diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:55:43 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:55:43 -0700 |
| commit | 8200726c14d0e3d22318baf676779b5aad836ac8 (patch) | |
| tree | e908c18d138d676d3cdb8509dc73ef5f473fe771 /31398-h | |
Diffstat (limited to '31398-h')
| -rw-r--r-- | 31398-h/31398-h.htm | 4576 | ||||
| -rw-r--r-- | 31398-h/images/$rbrace.png | bin | 0 -> 588 bytes | |||
| -rw-r--r-- | 31398-h/images/238_473a.png | bin | 0 -> 472 bytes | |||
| -rw-r--r-- | 31398-h/images/238_473b.png | bin | 0 -> 632 bytes | |||
| -rw-r--r-- | 31398-h/images/238_478.png | bin | 0 -> 587 bytes |
5 files changed, 4576 insertions, 0 deletions
diff --git a/31398-h/31398-h.htm b/31398-h/31398-h.htm new file mode 100644 index 0000000..886478e --- /dev/null +++ b/31398-h/31398-h.htm @@ -0,0 +1,4576 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <title> + Notes And Queries, Issue 238. + </title> + + <style type="text/css"> + + body {margin-left: 10%; margin-right: 10%; text-align: justify;} + p.center {text-align: center;} + blockquote {text-align: justify;} + blockquote.b2n {margin-left: 4em; margin-right: 4em; } + h1,h2,h3,h4,h5,h6 {text-align: center;} + /*pre {font-size: 0.7em;} */ + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.adverts {width: 100%; height: 5px; color: black;} + html>body hr.adverts {margin-right: 0%; margin-left: 0%; width: 100%;} + + .note, .footnote {margin-left: 10%; margin-right: 10%; + font-size: 0.9em;} + + table.nob {border-collapse: collapse; margin-left: 4em} + table.nobctr {border-collapse: collapse; margin-left: auto; margin-right: auto;} + table.allb {border : 1px solid black; border-collapse: collapse; margin-left: 4em} + table.allbnomar {border : 1px solid black; border-collapse: collapse;} + table.allbctr {border : 1px solid black; border-collapse: collapse; + margin-left: auto; margin-right: auto; } + table.topbotbctr {border-bottom : 1px solid black; border-top : 1px solid black; border-collapse: collapse; + margin-left: auto; margin-right: auto; } + table.nomar {margin-left: 0em} + td.nob {padding-left: 0.5em; padding-right: 0.5em;} + td.nobpad {padding-left: 0.5em; padding-right: 0.5em; padding-bottom: 1ex;} + td.nspac {padding-left: 0em; padding-right: 0em;} + td.nspcsingle {padding-left: 0em; padding-right: 0em;} + td.spacsingle {padding-left: 1em; padding-right: 1em;} + td.hspcsingle {padding-left: 0.5em; padding-right: 0.5em;} + td.qspcsingle {padding-left: 0.25em; padding-right: 0.25em;} + td.allb {border : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.allbsing {border : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.allbnspac {border : 1px solid black;} + td.rightbsing {border-right : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.leftbsing {border-left : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.rightbotbsing {border-right : 1px solid black; border-bottom : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.botbsing {border-bottom : 1px solid black; padding-left: 0.5em; padding-right: 0.5em;} + td.rightb {border-right : 1px solid black; + padding-left: 0.5em; padding-right: 0.5em; padding-bottom: 1ex; } + td.leftb {border-left : 1px solid black; + padding-left: 0.5em; padding-right: 0.5em; padding-bottom: 1ex; } + td.vertb {border-left : 1px solid black; border-right : 1px solid black; + padding-left: 0.5em; padding-right: 0.5em; padding-bottom: 1ex; } + td.vertbotb {border-left : 1px solid black; border-right : 1px solid black; border-bottom : 1px solid black; + padding-left: 0.5em; padding-right: 0.5em; } + td.topbotb {border-bottom : 1px solid black; border-top : 1px solid black; padding-left: 0.5em; padding-right: 0.5em; } + td.topbotbsng {border-bottom : 1px solid black; border-top : 1px solid black; padding-left: 0.5em; padding-right: 0.5em; } + td.botb {border-bottom : 1px solid black; padding-left: 0.5em; padding-right: 0.5em; } + td.vertbsing {border-left : 1px solid black; border-right : 1px solid black; padding-left: 0.5em; padding-right: 0.5em; } + td.vertbotbsing {border-left : 1px solid black; border-right : 1px solid black; border-bottom : 1px solid black; + padding-left: 0.5em; padding-right: 0.5em; } + .rightbsing p {margin: 0;} + .rightbotbsing p {margin: 0;} + .botbsing p {margin: 0;} + .single p {margin: 0;} + .spacsingle p {margin: 0;} + .hspcsingle p {margin: 0;} + .qspcsingle p {margin: 0;} + .nspcsingle p {margin: 0;} + .vertbsing p {margin: 0;} + .allbsing p {margin: 0;} + .topbotbsng p {margin: 0;} + .botbsing p {margin: 0;} + .vertbotbsing p {margin: 0;} + + .contents {margin-left:30%; margin-right:10%; margin-bottom: 1em; text-align: left;} + .contents .stanza {margin: 1em 0em 1em 0em;} + .contents p {margin: 0; padding-left: 3em; text-indent: -3em;} + .rtlpoem {margin-left:10%; margin-right:10%; text-align: right;} + .rtlpoem .stanza {margin: 1em 0em 1em 0em;} + .rtlpoem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + p.hg3 {margin-left: -0.3em;} + p.hg1 {margin-left: -0.2em;} + p.i1 {margin-left: 1em;} + p.i1hg1 {margin-left: 0.8em;} + p.i1hg3 {margin-left: 0.7em;} + p.i2 {margin-left: 2em;} + p.i2hg1 {margin-left: 1.8em;} + p.i2hg3 {margin-left: 1.7em;} + p.i3 {margin-left: 3em;} + p.i3hg3 {margin-left: 2.7em;} + p.i4 {margin-left: 4em;} + p.i4hg1 {margin-left: 3.8em;} + p.i4hg3 {margin-left: 3.7em;} + p.i5 {margin-left: 5em;} + p.i6 {margin-left: 6em;} + p.i6hg3 {margin-left: 5.7em;} + p.i6hg1 {margin-left: 5.8em;} + p.i8 {margin-left: 8em;} + p.i8hg3 {margin-left: 7.7em;} + p.i9 {margin-left: 9em;} + p.i12 {margin-left: 12em;} + p.i12hg3 {margin-left: 11.7em;} + p.i12hg1 {margin-left: 11.8em;} + p.i10 {margin-left: 10em;} + p.i10hg3 {margin-left: 9.7em;} + p.i16 {margin-left: 16em;} + .unpoem {position: absolute; left: 10.0%;} + .b1n .unpoem {position: absolute; left: 12.5%;} + .poem .caesura {vertical-align: -200%;} + .figure, .figcenter, .figright, .figleft + {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;} + .figure img, .figcenter img, .figright img, .figleft img + {border: none;} + .figcenter {margin: auto;} + .figright {float: right;} + .figleft {float: left;} + + .linenum {position: absolute; top: auto; left: 60%;} /* poetry number */ + + span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt; font-style: normal;} + span.correction {border-bottom: thin dotted red;} + span.special {border-bottom: thin dotted green;} + span.over {text-decoration: overline;} + + .sc {font-variant: small-caps; } + .scac {font-size: small;} + .grk {font-style: normal; font-family:"Palatino Linotype","New Athena Unicode",Gentium,"Lucida Grande", Galilee, "Arial Unicode MS", sans-serif;} + .saxon {font-style: normal; + font-family:sans-serif;} + + p.author {text-align: right; margin-top: -1em;} + p.address {margin-top: -0.5em;} + .cenhead {text-align: center; margin-top: 1em;} + img.middle { border: none; vertical-align: middle } + .x1 {position: relative;} /* shifting accents */ + .x2 {position: absolute; left: -0.4em;} + .x3 {position: absolute; top: 1.75ex; left: -0.4em;} + .x4 {position: absolute; top: 1.65ex; left: -0.6em;} + .x5 {position: absolute; top: -0.5ex; left: -0.3em;} + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Notes and Queries, Number 238, May 20, 1854, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Notes and Queries, Number 238, May 20, 1854 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Genealogists, etc + +Author: Various + +Other: George Bell + +Release Date: February 25, 2010 [EBook #31398] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, MAY 20, 1854 *** + + + + +Produced by Charlene Taylor, Jonathan Ingram, Keith Edkins +and the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + + + + + +</pre> + +<p><!-- Page 461 --><span class="pagenum"><a name="page461"></a>{461}</span></p> + +<h1>NOTES AND QUERIES:</h1> + +<h2>A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, ANTIQUARIES, +GENEALOGISTS, ETC.</h2> + +<h3><b>"When found, make a note of."</b>—<span class="sc">Captain Cuttle</span>.</h3> + +<hr class="full" /> + + +<table width="100%" class="nomar" summary="masthead" title="masthead"> + <tr> + <td class="nspcsingle" style="text-align:left; width:25%"> + <p><b>No. 238.</b></p> + </td> + <td class="nspcsingle" style="text-align:center; width:50%"> + <p><b><span class="sc">Saturday, May 20. 1854</span></b></p> + </td> + <td class="nspcsingle" style="text-align:right; width:25%"> + <p><b>Price Fourpence<br />Stamped Edition 5<i>d.</i></b></p> + </td> + </tr> +</table> + +<hr class="full" /> + +<h2>CONTENTS.</h2> + + +<table width="100%" class="nomar" summary="Contents" title="Contents"> + <tr> + <td class="nspcsingle" style="text-align:left; width:94%"> + <p><span class="sc">Notes</span>:—</p> + </td> + <td class="nspcsingle" style="text-align:right; width:5%"> + <p>Page</p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>A Leader from a Foreign Newspaper: the New Russian Manifesto</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page463">463</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>The Launch of the "Prince Royal" in 1610</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page464">464</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>"Notes and Queries on the Ormulum, by Dr. Monicke"</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page465">465</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>The Legend of the Seven Sisters</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page465">465</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Minor Notes</span>:—Coincidences—The + English Liturgy—"To jump for joy"—"What is + Truth?"—Abolition of Government Patronage</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page466">466</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Minor Queries</span>:—"One New Year's + Day"—Greek denounced by the Monks—Pliny's + Dentistry—J. Farrington, R.A.—Henry Crewkerne of + Exeter—Dr. Johnson—Latin "Dante"—Ralph Bosvill, of + Bradbourn, Kent—Major-General Wolfe—Custom at University + College, Oxford—"Old Dominion"—"Wise men labour," + &c.</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page467">467</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Minor Queries with Answers</span>:— Dame + Hester Temple—Samuel White—Heralds' + College—Pope</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page468">468</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Replies</span>:—</p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Blanco White's Sonnet, by S. W. Singer</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page469">469</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Goloshes</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page470">470</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Consonants in Welsh, by Thomas O'Coffey, &c.</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page471">471</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Songs of Degrees (Ascents), by T. J. Buckton</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page473">473</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>The Screw Propeller</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page473">473</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Amontillado Sherry</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page474">474</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Recent Curiosities of Literature</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page475">475</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Roland the Brave, by F. M. Middleton, &c.