3>HARMONY OF THE FOUR GOSPELS.</h3> + +<p class='center'>(Vol. viii., p. 316.)</p> + +<p>In answer to Z. I may state that the first attempt of this kind is +attributed to Tatian. Eusebius, in his <i>Ecc. Hist.</i> (quoted in +Lardner's <i>Works</i>, vol. ii. p. 137. ed. 1788), says, he "composed +I know not what—harmony and collection of the gospels, which he +called <span lang='el' title='dia tessarôn'>δια τεσσων</span>." Eusebius himself composed a celebrated +harmony, of which, as of some others in the sixteenth and two +following centuries, there is a short account in Michaelis's +<i>Introduction to the New Test.</i>, translated by Bishop Marsh, vol. +iii. part <span class="smcap">I.</span> p. 32. The few works of the same kind written +in the early and middle ages are noticed in Horne's <i>Introduct.</i>, +vol. ii. p. 274. About the year 330, Juvencus, a Spaniard, wrote the +evangelical history in heroic verse. Of far greater merit were the +four books of Augustine, <i>De Consensu Quatuor Evangeliorum</i>. +After a long interval, Ludolphus the Saxon, a Carthusian monk, +published a work which passed through thirty editions in Germany, +besides being translated into French and Italian. Some years ago I +made out the following list of Harmonies, Diatessarons, and Synoptical +tables, published since the Reformation, which may in some measure +meet the wish of your correspondent. It is probably incomplete. The +dates are those of the first editions.</p> + +<table summary="List of Harmonies Diatessarons Synopticals"> +<tr><td>Osiander,</td><td> 1537. </td><td> |</td><td> Büsching,</td><td> 1756.</td></tr> +<tr><td>Jansenius,</td><td> 1549. </td><td> |</td><td> Macknight,</td><td> 1756.</td></tr> +<tr><td>Chemnitz,</td><td> 1593. </td><td> |</td><td> Bertlings,</td><td> 1767.</td></tr> +<tr><td>Lightfoot,</td><td> 1654. </td><td> |</td><td> Griesbach,</td><td> 1776.</td></tr> +<tr><td>Cradock,</td><td> 1668. </td><td>|</td><td> Priestley (Greek),</td><td> 1777.</td></tr> +<tr><td>Richardson,</td><td> 1654.</td><td>|</td><td> Priestley (Eng.),</td><td> 1780.</td></tr> +<tr><td>Sandhagen,</td><td> 1684. </td><td>|</td><td> Newcome (Greek),</td><td> 1778.</td></tr> +<tr><td>Le Clerc,</td><td> 1699. </td><td>|</td><td> Newcome (Eng.),</td><td> 1802.</td></tr> +<tr><td>Whiston,</td><td> 1702. </td><td>|</td><td> White,</td><td> 1799.</td></tr> +<tr><td>Toinard,</td><td> 1707. </td><td>|</td><td> De Wette,</td><td> 1818.</td></tr> +<tr><td>Rein Rus,</td><td> 1727. </td><td>|</td><td> Thompson, R.</td><td> 1808.</td></tr> +<tr><td>Bengelius,</td><td> 1736. </td><td>|</td><td> Chambers,</td><td> 1813.</td></tr> +<tr><td>Hauber,</td><td> 1737. </td><td>|</td><td> Thompson, C.,</td><td> 1815.</td></tr> +<tr><td>Doddridge,</td><td> 1739. </td><td>|</td><td> Warner,</td><td> 1819.</td></tr> +<tr><td>Pilkington,</td><td> 1747.</td><td>|</td><td> Carpenter,</td><td> 1835.</td></tr> +<tr><td>Michaelis,</td><td> 1750. </td><td>|</td></tr> +</table> + +<p class='author'>J. M.</p> + +<p>Cranwell, near Bath.</p> + + +<p>Tatian wrote his <span lang='el' title='Euangelion dia tôn tessarôn'>Ευανγελιον δια τεσσων</span> +as early as the year 170. It is no longer extant, but we have some reason for +believing that this Harmony had been compiled in an unfriendly spirit +(Theodoret, <i>Hæret. Fabul.</i>, lib. i. c. 20.). Tatian was followed +by Ammonius, whose <span lang='el' title='Harmonia'>Ηαρμοια</span> appeared about 230; and in the +next century by Eusebius and St. Ambrose, the former entitling his +production <span lang='el' title='Peri tês tiôn Euangeliôn diaphiônias'>Περι τησ των Ευανγελιων διαπωιασ</span>, +the latter <i>Concordia Evangelii Mattæi et Lucæ</i>. But by far the ablest +of the ancient writings on this subject is the <i>De Consensu +Evangelistarum</i> of St. Augustine. Many authors, such as Porphyry, +in his <span lang='el' title='Kata Christianôn logoi'>Κατα Χριστιανον λογοι</span>, +had pointed with an air of triumph to the seeming discrepancies in the Evangelic records as an +argument subversive of their claim to paramount authority ("Hoc enim +solent quasi palmare suæ vanitatis objicere, quod ipsi Evangelistæ +inter seipsos dissentiant."—Lib. i. c. 7.). In writing these +objections St. Augustine had to handle nearly all the difficulties +which offend the microscopic critics of the present day. His work +was urged afresh upon the notice of the biblical scholar by Gerson, +chancellor of the University of Paris, who died in 1429. The +<i>Monotessaron, seu unum ex quatuor Evangeliis</i> of that gifted +writer will be found in Du Pin's edition of his <i>Works</i>, iv. 83. +sq. Some additional information respecting Harmonies is supplied in +Ebrard's <i>Wissenschaftliche Kritik der evangelischen Geschichte</i>, +pp. 36. sq. Francfurt a. M., 1842.</p> + + +<p class='author'><span class="smcap">C. Hardwick.</span></p> + +<p>St. Catharine's Hall, Cambridge.</p> + + +<p>Seiler says (<i>Bibl. Herm.</i>, part <span class="smcap">ii.</span> c. 4. s. 4.) that +"The greater part of the works on the harmony of the gospels are quite +useless for our times, as their authors mostly proceed on incorrect +principles." He refers only to the chief of them, namely:</p> + +<table summary="The greater part of the works on the harmony of the gospels are quite +useless for our times, as their authors mostly proceed on incorrect +principles."> +<tr><td>Osiander,</td><td> 1537.</td><td> |</td><td>Macknight,</td><td>1756.</td></tr> +<tr><td>Jansen,</td><td> 1549-72.</td> <td> |</td><td> Bengel,</td><td> 1766.</td></tr> +<tr><td>Chemnitz,</td><td> 1593.</td> <td> |</td><td> Büsching,</td><td> 1766.</td></tr> +<tr><td>Lightfoot,</td><td> 1644.</td> <td> |</td><td> Bertlings,</td><td> 1767.</td></tr> +<tr><td>Van Til,</td><td> 1687.</td> <td> |</td><td> Priestley,</td><td> 1777.</td></tr> +<tr><td>Lamy,</td><td> 1689.</td> <td> |</td><td> Schutte,</td><td> 1779.</td></tr> +<tr><td>Le Roux,</td><td> 1699.</td> <td> |</td><td> Stephan,</td><td> 1779.</td></tr> +<tr><td>Le Clerc, </td><td>1700.</td> <td> |</td><td> Michaelis</td><td> in his New Test.</td></tr> +<tr><td>May, </td><td> 1707.</td> <td> |</td><td> Rullmann,</td><td> 1790.</td></tr> +<tr><td>Von Canstein, </td><td> 1718-27.</td> <td> |</td><td> Griesbach,</td><td> 1776-97.</td></tr> +<tr><td>Rus, </td><td> 1727-30.</td> <td> |</td><td> White,</td><td> 1799.</td></tr> +<tr><td>Hauber.</td> <td> </td> <td> |</td><td>De Wette,</td><td> 1818.</td></tr> +</table > +<p>For other Harmonies, see Mr. Horne's <i>Bibliog. Index</i>, p. 128. +Heringa considers that the following writers "have brought the four +Evangelists into an harmonious arrangement, namely:</p> + +<table summary="Heringa considers that the following writers have brought the four +Evangelists into an harmonious arrangement"> +<tr><td>Hesz,</td> <td> 1784. </td><td>|</td><td> Stronck,</td> <td> 1800.</td></tr> +<tr><td>Bergen</td> <td> 1804.</td><td>|</td><td> Townsend,</td> <td>1834.</td></tr> +</table> + +<p>And especially as to the sufferings and resurrection of Christ:</p> + +<table summary="Especially as to the sufferings and resurrection of Christ"> +<tr><td>Voss,</td><td> 1701.</td><td>|</td><td>Michaelis (translated by Duckett, 1827).</td></tr> +<tr><td>Iken,</td><td> 1743.</td><td>|</td><td> Cremer, 1795.</td></tr> +</table> + +<p class='author'><span class="smcap">T. J. Buckton.</span></p> + +<p>Birmingham.</p> + +<p>Ammonius,<span class='pagenum'><a name="page416" id="page416">{416}</a></span> an Egyptian Christian nearly cotemporary with Origen (third +century), wrote a Harmony of the four gospels, which is supposed to +be one of those still extant in the <i>Biblioth. Max. Patrum</i>. But +whether the larger Harmony in tom. ii. part 2., or the smaller in tom. +iii., is the genuine work is doubted. See a note to p. 97. of Reid's +<i>Mosheim's Ecclesiastical History</i>, 1 vol. edition: London, Simms +and McIntyre, 1848.</p> + + +<p class='author'><span class="smcap">Chris. Roberts.</span></p> + +<p>Bradford, Yorkshire.</p> + + +<hr class='full' /> + +<h3>SMALL WORDS AND LOW WORDS.</h3> + +<p class='center'>(Vol. ii., pp. 305. 349. 377.; Vol. iii., p. 309.)</p> + +<p>A passage in Churchill, and one in Lord John Russell's <i>Life of +Moore</i>, have lately reminded me of a former Note of mine on this +subject. The structure of Churchill's second couplet must surely have +been suggested by that of Pope, which formed my original text:</p> + +<div class="poem"><div class="stanza"> +<p class="i2">"Conjunction, adverb, preposition, join</p> +<p class="i2"> To add new vigour to the nervous line:—</p> +<p class="i2"> In monosyllables his thunders roll,—</p> +<p class="i2"> He, she, it, and, we, ye, they, fright the soul."</p> +<p class="i8"><i>Censure on Mossop.</i></p> +</div></div> + +<p>Moore, in his Journals, notes, on the other side of the question, +conversation between Rogers, Crowe, and himself, "on the beauty of +monosyllabic verses. 'He jests at scars,' &c.; the couplet, 'Sigh on +my lip,' &c.; 'Give all thou canst,' &c. &c., and many others, the +most vigorous and musical, perhaps, of any." (Lord John Russell's +<i>Moore</i>, vol. ii. p. 200.)</p> + +<p>The frequency of monosyllabic lines in English poetry will hardly be +wondered at, however it may be open to such criticisms as Pope's +and Churchill's, when it is noted that our language contains, of +monosyllables formed by the vowel <i>a</i> alone, considerably more +than 500; by the vowel <i>e</i>, about 450; by the vowel <i>i</i>, +nearly 400; by the vowel <i>o</i>, rather more than 400; and by the +vowel <i>u</i>, upwards of 260; a calculation entirely exclusive of +the large number of monosyllables formed by diphthongs.</p> + +<p>I hardly know whether the following "literary folly" (as "D'Israeli +the Elder" would call it, see <i>Curiosities of Lit.</i> sub tit.), +suggested by dipping into the above monosyllabical statistics, will +be thought worthy to occupy a column of "N. & Q." However, it may take +its chance as a supplementary Note, without farther preface, under the +name, for want of a better, of <i>Univocalic verses</i>:</p> + +<p class='center'><i>The Russo-Turkish War.</i></p> + +<p><i>A.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i4">Wars harm all ranks, all arts, all crafts appal:</p> +<p class="i4">At Mars' harsh blast arch, rampart, altar fall!</p> +<p class="i4">Ah! hard as adamant, a braggart Czar</p> +<p class="i4">Arms vassal-swarms, and fans a fatal war!</p> +<p class="i4">Rampant at that bad call, a Vandal-band</p> +<p class="i4">Harass, and harm, and ransack Wallach-land!</p> +<p class="i4">A Tartar phalanx Balkan's scarp hath past,</p> +<p class="i4">And Allah's standard falls, alas! at last.</p> +</div></div> + +<p class='center'><i>The Fall of Eve.</i></p> + +<p><i>E.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i4">Eve, Eden's Empress, needs defended be;</p> +<p class="i4">The Serpent greets her when she seeks the tree.</p> +<p class="i4">Serene she sees the speckled tempter creep;</p> +<p class="i4">Gentle he seems—perversest schemer deep—</p> +<p class="i4">Yet endless pretexts, ever fresh, prefers,</p> +<p class="i4">Perverts her senses, revels when she errs,</p> +<p class="i4">Sneers when she weeps, regrets, repents she fell;</p> +<p class="i4">Then, deep-reveng'd, reseeks the nether hell!</p> +</div></div> + +<p class='center'><i>The Approach of Evening.</i></p> + +<p><i>I.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i4">Idling I sit in this mild twilight dim,</p> +<p class="i4">Whilst birds, in wild swift vigils, circling skim.</p> +<p class="i4">Light winds in sighing sink, till, rising bright,</p> +<p class="i4">Night's Virgin Pilgrim swims in vivid light!</p> +</div></div> + +<p class='center'><i>Incontrovertible Facts.</i></p> + +<p><i>O.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i4">No monk too good to rob, or cog, or plot.</p> +<p class="i4">No fool so gross to bolt Scotch collops hot.</p> +<p class="i4">From Donjon tops no Oroonoko rolls.</p> +<p class="i4">Logwood, not Lotos, floods Oporto's bowls.</p> +<p class="i4">Troops of old tosspots oft, to sot, consort.</p> +<p class="i4">Box tops, not bottoms, schoolboys flog for sport.</p> +<p class="i4">No cool monsoons blow soft on Oxford dons,</p> +<p class="i4">Orthodox, jog-trot, book-worm Solomons!</p> +<p class="i4">Bold Ostrogoths of ghosts no horror show.</p> +<p class="i4">On London shop fronts no hop-blossoms grow.</p> +<p class="i4">To crocks of gold no dodo looks for food.