</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page475">475</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Photographic Correspondence</span>:— + Recovery of Silver</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page476">476</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Replies to Minor Queries</span>:—Ashes of + "Lignites"—Old Rowley—"Bachelors of every + Station"—Mousehunt—Value of Money in the Seventeenth + Century—Grammars for Public Schools—Classic Authors and + the Jews—Hand-bells at Funerals—"Warple-way"—Medal + of Chevalier St. George—Shakspeare's + Inheritance—Cassock—Tailless Cats—Names of + Slaves—Heraldic—Solar Annual Eclipse of + 1263—Brissot de Warville—"Le Compère + Mathieu"—Etymology of "Awkward"—Life and + Death—Shelley's "Prometheus Unbound"—"Three Crowns and a + Sugar-loaf"—Stanza in "Childe Harold"—Errors in + Punctuation—Waugh of Cumberland—"Could we with ink," + &c.</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page477">477</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p><span class="sc">Miscellaneous</span>:—</p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Books and Old Volumes Wanted</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page482">482</a></p> + </td> + </tr> + + <tr> + <td class="nspcsingle" style="text-align:left"> + <p>Notices to Correspondents</p> + </td> + <td class="nspcsingle" style="text-align:right"> + <p><a href="#page483">483</a></p> + </td> + </tr> +</table> + +<hr class="full" /> + +<p class="cenhead">Now ready, No. VII. (for May), price 2<i>s.</i> 6<i>d.</i>, +published Quarterly.</p> + + <p>RETROSPECTIVE REVIEW (New Series); consisting of Criticisms upon, + Analyses of, and Extracts from, Curious, Useful, Valuable, and Scarce Old + Books.</p> + + <p>Vol. I., 8vo., pp. 436, cloth 10<i>s.</i> 6<i>d.</i>, is also + ready.</p> + +<p class="cenhead">JOHN RUSSELL SMITH, 36. Soho Square, +London.</p> + +<hr class="full" /> + + <p>No. II of JOHN RUSSELL SMITH'S OLD BOOK CIRCULAR is published this + Day: containing 1200 Choice, Useful, and Curious Books at very moderate + prices. It may be had Gratis on application, or sent by Post on Receipt + of a postage label to frank it.</p> + +<p class="cenhead">J. R. SMITH, 36. Soho Square, London.</p> + +<hr class="full" /> + +<p class="cenhead">This Day, fcp. 8vo., 5<i>s.</i></p> + + <p>DANTE'S DIVINE COMEDY.—The First Part.—Hell. Translated in + the Metre of the Original, with Notes, by THOMAS BROOKSBANK, M.A., + Cambridge.</p> + +<p class="cenhead">London: JOHN W. PARKER & SON, +West Strand.</p> + +<hr class="full" /> + +<p class="cenhead">This Day, 8vo., 1<i>s.</i></p> + + <p>A DIALOGUE ON THE PLURALITY OF WORLDS: being a Supplement to the Essay + on that Subject.</p> + +<p class="cenhead">Also, 8vo., 8<i>s.</i></p> + + <p>OF THE PLURALITY OF WORLDS: An Essay.</p> + +<p class="cenhead">London: JOHN W. PARKER & SON, +West Strand.</p> + +<hr class="full" /> + +<p class="cenhead">This Day, Seventh and Cheaper Edition, with +numerous Illustrations, 2<i>s.</i> 6<i>d.</i></p> + +<p class="cenhead">DOMESTICATED ANIMALS. +By MARY ROBERTS.</p> + +<p class="cenhead">By the same Author, Third Edition, with Illustrations, +3<i>s.</i> 6<i>d.</i>, gilt edges.</p> + +<p class="cenhead">WILD ANIMALS.</p> + +<p class="cenhead">London: JOHN W. PARKER & SON, +West Strand.</p> + +<hr class="full" /> + + <p>ARUNDEL SOCIETY.—The Publication of the Fourth Year (1852-3), + consisting of Eight Wood Engravings by MESSRS. DALZIEL, from Mr. W. + Oliver Williams' Drawings after GIOTTO'S Frescos at PADUA, is now ready; + and Members who have not paid their Subscriptions are requested to + forward them to the Treasurer by Post-Office Order, payable at the + Charing Cross Office.</p> + + <div class="poem"> + <div class="stanza"> + <p>JOHN J. ROGERS,</p> + <p>Treasurer and Hon. Sec.</p> + </div> + </div> + + <p>13. & 14. Pall Mall East.<br /> + March, 1854.</p> + +<hr class="full" /> + +<p class="cenhead">WORKS JUST PUBLISHED +BY +JOHN HENRY JACKSON.</p> + +<hr class="short" /> + +<p class="cenhead">Now ready, Second Thousand, post 8vo., +cloth, 6<i>s.</i></p> + + <p>GRATITUDE: an Exposition of the 103rd Psalm. By the REV. JOHN + STEVENSON, Vicar of Patrixbourne-with-Bridge, Canterbury; Author of + "Christ on the Cross," and "The Lord our Shepherd."</p> + +<p class="cenhead">In fcp. 8vo., Second Thousand, price 2<i>s.</i> 6<i>d.</i></p> + + <p>REDEEMING LOVE. By W. B. MACKENZIE, M.A., Incumbent of St. James', + Holloway.</p> + +<p class="cenhead">In fcp. 8vo., cloth, with Portrait, 3<i>s.</i> 6<i>d.</i></p> + + <p>THE BUD OF PROMISE: Memoir of Eliza H. M. Groeme. By the REV. D. + Pitcairn, Author of "Perfect Peace," &c.</p> + +<p class="cenhead">In fcp. 8vo., with Engraving, price 3<i>s.</i> 6<i>d.</i></p> + + <p>HESTER FLEMING: The Good Seed, and its certain Fruit. By MRS. + WARD.</p> + +<p class="cenhead">In fcp. 8vo., with Portrait, Twenty-fourth + Thousand, 2<i>s.</i> 6<i>d.</i></p> + + <p>PERFECT PEACE. Letters Memorial of the late J. W. Hawell. By the REV. + D. PITCAIRN.</p> + +<p class="cenhead">In 18mo., Third Thousand, cloth, 1<i>s.</i> 6<i>d.</i></p> + + <p>MARRIED LIFE: its Duties, Trials, and Joys. By W. B. MACKENZIE, + M.A.</p> + +<p class="cenhead">By the same Author,</p> + +<p class="cenhead">In 18mo., cloth, price 1<i>s.</i> 6<i>d.</i></p> + + <p>THE DWELLINGS OF THE RIGHTEOUS.</p> + +<p class="cenhead">Publishing monthly, 4<i>d.</i>; Quarterly Parts, 1<i>s.</i></p> + + <p>BIBLE CHARACTERS. Five Numbers already published. By W. B. MACKENZIE, + M.A.</p> + +<p class="cenhead">In 24mo., Eleventh Thousand, price Twopence.</p> + + <p>POOR LETTER "H;" its Use and Abuse, addressed to the Million. By the + HON. H. H.</p> + +<p class="cenhead">In 24mo., price Twopence.</p> + + <p>TRUE COURTESY; its Want and Value; a Chapter for all. By SIR JOHN + COURTEOUS, KT.</p> + +<p class="cenhead">London: JOHN HENRY JACKSON, +21. Paternoster Row.</p> + +<hr class="full" /> + +<p><!-- Page 462 --><span class="pagenum"><a name="page462"></a>{462}</span></p> + + <p>CHURCH REFORM LEAGUE.—Founded for the purpose of effecting a + thorough Conservative Reformation in the Government of the Church.</p> + + <p>Gentlemen willing to co-operate are requested to communicate with</p> + +<p class="cenhead">CHARLES HOPE, ESQ., 33. LANSDOWNE +ROAD NORTH, KENSINGTON PARK, +NOTTING HILL, LONDON.</p> + +<hr class="full" /> + + <p>CHURCH REFORM.—Every alternate TUESDAY is published, price + Sixpence stamped, THE COURIER AND CHURCH REFORM GAZETTE, advocating an + immediate Reformation in the Church.</p> + + <p>For the Bill of the Reform League see "THE COURIER."</p> + +<p class="cenhead">OFFICE, 16. GREAT MARLBOROUGH +STREET.</p> + +<hr class="full" /> + + <p>REVIEW OF THE PUBLISHING SYSTEM.—For the above see No. 6. of + "The Courier and Church Reform Gazette." Every Author should read it.</p> + +<p class="cenhead">OFFICE, 16. GREAT MARLBOROUGH +STREET.</p> + +<hr class="full" /> + +<p class="cenhead">Just published, price 7<i>s.</i> 6<i>d.</i></p> + + <p>ERASTIANISM AND THE CHURCH OF ENGLAND SINCE THE REFORMATION. By the + REV. J. R. PRETYMAN, late Vicar of Aylesbury, Bucks.</p> + +<p class="cenhead">London: HOPE & CO., 16. Great Marlborough +Street.</p> + +<hr class="full" /> + +<p class="cenhead">IMPORTANT TO AUTHORS.—NEW +PUBLISHING ARRANGEMENTS.</p> + + <p>HOPE & CO., Publishers, 16. Great Marlborough Street, London, + CHARGE NO COMMISSION FOR PUBLISHING WORKS PRINTED BY THEM until the + Author has been refunded his original outlay. They would also state that + they print in the first style, GREATLY UNDER THE USUAL CHARGES; while + their Publishing Arrangements enable them to promote the interests of all + Works entrusted to their charge. Estimates, and every particular, + furnished gratuitously in course of Post.</p> + +<hr class="short" /> + +<p class="cenhead">HOPE & CO. HAVE JUST PUBLISHED.</p> + + <p>1. THE HISTORY OF ENGLAND, in RHYME, from the Conquest to the + Reformation. Price 5<i>s.</i></p> + + <p>2. CHAPTERS for SCHOOL READING and HOME THOUGHTS; a Sequel to the + "Village School Reading Book." By the Authoress of the "Village + Schoolmistress' Assistant." Price 1<i>s.</i>, or 10<i>s.</i> per + dozen.</p> + + <p>3. SACRED HISTORY, with a Compendium of Ecclesiastical History, from + the Death of Christ to the Accession of Constantine. Edited by the REV. + J. C. CHAMBERS. Price 5<i>s.</i></p> + + <p>4. THOUGHTS ON SELF-CULTURE. Addressed to Women. By MARIA G. GREY, and + her sister EMILY SHIRREFF, Authors of "Passion and Principle," and + "Letters from Spain and Barbary." Second Edition. Price 7<i>s.</i> + 6<i>d.</i></p> + + <p>5. NEW SYSTEM OF FIXING ARTIFICIAL TEETH. Illustrated. By A. + FITZPATRICK, Surgeon-Dentist, 28. Lower Grosvenor Street. Price + 2<i>s.</i></p> + + <p>This work has been pronounced by the press as the best popular + exposition of the Art of Dentistry, and Mr. Fitzpatrick as one of the + ablest Practitioners of the day.</p> + +<p class="cenhead">London: HOPE & Co., 16. Great Marlborough +Street.</p> + +<hr class="full" /> + +<p class="cenhead">LIBRARY OF VALUABLE BOOKS.</p> + + <p>MR. BENTLEY will SELL by AUCTION, in the Lecture Room of the Natural + History Society, at Worcester, on Tuesday and Wednesday, the 30th and + 31st Days of MAY, 1854 (instead of Tuesday the 23rd, as previously + announced), commencing each morning at Eleven o'clock, A VALUABLE LIBRARY + of RARE and CHOICE BOOKS, including one Copy of the First Folio Edition + of Shakspeare, London, 1623, and two varying Copies of the Second Folio, + London, 1632, with many valuable Black-letter Books in Divinity and + History.</p> + + <p>Catalogues may be had at the Office of the Auctioneer, 9. Foregate + Street, Worcester, one week previous to the Sale.</p> + +<hr class="full" /> + +<p class="cenhead">Just published, with ten coloured Engravings, +price 5<i>s.</i>,</p> + + <p>NOTES ON AQUATIC MICROSCOPIC SUBJECTS OF NATURAL HISTORY, selected + from the "Microscopic Cabinet." By ANDREW PRITCHARD, M.R.I.</p> + +<p class="cenhead">Also, in 8vo., pp. 720, plates 24, price 21<i>s.</i>, or +coloured, 36<i>s.</i>,</p> + + <p>A HISTORY OF INFUSORIAL ANIMALCULES, Living and Fossil, containing + Descriptions of every species, British and Foreign, the methods of + procuring and viewing them, &c., illustrated by numerous Engravings. + By ANDREW PRITCHARD, M.R.I.</p> + +<blockquote class="b1n"> + + <p>"There is no work extant in which so much valuable information + concerning Infusoria (Animalcules) can be found, and every Microscopist + should add it to his library."—<i>Silliman's Journal.</i></p> + +</blockquote> + +<p class="cenhead">London: WHITTAKER & CO., Ave Maria +Lane.</p> + +<hr class="full" /> + +<p class="cenhead">Just published, price 1<i>s.</i>, or free by post for +16 Stamps,</p> + + <p>A MEMOIR OF THE POET DR. WILLIAM BROOME, the Friend and Assistant of + Pope. By T. W. BARLOW, ESQ., F.L.S.</p> + +<p class="cenhead">London: KENT & CO.<br /> +Manchester: BURGE.</p> + +<hr class="full" /> + + <p>MUSINGS OF A MUSICIAN. By HENRY C. LUNN. Just published, a new + edition, whole cloth, boards, gilt, price 3<i>s.</i> This entertaining + work consists of a Series of Popular Sketches, Illustrative of Musical + Matters and Musical People.</p> + +<blockquote class="b1n"> + + <p>"They can scarcely fail to be appreciated even by the most unmusical + reader..."—<i>Westminster Review.</i></p> + + <p>"These musings give us the impression of versatile ingenuity, and what + is better, ingenuousness on the part of the + writer."—<i>Athenĉum.</i></p> + +</blockquote> + + <p>London: ROBERT COCKS & CO., New Burlington Street (Publishers to + the Queen); SIMPKIN, MARSHALL, & CO.; WHITTAKER & CO.; and all + Booksellers and Musicsellers.</p> + +<hr class="full" /> + + <p>THE FAVOURITE BALLADS OF THE SEASON are John Parry's Sweet Vesper + Bells of Ancona, illustrated, 2<i>s.</i> 6<i>d.</i>; and Have still some + kind Word for Me, 2<i>s.</i> Franz Abt's May Song, 2<i>s.</i>; Morning, + 2<i>s.</i> 6<i>d.</i>; Evening 2<i>s.</i>; and the Earth it loves Rain, + 2<i>s.</i> Kucken's The Star, 2<i>s.</i>; Sweet May, 2<i>s.</i>; and his + celebrated song, The Tear, 2<i>s.</i> Pressel's A Youth from the Summit, + 2<i>s.</i>, and When two fond Hearts, 2<i>s.</i> Cherry's The Dreams of + Youth, illustrated, 2<i>s.</i> 6<i>d.</i>, and Like the Song of Birds, + illustrated, 2<i>s.</i> 6<i>d.</i> Eliza Cook's Song of the Sailor Boy, + music by Rodwell, 2<i>s.</i> Harper's Truth in Absence, 2<i>s.</i> Miss + Fricker's Fading Away, 2<i>s.</i> Barker's The Lime Blossoms, + illustrated, 2<i>s.</i> 6<i>d.</i>; and Glover's (S.) Annie o' the Banks + o' Dee, illustrated, 2<i>s.</i> 6<i>d.</i>, &c.</p> + +<p class="cenhead">London: ROBERT COCKS & CO., New Burlington +Street, Music Publishers to the +Queen.</p> + +<hr class="full" /> + + <p>W. H. HART, RECORD AGENT and LEGAL ANTIQUARIAN (who is in the + possesion 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 Depostories 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="cenhead">1. ALBERT TERRACE, NEW CROSS, +HATCHAM, SURREY.</p> + +<hr class="full" /> + + <p>ALLEN'S ILLUSTRATED CATALOGUE, containing Size, Price, and Description + of upwards of 100 articles, consisting of PORTMANTEAUS, TRAVELLING-BAGS, + Ladies' Portmanteaus, 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="cenhead">J. W. & T. ALLEN, 18. & 22. West Strand.</p> + +<hr class="full" /> + +<p class="cenhead">PHOTOGRAPHIC INSTITUTION.</p> + + <p>THE EXHIBITION OF PHOTOGRAPHS, by the most eminent English and + Continental Artists, is OPEN DAILY from Ten till Five. Free + Admission.</p> + + +<table class="nobctr" summary="Prices." title="Prices."> + <tr> + <td class="hspcsingle" style="text-align:left"> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>£ </p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p><i>s.</i></p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p><i>d.</i></p> + </td> + </tr> + + <tr> + <td class="hspcsingle" style="text-align:left"> + <p>A Portrait by Mr. Talbot's Patent Process</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>1</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>1</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>0</p> + </td> + </tr> + + <tr> + <td class="hspcsingle" style="text-align:left"> + <p>Additional Copies (each)</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>0</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>5</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>0</p> + </td> + </tr> + + <tr> + <td class="hspcsingle" style="text-align:left"> + <p>A Coloured Portrait, highly finished (small size)</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>3</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>3</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>0</p> + </td> + </tr> + + <tr> + <td class="hspcsingle" style="text-align:left"> + <p>A Coloured Portrait, highly finished (larger size)</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>5</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>5</p> + </td> + <td class="hspcsingle" style="text-align:left"> + <p>0</p> + </td> + </tr> +</table> + + <p>Miniatures, Oil Paintings, Water-Colour, and Chalk Drawings, + Photographed and Coloured in imitation of the Originals. Views of Country + Mansions, Churches, &c., taken at a short notice.</p> + + <p>Cameras, Lenses, and all the necessary Photographic Apparatus and + Chemicals, are supplied, tested, and guaranteed.</p> + + <p>Gratuitous Instruction is given to Purchasers of Sets of + Apparatus.</p> + +<p class="cenhead">PHOTOGRAPHIC INSTITUTION,<br /> +168. New Bond Street.</p> + +<hr class="full" /> + + <p>ROSS & SONS' INSTANTANEOUS HAIR DYE, without Smell, the best and + cheapest extant.—ROSS & SONS have several private apartments + devoted entirely to Dyeing the Hair, and particularly request a visit, + especially from the incredulous, as they will undertake to dye a portion + of their hair, without charging, of any colour required, from the + lightest brown to the darkest black, to convince them of its effect.</p> + + <p>Sold in cases at 3<i>s.</i> 6<i>d.</i>, 5<i>s.</i> 6<i>d.</i>, + 10<i>s.</i>, 15<i>s.</i>, and 20<i>s.</i> each case. Likewise wholesale + to the Trade by the pint, quart, or gallon.</p> + +<p class="cenhead">Address, ROSS & SONS, 119. and 120. Bishopsgate +Street, Six Doors from Cornhill, +London.</p> + +<hr class="full" /> + + <p>ONE THOUSAND BEDSTEADS TO CHOOSE FROM.—HEAL & SON'S Stock + comprises handsomely Japanned and Brass-mounted Iron Bedsteads, + Children's Cribs and Cots of new and elegant designs, Mahogany, Birch, + and Walnut-tree Bedsteads, of the soundest and best Manufacture, many of + them fitted with Furnitures, complete. A large Assortment of Servants' + and Portable Bedsteads. They have also every variety of Furniture for the + complete furnishing of a Bed Room.</p> + + <p>HEAL & SON'S ILLUSTRATED AND PRICED CATALOGUE OF BEDSTEADS AND + BEDDING, sent Free by Post.</p> + +<p class="cenhead">HEAL & SON, 196. Tottenham Court Road.</p> + +<hr class="full" /> + +<p><!-- Page 463 --><span class="pagenum"><a name="page463"></a>{463}</span></p> + +<p class="cenhead"><i>LONDON, SATURDAY, MAY 20, 1854.</i></p> + +<h2>Notes.</h2> + +<h3>A LEADER FROM A FOREIGN NEWSPAPER: THE NEW RUSSIAN MANIFESTO.</h3> + + <p>Mention was recently made, in Vol. ix., p. 218., of the valuable + character of many of the leading articles in the continental journals, + and a wish expressed that translations of them were more frequently + communicated in our own papers to English readers. The great newspapers + of this country are too rich in varied talent and worldwide resources of + their own, to make it worth their while in ordinary times to pay much + attention to information and disquisition from foreign politicians, on + subjects of the day; but the infinite importance to England, and to the + world, of the present warlike struggle, renders it a matter of + corresponding weight to know how far the foreign press, in the great + centres of movement and intelligence, stand affected to Great Britain. + Perhaps, therefore, as a specimen of this kind of writing, you will for + once admit, among your varied contents, the following article from the + <i>Kölnische Zeitung</i> of May 4:</p> + +<blockquote class="b1n"> + + <p>"While in England, as a preparation for war, a day of humiliation and + prayer is held, on which the Clergy exhort the people to look into their + own breasts, and to discover and forsake those sins which might provoke + God's punishments; while the most powerful nation of the world commences + war by humbling itself before God, on the part of Russia a new manifesto + appears, the arrogance of which can scarcely be exceeded by anything + human. The Czar speaks as if he were the representative of God upon + earth. His affair is God's affair. He carries on war for God, and for His + only begotten Son, Jesus Christ our Saviour. God is for him, who can be + against him!</p> + + <p>"Such a document has not proceeded from the cabinet of any European + power since the Middle Ages. It exceeds all which even Russian diplomacy + has accomplished, in its zeal for Christianity, during the last century. + For it is worthy of notice that nowhere is religion so much publicly + talked about, as in the place where least of it remains, among the higher + classes in St. Petersburgh. Religion there is <i>inter instrumenta + regni</i>. When Catherine II. permitted her husband Peter III. to be + imprisoned, in order to rob him of his throne and life, the cause of this + was communicated to the Russian people on July 9, 1762, as + follows:—'First of all, the foundation of your orthodox Greek + religion has been shaken and its principles are drawing near to a total + overthrow; so that we ought to dread exceedingly lest we should see a + change in the true ruling faith transmitted from antiquity in Russia, and + a foreign religion introduced.' So wrote Catherine II., 'the greatest of + the queens, and of the ——,' the friend of Voltaire, the + greatest lady-freethinker of her age. But she wrote still + farther:—'Secondly, the honour of Russia as a state, which has been + brought to the highest pinnacle of her victorious arms with the loss of + so much blood, is actually trodden under foot through the newly-concluded + peace <i>with her bitterest enemy</i>.' And who is this bitterest enemy + of the orthodox Russia? The King of Prussia, Frederick II.! Yes, the King + of Prussia was once declared to be the bitterest enemy of orthodox + Russia; and nothing stands in the way but at some future time he may + again be declared to be so, just as at the decree of the incorporation of + the provinces of Preutzen and Posen. The politicians of St. Petersburgh + know that the Russian people, living on in animal dulness, are + susceptible of no other intellectual impression except a religious one; + and so without reflection, the cross is torn from the high altar, and + used as a military signal. Religion was employed as a pretext, in order + to lead the unhappy Poles step by step into ruin; and Russia was just so + employed in Turkey, when the 'heathen' undertook to disturb her in her + Christian work. Rise up, therefore, orthodox nation, and fight for the + true Christian faith!</p> + + <p>"We know not whether such a manifesto is sufficient to lead the + Russians willingly, like a devoutly believing flock, in the name of Jesus + Christ to the battle-field; and to perish in a war projected for a + worldly purpose, to obtain the inheritance of the 'sick man.' But we do + know that the manifesto will make no one believe throughout civilised + Europe in Russia's holy views. Nations which have learned to think cannot + help immediately perceiving the contradiction which prevails in this + manifesto. First of all the struggle is represented as religious, and + immediately after as political. 'England and France' it says, 'make war + on Russia, in order to deprive her of a part of her territory.' The only + logical connexion between the two modes of statement consists in the + words—'their object is to cause our fatherland to descend from the + powerful position to which the hand of the Almighty has raised it.' And + thereupon is mentioned 'the holy purpose which has been assigned to + Russia by divine providence.' And this holy purpose has been no secret + for a long time. 'According to the design of providence,' wrote Peter the + Great, 'the Russian people are called to universal dominion over Europe + for the future.'