</p> +<p class="i4">On soft cloth footstools no old fox doth brood.</p> +<p class="i4">Long-storm-tost sloops forlorn work on to port.</p> +<p class="i4">Rooks do not roost on spoons, nor woodcocks snort,</p> +<p class="i4">Nor dog on snowdrop or on coltsfoot rolls,</p> +<p class="i4">Nor common frog concocts long protocols.</p> +</div></div> + +<p class='center'><i>The same subject continued.</i></p> + +<p><i>U.</i></p> + +<div class="poem"><div class="stanza"> +<p class="i4">Dull, humdrum murmurs lull, but hubbub stuns.</p> +<p class="i4">Lucullus snuffs up musk, mundungus shuns.</p> +<p class="i4">Puss purrs, buds burst, bucks butt, luck turns up trumps;</p> +<p class="i4">But full cups, hurtful, spur up unjust thumps.</p> +</div></div> + +<p>Although I am the veritable K. I. P. B. T. of the former Notes, I sign +myself now, in accordance with more recent custom,</p> + +<p class='author'><span class="smcap">Harry Leroy Temple.</span></p> + + +<hr class='full' /> + +<h3>A CHAPTER ON RINGS.</h3> + +<p class='center'>(Vol. vii. <i>passim.</i>)</p> + +<p>The Scriptures prove the use of rings in remote antiquity. In Gen. +xli., Joseph has conferred on him the king's ring, an instance more +ancient than Prometheus, whom fables call the inventor of the ring. +Therefore let those who will hold, with Pliny and his followers, that +its use is more recent than Homer. The Greeks seem to have derived the +custom of wearing it from the East, and Italy from the Greeks. Juvenal +and Persius refer to<span class='pagenum'><a name="page417" id="page417">{417}</a></span> rings which were worn only on birthdays. Clemens +Alexandrinus recommends a limit within which the liberty of engraving +upon them should be restrained. He thinks we should not allow an idol, +a sword, a bow, or a cup, much less naked human figures; but a dove, +a fish, or a ship in full sail, or a lyre, an anchor, or fishermen. +By the dove he would denote the Holy Spirit; by the fish, the dinner +which Christ prepared for his disciples (John xxi.), or the feeding of +thousands (Luke ix.); by a ship, either the Church or human life; by a +lyre, harmony; by an anchor, constancy; by fishermen, the apostles or +the baptism of children. It is a wonder he did not mention the symbol +of the name of Christ (<span lang='el' title='Chi-rho'>Χρ</span>), the cross which is found +on ancient gems, and Noah's ark.</p> + +<p>Rings were worn upon the joints and fingers, and hence Clement says +a man should not wear a ring upon the joint (<i>in articulo</i>), for +this is what women do, but upon the little finger, and at its lowest +part. He failed to observe the Roman custom of wearing the ring upon +the finger of the left hand, which is nearest the heart, and which we +therefore term the ring-finger. And Macrobius says, that when a ring +fell from the little finger of Avienus' right hand, those who were +present asked why he placed it upon the wrong hand and finger, not +on those which had been set apart for this use. The reasons which +are given for this custom in Macrobius were often laughed at by H. +Fabricius ab Aquapendente, viz. that it is stated in anatomical works, +that "a certain nerve which rises at the heart proceeds directly to +that finger of the left hand which is next the little finger," for +nothing of the sort, he said, existed in the human body.</p> + +<p>The ring distinguished the free-born from the servile, who, however, +sometimes obtained the <i>jus annuli</i>, or privilege of the ring. +It was used as a seal, a pledge, and a bond. Women, when betrothed, +received rings; and the virgin and martyr Agnes, in Ambrose, says, "My +Lord Jesus Christ hath espoused me with his ring." Theosebius also, in +Photius, says to his wife, "I formerly gave to thee the ring of union, +now of temperance, to aid thee in the seemly custody of my house." He +advisedly speaks of that <i>custody</i>, for the lady of the house in +Plautus says,</p> + +<blockquote><p>"Obsignate cellas, referte annulum ad me:<br /> + Ego huc transeo."</p></blockquote> + +<p>Wives generally used the same seals as their husbands: thus Cicero +(<i>Ad Attic.</i> xi. 9) says, "Pomponia, I believe, has the seals of +what is sealed." Sometimes, however, they used their own.</p> + +<p>Touching the marriage ring, of what style and material it was, and +whether formerly, as now, consecrated by prayers to God. Its pattern +appears to have been one which has gone out of use, viz. right +hands joined, such as is often observed on ancient coins. Tacitus +(<i>Hist.</i> i. ll.) calls it absolutely <i>dextras</i>, right hands. +Among us it was called a faith (<i>una fede.</i> Comp. Eng. "Plight +my <i>troth</i>"), and not without precedent, for on the coins of +Vitellius, &c. right hands thus joined bear the motto <i>Fides</i>. An +esteemed writer (Nider), in his <i>Formicarium</i>, mentions a rustic +virgin who desired to find a material ring as a token of her espousal +"<i>in signum Christiferæ desponsationis</i>," and found a ring of +a white colour, like pure silver, upon which two hands were engraved +where it was united. It was formerly customary to bless a crown or a +ring by prayers. The form of consecration used by the priest is thus +given in ancient liturgies:</p> + + +<blockquote><p>"Bene <img src="images/image01.png" width="15" height="15" alt="cross" /> + die Domine, Annulum istum et coronam istam, ut + sicut Annulus circundat digitum hominis, et corona caput, + ita gratia Spiritus Sancti circundet sponsum et sponsam, + ut videant filios et filias usque tertiam et quartam + generationem: qui collaudent nomen viventis atque regnantis in + secula seculorum. Amen."</p></blockquote> + +<p>For the crown, see Is. lxii. 1. (E. V. lxi. 10.). The words of Agnes +above cited have reference to giving the right hand and a pledge.</p> + +<p>These particulars are from the <i>Symbol. Epist. Liber</i> of +Laurentius Pignorius, Patar. 1628; where, in Ep. I. and XIX., many +other references are to be found.</p> + + +<p class='author'>B. H. C.</p> + + +<hr class='full' /> + +<h3>ANTICIPATORY USE OF THE CROSS.—RINGING BELLS FOR THE DEAD.</h3> + +<p class='center'>(Vol. viii., pp. 130. 132.)</p> + +<p>I trust that the following information may be acceptable to you and +the authors of two interesting papers in "N. & Q." (Vol. viii., pp. +130-2.), viz. "Anticipatory Use of the Cross," and "Curious Custom of +ringing Bells for the Dead."</p> + +<p>When encamped, in 1823 or 1824, near the town (not the cantonment) +of Muttra, on the river Jumna, a place of celebrated sanctity as the +scene of the last incarnation of Vishnoo, the protective deity or +myth of the Hindoos, an Italian gentleman of most polished manners, +speaking English correctly and with fluency, was introduced to me. He +travelled under the name of Count Venua, and was understood to be the +eldest son of the then Prime Minister of Sardinia. The Count explained +to me that his favourite pursuit was architecture, and that he +preferred buildings of antiquity. I replied, that while breakfast +was preparing I could meet his wishes, and led him to a large Hindoo +edifice close by (or rather the remains), which a Mogul emperor had +partially destroyed and thereby desecrated, the place having since +been occasionally used by the townspeople as a cattle-shed, or for +rubbish.</p> + +<p>The Count, not deterred by heaps of cattle-dung, paced the dimensions, +gazed on the solidity of the<span class='pagenum'><a name="page418" id="page418">{418}</a></span> stone masonry, approved of the +construction and shape of the arched roof, pointed out the absence +of all ornament excepting a simple moulding or two as architectural +lines, and then broke out into enthusiastic admiration. "The most +beautiful building! the greatest wonder of the world! Shame on +the English government and English gentlemen for secreting such a +curiosity! Here is the cross! the basilica carried out with more +correctness of order and symmetry than in Italy! The early Christians +must have built it! I will take measurements and drawings to lay +before the cardinals!"</p> + +<p>I was never more surprised, and assured the Count that I was +unacquainted with the cathedral buildings of Europe, and I believed +English gentlemen generally to be as ignorant as myself. I could not +but acknowledge that the local governments had, as it seemed to him, +evinced but little sympathy with Hindooism; and that whatever might be +European policy in respect to religion, the East India Company might +have participated in the desire which prevails in Europe to develop +ancient customs, and the reasons of those customs. It might be +presumed that we should then have contemplated this specimen of +architecture with a knowledge of its original purposes, and the +history of its events, had the Governor-General communicated his +wish, and with due courtesy and disinterestedness invited the learned +persons and scholars at the colleges of Muttra and Benares to assist +such inquiries. It is but little the English now know of the Hindoo +organisation, and the little they do know is derived from books not +tested nor acknowledged by such learned persons.</p> + +<p>I assisted Count Venua as far as I was able, for I rejoiced at his +intention to draw the minds of the <i>literati</i> of Italy to the +subject. Sad to say, the Count was some time after killed by falling +into a volcanic crater in the Eastern Isles!</p> + +<p>I may here mention that I first saw the old building in 1809, when +a youthful assistant to the secretary of a revenue commission. The +party, during the inclement month of September, resided in one of +the spacious houses at Muttra, which pious Hindoos had in past times +erected for the use of pilgrims and the public. The old temple (or +whatever it might have been) was cleaned out for our accommodation +during the heat of the day, as it then was cooler than the house. +The elder civilians were men of ability, classical scholars, and +first-rate Asiatic linguists. They descanted on the mythological +events which renders "Brij," or the country around Muttra, so holy +with the Hindoos, but not one of them knew nor remarked the "cross and +basilica."</p> + +<p>In youth, the language assigned to flowers appeared to me captivating +and elegant, as imparting the finer feelings and sympathies of our +nature. In maturer age, and after the study of the history of the +customs of mankind, symbols and emblems seemed to me an universal +language, which delicately delineated the violent passions of +our kind, and transmitted from generation to generation national +predilections and pious emotions towards the God of Creation. That +mythology should so generally be interpreted Theism, and that forms +or ceremonials of worship should be held to limit and define belief in +creed, may, in my apprehension, be partly traceable to the school-book +Lamprière's <i>Classical Dictionary</i>. You or your correspondents +may attribute it to other and truer causes.</p> + +<p>The rose, the thistle, the shamrock, the leek, the lion, the unicorn, +the harp, &c. are familiar examples of national emblems. The ivy, the +holly, and the mistletoe are joined up with the Christmas worship, +though probably of Druidical origin. The Assyrian sculptures present, +under the "Joronher," or effulgence, a sacred tree, which may +assimilate with the toolsu and the peepul tree, held in almost equal +veneration by the Hindoos. The winged lions and bulls with the heads +of men, the angels and cherubim, recall to mind passages of scriptural +and pagan history. The sciences of astronomy and mathematics have +afforded myths or symbols in the circle, the crescent, the bident, the +trident, the cross, &c.</p> + +<p>The translators of the cuneiform inscriptions represent crucifixion +as the common punishment for rebellion and treason. The Jews may have +imitated the Assyrians, as crucifixion may have been adopted +long before that of Christ and the two thieves (Qy. robbers). The +Mahomedans, who have copied the Jews in many practices and customs, +executed gang robbers or daccorts by suspending the criminals from +a tree, their heads and arms being tied to the branches, and then +ripping up the abdomen. I myself saw in Oude an instance of several +bodies. It may be inferred, then, that the position of the culprits +under execution was designated by crucifixion. The Hindoos mildly say +that when their system of government existed in efficiency there was +neither crime nor punishment.</p> + +<p>To the examples mentioned by your correspondent, I admit that the form +of the cross, as now received, may be derived from that of Christ, +discovered on Mount Calvary in 236 <span class="smcap">A.D.</span> Constantine, in 306 +<span class="smcap">A.D.</span>, adopted it as a standard in Labarum. Other nations +have attached staves to eagles, dragons, fish, &c. as standards +and therefore, construing "Crux ansata" literally, the ensign of +Constantine might be formed by attaching a staff to the Divine Glory +represented in the Egyptian paintings and Assyrian sculptures.</p> + +<p>I should be glad to learn the precise shape of the cross on the Temple +of Serapis. If it be the emblem of life or the Creative Power, then +the mythology of the Nile agrees with that of the<span class='pagenum'><a name="page419" id="page419">{419}</a></span> Ganges. If it be the +symbol of life, or rather of a future state after judgment, then the +religious tenets and creed of Muttra should be elucidated, examined, +and refuted by the advocates of conversion and their itinerant agents. +Moore's <i>Hindoo Pantheon</i> (though the author had at Bombay, as +a military officer, little opportunity of ascertaining particulars of +the doctrine) sufficiently treats, under the head of the "Krishna," +the subject so as to explain to the conversionists, that unless this +doctrine be openly refuted, the missionaries may in truth be fighting +their own shadow.</p> + +<p>The basilica seems to have originally been the architectural plan +of the Roman Forum, or court of justice. The Christians may have +converted some of these edifices into churches; otherwise the first +churches seem to have been in the form of a long parallelogram, +a central nave, and an aisle on each side, the eastern end being +rounded, as the station of the bishop or presbyter. The basilica, or +cathedral, was probably not introduced until the eighth century, or +later.</p> + +<p>I have not just now access to the works of Tod and Maurice. The +former, I doubt not, is correct in respect to the Temple of Mundore, +but I believe the latter is not so in regard to Benares. The trident, +like that of Neptune, prevails in the province of Benares; and when +it, in appropriate size, rises in the centre of large tanks, has +a very solemn effect. I, a great many years ago, visited the chief +temple of Benares, and do not recollect that the cross was either +noticed to me or by me. This, I think, was the only occasion of +observing the forms of worship. There is no fixed service, no +presiding priest, no congregation. The people come and go in +succession. I then first saw the bell, which, in size some twenty-five +pounds weight, is suspended within the interior. Each person, at some +period of his devotion, touched the tongue of the bell as invocation +or grace. The same purpose is obtained by Hindoos, and particularly +the men of the fighting classes, previously to commencing a cooked +dinner, by winding a large shell, which gives a louder sound than +a horn. The native boys however, on hearing it, exclaim in doggerel +rhyme, which I translate,</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"The shell is blown,</p> +<p class="i4">And the devil is flown."</p> +</div></div> + +<p>Fear seems so much the parent of superstition, that I attribute this +saying to the women, who, as mothers, have usually a superstitious +dread not only of evil spirits, but also of the evil eye of mortals +towards their young ones. When, some twenty years ago, I was told by a +Kentish countryman that the church bell was tolled to drive away evil +spirits from a departing soul, I supposed the man to be profanely +jocose; but since then I have travelled much in this country and on +the Continent, and have seen enough to satisfy me that superstition +prevails comparatively less in Asia than in Europe and the pages of +"N. & Q." abundantly corroborate the opinion.</p> + + +<p class='author'>H. N.</p> + + +<hr class='full' /> + +<h3>PHOTOGRAPHIC CORRESPONDENCE.</h3> + +<p><i>Stereoscopic Angles.</i>—I am concerned that my definition +and solution of stereoscopic angles (a misnomer, for it should be +<i>space</i>) in "N. & Q.," with subsequent illustrations, have not +satisfied <span class="smcap">Mr. Shadbolt</span>, as I am thus obliged to once more +request room in your pages, and this time for a rather long letter. +When I asserted that my method is the only correct one, it behoved me +to be prepared to prove it, which I am, and will now do.</p> + +<p>It seems that <span class="smcap">Mr. Shadbolt</span> has not a knowledge of +perspective, or, with a little reflection and trifling pains in +linear demonstration on paper, he might have convinced himself of +the accuracy of my method. It were well, then, to inform <span class="smcap">Mr. +Shadbolt</span>, that in perspective, planes parallel to the plane +of delineation (in this case, the glass at back of camera) have no +vanishing points; that planes at right angles to plane of delineation +have but one; and that planes oblique have but one vanishing point, to +the right or left, as it may be, of the observer's eye. This promised, +let the subject be a wall 300 feet in length, with two abutments of +one foot in front and five feet in projection, and each placed five +feet from the central point of the wall, which is to have a plinth at +its base, and a stone coping at top. On a pedestal four feet high, two +feet wide, and six feet long, exactly midway betwixt the abutments, +let an ass be placed, a boy astride him, a bag drawn before the boy, +who holds up a long stick in line with the ass, &c., that is, facing +the observer. The right distance for the observer's place is 450 feet. +If the cameras be placed two inches and a half apart, on one line +parallel to the wall, the stereographs will be in true perspective for +the <i>two</i> eyes, that is, all the planes at right angles to the +plane of delineation will have <i>two</i> vanishing points, which, +being merely two inches and a half apart, will, in the stereoscope, +flow easily into one opposite the eye; whilst the plinth, coping, and +all lines parallel to them, will be perfectly horizontal; and the two +pictures would create in the mind just such a conception as the +same objects would if seen by the eyes naturally. This would be +stereoscopic, true to nature, true to art, and, I affirm, correct.</p> + +<p>Now, let the same subject be treated by Professor Wheatstone's method, +when the cameras would be eighteen feet apart. Situated thus, if +placed on one line, and that parallel to the wall, the extreme end +at the right could not be seen by the camera at the left, and <i>vice +versâ</i>; so that they<span class='pagenum'><a name="page420" id="page420">{420}</a></span> must radiate from the centre when the glass at +back of camera would be oblique to the wall, and the plinth, coping, +top and bottom of pedestal, would have <i>two</i> vanishing points, +at opposite sides of the centre, or observer's eye; both sides of the +ass, both the legs of boy, and two heads to the drum would be visible; +whilst the two sides of pedestals would have each a vanishing point, +serving for all lines parallel to them. But these vanishing points +would be so far apart that they could not, in the stereoscope, flow +into one: the result would be, that the buttresses would be wider at +back than in front, as would also the pedestal, while the stick held +by the boy would appear like <i>two</i> sticks united in front. This +would be untrue to nature, false to art, preposterously absurd, and I +pronounce it to be altogether erroneous.</p> + +<p>This being the case with a long distance, so must it be with shorter +distances, modified in exact proportion to the diminution of space +between the cameras, &c. For, let the object be a piece of wood three +feet long, four inches wide, and six inches deep, with a small square +piece one inch and six inches high, placed upright exactly on a line +from end to end of the three feet (that is, one at each end) and +midway between the sides. Let this arrangement be placed across +another piece of wood three or four feet long, which will thus be +at right angles to the piece at top. By my method all will be +correct—true to nature and to art, and perfectly stereoscopic: whilst +by the radial method (recommended by <span class="smcap">Mr. Shadbolt</span>), with two +feet space for cameras, there would be the top piece divided at the +farther end, where there would be two small upright pieces instead +of one; and this because the two vanishing points could not, in +stereoscope, flow into one: whilst the lower piece of wood would have +two vanishing points at opposite sides. This, then, being untrue to +nature, untrue in art, in short, a most absurd misrepresentation, I +pronounce to be utterly wrong. I have made the space two feet between +cameras in order to show how ridiculous those pictures might become +where there is an absence of taste, as, by such a person, two or ten +feet are as likely to be taken as any less offensively incorrect.</p> + +<p>As regards range of vision, I apologise to <span class="smcap">Mr. Shadbolt</span> for +having misconceived his exact meaning, and say that I perfectly agree +with him.</p> + +<p>With respect to the "trifling exaggeration" I spoke of, allow me to +explain. For the sake of clearness, I denominate the angle formed from +the focal point of lens, and the glass at back of camera, the angle +of delineation; the said glass the plane of delineation and the angle +formed by the stereograph to the eye, the stereoscopic angle. It must +be borne in mind that the stereoscopic angle is that subtended by +one stereograph and the eye. I find by experiments that the angle of +delineation is very often larger than the stereoscopic angle, so that +the apparent enlargement spoken of by <span class="smcap">Mr. Shadbolt</span> does not +often exist; but if it did, as my vision (though excellent) is not +acute enough to discover the discrepancy, I was content. I doubt not, +however, under such circumstances, <span class="smcap">Mr. Shadbolt</span> would prefer +the deformities and errors proved to be present, since he has admitted +that he has such preference. I leave little doubt that, if desirable, +the stereoscopic angle, and that of delineation, could be generally +made to agree.</p> + +<p>As to the means by which persons with two eyes, or with only one eye, +judge of distance, I say not one word, that being irrelevant to +this subject. But that the axes of the eyes approximate when we view +objects nearer and nearer cannot be doubted, and I expressed no +doubt; and it appears to me very probable that on this fact <span class="smcap">Mr. +Shadbolt</span> founds his conclusion that the cameras should radiate. +This, however, ought not to be done for the reasons I have assigned. +It will not do to treat the cameras as two eyes, and make them radiate +because our eyes do; for it must be remembered that light entering the +eyes is received on curved—whilst when it enters the cameras it falls +on flat surfaces, occasioning very different results. And if this be +maturely considered by <span class="smcap">Mr. Shadbolt</span>, I believe his opinion +will be greatly altered.</p> + +<p>As to the model-like appearance, I cannot yet understand exactly why +it should exist; but of this I am certain, the eyes naturally do not +perceive at one view three sides of a cake (that is, two sides and the +front), nor two heads to a drum, nor any other like absurdity; so that +I perceive no analogy between this model-like appearance and natural +vision, as stated to be the case by <span class="smcap">Mr. Shadbolt</span>.</p> + +<p>To confirm, practically, the truth of my illustrative proofs, I will +send you next week some glass stereographs, to be placed at <span class="smcap">Mr. +Shadbolt's</span> disposal, if he likes, and you will be so kind as to +take charge of them.</p> + + +<p class='author'><span class="smcap">T. L. Merritt.</span></p> + +<p>Maidstone.</p> + + +<hr class='full' /> + + +<h3>Replies to Minor Queries.</h3> + +<p><i>Berefellarii</i> (Vol. vii., p. 207.).