</p> + + <p>"Such a future cannot longer be averted from Europe, except by common + efforts. Prussia has come to an understanding, as to the object in view, + with the other powers; and when an object or purpose is sought to be + attained, the means must also be provided. To make an impression by words + and peaceful means, is quite out of the question, after this imperial + pastoral letter, which proclaims war in the name of God and of Jesus + Christ. Force can only he repelled by force. It was not our wish to + compel our government prematurely. With reference to Prussia's position, + the warlike interference of our troops was not desired until England and + France had concluded a firm alliance between themselves, and with Turkey; + and had commenced the war in earnest. Now, when all this has taken place, + and the thunder of cannon is roaring over sea and land; now, when + Austria, which conceals within herself so many more dangers, prepares, + with manly determination, to advance; what excuse can Prussia <!-- Page + 464 --><span class="pagenum"><a name="page464"></a>{464}</span>have, + called upon by right to the leadership; what excuse can she make to + herself for remaining behind? In the Vienna protocol of April 9, Prussia + has pledged herself, beyond what we could have dared to hope, towards the + Western Powers: in the treaty with Austria of April 20, Prussia has bound + herself, in certain eventualities that may occur at any moment, to a + warlike support of Austria. Is it not, therefore, high time for Prussia + to arouse herself from her lethargy, in order to undertake the support + contracted for by treaty? If history teaches anywhere an evident lesson, + Prussia will find it in her own past history. Once before Prussia + promised to help Austria, and was not able to perform her engagement. All + the misfortune by which we were attacked in 1806 is to be ascribed to + Prussia not having completed her preparations in 1805, and to her not + appearing in the field before the battle of Austerlitz. It was reported + lately to be the saying of a brave general, that when he heard the + enemies' batteries firing, it always seemed to him that he heard his own + name called out. Does not Prussia also hear her own name loudly + pronounced, in those cannon-shots fired off in the Baltic and Black Sea + for the public law of nations by Europe's brave champions? By what means + did the great Elector establish the honour of the Prussian name, except + by bravely taking the field, as a model of German princes, against the + superior force of Louis XIV.? The policy, to which the Prussian + government has again pledged itself, will be unanimously approved of by + the Prussian people. The abuse which Russia has made of the name of + Religion can deceive none, but such as are willing to be deceived. + Catholic Christendom, with the Pope and the dignitaries of the Catholic + Church in England and France at its head, have declared which side in + this struggle is right, and which is wrong; and Righteousness is God's + earthly name! Not less have the noblest and most pious Protestants loudly + raised their voices as witnesses to the truth, and against the common + oppressor of <i>every</i> Christian church, even his own; Religion, + called upon for aid, denies it to Russia; and political science has long + since pronounced her judgment, that Russia's superiority must be put an + end to by a general opposition. If Prussia would but seize the + opportunity, and proceed in the same path with Austria, Russia's ambition + might be tamed by united Europe in one successful campaign. Now is the + favourable moment for Prussia; and if it is not taken advantage of, + generations unborn may have cause to rue it."</p> + +</blockquote> + + <p class="author"><span class="sc">Alpha.</span></p> + +<hr class="short" /> + +<h3>THE LAUNCH OF THE "PRINCE ROYAL" IN 1610.</h3> + + <p>October 20, 1608, Mr. Phineas Pette commenced the "Prince Royal," + which was launched in 1610. The keel of this "most goodly shippe for + warre" was 114 feet long, and the cross-beam 44 feet in length, and she + carried three score and four pieces of great ordnance, and was of the + burden of 1400 tons. On the 8th of May, 1609, the king presided at the + trial of Pette at Woolwich for insufficiency, during which Pette sat on + his knees, "baited by the great lord (Northampton) and his bandogs;" and + after the ship had been inspected by the king and his party, Mr. Pette + was acquitted of the charges brought against him. The prince visited the + ship on the 30th of January, 1609, 25th of April, 18th of June, and again + the following day, with the king, and on the 24th of September it was + launched. It is stated that the garnishing of the ship began between + Easter and Michaelmas, and that the number of nobles, gentry, and + citizens, resorting continually to Woolwich to see it, was incredible. On + the 9th of September, divers London maids, with a little boy with them, + visited the ship; the boy fell down into the hold, and died the same + night from the effects of his fall, being the first accident during the + building. About the middle of the month, the ship being ready to be + placed on the ways, twelve choice master carpenters of his Majesty's navy + were sent for from Chatham to assist in "her striking and launching;" on + the 18th she was safely set upon her ways, and on the 26th was visited by + the French ambassador. Preparations were made in the yard for the + reception of the king, queen, royal children, ladies, and the council; + and on the evening of the 23rd, a messenger was sent from Theobalds, + desiring the ship to be searched, lest any disaffected persons might have + bored holes privily in her bottom. On Monday 24th, the dock gates were + opened; but the wind blowing hard from the south-west, it proved a very + bad tide. The king came from Theobalds, though he had been very little at + ease with a scouring, taken with surfeiting by eating grapes, the prince + and most of the lords of the council attending him. The queen arrived + after dinner, and the lord admiral gave commandment to heave taught the + crabs and screws, though Pette says he had little hope to launch by + reason the wind overblew the tide; "yet the ship started and had + launched, but the dock gates pent her in so straight, that she stuck fast + between them, by reason the ship was nothing lifted by the tide, as we + expected she would; and the great lighter, by unadvised counsel, being + cut off the stern, the ship settled so hard upon the ground, that there + was no possibility of launching that tide; besides which there was such a + multitude of people got into the ship, that one could scarce stir by + another."</p> + + <p>"The king was much grieved at the frustrate of his expectation," and + returned to Greenwich at five o'clock with the queen and her train; the + prince staid a good while after conferring with the lord admiral and Mr. + Pette, and then rode off to Greenwich, with a promise to return shortly + after midnight. The night was moonlight, but shortly after midnight + became very stormy, which Mr. Pette says made him "doubt that there were + <!-- Page 465 --><span class="pagenum"><a + name="page465"></a>{465}</span>some indirect working among our enemies to + dash our launching."</p> + + <p>The prince however arrived at the yard, went on board a little before + two a. m., when the word being given to get all taught, the ship went + away without any straining of screws or tackles, till she came clear + afloat in the middle of the channel. He then describes the christening of + her by the prince, by the name of the "Prince Royal"; and while warping + to her mooring, his royal highness went down to the platform of the + cock-room, where the ship's beer stood for ordinary company, and there + finding an old can without a lid, drew it full of beer himself, and drank + it off to the lord admiral, and caused him with the rest of the + attendants to do the like. The hawsers laid ashore for landfasts had been + treacherously cut, but without doing any injury to the ship. The prince + left for Greenwich at nine a. m.</p> + + <p class="author">J. H. P.</p> + +<hr class="short" /> + +<h3>"NOTES AND QUERIES ON THE ORMULUM, BY DR. MONICKE"<br /> +(<i>Programm der Handels-Lehranstalt zu Leipzig</i>, 1853).</h3> + + <p>Under the above title, Dr. Monicke has published what are considered + by a foreign critic some valuable observations on the admirable Oxford + edition (by Dr. Meadows White) of <i>The Ormulum</i>, an Anglo-Saxon + work, now first edited from the original MS. in the Bodleian Library. The + attention of the readers of "N. & Q.," who are occupied in the study + of the Anglo-Saxon, with its cognate dialects, and direct descendant, + will be doubly attracted by a title with which they are so familiar, and + which is associated with some of the happiest and most peaceful moments + of their life. The title of the Essay (which I have not yet seen, and + which appears to be written in English) seems to be entirely the choice + of the author, and must be somewhat flattering to the Editor of the + original "N. & Q."</p> + + <p class="author">J. M.</p> + + <p class="address">Oxford.</p> + +<div class="note"> + <p>[We have received, with something like a sense of neglected duty, this + notice of <i>The Ormulum, now first edited from the Original Manuscript + in the Bodleian; with Notes and a Glossary by Robert Meadows White, D.D., + late Fellow of St. Mary Magdalene College, and formerly Professor of + Anglo-Saxon in the University of Oxford</i>, 2 vols. 8vo. The fact is, we + have long intended to call attention to this book, alike creditable to + the scholastic acquirements of Dr. White, and to the authorities of the + Oxford press; but have from week to week postponed doing so, that we + might enter at some length into the history of <i>The Ormulum</i>, and a + notice of the labour of its editor. In the mean time Dr. White's labours + have received from foreign scholars that recognition which his countrymen + have been too tardy in offering.—<span class="sc">Ed.</span> "N. + & Q."]</p> + +</div> + +<hr class="short" /> + +<h3>THE LEGEND OF THE SEVEN SISTERS.