—<span class="smcap">John Jebb</span> mentions +the <i>berefellarii</i> as a distinct kind of mongrel dependents +or half-ecclesiastics of the Middle Ages, dirty, shabby, ill-washed +attendants, whose ragged clothes were a shame to the better sort of +functionaries. He gave excellent and just reasons for his opinion, and +a very probable construction of the sense of the word. But the etymon +he proposes is rather unsatisfactory. Anglo-Saxonism is a very good +thing; simplicity and common sense are very good things too. May not<span class='pagenum'><a name="page421" id="page421">{421}</a></span> +<i>berefellarius</i>, the dirty raggamuffin with tattered clothes, be +good monkish Latin for <i>bare-fell</i> (i.e. <i>bare-skin</i>), or +rather <i>bare-fellow</i>? the most natural metamorphosis imaginable. +<i>Bere</i> is the old orthoepy of <i>bare</i>; and every one +knows that in London (east) a fell<i>ow</i> naturally becomes a +fell<i>ar</i>.</p> + +<p>P.S.—Excuse my French-English.</p> + + +<p class='author'><span class="smcap">Philarète Chasles</span>, Mazarinæus.</p> + +<p>Paris, Palais de I'Institut.</p> + + +<p><i>"To know ourselves diseased," &c.</i> (Vol. viii., p. 219.).—</p> + +<blockquote><p>"To know ourselves diseased is half our cure."</p></blockquote> + +<p>This line is from Young's <i>Night Thoughts</i>, Night 9th, line 38.</p> + + +<p class='author'><span class="smcap">J. W. Thomas.</span></p> + +<p>Dewsbury.</p> + + +<p><i>Gloves at Fairs</i> (Vol. viii., p. 136.).—As an emblem of power +and an acknowledgment of goodness, "Saul set up a hand" after his +victory over the Amalekites, 1 Sam. <span class="smcap">xv.</span> 12., (Taylor's +<i>Hebrew Concordance</i>, in voce, <span lang='el' title='YDH'><span class='lfont'>ידה</span>)</span> Sam 2 xviii. +18., Isaiah lvi. 5. The Phœnician monuments are said to have had +sculptured on them an arm and <i>hand held up</i>, with an inscription +graven thereon. (See Gesenius and Lee.) If, as stated by your +correspondents in the article referred to, the glove at fairs "denotes +protection," and indicates "that parties frequenting the fair are +exempt from arrest," it is at least a remarkable coincidence. The +Phœnicians were the earliest merchants to the west of England +that we have any account of; can any connexion be traced historically +between the Phœnician traffic and the modern practice of setting +up a hand, or glove, at fairs? I well remember the feelings of awe and +wonder with which I gazed when taken in childhood to see "the glove +brought in" and placed over the guildhall of my native city (Exeter) +at the commencement of "Lammas Fair." Has the glove been associated +with this fair from its commencement? and if not, how far back can +its use be traced? The history of the fair is briefly this: it existed +before the Norman Conquest, and was a great mart of business; the +tolls had belonged to the corporation, but King John took one-half, +and gave them to the priory of St. Nicholas. Henry VIII. sold the fair +with the priory; and anno second and third of Philip and Mary it was +made over to the corporation, who have ever since been lords of the +fair. (Izacke's <i>Memorials</i>, p. 19.; Oliver's <i>History of +Exeter</i>, pp. 83. 158., &c.)</p> + + +<p class='author'><span class="smcap">J. W. Thomas.</span></p> + +<p>Dewsbury.</p> + + +<p>I may add that at Barnstaple, North Devon, the evening previous to +the proclamation of the fair, a large glove, decked with dahlias, is +protruded on a pole from a window of the Quay Hall, the most ancient +building in the town, which remains during the fair, and is removed at +its termination. May not the outstretched glove signify the consent +of the authorities to the commencement and continuance of the +festivities, &c., and its withdrawal a hint for their cessation?</p> + +<p>I may add also that on the morning of proclaiming the fair, the mayor +and corporation meet their friends in the council chamber, and partake +of spiced toast and ale.</p> + + +<p class='author'><span class="smcap">Drofsniag.</span></p> + + +<p><i>"An" before "u" long</i> (Vol. viii., p. 244.).—The custom of +writing <i>an</i> before <i>u</i> long must have arisen and become +established when <i>u</i> had its primitive and vowel sound, nearly +resembling that of our <i>oo</i>, a sound which it still has in +several languages, but seems to have lost in ours. The use of +<i>an</i> before <i>u</i> long, was <i>then</i> proper; habit and +precedent will account for its retention by many, after the reason for +it has ceased, and when its use has become improper. But although the +custom is thus accounted for, there exists no satisfactory reason for +its continuance, and I am sorry to learn from your correspondent that +it is "increasingly prevailing."</p> + + +<p class='author'><span class="smcap">J. W. Thomas.</span></p> + +<p>Dewsbury.</p> + + +<p><i>"The Good Old Cause"</i> (Vol. viii, p. 44.).—D'Israeli, in +<i>Quarrels of Authors</i>, under the head of "Martin Mar-Prelate," +has the following remarks on the origin and use of the expression, +"The Good Old Cause:"</p> + +<blockquote><p>"It is remarkable that Udall repeatedly employed that + expression, which Algernon Sidney left as his last legacy to + the people, when he told them he was about to die for 'that + <i>Old Cause</i>, in which I was from my youth engaged.' Udall + perpetually insisted on '<i>The Cause</i>.' This was a + term which served at least for a watch-word: it rallied the + scattered members of the republican party. The precision of + the expression might have been difficult to ascertain; and, + perhaps, like every popular expedient, varied with 'existing + circumstances.' I did not, however, know it had so remote an + origin as in the reign of Elizabeth; and suspect it may still + be freshened up and varnished over for any present occasion."</p></blockquote> + + +<p class='author'><span class="smcap">Henry H. Breen.</span></p> + +<p>St. Lucia.</p> + + +<p>The following curious paragraph in the <i>Post Boy</i>, June 3-5, +1714, seems to have been connected with the Jacobites:</p> + +<blockquote><p>"There are lately arrived here the Dublin Plenipo's. All + persons that have any business concerning the <span class="smcap">Good Old + Cause</span>, let 'em repair to Jenny Man's Coffee House at + Charing Cross, where they may meet with the said Plenipo's + every day of the week except Sundays, and every evening of + those days they are to be spoke with at the Kit-Cat Club."</p></blockquote> + + +<p class='author'><span class="smcap">E. G. Ballard.</span></p> + + +<p><i>Jeroboam of Claret, &c.</i> (Vol vii., p.528.).—Is a <i>magnum</i> +anything more than a bottle larger than<span class='pagenum'><a name="page422" id="page422">{422}</a></span> those of the ordinary size, +and containing about two quarts; or a <i>Jeroboam</i> other than a +witty conceit applied to the old measure <i>Joram</i> or <i>Jorum</i>, +by some profane <i>wine-bibber</i>?</p> + + +<p class='author'>H. C. K.</p> + + +<p><i>Humbug</i> (Vol. vii., p. 631.).—The real signification of the +word <i>humbug</i> appears to me to lie in the following derivation +of it. Among the many issues of base coin which from time to time were +made in Ireland, there was none to be compared in worthlessness +to that made by James II. from the Dublin Mint; it was composed +of anything on which he could lay his hands, such as lead, pewter, +copper, and brass, and so low was its intrinsic value, that twenty +shillings of it was only worth twopence sterling. William III., a few +days after the Battle of the Boyne, ordered that the crown piece +and half-crown should be taken as one penny and one halfpenny +respectively. The soft mixed metal of which that worthless coining +was composed, was known among the Irish as <i>Uim bog</i>, pronounced +<i>Oom-bug</i>, <i>i.e.</i> soft copper, <i>i.e.</i> worthless +money; and in the course of their dealings the modern use of the word +<i>humbug</i> took its rise, as in the phrases "that's a <i>piece +of uimbog</i> (humbug)," "don't think to <i>pass off</i> your +<i>uimbug</i> on me." Hence the word <i>humbug</i> came to be applied +to anything that had a specious appearance, but which was in +reality spurious. It is curious to note that the very opposite of +<i>humbug</i>, <i>i.e.</i> false metal, is the word <i>sterling</i>, +which is also taken from a term applied to the <i>true</i> coinage +of the realm, as <i>sterling</i> coin, <i>sterling</i> truth, +<i>sterling</i> worth, &c.</p> + + +<p class='author'><span class="smcap">Fras. Crossley.</span></p> + + +<p><i>"Could we with ink," &c.</i> (Vol. viii., pp. 127, 180.).-If +Rabbi Mayir Ben Isaac is the <i>bonâ fide</i> author of the lines +in question, or the substance of them, then the author of the +<i>Koran</i> has been indebted to him for the following passage:</p> + +<blockquote><p>"If the sea were ink, to write the words of my Lord, verily + the sea would fail before the words of my Lord would + fail; although we added another sea unto it as a farther + supply."—<i>Al Koran</i>, chap. xviii., entitled "The Cave," + translated by Sale.</p></blockquote> + +<p>The question is, Did Rabbi Mayir Ben Isaac, author of the Chaldee ode +sung in every synagogue on the day of Pentecost, flourish before or +since the Mohamedan era?</p> + + +<p class='author'><span class="smcap">J. W. Thomas.</span></p> + +<p>Dewsbury.</p> + + +<p><i>"Hurrah!"</i> (Vol. viii., pp. 20, 277, 323.).—It would almost +deem that we are never to hear the last of "Hurrah! and other +war-cries." Your correspondents T. F. and <span class="smcap">Sir J. Emerson +Tennent</span> appear to me to have made the nearest approach to a +satisfactory solution of the difficulty; a step farther and the goal +is won—the object of inquiry is found. I suppose it will be admitted +that the language which supplies the <i>meaning</i> of a word has the +fairest claim to be considered its <i>parent</i> language. What, then, +is the meaning of "Hurrah," and in whet language? As a reply to this +Query, allow me to quote a writer in <i>Blackwood's Magazine</i>, +April 1843, p. 477.</p> + +<blockquote><p>"'Hurrah!' means <i>strike</i> in the Tartar language."—Note + to art. "Amulet Bek."</p></blockquote> + +<p>So then, according to this respectable authority, the end of our +shouts and war-cries is, that we have "caught a Tartar!"</p> + +<p>Again, in <i>Blackwood</i>, 1849, vol. i. p.673., we read:</p> + +<blockquote><p>"He opened a window and cried 'Hourra!' At the signal, a + hundred soldiers crowded into the house. Mastering his + fury, the Czar ordered the young officer to be taken to + prison."—Art. "Romance of Russian History."</p></blockquote> + +<p>Thus, in describing the "awful pause" on the night preceding the +Russian attack on Ismail, then in possession of the Turks, Lord Byron +says:</p> + +<div class="poem"><div class="stanza"> +<p class="i4">"A moment—and all will be life again!</p> +<p class="i5">The march! the charge! the shouts of either faith!</p> +<p class="i4">Hurra! and Allah! and—one instant more—</p> +<p class="i5">The death-cry drowning in the battle's roar."</p> +<p class="i8"><i>Works</i>, p. 684. col. 2.</p> +</div></div> + +<p class='author'><span class="smcap">J. W. Thomas.</span></p> + +<p>Dewsbury.</p> + + +<p><i>"Qui facit per alium facit per se"</i> (Vol. viii., p. 231.).—"Qui +facit per alium, est perinde ac si faciat per seipsum," is one of the +maxims of Boniface VIII. (<i>Sexti Decret.</i>, lib. v. tit. 12., de +Reg. Jur. c. 72.; <i>Böhm. Corp. Jur. can.</i>, tom. ii. col. 1040.), +derived, according to the glossary (vid. in <i>Decret.</i>, ed. fol., +Par. 1612), from the maxim of Paulus (<i>Digest</i>, lib. 1. tit. 17., +de Div. Reg. Jur. 1. 180.), "Quod jussu alterius solvitur, pro eo est +quasi ipsi solutum esset."</p> + + +<p class='author'>E. M.</p> + + +<p><i>Tsar</i> (Vol. viii., pp. 150, 226.).—Is not <i>tsar</i> rather +cognate with the Heb. <span class='lfont'>שַׂר</span> (Sar), a leader, commander, or +prince? This root is to be found in many other languages, as Arabic, +Persian; Latin <i>serro</i>. Gesenius gives the meaning of the word +<span class='lfont'>שָׂרָה</span> (Sarah), to place in a row, to set in order; to be leader, +commander, prince. If <i>tsar</i> have this origin, it will be +synonymous with <i>imperator</i>, emperor.</p> + + +<p class='author'>B. H. C.</p> + + +<p><i>Scrape</i> (Vol. viii., p. 292.).—I do not know when this word +began to be used in this sense. Shakspeare says "Ay, there's the +<i>rub</i>:" an analogous phrase, which may throw light upon the +one "to get into a scrape." Both are metaphors, derived from the +unpleasant sensations produced by rubbing or grazing the skin. The +word <i>pinch</i> is, on the same principle, used for difficulty; and +the Lat. <i>tribulatio</i>=trouble, and its synonym in Gr., +<span lang='el' title='thlipsis'>θλιρσισ</span>, have a +similar origin and application.<span class='pagenum'><a name="page423" id="page423">{423}</a></span></p> + +<blockquote><p>"To get into a scrape" is, therefore, to get into trouble.</p></blockquote> + + +<p class='author'>B. H. C.</p> + + +<p><i>Baskerville</i> (Vol. viii., p. 202.).—</p> + +<blockquote><p>Among the <i>articles</i> consumed at Mr. Ryland's at + Birmingham, was the body of the late Mr. Baskerville, who by + his will ordered that he should be buried in his own house, + and he was accordingly interred there. A stone closet was + erected in it, where he was deposited in a standing posture. + The house was afterwards sold with this express condition, + that it should remain there."—Account of the Birmingham riots + in 1791, from the <i>Historical Magazine</i>, vol. iii., where + it is said the house was burned on Friday afternoon, July 15."</p></blockquote> + + +<p class='author'>B. H. C.</p> + + +<p>A great-uncle of mine owned the Baskerville property (he, Baskerville, +was buried in his own grounds) at the time of the Church and King Riot +in 1791; but it was the recent growth of the town that occasioned the +disinterment.</p> + + +<p class='author'>R.</p> + + +<p><i>Sheriffs of Glamorganshire</i> (Vol. iii., p. 186.; Vol. viii., +p. 353.).—Your correspondent <span class="smcap">Tewars</span> is certainly wrong in +ascribing to the Rev. H. H. Knight the list of Glamorganshire sheriffs +inquired for by <span class="smcap">Edmund W</span>. It is true this gentleman printed a +list of them many years after the former, which was privately printed +by the Rev. J. M. Traherne, and subsequently published a <i>Cardiff +Guide</i>, by Mr. Bird of Cardiff. I have seen both copies, and the +latter may doubtless yet be seen upon application to Mr. Bird. I have +also seen the more recent list by my learned friend the rector of +Neath.</p> + + +<p class='author'><span class="smcap">Bibliothecar. Chetham.</span></p> + + +<p><i>Synge Family—sub voce Carr Pedigree</i> (Vol. vii., p. 558.; Vol. +viii., p. 327.).—Has the statement made by <span class="smcap">Gulielmus</span>, as to +the origin of the name of Synge, ever appeared in print before? And if +so, where? I have long been curious to identify the individual whose +name underwent such a singular change, and to ascertain if he really +was a chantry priest as reported. Was he George Synge, the grandfather +of George Synge, Bishop of Cloyne, born 1594? Of what family was Mary +Paget, wife of the Rev. Richard Synge, preacher at the Savoy in 1715? +The name appears to have been indifferently spelt, Sing, Singe, and +Synge. And I believe an older branch than the baronet's still exists +at Bridgenorth, writing themselves Sing. The punning motto of this +family is worth noticing: "Celestia canimus."</p> + + +<p class='author'><span class="smcap">Arthur Paget.</span></p> + + +<p><i>Lines on Woman</i> (Vol. viii., p. 350).—Your correspondent F. W. +J. has occasioned me some perplexity in tracing the quotation which he +refers to Vol. viii., p. 204., but which is really to be found at p. +292. He appears to have fallen into this error by mistaking the number +on the right hand for the paging on the left. As accuracy in these +matters is essential in a publication like "N. & Q.," he will excuse +me for setting him right. The name of the author of the poem of +"Woman" was not Eton Barrett, but Eaton Stannard Barrett. He was +connected with the press in London. Your correspondent is correct in +stating that the Barretts were from Cork. Eaton Stannard Barrett was +a man of considerable ability. He published several works anonymously, +all of which acquired celebrity; but I believe the poem of "Woman," +published by Mr. Colburn, was the only work to which he attached his +name. He was the author of the well-known political satire called +<i>All the Talents</i>; of the mock romance of <i>The Heroine</i>, +in which the absurdities of a school of fiction, at that time in high +favour, are happily ridiculed; and of a novel which had great success +in its day, and is still to be found in some of the circulating +libraries, called <i>Six Weeks at Long's</i>. Eaton Stannard Barrett +died many years ago in the prime of his life and powers. His brother, +Richard Barrett, is still living, and resides in the neighbourhood +of Dublin. He is the author of some controversial and political +pamphlets, of which the principal were <i>Irish Priests</i>, and +<i>The Bible not a Dangerous Book</i>. He afterwards conducted <i>The +Pilot</i> newspaper, established for the support of Mr. O'Connell's +policy in Ireland, and was one of the persons who suffered +imprisonment with Mr. O'Connell, and who were designated in the Irish +papers as the "martyrs."</p> + + +<p class='author'><span class="smcap">Robert Bell.</span></p> + + +<p><i>Lisle Family</i> (Vol. vii., p. 365. <i>et ante</i>).—R. H. C. +will find in Berry's <i>Hampshire Genealogies</i> (1 vol. folio, +London, 1833) a pedigree of the Lisles he alludes to as being buried +at Thruxton, Hampshire. The shield, Lisle impaling Courtenay, on the +altar tomb there would appear to belong to Sir John Lisle, Kt., who +married Joan, daughter of John Courtenay, Earl of Exeter.</p> + + +<p class='author'><span class="smcap">Arthur Paget.</span></p> + + +<p><i>Duval Family</i> (Vol. viii., p. 318.).—If H. will have the +kindness to address himself to me either personally or by letter, I +shall be happy to give him any information I can, derived from old +family documents in my possession, respecting the Duval family and the +Walls of the south of Ireland.</p> + + +<p class='author'><span class="smcap">C. A. Duval.</span></p> + +<p>74. George St., Manchester.</p> + + +<hr /> + + +<h2>Miscellaneous.</h2> + +<h3>BOOKS AND OLD VOLUMES</h3> + +<h4>WANTED TO PURCHASE.</h4> + +<p><span class="smcap">Examiner (Newspaper)</span>, No. 2297, February 7, 1853.</p> + +<p><span class="smcap">William Shakspeare</span>: A Biography, by Charles Knight (First +Edition).</p> + +<p><span class="smcap">Marsh's History of Hursley and Baddesley.</span> About 1805. 8vo. +Two Copies.</p> + +<p>⁂Letters, stating particulars and lowest prices, <i>carriage free</i>, +to be sent to <span class="smcap">Mr. Bell</span>, Publisher of "NOTES AND QUERIES," +186. Fleet Street.</p> + +<hr /> + +<p><span class='pagenum'><a name="page424" id="page424">{424}</a></span>Particulars of Price, &c. of the following Books to be sent direct to +the gentlemen by whom they are required, and names and addresses are +given for that purpose:</p> + +<p><span class="smcap">Oxford Almanack</span> for 1719.</p> + +<p><span class="smcap">Amœnitates Academicæ.</span> Vol. I. Holmiæ, 1749.</p> + +<p><span class="smcap">Brouræ Hist. Nat. Jamaicæ.</span> London, 1756. Folio.</p> + +<p><span class="smcap">Ammanus I. Stirpes Rariores.</span> Petrop. 1739.</p> + +<p><span class="smcap">Philosophical Transactions</span> for 1683.</p> + +<p><span class="smcap">Annals of Philosophy</span> for January, 1824.</p> + +<p><span class="smcap">A Poem upon the most hopeful and ever-flourishing Sprouts of +Valour, the Indefatigable Centrys of the Physic Garden.</span></p> + +<p><span class="smcap">Poem upon Mr. Jacob Bobart's Yewmen of the Guards to the Physic +Garden, to the Tune of "The Counter-Scuffle</span>." Oxon. 1662.</p> + +<p>The above two Ballads are by Edmund Gayton.</p> + +<p class='center'>Wanted by <i>H. T. Bobart</i>, Ashby-de-la-Zouch.</p> + +<hr /> + +<p><span class="smcap">Peyran's Coptic Lexicon.</span></p> + +<p><span class="smcap">Mure on the Calendar and Zodiacs of Ancient Egypt.</span></p> + +<p><span class="smcap">Gladwin's Persian Moonshee.</span> 4to.</p> + +<p>Jones's <span class="smcap">Classical Library</span> (the 8vo. Edition). The Volume +containing Herodotus, Vol. I.</p> + +<p><span class="smcap">The Chronicles of London.</span> 1827.</p> + +<p class='center'>Wanted by <i>Mr. Hayward</i>, Bookseller, Bath.</p> + +<hr /> + +<p><span class="smcap">A Register of Elections</span>, by H. S. Smith, of Leeds (published +in Parts).</p> + +<p><span class="smcap">James' Naval History.</span> Vols. III., IV., and V. 8vo. 6-Vol. +Edition by Bentley.</p> + +<p class='center'>Wanted by <i>Mr. J. Howes</i>, Stonham-Aspall, Suffolk.</p> + +<hr /> + +<p><span class="smcap">Monuments and Genii of St. Paul's and Westminster Abbey</span>, by +G. L. Smith. London. J. Williams. 1826. Vol. I.</p> + +<p class='center'>Wanted by <i>Charles Reed</i>, Paternoster Row.</p> + +<hr /> + +<p><span class="smcap">Dr. Pettingall's Tract on Jury Trial</span>, 1769.</p> + +<p class='center'>Wanted by <i>Mr. T. Stephens</i>, Merthyr Tydfil.</p> + +<hr /> + +<p><span class="smcap">History of the Old and New Testament</span>, by Prideaux. Vol. I. +1717-18.</p> + +<p><span class="smcap">Historical Memoirs of Queens of England</span>, by Hannah Lawrence. +Vol. II.</p> + +<p><span class="smcap">Bryan's Dictionary of Painters and Engravers.</span></p> + +<p><span class="smcap">Jardine's Naturalist's Library.</span> First Edition. All except +first 13 Volumes.</p> + +<p><span class="smcap">Peter Simple.</span> Illustrated Edition. Saunders and Otley. Vols. +II. and III.</p> + +<p><span class="smcap">History and Antiquities of Somersetshire</span>, by Rev. W. Phelps, +1839. All except Parts I., II., III., V., VI., VII., and VIII.</p> + +<p class='center'>Wanted by <i>John Garland</i>, Solicitor, Dorchester.</p> + +<hr /> + +<p><span class="smcap">Roman Stations in Britain.</span> London, 1726.</p> + +<p><span class="smcap">A Survey of Roman Antiquities in Some Midland Counties.</span> +London, 1726.</p> + +<p class='center'>Wanted by <i>Rev. J. W. Hewett</i>, Bloxham, Banbury.</p> + +<hr /> + +<p><span class="smcap">Indications of Spring</span>, by Robt. Marsham, Esq., F.R.S.</p> + +<p><span class="smcap">The Village Curate</span>, by Hurdis.</p> + +<p><span class="smcap">Calendar of Flora</span>, by Stillingfleete.</p> + +<p class='center'>Wanted by <i>J. B. Whitborne</i>, 54. Russell Terrace, Leamington.</p> + +<hr class='full' /> + + +<h3>Notices to Correspondents.</h3> + +<p><span class="smcap">Books Wanted.</span> <i>So many of our Correspondents seem disposed +to avail themselves of our plan of placing the booksellers in direct +communication with them, that we find ourselves compelled to limit +each list of books to two insertions. We would also express a hope +that those gentlemen who may at once succeed in obtaining any desired +volumes will be good enough to notify the same to us, in order that +such books may not unnecessarily appear in such list even a second +time.</i></p> + +<p>P. G. <i>We are not in a position to answer</i> P. G.'s<i> inquiries. +Why not try one of the series and judge for yourself?</i></p> + +<p><span class="smcap">A German Investigator</span>, <i>who states that some important +moves towards the "flying by man" have lately been made upon the +Continent, and who inquires "what noblemen or gentlemen would be +likely to foster similar researches in this country," should rather +address himself to some of the journals devoted to mechanical +science.</i></p> + + +<p><span class="smcap">Sciolus.</span> <i>The author of</i> Doctor Syntax <i>was the +well-known</i> William Coombe, <i>a curious list of whose works will +be found in the</i> Gentleman's Magazine <i>for May, 1852, p. 467.</i></p> + +<p><span class="smcap">Charles Demayne.</span> <i>We have a letter for this Correspondent; +where shall it be sent?</i></p> + +<p><span class="smcap">Erica</span> <i>will find his illustration of Campbell's</i> Like +Angel Visits <i>anticipated in our</i> 1st Vol.</p> + +<p>J. N. C. (King's Lynn). <i>We have one or two Replies on the same +subject already in the Printer's hands.</i></p> + +<p>A. J. V. (University Club) <i>will find his Query respecting</i> +Solamen miseris, &c. <i>in</i> Vol. viii., p. 272., <i>and an answer +respecting</i> Tempora mutantur <i>in</i> p. 306.</p> + +<p><i>Our Correspondent</i> C. E. F. (p. 373.) <i>is informed</i>—1. +<i>That both the solutions of the muriate salts and the nitrate of +silver may be used in the manner he proposes; but a portion of sugar +of milk, mannite, or grape sugar, as has been previously recommended, +much accelerates the process.</i> 2. <i>The positives should be +printed about one-third deeper than is required, and they should +remain in the hypo. bath until the mottled appearance is removed, +which is visible when held up against the light and they are looked +through: at first the positive often assumes a very unpleasant red +colour; this gradually disappears by longer immersion, when the proofs +may be removed at the point of tint required, remembering that they +become rather darker when dry, especially if ironed, and which is +generally desirable, especially if the print is rather pale.