</h3> + + <p>Will the Editor of "N. & Q.," or any of his correspondents, kindly + inform me of the true circumstances from which the following legend has + sprung? The locality which was the scene of the tragedy is the little + village of Ballybunion, situated within a few miles of Kerry Head. The + scenery around is of the wildest and most striking description. Frowning, + rugged cliffs, rising abruptly out of the water to the height of over one + hundred feet, and perforated with numerous caves, into which the ocean + rushes with fearful fury in winter,—for it is a stormy coast, and + rarely does a month pass without beholding some dead, putrified body + washed ashore; while inland, a barren, uncultivated plain, consisting + mostly of bog, stretches away to nearly the foot of the Reeks, which, + looming in the distance, seem to rear their giant masses even to the sky, + and form, as it were, an impenetrable barrier between the coast and the + interior. On the brink of one of those precipices we have mentioned, + there stands the ruins of a castle, seemingly of great antiquity. Nothing + now remains but the basement storey, and that seems as if it would be + able to withstand the war of winds and waves for hundreds of years + longer. According to the legend, this castle was inhabited by a gallant + chieftain at the period of the incursions of the Danes, and who was the + father of seven blooming daughters. He was himself a brave warrior, + animated with the greatest hatred against the Ostmen, who, at that + period, were laying every part of Erin waste. His sword never rested in + its sheath, and day and night his light gallies cruised about the coast + on the watch for any piratical marauder who might turn his prow thither. + One day a sail was observed on the horizon; it came nearer and nearer, + and the pirate standard was distinguished waving from its mast-head. + Immediately surrounded by the Irish ships, it was captured after a + desperate resistance. Those that remained of the crew were slaughtered + and thrown into the sea, with the exception of the captain and his six + brothers, who were reserved for a more painful death. Conveyed to the + fortress, their wounds were dressed, and they were allowed the free range + of the castle. Here, gradually a love sprung between them and the seven + Irish maidens, who yielded to their ardent protestations, and agreed to + fly with them to Denmark. Everything was arranged for the voyage, and one + fearfully stormy night in winter was chosen for the attempt. Not a single + star shone in the sky, the cold blast came sweeping from the ocean, the + rain fell in torrents, and the water roared and raged with terrific + violence amid the rocky caverns. Escaping down from the battlement by a + rope-ladder, they discovered to their horror, that on reaching the ground + they were surrounded by armed men. Not a word was uttered; but they <!-- + Page 466 --><span class="pagenum"><a name="page466"></a>{466}</span>well + knew into whose hands they had fallen. Conducted again within the + fortress, they found themselves face to face with their injured father. + One deadly glance of hatred he cast on the prisoners, and, muttering some + few words to one of his attendants, he pointed towards his daughters. The + man, on receiving the command, recoiled a few paces, transfixed with + horror; and then he advanced nearer, and seemed as if remonstrating with + him. But the parent's face assumed an absolutely demoniac expression; and + more peremptorily repeating his order, he stalked out of the room. And + now commenced a fearful scene. The lovers were torn from each other's + arms, and the women were brought forth again. The storm had grown more + violent, and the spray was dashing far over the cliff, whilst the vivid + flashes of lightning afforded a horrible illumination to the dreary + scene. Proceeding along the brink of the precipice, they at length came + to a chasm which resembled somewhat the crater of a volcano, as it was + completely closed, with the exception of the opening at the top, and one + small aperture below, through which the sea rushed with terrible + violence. The rolling of the waters sounded fearfully on the ear of those + around, and now at length the sisters divined their fate. One by one they + were hurled into the boiling flood: one wild shriek, the billows closed + again, and all was over. What the fate of their lovers was, the legend + says not. The old castle has crumbled into ruins—the chieftain + sleeps in an unknown grave, his very name forgotten; but still the sad + ending of the maidens is remembered, and even unto this day the cavern is + denominated the "Cave of the Seven Sisters." Such is the above legend as + it still exists amongst the peasantry, and any of your contributors would + extremely oblige by informing me of the name of the Irish leader.</p> + + <p class="author"><span class="sc">George of Munster.</span></p> + + <p class="address">Queen's College, Cork.</p> + +<hr class="full" /> + +<h2>Minor Notes.</h2> + + <p><i>Coincidences.</i>—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Jejunus raro stomachus vulgaria temnit."—Hor. <i>Sat.</i> 2.</p> + </div> + + <div class="stanza"> + <p class="hg3">"A hungry dog eats dirty pudding."</p> + </div> + + <div class="stanza"> + <p class="hg3">"Dum vitant stulti vitia, in contraria currunt."—Hor. <i>Sat.</i> 1.</p> + </div> + + <div class="stanza"> + <p class="hg3">"He misses one post, and runs his head against t'other."</p> + </div> + + <div class="stanza"> + <p class="hg3">"<span title="Chelidôn ear ou poiei" class="grk">Χελιδὼν ἔαρ οὐ ποιεῖ</span>."—Arist. <i>Eth.</i>, i. 7.</p> + </div> + + <div class="stanza"> + <p class="hg3">"One swallow don't make a summer."</p> + </div> + </div> + + <p class="author">J. H. B.</p> + + <p><i>The English Liturgy.</i>—</p> + +<blockquote class="b1n"> + + <p>"It is deserving of notice, that although Dr. Beattie had been brought + up a member of the Presbyterian Church of Scotland, and regularly + attended her worship and ordinances when at Aberdeen, he yet gave the + most decided preference to the Church of England, generally attending the + service of that Church when anywhere from home, and constantly when at + Peterhead. He spoke with enthusiasm of the beauty, simplicity, and energy + of the English Liturgy, especially of the Litany, which he declared to be + the finest piece of uninspired composition in any language." <i>Life of + Dr. Beattie</i>, by Sir W. Forbes, Bart., vol. iii. p. 168. note.</p> + +</blockquote> + + <p class="author">J. M.</p> + + <p class="address">Oxford.</p> + + <p>"<i>To jump for joy.</i>"—This expression, now most often used + figuratively, was probably in the olden time a plain and literal + description of an actual fact. The <i>Anglo-Norman Poem on the Conquest + of Ireland by Henry II.</i>, descriptive of events which occurred at the + close of the twelfth century, informs us (at p. 53.) that one of the + English knights, named Maurice de Prendergast, being desirous of + returning with his followers to Wales, was impeded in his march by "les + traitres de Weyseford;" and that this so much provoked him, that he + tendered his services to the King of Ossory, who—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"De la novele esteit heistez,</p> + <p>E de joie saili à pés."</p> + </div> + </div> + + <p>This expression, "saili à pés," is translated in the Glossary "rose + upon feet;" but the more correct rendering of it appears to me to be that + of jumping or dancing for joy.</p> + + <p class="author"><span class="sc">James F. Ferguson.</span></p> + + <p class="address">Dublin.</p> + + <p>"<i>What is Truth?</i>"—Bacon begins his "Essay of Truth" (which + is dated 1625) with these words:</p> + +<blockquote class="b1n"> + + <p>"What is truth? said jesting Pilate, and would not stay for an answer. + Certainly, there be that delight in giddiness, and count it a bondage to + fix a belief; affecting freewill in thinking, as well as in acting."</p> + +</blockquote> + + <p>There is a similar passage in Bishop Andrews's sermon <i>Of the + Resurrection</i>, preached in 1613:</p> + +<blockquote class="b1n"> + + <p>"Pilate asked, <i>Quid est veritas?</i> And then some other matter + took him in the head, and so up he rose, and went his way, before he had + his answer; he deserved never to find what truth was. And such is our + seeking mostwhat, seldom or never seriously, but some question that comes + cross our brain for the present, some <i>quid est veritas</i>? So sought + as if that we sought were as good lost as found. Yet this we would fain + have so for seeking, but it will not be."</p> + +</blockquote> + + <p>Perhaps Bacon heard the bishop preach (the sermon was at Whitehall); + and if so, the passage in Andrews will explain the word "jesting" to + mean, not scoffing, but asking without serious purpose of acquiring + information.</p> + + <p class="author">J. A. H.</p> + + <p><i>Abolition of Government Patronage.</i>—The following passage, + from Dr. Middleton's <i>Dedication of the Life of Cicero</i> to Lord + Keeper Hervey, is <!-- Page 467 --><span class="pagenum"><a + name="page467"></a>{467}</span>interesting as showing the enlightened + sentiments of an eminent scholar a hundred years ago when addressing a + minister of the crown:</p> + +<blockquote class="b1n"> + + <p>"Human nature has ever been the same in all ages and nations, and owes + the difference of its improvements to a difference only of culture, and + of the rewards proposed to its industry; where these are the most amply + provided, there we shall always find the most numerous and shining + examples of human perfection. In old Rome, the public honours were laid + open to the virtue of every citizen; which, by raising them in their + turns to the commands of that mighty empire, produced a race of nobles + superior even to kings. This was a prospect that filled the soul of the + ambitious and roused every facility of mind and body to exert its utmost + force; whereas, in modern states, men's views being usually confined to + narrow bounds, beyond which they cannot pass, and a partial culture of + their talents being sufficient to procure everything that their ambition + can aspire to, a great genius has seldom either room or invitation to + stretch itself to its full size."</p> + +</blockquote> + + <p class="author"><span class="sc">Alpha.</span></p> + + <p class="address">Oxford.</p> + +<hr class="full" /> + +<h2>Minor Queries.</h2> + + <p>"<i>One New Year's Day.</i>"—An old lady used to amuse my + childhood by singing a song commencing—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"One New Year's day, as I've heard say,</p> + <p>Dick mounted on his dappled grey," &c.</p> + </div> + </div> + + <p>The rest I forget, but I should be glad to know if it is extant, and + what is known of its origin, &c.</p> + + <p class="author"><span class="sc">G. William Skyring.</span></p> + + <p class="address">Somerset House.</p> + + <p><i>Greek denounced by the Monks.</i>—</p> + +<blockquote class="b1n"> + + <p>"Almost the time (<span class="scac">A.D.</span> 1530) when the monks + preached in their sermons to the people to beware of a new tongue of late + discovered, called the Greek, and the mother of all + heresies."—<i>Foreign Quarterly</i> for October, 1842, No. 59. + p. 137.</p> + +</blockquote> + + <p>Can any of your readers give references to such passages in Monkish + sermons?</p> + + <p class="author"><span class="sc">Cpl.</span></p> + + <p><i>Pliny's Dentistry.</i>—As your journal has become the + repository of so many novel and interesting <i>facts</i>, I trust that + the following data will be found acceptable to the readers of "N. & + Q." Having had occasion, of late, to look over the works of Pliny, I was + struck with the extent to which this ancient naturalist and philosopher + has carried his researches on the above subject; as, in some editions, + the Index of the article <span class="sc">Dentes</span> occupies several + closely-printed columns. He recommends tooth-powder (<i>dentifricia</i>) + of hartshorn, pumice-stone, burnt nitre, <i>Lapis Arabus</i>, the ashes + of shells, as well as several ludicrous substances, in accordance with + the mystic prejudices of the age. Amongst the remedies for fixing + (<i>firmare</i>) teeth, he mentions <i>Inula</i>, <i>Acetum + Scillinum</i>, <i>Radix Lapathi sativi</i>, vinegar; and loose teeth are + to be fixed by <i>Philidonia</i>, <i>Veratrum nigrum</i>, and a variety + of other remedies, amongst which some are most rational, and tend to + prove that more attention was paid to the physiological + (<i>hygeistic</i>) department relating to that portion of the human body + than we have been hitherto aware of, as even the most recent works on + Dentistry do not mention these facts.