</i> 3. +<i>The sel d'or does not seem to have the destructive effect which the +chloride of gold has, and if the chemicals are entirely removed, in +all probability they are quite permanent. Those which we have seen +printed several months since appear to have suffered no change. +Pictures produced by the ammonio-nitrate are most uncertain. There +are few who have not had the mortification to see some of their best +productions fade and disappear. A learned professor, about eighteen +months since, sent us a picture so printed "as something to work up +to;" a few yellowish stains are now all that remains on the paper.</i></p> + +<p>"<span class="smcap">Notes and Queries</span>," Vols. i. <i>to</i> vii., <i>price +Three Guineas and a Half.—Copies are being made up and may be had by +order.</i></p> + +<p>"<span class="smcap">Notes and Queries</span>" <i>is published at noon on Friday, +so that the Country Booksellers may receive Copies in that night's +parcels, and deliver them to their Subscribers on the Saturday.</i></p> + +<hr class='adverts' /> + + +<p class='center'>EDITED FOR THE SYNDICS OF THE CAMBRIDGE UNIVERSITY PRESS.</p> + +<p class='center'>This Day, 3 vols. 8vo., 42<i>s.</i></p> + +<h4>GROTIUS</h4> +<p class='center'><b>DE JURE BELLI ET PACIS;</b></p> + +<p>Accompanied by and Abridged Translation of the Text. By W. WHEWELL, +D.D., Master of Trinity College, and Professor of Moral Philosophy in +the University. With the Notes of the Author, Barbeyrac and others.</p> + +<p class='center'>Also, 8vo., 14<i>s.</i></p> + +<h4>GROTIUS</h4> + +<p class='center'><b>ON THE RIGHTS OF WAR AND PEACE.</b></p> + +<p>An Abridged Translation. By DR. WHEWELL.</p> + +<p>London: J. W. PARKER & SON, West Strand.</p> + +<hr /> + + +<p class='center'>This Day, small octavo, 9<i>s.</i> 6<i>d.</i></p> + +<p>PHRASEOLOGICAL AND EXPLANATORY NOTES ON THE HEBREW TEXT OF THE BOOK +OF GENESIS. By THEODORE PRESTON, M.A. Fellow of Trinity College, +Cambridge.</p> + +<p class='center'>London JOHN W. PARKER & SON.<br /> Cambridge J. DEIGHTON.</p> + +<hr /> + + +<p class='center'>This Day, Octavo, 3<i>s.</i> 6<i>d.</i></p> + +<p class='center'>CICERO PRO MILONE.</p> + +<p>With a Translation of Asconius' Introduction, Marginal Analysis, and +English Notes. Edited for the Syndics of the Cambridge University +Press. By the REV. J. S. PURTON, M.A., President and Tutor of St. +Catharine's Hall.</p> + +<p class='center'>London: JOHN W. PARKER & SON, West Strand.</p> + +<hr /> + + +<p class='center'>Just published, price 1<i>s.</i></p> + +<h4>THE STEREOSCOPE.</h4> + +<p>Considered in relation to the Philosophy of Binocular Vision. An +Essay, by C. MANSFIELD INGLEBY, M.A., of Trinity College, Cambridge.</p> + +<p class='center'>London WALTON & MABERLEY, Upper Gower Street, and Ivy Lane, +Paternoster Row.<br /> Cambridge: J. DEIGHTON.</p> + +<p class='center'>Also, by the same Author, price 1<i>s.</i>,</p> + +<p class='center'><b>REMARKS</b> on some of Sir William Hamilton's Notes on the Works of Dr. +Thomas Reid.</p> + +<blockquote><p>"Nothing in my opinion can be more cogent than your refutation + of M. Jobert,"—<i>Sir W. Hamilton.</i></p></blockquote> + +<p class='center'>London: JOHN W. PARKER, West Strand.<br /> Cambridge: E. JOHNSON.<br /> +Birmingham: H. C. LANGBRIDGE.</p> + +<hr /> + + +<p>W. H. HART, RECORD AGENT and LEGAL ANTIQUARIAN<span class='pagenum'><a name="page425" id="page425">{425}</a></span> (who is in the +Possession of Indices to many of the early Public Records whereby +his Inquiries are greatly facilitated) begs to inform Authors and +Gentlemen engaged in Antiquarian or literary Pursuits, that he is +prepared to undertake searches among the Public Records, MSS. in the +British Museum, Ancient Wills, or other Depositories of a similar +Nature, in any Branch of Literature, History, Topography, Genealogy, +or the like, and in which he has had considerable experience.</p> + +<p class='center'>1. ALBERT TERRACE, NEW CROSS, HATCHAM, SURREY.</p> + +<hr /> + + +<p>ALLEN'S ILLUSTRATED CATALOGUE, containing Size, Price, and Description +of upwards of 100 articles, consisting of +PORTMANTEAUS, TRAVELLING-BAGS, Ladies' Portmanteaus,</p> + +<p>DESPATCH-BOXES, WRITING-DESKS, DRESSING-CASES, and other travelling +requisites. Gratis on application, or sent free by Post on receipt of +Two Stamps.</p> + +<p>MESSRS. ALLEN'S registered Despatch-box and Writing-desk, their +Travelling-bag with the opening as large as the bag, and the new +Portmanteau containing four compartments, are undoubtedly the best +articles of the kind ever produced.</p> + +<p class='center'>J. W. & T. ALLEN, 18. & 22. West Strand.</p> + +<hr /> + + +<p>DAGUERREOTYPE MATERIALS.—Plates, Cases, Passepartoutes. Best and +Cheapest. To be had in great variety at</p> + +<p class='center'>M<sup>c</sup>MILLAN'S Wholesale Depot, 132. Fleet Street.</p> + +<p class='center'>Price List Gratis.</p> + +<hr /> + + +<p class='center'>BANK OF DEPOSIT.</p> + +<p class='center'>7. St. Martin's Place, Trafalgar Square, London.</p> + +<p>PARTIES desirous of INVESTING MONEY are requested to examine the Plan +of this Institution, by which a high rate of Interest may be obtained +with perfect Security.</p> + +<p class='center'>Interest payable in January and July.</p> + +<p class="regards">PETER MORRISON,</p> +<p class="author"> Managing Director.</p> + +<p class='center'>Prospectuses free on application.</p> + +<hr /> + + +<p>BENNETT'S MODEL WATCH, as shown at the GREAT EXHIBITION. No. 1. Class +X., in Gold and Silver Cases, in five qualities, and adapted to all +Climates, may now be had at the MANUFACTORY, 65. CHEAPSIDE. Superior +Gold London-made Patent Levers, 17, 15, and 12 guineas. Ditto, in +Silver Cases, 8, 6, and 4 guineas. First-rate Geneva Levers, in Gold +Cases, 12, 10, and 8 guineas. Ditto, in Silver Cases, 8, 6, and 5 +guineas. Superior Lever, with Chronometer Balance, Gold, 27, 23, and +19 guineas. Bennett's Pocket Chronometer, Gold, 50 guineas, Silver, +40 guineas. Every Watch skilfully examined, timed, and its performance +guaranteed. Barometers, 2<i>l.</i>, 3<i>l.</i>, and 4<i>l.</i> +Thermometers from 1<i>s.</i> each.</p> + +<p>BENNETT, Watch, Clock, and Instrument Maker to the Royal Observatory, +the Board of Ordnance, the Admiralty, and the Queen.</p> + +<p class='center'>65. CHEAPSIDE.</p> + +<hr /> + + +<p>HEAL & SON'S ILLUSTRATED CATALOGUE OF BEDSTEADS, sent free by post. +It contains designs and prices of upwards of ONE HUNDRED different +Bedsteads: also of every description of Bedding, Blankets, and Quilts. +And their new warerooms contain an extensive assortment of Bed-room +Furniture, Furniture Chintzes, Damasks, and Dimities, so as to render +their Establishment complete for the general furnishing of Bed-rooms.</p> + +<p class='center'>HEAL & SON, Bedstead and Bedding Manufacturers, 196. Tottenham Court +Road.</p> + +<hr /> + + +<p>OLD CHURCH PSALMODY; a Manual of good and useful Tunes, either Old +or in Old Style. Edited by REV. W. H. HAVORGAL, M.A. Organ Score, +5<i>s.</i>; Single Parts, 1<i>s.</i> 4<i>d.</i> each Voice (Post +Free).</p> + +<p>The Editor has no pecuniary interest in this work, his sole object +being to assist the Publisher in bringing forward good Music, and to +inculcate sound taste respecting it.</p> + +<p class='center'>London: JOSEPH HART, 109. Hatton Garden.</p> + +<p>A CLASSIFIED LIST (the most Extensive of any House in the Trade) +of CHRISTMAS ANTHEMS, CAROLS, &c., for Choirs or Private Practice, +forwarded, Post Free, by JOSEPH HART, 109. Hatton Garden.</p> + +<hr /> + + +<p class='center'>IN THE PRESS.</p> + +<p class='center'>In 1 vol. folio, price 10<i>s.</i> 6<i>d.</i></p> + +<p>SUPPLEMENT TO THE MONASTICON DIŒCESIS EXONIENSIS. Being a +Collection of Records and Instruments further illustrating the Ancient +Conventual, Collegiate, and Eleemosynary Foundations in the Counties +of Devon and Cornwall. By GEORGE OLIVER, D.D. To correspond exactly in +size, paper, and type with the original work, and to contain a large +folding Map of the Diocese of Exeter at the time of the Dissolution of +Monasteries. When published the price will be raised.</p> + +<p class='center'>Subscribers' Names received by A. HOLDEN, Bookseller, Exeter.</p> + +<hr /> + + +<p>COMPLETION OF THE WORK. cloth 1<i>s.</i> by post, 1<i>s.</i> +6<i>d.</i>, pp. 192.—WELSH SKETCHES, THIRD (and Last) SERIES. By the +Author of "Proposals for Christian Union."—Contents 1. Edward the +Black Prince. 2. Owen Glendower, Prince of Wales. 3. Mediæval Bardism. +4. The Welsh Church.</p> + +<blockquote><p>"Will be read with great satisfaction, not only by all sons + of the principality, but by all who look with interest on that + portion of our island in which the last traces of our ancient + British race and language still linger."—<i>Notes and + Queries.</i></p></blockquote> + +<p class='center'>London: JAMES DARLING, 81. Great Queen Street, Lincoln's Inn Fields.</p> + +<hr /> + + +<p class='center'><b>Solicitors' & General Life Assurance Society,</b><br /><br /> + +52, CHANCERY LANE, LONDON.<br /> + +<i>Subscribed Capital, ONE MILLION.</i><br /> + +THIS SOCIETY PRESENTS THE FOLLOWING ADVANTAGES:<br /> + +The Security of a Subscribed Capital of ONE MILLION.<br /> + +Exemption of the Assured from all Liability.<br /> + +Premiums affording particular advantages to Young Lives.<br /> + +Participating and Non-Participating Premiums.</p> + +<p>In the former EIGHTY PER CENT. or FOUR-FIFTHS of the Profits are +divided amongst the Assured Triennially, either by way of addition to +the sum assured, or in diminution of Premium, at their option.</p> + +<p>No deduction is made from the four-fifths of the profits for Interest +on Capital, for a Guarantee Fund, or on any other account.</p> + +<p>POLICIES FREE OF STAMP DUTY and INDISPUTABLE, except in case of fraud.</p> + +<p>At the General Meeting, on the 31st May last, a BONUS was declared of +nearly <span class="smcap">Two Per Cent.</span> per annum on the <i>amount assured</i>, +or at the rate of from THIRTY to upwards of SIXTY per cent. on the +<i>Premium paid</i>.</p> + +<p>POLICIES share in the Profits, even if ONE PREMIUM ONLY has been paid.</p> + +<p>Next DIVISION OF PROFITS in 1856.</p> + +<p>The Directors meet on Thursdays at 2 o'clock. Assurances may be +effected by applying on any other day, between the hours of 10 and +4, at the Office of the Society, where prospectuses and all other +requisite information can be obtained.</p> + +<p class='regards'>CHARLES JOHN GILL, Secretary.</p> + +<hr /> + + +<p class='center'>SAUNDERS & OTLEY'S PUBLICATIONS.<br /><br /> + +THE FLORAL LANGUAGE INTERPRETED.<br /> + +Eleventh Edition, Coloured Plate, Silk Binding, a beautiful Gift Book,<br /><br /> + +<b>THE LANGUAGE OF FLOWERS.</b><br /> + +By the Editor of the "Forget Me Not."<br /> + +Dedicated to the Duchess of Kent (by permission).</p> + +<hr class='short' /> + +<p class='center'>BY MRS. JAMESON.<br /> + +Fourth Edition, 2 vols., with Designs by the Author,<br /><br /> + +<b>CHARACTERISTICS OF WOMEN.</b><br /> + +By the Author of "Legends of the Madonna," &c.<br /><br /> + +"Truly delightful volumes—the most charming of all the works + of a charming writer."—<i>Blackwood.</i><br /><br /> + +LIVES OF CELEBRATED FEMALE SOVEREIGNS. 2 vols. By the same Author.</p> + +<hr class='short' /> + +<p class='center'>TURNING IN ALL ITS BRANCHES.<br /><br /> + +A Complete and Practical Guide to this beautiful Science, entitled<br /><br /> + +<b>THE HANDBOOK OF TURNING.</b><br /> + +With numerous Plates, price 7<i>s.</i> 6<i>d.</i> bound, and Post +Free.</p> + +<hr class='short' /> + +<p><b>FOR WRITERS OF FICTION, POEMS, DRAMAS, PAMPHLETS, SERMONS, ESSAYS, +ETC., HOW TO PRINT AND WHEN TO PUBLISH.</b></p> + +<p>Advice to Authors, Inexperienced Writers, and Possessors of +Manuscripts, on the Efficient Publication of Books intended for +General Circulation or Private Distribution, sent Post Free to Orders +enclosing Twelve Stamps, addressed to</p> + +<p class='center'>SAUNDERS & OTLEY, Publishers, Conduit Street, Hanover Square.</p> + +<hr /> + + +<p class='center'><b>LITERARY AND SCIENTIFIC PROCEEDINGS.</b></p> + +<p class='center'>The Proprietors of the LIVERPOOL GENERAL REVIEW AND LOCAL ADVERTISER</p> + +<p>HAVE made Arrangements to REPORT the PROCEEDINGS of the various +LITERARY and SCIENTIFIC SOCIETIES in Liverpool, including the +following:</p> + +<p>Historic Society of Lancashire and Cheshire.