</p> + + <p class="author"><span class="sc">George Hayes.</span></p> + + <p class="address">Conduit Street.</p> + + <p><i>J. Farrington, R.A.</i>—Having recently met with some views + by J. Farrington, R.A., without a description of the locality, I shall be + obliged by your insertion of a Query respecting information of what views + were executed by this painter, with their localities, in or about the + year 1789. As I am informed that those above referred to belong to this + neighbourhood, and therefore would be invested with interest to me, I + could ascertain their locality with precision.</p> + + <p class="author"><span class="sc">John Nurse Chadwick.</span></p> + + <p class="address">King's Lynn.</p> + + <p><i>Henry Crewkerne, of Exeter</i>, "Captain of Dragoons, descended + from Crewkerne, of Crewkerne, in Devonshire," died at Carlow in Feb. + 1664-5. Was he descended from Crewkerne of Chilhay, Dorset? His pedigree + would be very acceptable.</p> + + <p class="author">Y. S. M.</p> + + <p><i>Dr. Johnson.</i>—Johnson says somewhere that he never was in + a tight place but once, and that was when he had a mad bull by the tail. + Had he held on, he said he would have been dragged to death over a + stubble field; while if had not held on, the bull would have gored him to + death. Now my Query is, what did Dr. Johnson do, hold on or let go?</p> + + <p class="author">G. M. B.</p> + + <p><i>Latin "Dante."</i>—Is there not a literal Latin <i>prose</i> + translation of Dante, somewhat rhythmical? Has not Stillingfleet cited it + in the <i>Origines</i>? If so, where is its <i>corpus</i>? And in what + form, MS. or printed? Of metrical Latin versions there are several beside + those of the Jesuit Carlo d'Aquino and Piazza. The Query is as to the + prose?</p> + + <p class="author"><span class="sc">Philip Aske.</span></p> + + <p><i>Ralph Bosvill, of Bradbourn, Kent</i>, Clerk of the Court of Wards, + married first, Anne, daughter of Sir Richard Clement, and widow of John + Castillon, by whom he had five children. He married secondly, Benedicta + Skinner, by whom he had six children. This I have taken from the + <i>Visitations of Kent</i>. In Harl. MS. 5532.152, he is said to have had + another son Ralph, "slain in Ireland." This Ralph was his son, and I wish + to discover by which wife, as the entry above-mentioned in the <!-- Page + 468 --><span class="pagenum"><a name="page468"></a>{468}</span>MSS. is of + a much later date than the body of it. He had, I think, two other sons at + least, who are not in the books, namely, Godfrey and William. The name is + sometimes called "Boswell." Was the younger Ralph's wife, Mary, daughter + of Alveray Copley of Batley?</p> + + <p class="author">Y. S. M.</p> + + <p><i>Major-General Wolfe.</i>—The following MS. is advertised for + sale. Is anything known concerning it?</p> + +<blockquote class="b1n"> + + <p>"A Copy of Orders written by Major-General Woolfe; an important + unpublished Historical MS. This valuable collection commences with + 'General Orders to be observed by a regiment on their arrival in + Scotland, 1748.' At p. 55. begin 'Orders by Major-General Woolfe in + America: Halifax, April 30, 1759.' They continue dated from Louisburg, + Point Orleans, Montmorenci, Cape Rouge, &c., to the last, which is + dated on board the Sutherland, off St. Nicholas, Sept. 12th, the day + before the scaling the heights of Abraham; no doubt the last issued by + Woolfe, as on that day (13th) he fell in battle. There is no clue in the + MS. to its compiler; it consists of 103 pages 4to., beautifully written, + with MS. Plan of Order of Battle, of the army commanded by General Woolfe + in America, 1789. It is believed that no printed copy exists of these + valuable papers, which are of the highest importance to the Historian, as + a slight extract will show. Small 4to., calf.</p> + + <p>'Sept. 12. The Sutherland, at anchor off St. Nicholas:—The + enemies' forces are not divided; great scarcity of provisions in the + camp, and universal discontent amongst the Canadians. The second officer + in command is gone to Montreal or St. John's, which gives reason to think + that Governor Amherst is advancing into that colony. A vigorous blow + struck by the army at this juncture might determine the fate of Canada. + Our troops below are ready to join us; all the light infantry and tools + are embarked at the Point of Levi, and the troops will land where the + enemy seems least to expect it.'"</p> + +</blockquote> + + <p class="author"><span class="sc">J. Balch.</span></p> + + <p class="address">Philadelphia.</p> + + <p><i>Custom at University College, Oxford.</i>—What is the origin + of the following custom observed at this college? On every Easter Sunday + the representation of a tree, dressed with evergreens and flowers, is + placed on a turf, close to the buttery, and every member there resident, + as he leaves the Hall, after dinner, chops at the tree with a cleaver. + The college-cook stands by holding a plate, in which the Master deposits + half a guinea, each Fellow five shillings, and the other members two + shillings and sixpence each; this custom is called "chopping at the + tree." When was this custom instituted, and to what circumstance are we + to attribute its origin? Who presented to the chapel of this College the + splendid eagle, as a lectern, which forms one of its chief ornaments? Was + it presented by Dr. Radcliffe, or does it date its origin from the happy + reign of Queen Mary?</p> + + <p class="author">M. A.</p> + + <p>"<i>Old Dominion.</i>"—It is stated in a newspaper that the term + "Old Dominion," generally applied here to the state of Virginia, + originated from the following facts. During the Protectorate of Cromwell + the colony of Virginia refused to acknowledge his authority, and sent to + Flanders for Charles II. to reign over them. Charles accepted, and was + about to embark, when he was recalled to the throne of England. Upon his + accession, as a reward for her loyalty, he allowed the colony to quarter + the arms of England, Ireland, and Scotland, as an independent member of + the "Old Dominion;" whence the term. What truth is there in this + story?</p> + + <p class="author"><span class="sc">Penn.</span></p> + + <p>"<i>Wise men labour</i>," <i>&c.</i>—</p> + + <p>On the fly-leaf of Sir Roger Twysden's copy of Stow's <i>Annales</i> + are the following, lines, dated 1643:</p> + + <div class="poem"> + <div class="stanza"> + <p class="i1hg3">"Wise men labour, good men grieve,</p> + <p class="i1">Knaves devise, and fooles believe;</p> + <p class="i1">Help, Lord! and now stand to us,</p> + <p>Or fooles and knaves will quite undoe us,</p> + <p>Or knaves and fooles will quite undoe us."</p> + </div> + </div> + + <p>From whence are these lines taken?</p> + + <p class="author">L. B. L.</p> + +<hr class="full" /> + +<h2>Minor Queries with Answers.</h2> + + <p><i>Dame Hester Temple.</i>—"Lady Temple lived to see seven + hundred of her own descendants: she had thirteen children." I have + extracted this "sea-serpent" from an extract in Burke from <i>Fuller's + Worthies</i>, but I am unable to refer to the original for confirmation + of this astounding fact; if true it is wonderful.</p> + + <p class="author">Y. S. M.</p> + +<div class="note"> + <p>[Fuller's amusing account of Dame Hester Temple will be found in his + <i>Worthies of Buckinghamshire</i>, vol. i. p. 210. edit. 1840. He says: + "Dame Hester Temple, daughter to Miles Sands, Esq., was born at Latmos in + this county, and was married to Sir Thomas Temple, of Stow, Baronet. She + had four sons and nine daughters, which lived to be married, and so + exceedingly multiplied, that this lady saw seven hundred extracted from + her body. Reader, I speak within compass, and have left myself a reserve, + having bought the truth hereof by a wager I lost. Besides, there was a + new generation of marriageable females just at her death; so that this + aged vine may be said to wither, even when it had many young boughs ready + to knit.</p> + + <p>"Had I been one of her relations, and as well enabled as most of them + be, I would have erected a monument for her—thus designed. A fair + tree should have been erected, the said lady and her husband lying at the + bottom or root thereof; the heir of the family should have ascended both + the middle and top bough thereof. On the right hand hereof her younger + sons, <!-- Page 469 --><span class="pagenum"><a + name="page469"></a>{469}</span>on the left her daughters, should, as so + many boughs, be spread forth. Her grandchildren should have their names + inscribed on the branches of those boughs; the great-grandchildren on the + twigs of those branches; and the great-great-grandchildren on the leaves + of those twigs. Such as survived her death should be done in a lively + green, the rest (as blasted) in a pale and yellow fading colour.</p> + + <p>"Pliny, lib. vii. cap. 13. (who reports it as a wonder worthy the + chronicle, that Chrispinus Hilarus, <i>prĉlatâ pompâ</i>, 'with open + ostentation,' sacrificed in the capitol seventy-four of his children and + children's children attending on him,) would more admire, if admitted to + this spectacle.</p> + + <p>"Vives telleth us of village in Spain, of about an hundred houses, + whereof all the inhabitants were issued from one certain old man who + lived, when as that village was so peopled, so as the name of + propinquity, how the youngest of the children should call him, could not + be given.<a name="footnotetag1" href="#footnote1"><sup>[1]</sup></a> + 'Lingua enim nostra supra abavum non ascendit;' ('Our language,' saith + he, meaning the Spanish, 'affords not a name above the + great-grandfather's father'). But, had the offspring of this lady been + contracted into one place, they were enough to have peopled a city of a + competent proportion though her issue was not so long in succession, as + broad in extent.</p> + + <p>"I confess very many of her descendants died before her death; in + which respect she was far surpassed by a Roman matron, on which the poet + thus epitapheth it, in her own person<a name="footnotetag2" + href="#footnote2"><sup>[2]</sup></a>:</p> + + <div class="poem"> + <div class="stanza"> + </div> + + <div class="stanza"> + <p class="hg1">'<i>Viginti atque novem, genitrici Callicrateĉ,</i></p> + <p class="i1"><i>Nullius sexus mors mihi visa fuit.</i></p> + <p><i>Sed centum et quinque explevi bene messibus annos,</i></p> + <p class="i1"><i>In tremulam baculo non subeunte manum.</i>'</p> + </div> + + <div class="stanza"> + <p class="hg1">'Twenty-nine births Callicrate I told,</p> + <p>And of both sexes saw none sent to grave,</p> + <p>I was an hundred and five winters old,</p> + <p>Yet stay from staff my hand did never crave.'</p> + </div> + </div> + + <p>Thus, in all ages, God bestoweth personal felicities on some far above + the proportion of others. The Lady Temple died <span + class="scac">A.D.</span> 1656."]</p> + +</div> + +<div class="note"> + <a name="footnote1"></a><b>Footnote 1:</b><a + href="#footnotetag1">(return)</a> + <p>In Comment upon 8th chapter of lib. xv. de Civitate Dei.</p> + + <a name="footnote2"></a><b>Footnote 2:</b><a + href="#footnotetag2">(return)</a> + <p>Ausonius, Epitaph. Heröum, num. 34.</p> + +</div> + <p><i>Samuel White.</i>—In Bishop Horsley's <i>Biblical + Criticism</i>, he refers several times to a Samuel White, whom he speaks + of in terms of contempt, and calls him, in one place, "that contemptible + ape of Grotius;" and in another, "so dull a man." Query, who was this Mr. + White, and what work did he publish?