<br /> + Liverpool Architectural and Archæological Society.<br /> + Liverpool Photographic Society.<br /> + Liverpool Polytechnic Society.<br /> + Liverpool Literary and Philosophical Society.<br /> + Liverpool Chemists' Association.</p> + +<p>Occasional Reports will also be given of Lectures delivered before the +Collegiate, Mechanics', and other Institutions.</p> + +<p>The REVIEW, thus devoting itself to subjects of Scientific and +Literary interest, will, no doubt, prove acceptable to Members of +Kindred Societies throughout the Kingdom; and will be supplied on the +undermentioned terms:—</p> + +<p>Unstamped, 3<i>s.</i> 6<i>d.</i> per annum. Stamped, 8<i>s.</i> per +annum.</p> + +<p class='center'>PUBLISHED EVERY WEDNESDAY.</p> + +<p>May be had through all Booksellers and Newsmen, or forwarded from the +Office,</p> + +<p class='center'>63. CHURCH STREET, LIVERPOOL.</p> + +<hr /> + + +<p><span class='pagenum'><a name="page426" id="page426">{426}</a></span></p><p class='center'>INDIGESTION, CONSTIPATION, NERVOUSNESS, &c.—BARRY, DU BARRY & CO.'S +HEALTH-RESTORING FOOD for INVALIDS and INFANTS.</p> + +<p class='center'>THE REVALENTA ARABICA FOOD,</p> +<p>the only natural, pleasant, and effectual +remedy (without medicine, purging, inconvenience, or expense, as it +saves fifty times its cost in other remedies) for nervous, stomachic, +intestinal, liver and bilious complaints, however deeply rooted, +dyspepsia (indigestion), habitual constipation, diarrhoea, acidity, +heartburn, flatulency, oppression, distension, palpitation, eruption +of the skin, rheumatism, gout, dropsy, sickness at the stomach during +pregnancy, at sea, and under all other circumstances, debility in the +aged as well as infants, fits, spasms, cramps, paralysis, &c.</p> + +<p class='center'><i>A few out of 50,000 Cures</i>:—</p> + +<p>Cure, No. 71, of dyspepsia; from the Right Hon. the Lord + Stuart de Decies:—"I have derived considerable benefits from + your Revalenta Arabica Food, and consider it due to yourselves + and the public to authorise the publication of these + lines.—<span class="smcap">Stuart de Decies.</span>"</p> + +<p>Cure, No. 49,832:—"Fifty years' indescribable agony + from dyspepsia, nervousness, asthma, cough, constipation, + flatulency, spasms, sickness at the stomach and vomitings + have been removed by Du Barry's excellent food.—<span class="smcap">Maria + Jolly</span>, Wortham Ling, near Diss, Norfolk."</p> + +<p>Cure, No. 180:—"Twenty-five years' nervousness, constipation, + indigestion, and debility, from which I had suffered great + misery and which no medicine could remove or relieve, have + been effectually cured by Du Barry's food in a very short + time.—<span class="smcap">W. R. Reeves</span>, Pool Anthony, Tiverton."</p> + +<p>Cure, No. 4,208:—"Eight years' dyspepsia, nervousness, + debility, with cramps, spasms, and nausea, for which + my servant had consulted the advice of many, have been + effectually removed by Du Barry's delicious food in a + very short time. I shall be happy to answer any + inquiries.—<span class="smcap">Rev. John W. Flavell</span>, Ridlington Rectory, + Norfolk."</p> + +<p class='center'><i>Dr. Wurzer's Testimonial.</i></p> + +<p class="regards">"Bonn, July 19, 1852.</p> + +<p>"This light and pleasant Farina is one of the most excellent, +nourishing, and restorative remedies, and supersedes, in many cases, +all kinds of medicines. It is particularly useful in confined habit of +body, as also diarrhoea, bowel complaints, affections of the kidneys +and bladder, such as stone or gravel; inflammatory irritation and +cramp of the urethra, cramp of the kidneys and bladder, strictures, +and hemorrhoids. This really invaluable remedy is employed with +the most satisfactory result, not only in bronchial and pulmonary +complaints, where irritation and pain are to be removed, but also +in pulmonary and bronchial consumption, in which it counteracts +effectually the troublesome cough; and I am enabled with perfect truth +to express the conviction that Du Barry's Revalenta Arabica is adapted +to the cure of incipient hectic complaints and consumption.</p> + +<p class="regards">"<span class="smcap">Dr. Rud Wurzer,</span></p> +<p class='center'>Counsel of Medicine, and practical M.D. + in Bonn."</p> + +<p>London Agents:—Fortnum, Mason & Co., 182. Piccadilly, purveyors +to Her Majesty the Queen; Hedges & Butler, 155. Regent Street; and +through all respectable grocers, chemists, and medicine venders. +In canisters, suitably packed for all climates, and with full +instructions, 1lb. 2<i>s.</i> 9<i>d.</i>; 2lb. 4<i>s.</i> 6<i>d.</i>; +5lb. 11<i>s.</i>; 12lb. 22<i>s.</i>; super-refined, 5lb. 22<i>s.</i>; +10lb. 33<i>s.</i> The 10lb. and 12lb. carriage free, on receipt of +Post-office order.—Barry, Du Barry Co., 77. Regent Street, London.</p> + +<p><span class="smcap">Important Caution.</span>—Many invalids having been seriously +injured by spurious imitations under closely similar names, such as +Ervalenta, Arabaca, and others, the public will do well to see that +each canister bears the name <span class="smcap">Barry, Du Barry & Co.</span>, 77. +Regent Street, London, in full, <i>without which none is genuine</i>.</p> + +<hr /> + + +<p>PHOTOGRAPHIC PICTURES.—A Selection of the above beautiful Productions +(comprising Views in VENICE, PARIS, RUSSIA, NUBIA, &c.) may be seen +at BLAND & LONG'S, 153. Fleet Street, where may also be procured +Apparatus of every Description, and pure Chemicals for the practice of +Photography in all its Branches.</p> + +<p>Calotype, Daguerreotype, and Glass Pictures for the Stereoscope.</p> + +<p>⁂ Catalogues may be had on application.</p> + +<p class='center'>BLAND & LONG, Opticians, Philosophical and Photographical Instrument +Makers, and Operative Chemists, 153. Fleet Street.</p> + +<hr /> + + +<p>PHOTOGRAPHY.—HORNE & CO.'S Iodised Collodion, for obtaining +Instantaneous Views and Portraits in from three to thirty seconds, +according to light.</p> + +<p>Portraits obtained by the above, for delicacy of detail rival the +choicest Daguerreotypes, specimens of which may be seen at their +Establishment.</p> + +<p>Also every description of Apparatus, Chemicals, &c. &c. used in this +beautiful Art.—123. and 121. Newgate Street.</p> + +<hr /> + + +<p>IMPROVEMENT IN COLLODION.—J. B. HOCKIN & CO., Chemists, 289. Strand, +have, by an improved mode of Iodizing, succeeded in producing a +Collodion equal, they may say superior, in sensitiveness and density +of Negative, to any other hitherto published; without diminishing +the keeping properties and appreciation of half tint for which their +manufacture has been esteemed.</p> + +<p>Apparatus, pure Chemicals, and all the requirements for the practice +of Photography. Instruction in the Art.</p> + +<hr /> + + +<p>PHOTOGRAPHIC CAMERAS.—OTTEWILL'S REGISTERED DOUBLE-BODIED +FOLDING CAMERA, is superior to every other form of Camera, for the +Photographic Tourist, from its capability of Elongation or Contraction +to any Focal Adjustment, its Portability, and its adaptation for +taking either Views or Portraits.—The Trade supplied.</p> + +<p>Every Description of Camera, or Slides, Tripod Stands, Printing +Frames, &c., may be obtained at his MANUFACTORY, Charlotte Terrace, +Barnsbury Road, Islington.</p> + +<p>New Inventions, Models, &c., made to order or from Drawings.</p> + +<hr /> + + +<p>PHOTOGRAPHIC APPARATUS, MATERIALS, and PURE CHEMICAL PREPARATIONS.</p> + +<p>KNIGHT & SONS' Illustrated Catalogue, containing Description and Price +of the best forms of Cameras and other Apparatus. Voightlander and +Son's Lenses for Portraits and Views, together with the various +Materials, and pure Chemical Preparations required in practising the +Photographic Art. Forwarded free on receipt of Six Postage Stamps.</p> + +<p>Instructions given in every branch of the Art.</p> + +<p>An extensive Collection of Stereoscopic and other Photographic +Specimens.</p> + +<p class="center">GEORGE KNIGHT & SONS, Foster Lane, London.</p> + +<hr /> + + +<p>CYANOGEN SOAP for removing all kinds of Photographic Stains. Beware +of purchasing spurious and worthless imitations of this valuable +detergent. The genuine is made only by the inventor, and is secured +with a red label pasted round each pot, bearing this signature and +address:—</p> + +<p>RICHARD W. THOMAS, Chemist, Manufacturer of pure Photographic +Chemicals, 10. Pall Mall, and may be procured of all respectable +Chemists in pots at 1<i>s.</i>, 2<i>s.</i>, and 3<i>s.</i> 6<i>d.</i> +each, through MESSRS. EDWARDS, 67. St. Paul's Churchyard, and MESSRS. +BARCLAY & CO., Farringdon Street, Wholesale Agents.</p> + +<hr /> + + +<p>PHOTOGRAPHIC INSTITUTION.—An EXHIBITION of PICTURES, by the most +celebrated French, Italian, and English Photographers, embracing +Views of the principal Countries and Cities of Europe, is now OPEN. +Admission 6<i>d.</i> A Portrait taken by MR. TALBOT'S Patent Process, +One Guinea; Three extra Copies for 10<i>s.</i></p> + +<p class='center'>PHOTOGRAPHIC INSTITUTION, 168. NEW BOND STREET.</p> + +<hr /> + + +<p>PHOTOGRAPHIC PAPER.—Negative and Positive Papers of Whatman's, +Turner's, Sanford's, and Canson Frères' make. Waxed-Paper for +Le Gray's Process. Iodized and Sensitive Paper for every kind of +Photography.</p> + +<p>Sold by JOHN SANFORD, Photographic Stationer, Aldine Chambers, 13. +Paternoster Row, London.</p> + +<hr /> + +<p class='center'>WESTERN LIFE ASSURANCE AND ANNUITY SOCIETY,</p> + +<p class='center'>3. PARLIAMENT STREET, LONDON.</p> + +<p class='center'>Founded A.D. 1842.</p> + +<hr class='short' /> + +<p class='center'><i>Directors.</i><br /><br /> + + H. E. Bicknell. Esq.<br /> + T. S. Cocks, Jun. Esq. M.P.<br /> + G. H. Drew, Esq.<br /> + W. Evans, Esq.<br /> + W. Freeman, Esq.<br /> + F. Fuller, Esq.<br /> + J. H. Goodhart, Esq.<br /> + T. Grissell, Esq.<br /> + J. Hunt Esq.<br /> + J. A. Lethbridge, Esq.<br /> + E. Lucas, Esq.<br /> + J. Lys Seager, Esq.<br /> + J. B. White, Esq.<br /> + J. Carter Wood, Esq.<br /> +</p> + +<p class='center'><i>Trustees.</i><br /><br /> + +W. Whateley, Esq., Q.C.; George Drew, Esq.; T. Grissell, Esq.<br /><br /> + +<i>Physician.</i>—William Rich. Basham, M.D.<br /><br /> + +<i>Bankers.</i>—Messrs. Cocks, Biddulph, and Co., Charing Cross.</p> + +<h4>VALUABLE PRIVILEGE.</h4> + +<p>POLICIES effected in this Office do not become void through +temporary difficulty in paying a Premium, as permission is given +upon application to suspend the payment at interest, according to the +conditions detailed in the Prospectus.</p> + +<p>Specimens of Rates of Premium for Assuring 100<i>l</i>., with a Share +in three-fourths of the Profits:—</p> + +<div class='center'> +<table border='0' cellpadding="4" cellspacing="0" +summary="Premium rates based on age"> + +<tr> + <td class='tdc'>Age</td> + <td class='tdc'><i>£</i></td> + <td class='tdc'><i>s.</i></td> + <td class='tdc'><i>d.</i></td> +</tr> + +<tr> + <td class='tdc'>17</td> + <td class='tdr'>1</td> + <td class='tdr'>14</td> + <td class='tdr'>4</td> +</tr> + +<tr> + <td class='tdc'>22</td> + <td class='tdr'>1</td> + <td class='tdr'>18</td> + <td class='tdr'>8</td> +</tr> + +<tr> + <td class='tdc'>27</td> + <td class='tdr'>2</td> + <td class='tdr'>4</td> + <td class='tdr'>5</td> +</tr> + +<tr> + <td class='tdc'>32</td> + <td class='tdr'>2</td> + <td class='tdr'>10</td> + <td class='tdr'>8</td> +</tr> + +<tr> + <td class='tdc'>37</td> + <td class='tdr'>2</td> + <td class='tdr'>18</td> + <td class='tdr'>6</td> +</tr> + +<tr> + <td class='tdc'>42</td> + <td class='tdr'>3</td> + <td class='tdr'>8</td> + <td class='tdr'>2</td> +</tr> +</table> +</div> +<p class='center'>ARTHUR SCRATCHLEY, M.A., F.R.A.S., Actuary.</p> + +<p>Now ready, price 10<i>s.</i> 6<i>d.</i>, Second Edition with material +additions, INDUSTRIAL INVESTMENT and EMIGRATION: being a TREATISE +on BENEFIT BUILDING SOCIETIES, and on the General Principles of Land +Investment, exemplified in the Cases of Freehold Land Societies, +Building Companies, &c. With a Mathematical Appendix on Compound +Interest and Life Assurance. By ARTHUR SCRATCHLEY, M.A., Actuary to +the Western Life Assurance Society, 3. Parliament Street, London.</p> + +<hr /> + + +<p>ACHILLES LIFE INSURANCE COMPANY,—25. CANNON STREET, CITY.—The +Advantages offered by this Society are Security, Economy, and lower +Rates of Premium than most other Offices.</p> + +<p>No charge is made for Policy Stamps or Medical Fees. Policies +indisputable.</p> + +<p>Loans granted to Policy-holders.</p> + +<p>For the convenience of the Working Classes, Policies are issued as low +as 20<i>l.</i> at the same Rates of Premium as larger Policies.</p> + +<p>Prospectuses and full particulars may be obtained on application to</p> + +<p class='center'>HUGH B. TAPLIN, Secretary.</p> + +<hr /> + +<h4>NEW PUBLICATIONS.</h4> + +<p><span class='pagenum'><a name="page427" id="page427">{427}</a></span>ELIZABETH BARRETT BROWNING'S POETICAL WORKS. Third Edition. With +numerous Additions and Corrections. 2 vols. 16<i>s.</i></p> + +<p>SKETCHES OF THE HUNGARIAN EMIGRATION INTO TURKEY. By a HONVED. Fcap. +1<i>s.</i></p> + +<p>THE TURKS IN EUROPE: a SKETCH of MANNERS and POLITICS in the OTTOMAN +EMPIRE. By BAYLE ST. JOHN. Post 8vo. 7<i>s.</i> 6<i>d.</i></p> + +<p>CRANFORD. By the Author of "Mary Barton." Second Edition. Fcap. +7<i>s.</i> 6<i>d.</i></p> + +<p>THE DIARY OF MARTHA BETHUNE BALIOL, from 1753 to 1754. Post 8vo. +9<i>s.</i></p> + +<p>CHAMOIS HUNTING IN THE MOUNTAINS OF BAVARIA. By CHARLES BONER. With +Illustrations. 8vo. 18<i>s.</i></p> + +<p>NARRATIVE OF A MISSION TO CENTRAL AFRICA, performed in the years +1850-51, under the orders and at the expense of her Majesty's +Government. By the late JAMES RICHARDSON. 2 vols. 21<i>s.</i></p> + +<p>LANGUAGE AS A MEANS OF MENTAL CULTURE AND INTERNATIONAL COMMUNICATION; +or, Manual of the Teacher and the Learner of Languages. By C. MARCEL, +KNT., L.H., French Consul at——. 2 vols. 16<i>s.</i></p> + +<p>NIEBUHR'S LIFE AND LETTERS. With Selections from his Minor Writings. +Edited and Translated by SUSANNA WINKWORTH. With Essays on his +Character and Influence, by the CHEVALIER BUNSEN, and PROFESSORS +BRANDIS and LOEBELL. Second Edition. 3 vols. 8vo. 42<i>s.</i></p> + +<p>ALTON LOCKE: TAILOR AND POET. By the REV. CHARLES KINGSLEY. Third +Edition. 7<i>s.</i></p> + +<p>THE LIFE OF BERNARD PALISSY, OF SAINTES. By HENRY MORLEY. 2 vols. +18<i>s.</i></p> + +<hr class="short" /> + +<p class='center'>THOMAS CARLYLE'S WORKS.</p> + +<p>THE LIFE OF JOHN STERLING. Second Edition. Post 8vo. 10<i>s.</i> +6<i>d.</i></p> + +<p>SARTOR RESARTUS; or, THE LIFE AND OPINIONS OF HERR TEUFELSDROKH. Third +Edition. Post 8vo. 10<i>s.</i> 6<i>d.</i></p> + +<p>LATTER-DAY PAMPHLETS. Post 8vo. 9<i>s.</i></p> + +<p>OLIVER CROMWELL'S LETTERS AND SPEECHES. With Elucidations and +Connecting Narrative. Third Edition. In 4 vols. Post 8vo. 2<i>l.</i> +2<i>s.</i></p> + +<p>THE LIFE OF SCHILLER. New Edition, with Portrait. Small 8vo. +8<i>s.</i> 6<i>d.</i></p> + +<p>PAST AND PRESENT. Second edition. Post 8vo. 10<i>s.</i> 6<i>d.</i></p> + +<p>LECTURES ON HEROES AND HERO-WORSHIP. Fourth Edition. Small 8vo. +9<i>s.</i></p> + +<p>THE FRENCH REVOLUTION. A HISTORY. Third Edition. 3vols. Post 8vo. +1<i>l.</i> 11<i>s.</i> 6<i>d.</i></p> + +<p>CRITICAL AND MISCELLANEOUS ESSAYS. Third Edition. 4 vols. Post 8vo. +2<i>l.</i> 2<i>s.</i></p> + +<p>TRANSLATION OF GOETHE'S WILHELM-MEISTER. Second Edition. 3 vols. Small +8vo. 18<i>s.</i></p> + +<p class='center'>London: CHAPMAN & HALL, 193. Piccadilly.</p> + +<hr /> + +<p class="center"> +On the First of November, 1853, will be Published,<br /><br /> + +NO. I.,<br /><br /> + +Containing Sixteen Pages, Crown Quarto, Price Three Halfpence, of</p> + +<h4>THE CHURCH OF THE PEOPLE,</h4> + +<p class="center"> Monthly Journal of Literature, Science, the Fine Arts, &c., devoted +to the Religious, Moral, Physical, and Social Elevation of the great +body of the People.</p> + +<hr class="short" /> + +<p>This periodical, projected and conducted by a committee of Clergy and +Laity, in the heart of the manufacturing districts, is intended +to express the sympathies of earnest Churchmen towards both their +brethren in the faith, and their fellow-men in general.</p> + +<p>Designed to avoid unreality, lukewarmness, and dry dogmatism, as well +as compromise and controversy—and not unmindful of things temporal, +whilst chiefly directed to things eternal—it is hoped that it may +assist to refresh the faithful, correct the erring, and win the +unbeliever.</p> + +<p>A trial is respectfully requested for it, and that at once.</p> + +<p>It is a work of love, not of lucre; and, as such, is commended to the +brotherhood.</p> + +<p>It will be eminently fitted for parochial distribution and, by God's +blessing, may do its part towards removing English heathenism.</p> + +<hr class="short" /> + +<p>⁂Suggestions and communications, written in a plain, earnest, and +attractive style, are respectfully requested, and may be addressed +to the editors of "The Church of the People," care of MR. SOWLER, +St. Ann's Square, Manchester, to whom books for review, and +advertisements, may be sent.</p> + +<p class='center'>London: GEORGE BELL, 186. Fleet Street.<br /><br /> + +Manchester: T. SOWLER, St. Ann's Square; A. HEYWOOD, Oldham Street; J. +HEYWOOD, Deansgate.</p> + +<hr /> + + +<p class='center'><span class="smcap">Bohn's Standard Library for November.</span></p> + +<p>COWPER'S COMPLETE WORKS, edited by SOUTHEY; comprising his Poems, +Correspondence, and Translations with a Memoir of the Author. +Illustrated with Fifty Fine Engravings on Steel, after Designs by +Harvey. To be completed in 8 vols. Vol. I. containing Memoir. Post +8vo., cloth. 3<i>s.</i> 6<i>d.</i></p> + +<p class='center'>HENRY G. BOHN, 4. 5. & 6. York Street, Covent Garden.</p> + +<hr /> + + +<p class='center'><span class="smcap">Bohn's Classical Library for November.</span></p> + +<p>APULEIUS, THE WORKS OF, comprising the Metamorphoses, or Golden Ass; +the Death of Socrates; Florida; and his Defences, or Essay on Magic. +A New and Literal Translation. To which added, a Metrical Version of +Cupid and Psyche; and Mrs. Tighe's Psyche, a Poem in Six Cantos. Fine +Frontispiece. Post 8vo., cloth. 5<i>s.</i></p> + +<p class='center'>HENRY G. BOHN, 4. 5. & 6. York Street, Covent Garden.</p> + +<hr /> + + +<p class='center'><span class="smcap">Bohn's Ecclesiastical Library for November.</span></p> + +<p class='center'>SOCRATES, his ECCLESIASTICAL HISTORY, in Continuation of EUSEBIUS, +with the Notes of VALESIUS.<br /> +Post 8vo., cloth. 5<i>s.</i></p> + +<p class='center'>HENRY G. BOHN, 4, 5, 6. York Street, Covent Garden.</p> + +<hr /> + + +<p class='center'>Will be published, November 23rd,<br /> +THE BRITISH ALMANAC FOR 1854.<br /> +Sewed in Wrapper, price 1<i>s.</i></p> + +<p>THE COMPANION TO THE ALMANAC. Sewed in Wrapper, price 2<i>s.</i> +6<i>d.</i></p> + +<p>THE BRITISH ALMANAC AND THE COMPANION together, in cloth boards, +lettered, price 4<i>s.</i></p> + + +<p class='center'><i>Extracts from Reviews, 1853.</i></p> + +<blockquote><p>"First in years, repute, and high utility must be placed 'The + British Almanac and Companion.'"—<i>Spectator.</i></p></blockquote> + +<blockquote><p>"'The British' still maintains its place as foremost among + almanacs."—<i>Athenæum.</i></p></blockquote> + +<blockquote><p>"For twenty-six years Mr. Knight has given the Almanac a + 'Companion'—one always brimful of information and useful + knowledge."—<i>The Builder.</i></p></blockquote> + +<blockquote><p>"The 'British Almanac and Companion' maintains its reputation + as being the very best work of the kind published."—<i>The + Atlas.</i></p></blockquote> + +<p class='center'>London: CHARLES KNIGHT, 90. Fleet Street. And sold by all Booksellers +in the United Kingdom.</p> + +<hr /> + + +<p class='center'>Just published, fcap. 8vo., 6<i>s.</i>, cloth,</p> + +<p>TRUTH SPOKEN IN LOVE; or, Romanism and Tractarianism refuted by the +Word of God. By the REV. H. H. BEAMISH, A.M., Minister of Trinity +Chapel, Conduit Street.</p> + +<p class='center'>London. JOHN F. SHAW, Southampton Row, and Paternoster Row.</p> + +<hr /> + + +<p class='center'>NEW WORK BY DR. CUMMING.<br /> + +Just published, uniform with "Voices of the Night."</p> + +<p>BENEDICTIONS: or, THE BLESSED LIFE. By the REV. JOHN CUMMING, D.D. +Fcap. 8vo., 7<i>s.</i>, cloth.</p> + +<p class='center'>London: JOHN F. SHAW, Southampton Row, and Paternoster Row.</p> + +<hr /> + + +<p class='center'>This Day is published, fcp. 8vo., 6<i>s.</i> cloth.</p> + +<p>MANNA IN THE HOUSE; or Daily Expositions of the Gospel of St. +Luke, specially adapted for the Use of Families. By the REV. BARTON +BOUCHIER, M.A., Curate of Cheam.</p> + +<p class='center'>Also may be had,</p> + +<p>THE GOSPELS of ST. MATTHEW AND MARK, 2 vols., +6<i>s.</i> 6<i>d.</i>; or in 1 vol. 6<i>s.</i> cloth. For the +convenience of Purchasers, it is also published in Parts, price +1<i>s.</i></p> + +<p class='center'>JOHN F. SHAW, Southampton Row, and Paternoster Row.</p> + +<hr /> + + +<p class='center'>Now ready, post 8vo., cloth, price 6<i>s.</i> 6<i>d.</i></p> + +<p>CURIOSITIES OF LONDON LIFE; or Phases, Physiological and Social, of +the Great Metropolis. By C. M. SMITH, Author of "The Working Man's Way +in the World." May be had at all the Libraries.</p> + +<p class='center'>Just published, post 8vo., cloth, price 5<i>s.</i></p> + +<p>THE WORKING MAN'S WAY IN THE WORLD, or the AUTO-BIOGRAPHY OF A +JOURNEYMAN PRINTER.</p> + +<p class='center'>London: W. & F. G. CASH, 5. Bishopsgate Street Without.</p> + +<hr /> + + +<p>STANDARD BOOKS CHEAP—Now ready, Part IX. of HENRY C. 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By Author of "Bubbles."<br /> +The Lybian Desert. By Bayle St. John.<br /> +Letters from Sierra Leone. By a Lady.<br /> +Life of Sir Thomas Munro. By Rev. G. R. Gleig.<br /> +Memoirs of Sir Fowell Buxton. By his Son.<br /> +Life of Goldsmith. By Washington Irving.<br /> +</p></blockquote> + +<p>⁂ Subscribers should complete their copies of the above Series +without delay, as after December the issue of the separate parts will +be discontinued.</p> + +<p class='center'>JOHN MURRAY, Albemarle Street.</p> + +<hr /> + + +<p class='center'>MARKHAM'S POPULAR SCHOOL HISTORIES.</p> + +<p class='center'>New and Cheaper Editions.</p> + +<hr class='short' /> + +<p>MARKHAM'S HISTORY OF ENGLAND. (68th Thousand.) With Woodcuts. 12mo. +6<i>s.</i> Strongly bound.</p> + +<p class='center'>II.</p> + + +<p>MARKHAM'S HISTORY OF FRANCE. (30th Thousand.) With Wood-Cuts. 12mo. +6<i>s.</i> Strongly bound.</p> + +<p class='center'>III.</p> + +<p>MARKHAM'S HISTORY OF GERMANY (6th Thousand.) 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Crown 8vo. cloth price 9<i>s.</i></p> + +<p>A DICTIONARY OF GENERAL KNOWLEDGE, comprising an Explanation of Words +and Things connected with Literature and Science, &c., by GEORGE +CRABB, A.M.</p> + +<p class='center'>London: WILLIAM TEGG & CO., 85. Queen Street, Cheapside.</p> + +<hr /> + + +<p class='center'><b>CHEAP AND POPULAR EDITIONS OF STANDARD AUTHORS.</b></p> + +<p>ABERCROMBIE'S INTELLECTUAL POWERS. 5<i>s.</i> 6<i>d.</i></p> + +<p>ABERCROMBIE ON THE MORAL FEELINGS. 4<i>s.</i></p> + +<p>DAVY'S SALMONIA. 6<i>s.</i></p> + +<p>DAVY'S CONSOLATIONS IN TRAVEL. 6<i>s.</i></p> + +<p>REV. GEORGE CRABBE'S LIFE. 3<i>s.</i></p> + +<p>COLERIDGE'S TABLE-TALK. 6<i>s.</i></p> + +<p>COLERIDGE'S GREEK CLASSIC POETS. 5<i>s.</i> 6<i>d.</i></p> + +<p>BELL ON THE HAND, 7<i>s.</i> 6<i>d.</i></p> + +<p>LAYARD'S POPULAR ACCOUNT OF NINEVEH. 5<i>s.</i></p> + +<p>WILKINSON'S POPULAR ACCOUNT OF THE ANCIENT EGYPTIANS. 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JOHN WILSON CROKER. +Reprinted, with Additions, from "The Quarterly Review."</p> + +<p class='center'>The last Volume published, contained—</p> + +<p>ANCIENT SPANISH BALLADS: HISTORICAL AND ROMANTIC. By J. G. LOCKHART.</p> + +<p class='center'>To be followed by—</p> + +<p>A POPULAR ACCOUNT OF THE ANCIENT EGYPTIANS. By SIR J. G. WILKINSON. +With 500 Woodcuts.</p> + +<p>JOHN MURRAY, Albemarle Street.</p> + +<hr /> + + +<p>Printed by <span class="smcap">Thomas Clark Shaw</span>, of No. 10. Stonefield Street, +in the Parish of St. Mary, Islington, at No. 5. New Street Square, +in the Parish of St. Bride, in the City of London; and published by +<span class="smcap">George Bell</span>, of No. 186. Fleet Street, in the Parish of St. +Dunstan in the West, in the City of London, Publisher, at No. 186. +Fleet Street aforesaid.—Saturday, October 29, 1853.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, No. 209, October 29 +1853, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES *** + +***** This file should be named 27538-h.htm or 27538-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/7/5/3/27538/ + +Produced by Charlene Taylor, Neville Allen, Jonathan Ingram +and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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