</p> + + <p class="author">I. R. R.</p> + +<div class="note"> + <p>[Samuel White, M.A., was a Fellow of Trinity College, Cambridge, and + Chaplain to the Earl of Portland. His work, so severely criticised by + Bishop Horsley, is entitled <i>A Commentary on the Prophet Isaiah, + wherein the literal Sense of his Prophecies is briefly explained</i>: + London, 4to., 1709. In his Dedication he says: "I have endeavoured to set + in a true light one of the most difficult parts of Holy Scripture, + following the footsteps of the learned Grotius as far as I find him in + the right; but taking the liberty to leave him where I think him wide of + the prophet's meaning."]</p> + +</div> + + <p><i>Heralds' College.</i>—Are the books in the Heralds' College + open to the public on payment of reasonable fees?</p> + + <p class="author">Y. S. M.</p> + +<div class="note"> + <p>[The fee for a search is 5<i>s.</i>; that for copying of pedigrees is + 6<i>s.</i> 8<i>d.</i> for the first, and 5<i>s.</i> for every other + generation. A general search is 2<i>l.</i> 2<i>s.</i> The hours of + attendance are from ten till four.]</p> + +</div> + + <p><i>Pope.</i>—Where, in Pope's Works, does the passage occur + which is referred to as follows by Richter in his <i>Grönlandische + Prozesse</i>, vol. i.?</p> + +<blockquote class="b1n"> + + <p>"Pope vom Menschen (eigentlich vom Manne) sagt, 'Er tritt auf, um sich + einmal umzusehen, und zu sterben.'"</p> + +</blockquote> + + <p class="author">A. E.</p> + + <p class="address">Aberdeen.</p> + +<div class="note"> + <div class="poem"> + <div class="stanza"> + <p> ["Awake my St. John! leave all meaner things</p> + <p class="i1">To low ambition, and the pride of kings.</p> + <p class="i1">Let us (since life can little more supply</p> + <p class="i1"><i>Than just to look about us, and to die</i>)</p> + <p class="i1">Expatiate free o'er all this scene of man."—<i>Essay on Man</i>, Epist. i. l. 1-5.]</p> + </div> + </div> + +</div> + +<hr class="full" /> + +<h2>Replies.</h2> + +<h3>BLANCO WHITE'S SONNET.</h3> + +<p class="cenhead">(Vol. vii., pp. 404. 486.)</p> + + <p>This sonnet first appeared in <i>The Bijou</i>, an annual published by + Pickering in 1828. It is entitled:</p> + + <div class="poem"> + <div class="stanza"> + <p class="i6"><span class="scac">"NIGHT AND DEATH.</span></p> + </div> + + <div class="stanza"> + <p><i>A Sonnet: dedicated to S. T. Coleridge, Esq.</i></p> + <p><i>by his sincere friend Joseph Blanco White.</i></p> + </div> + + <div class="stanza"> + <p class="i1">Mysterious night, when the first man but knew</p> + <p>Thee by report, unseen, and heard thy name,</p> + <p>Did he not tremble for this lovely frame,</p> + <p>This glorious canopy of light and blue?</p> + <p class="i1">Yet 'neath a curtain of translucent dew,</p> + <p>Bathed in the rays of the great setting flame,</p> + <p>Hesperus, with the host of heaven came,</p> + <p>And lo! creation widen'd on his view.</p> + <p class="i1">Who could have thought what darkness lay concealed</p> + <p>Within thy beams, O Sun? Or who could find,</p> + <p class="i1">Whilst fly, and leaf, and insect stood reveal'd,</p> + <p>That to such endless orbs thou mad'st us blind?</p> + <p>Weak man! Why to shun death this anxious strife?</p> + <p>If <i>light</i> can thus deceive, wherefore not <i>life</i>?"</p> + </div> + </div> + + <p>In a letter from Coleridge to White, dated Nov. 28, 1827, he thus + speaks of it:</p> + +<blockquote class="b1n"> + + <p>"I have now before me two fragments of letters <i>begun</i>, the one + in acknowledgment of the finest and most graceful sonnet in our language + (at least it is only in Milton's and Wordsworth's sonnets that I <!-- + Page 470 --><span class="pagenum"><a + name="page470"></a>{470}</span>recollect any rival, and this is not my + judgment alone, but that of the man <span title="kat' exochên philokalon" class="grk" + >κατ' ἐξοχὴν + φιλόκαλον</span>, + John Hookham Frere), the second on the receipt of your 'Letter to Charles + Butler,'" &c.</p> + +</blockquote> + + <p>In a subsequent letter, without date, Coleridge thus again reverts to + the circumstance of its having been published without his or White's + sanction:</p> + +<blockquote class="b1n"> + + <p>"But first of your sonnet. On reading the sentences in your letter + respecting it, I stood staring vacantly on the paper, in a state of + feeling not unlike that which I have too often experienced in a dream: + when I have found myself in chains, or in rags, shunned, or passed by, + with looks of horror blended with sadness, by friends and acquaintance; + and convinced that, in some alienation of mind, I must have perpetrated + some crime, which I strove in vain to recollect. I then ran down to Mrs. + Gillman, to learn whether she or Mr. Gillman could throw any light on the + subject. Neither Mr. nor Mrs. Gillman could account for it. I have + repeated the sonnet often, but, to the best of my recollection, never + either gave a copy to any one, or permitted any one to transcribe it; and + as to publishing it without your consent, you must allow me to say the + truth: I had felt myself so much flattered by your having addressed it to + me, that I should have been half afraid that it would appear to be asking + to have my vanity tickled, if I had thought of applying to you for + permission to publish it. Where and when did it appear? If you will be so + good as to inform me, I may perhaps trace it out: for it annoys me to + imagine myself capable of such a breach of confidence and of + delicacy."</p> + +</blockquote> + + <p>In his Journal, October 16 [1838?], Blanco White says:</p> + +<blockquote class="b1n"> + + <p>"In copying out my 'Sonnet on Night and Death' for a friend, I have + made some corrections. It is now as follows:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg1">'Mysterious Night! when our first parent knew</p> + <p class="i1">Thee from report divine, and heard thy name,</p> + <p class="i1">Did he not tremble for this lovely frame,</p> + <p class="i1">This glorious canopy of light and blue?</p> + <p>Yet 'neath a curtain of translucent dew,</p> + <p class="i1">Bathed in the rays of the great setting flame,</p> + <p class="i1">Hesperus with the Host of Heaven came,</p> + <p class="i1">And lo! creation widen'd in man's view.</p> + <p>Who could have thought such darkness lay conceal'd</p> + <p class="i1">Within thy beams, O Sun! or who could find,</p> + <p class="i1">Whilst fly, and leaf, and insect stood reveal'd,</p> + <p class="i1">That to such countless orbs thou mad'st us blind!</p> + <p>Why do we then shun death, with anxious strife?</p> + <p class="i1">If light can thus deceive, wherefore not life?'"</p> + </div> + </div> + +</blockquote> + + <p class="author"><span class="sc">S. W. Singer.</span></p> + +<hr class="short" /> + +<h3>GOLOSHES.</h3> + +<p class="cenhead">(Vol. ix., p. 304.)</p> + + <p>This word, <span class="sc">Seleucus</span> says, "is of course of + American derivation." By no means: it is found in German, + <i>gallosche</i> or <i>gallusche</i>; and in French, <i>galoche</i> or + <i>galloche</i>. The word itself most likely comes to us from the French. + The dictionaries refer to Spenser as using it under the form + <i>galage</i>; and it occurs written <i>galege</i>, <i>galosh</i>, + <i>calosh</i>, &c. The French borrowed the term from the Latin + <i>Gallicĉ</i>; but the Romans first derived the idea and the thing + itself from Gaul, <i>Gallicĉ</i> denoting Gallic or Gaulish shoes. Cicero + speaks of the <i>Gallicĉ</i> with contempt.—"Cum calceis et toga, + nullis nec <i>gallicis</i> nec lacerna;" and again, "Cum <i>gallicis</i> + et lacerna cucurristi" (<i>Philip.</i> ii. 30.). Blount, in his <i>Law + Dictionary</i> (1670), gives the following, which refers to one very + early use of the term in this country:</p> + +<blockquote class="b1n"> + + <p>"<span class="sc">Galege</span> (<i>galiciĉ</i>), from the French + <i>galloches</i>, which signified of old a certain shoe worn by the Gauls + in foul weather, <i>as at present the signification with us does not much + differ</i>. It is mentioned 4 Edw. IV. cap. 7., and 14 & 15 Hen. + VIII. cap. 9."</p> + +</blockquote> + + <p>Therefore the thing itself and the word were known among us before + America was discovered. As it regards the Latin word <i>Gallicĉ</i>, I + only know of its use by Cicero, Tertullian, and A. Gellius. The + last-named, in the <i>Noctes Atticĉ</i>, gives the following anecdote and + observations relating to this word. T. Castricius, a teacher of rhetoric + at Rome, observing that some of his pupils were, on a holiday, as he + deemed, unsuitably attired, and shod (<i>soleati</i>) with <i>gallicĉ</i> + (<i>galloches</i>, <i>sabots</i>, wooden shoes or clogs), he expressed in + strong terms his disapprobation. He stated it to be unworthy of their + rank, and referred to the above-cited passage from Cicero. Some of his + hearers inquired why he called those <i>soleati</i> who wore goloshes + (<i>gallicĉ</i>) and not shoes (<i>soleĉ</i>). The expression is + justified by a statement which sufficiently describes the goloshes, viz., + that they call <i>soleĉ</i> (shoes) all those which cover only the lower + portions of the foot, and are fastened with straps. The author adds:</p> + +<blockquote class="b1n"> + + <p>"I think that <i>gallicĉ</i> is a new word, which was begun to be used + not long before Cicero's time, therefore used by him in the Second of the + <i>Antonians</i>. 'Cum gallicis,' says he, 'et lacerna cucurristi.' Nor + do I read it in any other writer of authority, but other words are + employed."</p> + +</blockquote> + + <p>The Romans named shoes after persons and places as we do: for + examples, see Dr. W. Smith's <i>Dictionary of Greek and Roman + Antiquities</i>, sub voc. "Calceus."</p> + + <p class="author">B. H. C.</p> + + <p class="address">Poplar.</p> + + <p>This word is not of American derivation. In the <i>Promptorium + Parvulorum</i> we find,—</p> + +<blockquote class="b1n"> + + <p>"<span class="sc">Galache</span> or <span class="sc">Galoche</span>, + undersolynge of manny's fote."</p> + +</blockquote> + + <p>Mr. Way says in his note:</p> + +<blockquote class="b1n"> + + <p>"The galache was a sort of patten, fastened to the foot by cross + latchets, and worn by men as early as the <!-- Page 471 --><span + class="pagenum"><a name="page471"></a>{471}</span>time of Edward III. + Allusion is made to it by Chaucer,</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg1">'Ne were worthy to unbocle his galoche.'—<i>Squires Tale</i>, 10,869."</p> + </div> + </div> + +</blockquote> + + <p>Among many other quotations Mr. Way gives the following:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"To geten hym gilte spores,</p> + <p class="i1">Or galoches y-couped."—<i>Piers Ploughman</i>, 12,099.</p> + </div> + </div> + + <p>And in the <i>Wardrobe Book of Prince Henry</i>, <span + class="scac">A.D.</span> 1607, are mentioned—</p> + + <p>"1 pair of golossians, 6<i>s.</i>; 16 gold buckles with pendants and + toungs to buckle a pair of golosses."—<i>Archĉol.</i> xi. 93.</p> + + <p>Nares says:</p> + +<blockquote class="b1n"> + + <p>"<span class="sc">Galage.</span> A clown's coarse shoe from + <i>galloche</i>, a shoe with a wooden sole, old French, which itself is + supposed to be from <i>gallica</i>, a kind of shoe mentioned by Cicero, + <i>Philip.</i> ii. 30., and A. Gellius, xiii. 21. If so, the word has + returned to the country whence it was first taken, but I doubt much of + that derivation; by the passages referred to in the above authors, it + seems more likely that the <i>gallica</i> was a luxurious covering, than + one so very coarse as the galloche. Perhaps the <i>caliga</i>, or + military strong boot of the Romans, from which Caligula was named, may be + a better origin for it. The word <i>galloche</i> is now naturalised among + us for a kind of clog, worn over the shoes."</p> + +</blockquote> + + <p>See also Richardson's <i>Dictionary</i>, s. v. "Galoche."</p> + + <p class="author"><span class="sc">Zeus.</span></p> + + <p><span class="sc">Seleucus</span> need not have gone quite so far as to + "the tribe of North American Indians, the Goloshes," or to America at + all, for his derivation. If he will look in his French dictionary he will + find,—</p> + +<blockquote class="b1n"> + + <p>"<i>Galoche</i> (espèce de mule que l'on porte par dessus les + souliers), galoshoe."</p> + +</blockquote> + + <p>I quote from Boyer's <i>Dictionnaire Royal</i>, edit. 1753.</p> + + <p>Cole, in his English dictionary, 1724, has—</p> + +<blockquote class="b1n"> + + <p>"<i>Galeges</i>, <i>galages</i>, <i>galloches</i>, <i>galloshoes</i>, + Fr., wooden shoes all of a piece. With us outward shoes or cases for + dirty weather, &c."</p> + +</blockquote> + + <p class="author"><span class="sc">C. de D.</span></p> + +<hr class="short" /> + +<h3>CONSONANTS IN WELSH.</h3> + +<p class="cenhead">(Vol. ix., p. 271.)</p> + + <p>For the gratification of your correspondent J. M., I give you the + result of an enumeration of the <i>letters</i> and <i>sounds</i> in three + versions of the Hundredth Psalm in Welsh, and three corresponding + versions of it in English.</p> + + <p>1. From the authorised translations of the Bible, Welsh and + English.</p> + + <p>2. The metrical version of Tate and Brady, and that of Archdeacon + Prys.</p> + + <p>3. Dr. Watts's metrical version and a Welsh imitation of it.</p> + +<table class="nobctr" summary="English and Welsh vowels and consonants." title="English and Welsh vowels and consonants."> +<tr><td class="nspcsingle" style="text-align:center" colspan="5"> <i>Letters in three Welsh Versions.</i></td></tr> + +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> <i>Bible.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Prys.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Watts.</i></td></tr> +<tr><td class="nspcsingle" colspan="2"> Consonants </td><td class="nspcsingle" style="text-align:right"> 185 </td><td class="nspcsingle" style="text-align:right"> 205 </td><td class="nspcsingle" style="text-align:right"> 241</td></tr> +<tr><td class="nspcsingle" colspan="2"> Vowels </td><td class="nspcsingle" style="text-align:right"> 148 </td><td class="nspcsingle" style="text-align:right"> 165 </td><td class="nspcsingle" style="text-align:right"> 159</td></tr> +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> ——</td></tr> +<tr><td class="nspcsingle"> Apparent excess of<br /> + consonants in Welsh</td><td class="nspcsingle"> <a href="images/$rbrace.png"><img src="images/$rbrace.png" class="middle" style="height:5ex" alt="brace" /></a> + </td><td class="nspcsingle" style="text-align:right"> 37 </td><td class="nspcsingle" style="text-align:right"> 40 </td><td class="nspcsingle" style="text-align:right"> 82</td></tr> + +<tr><td class="nspcsingle" style="text-align:center" colspan="5"> <br /><i>Letters in three English Versions.</i></td></tr> + +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> <i>Bible.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Tate & Brady.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Watts.</i></td></tr> +<tr><td class="nspcsingle" colspan="2"> Consonants </td><td class="nspcsingle" style="text-align:right"> 220 </td><td class="nspcsingle" style="text-align:right"> 271 </td><td class="nspcsingle" style="text-align:right"> 275</td></tr> +<tr><td class="nspcsingle" colspan="2"> Vowels </td><td class="nspcsingle" style="text-align:right"> 134 </td><td class="nspcsingle" style="text-align:right"> 163 </td><td class="nspcsingle" style="text-align:right"> 170</td></tr> +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> ——</td></tr> +<tr><td class="nspcsingle"> Apparent excess of<br /> + consonants in English</td><td class="nspcsingle"> <a href="images/$rbrace.png"><img src="images/$rbrace.png" class="middle" style="height:5ex" alt="brace" /></a> + </td><td class="nspcsingle" style="text-align:right"> 86 </td><td class="nspcsingle" style="text-align:right"> 108 </td><td class="nspcsingle" style="text-align:right"> 105</td></tr> + +<tr><td class="nspcsingle" style="text-align:center" colspan="5"> <br /><i>Sounds in three Welsh Versions.</i></td></tr> + +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> <i>Bible.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Prys.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Watts.</i></td></tr> +<tr><td class="nspcsingle" colspan="2"> Consonants </td><td class="nspcsingle" style="text-align:right"> 150 </td><td class="nspcsingle" style="text-align:right"> 173 </td><td class="nspcsingle" style="text-align:right"> 200</td></tr> +<tr><td class="nspcsingle" colspan="2"> Vowels </td><td class="nspcsingle" style="text-align:right"> 148 </td><td class="nspcsingle" style="text-align:right"> 165 </td><td class="nspcsingle" style="text-align:right"> 159</td></tr> +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> ——</td></tr> +<tr><td class="nspcsingle"> Real excess of consonants <br /> + in Welsh</td><td class="nspcsingle"> <a href="images/$rbrace.png"><img src="images/$rbrace.png" class="middle" style="height:5ex" alt="brace" /></a> + </td><td class="nspcsingle" style="text-align:right"> 2 </td><td class="nspcsingle" style="text-align:right"> 8 </td><td class="nspcsingle" style="text-align:right"> 41</td></tr> + +<tr><td class="nspcsingle" style="text-align:center" colspan="5"> <br /><i>Sounds in three English Versions.</i></td></tr> + +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> <i>Bible.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Tate & Brady.</i> </td><td class="nspcsingle" style="text-align:right"> <i>Watts.</i></td></tr> +<tr><td class="nspcsingle" colspan="2"> Consonants </td><td class="nspcsingle" style="text-align:right"> 195 </td><td class="nspcsingle" style="text-align:right"> 241 </td><td class="nspcsingle" style="text-align:right"> 240</td></tr> +<tr><td class="nspcsingle" colspan="2"> Vowels </td><td class="nspcsingle" style="text-align:right"> 122 </td><td class="nspcsingle" style="text-align:right"> 149 </td><td class="nspcsingle" style="text-align:right"> 159</td></tr> +<tr><td class="nspcsingle" colspan="2"> </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> —— </td><td class="nspcsingle" style="text-align:right"> ——</td></tr> +<tr><td class="nspcsingle"> Real excess of consonants<br /> + in English</td><td class="nspcsingle"> <a href="images/$rbrace.png"><img src="images/$rbrace.png" class="middle" style="height:5ex" alt="brace" /></a> + </td><td class="nspcsingle" style="text-align:right"> 73 </td><td class="nspcsingle" style="text-align:right"> 92 </td><td class="nspcsingle" style="text-align:right"> 81</td></tr> +</table> + + <p>From this analysis it appears that the excess of consonant + <i>letters</i> over vowels is, in English, 299; and in Welsh, 159, a + little more than one-half. The excess of consonant <i>sounds</i> is, in + English, 246; in Welsh, 51, considerably less than one-fourth.</p> + + <p>This result might readily have been anticipated by anybody familiar + with the following facts:</p> + + <p>1. On examining lists of the elementary sounds of both languages, it + will be found that the Welsh has a greater number of vowels than the + English, and the English a greater number of consonants than the + Welsh.</p> + + <p>2. Welsh diphthongs are much more numerous than English.</p> + + <p>3. In English, <i>three</i> vowels only constitute words in themselves + (<i>a</i>, article; <i>I</i>, pronoun; <i>O</i>, interjection), and each + is used only in one sense. In Welsh, <i>five</i> of the vowels (<i>a</i>, + <i>e</i>, <i>i</i>, <i>o</i>, <i>y</i>) are words; and they are used in + at least a dozen different significations. <i>A</i>, besides being an + affirmative and interrogative adverb, answers to the English <i>and</i>, + <i>as</i>, <i>with</i>, <i>will go</i>.</p> + + <p>4. Diphthongs forming distinct words are much more numerous in Welsh + than in English. The following occur: <i>ai</i>, <i>a'i</i> (=<i>a + ei</i>), <i>a'u</i>, <i>ei</i>, <i>eu</i>, <i>ia</i>, <i>ïe</i>, + <i>i'w</i>, <i>o'i</i>, <i>o'u</i>, <i>ow</i>, <i>ŵy</i>, + <i>yw</i>.</p> + + <p>5. In Welsh there are no such clusters of consonants as occur in the + English words <i>arched</i> <!-- Page 472 --><span class="pagenum"><a + name="page472"></a>{472}</span>(pronounced <i>artsht</i>), + <i>parched</i>, <i>scorched</i>, <i>marched</i>, <i>hinged</i> + (<i>hindzhd</i>), <i>singed</i>, <i>cringed</i>, <i>fringed</i>, + <i>purged</i> (<i>purdzhd</i>), <i>charged</i> (<i>tshardzhd</i>), + <i>scratched</i>, &c. &c. From the difficulty encountered in + pronouncing some of these combinations, arise the vulgar errors heard in + some parts of the country: <i>burstis</i> for <i>bursts</i>, + <i>castis</i> for <i>casts</i>. Three consonants are very rarely thus + crushed together in Welsh,—four, never.</p> + + <p>6. The Welsh, to avoid an unpleasant hiatus, often introduce a + consonant. Hence we have <i>y</i> or <i>yr</i>, the; <i>a</i> or + <i>ac</i>, and; <i>a</i> or <i>ag</i>, as; <i>na</i> or <i>nac</i>, not; + <i>na</i> or <i>nag</i>, than; <i>sy</i> or <i>sydd</i>, is; <i>o</i>, + from, becomes <i>odd</i>; <i>i</i>, to, becomes <i>idd</i>. I cannot call + to mind more than one similar example in English, <i>a</i> or <i>an</i>; + and its existence is attributable to the superfluity of consonants, + <i>n</i> being <i>dropped</i> in <i>a</i>, not <i>added</i> in + <i>an</i>.</p> + + <p>The mystery of the consonants in the swearing Welshman's mouth + (humorously described by Messrs. Chambers) is difficult of explanation. + The words usual in Welsh oaths afford no clue to its solution; for the + name of the Deity has two consonants and one vowel in English, while it + has two vowels and one consonant in Welsh. Another name invoked on these + occasions has three consonants and two vowels in English, and one of the + vowels is usually elided; in Welsh it has three vowels and three + consonants, and colloquially the middle consonant is dropped. The Welsh + borrow a few imprecatory words from the English, and in appropriating + them they <i>append the vowel termination</i> o <i>or</i> io. Prejudice + or imagination, therefore, seems to have had something to do in + describing poor Taffy's profanities.</p> + + <p>In conclusion, I may add that the Hundredth Psalm was chosen for + analysis without a previous knowledge that it would present a greater + excess of consonants (letters or sounds) in English than in Welsh. I do + not believe two chapters from the Bible can be produced, which will show + an opposite result.</p> + + <p class="author"><span class="sc">Gwilym Glan Tywi.</span></p> + + <p>There is no <i>k</i> in the Welsh alphabet, a circumstance which + reduces the consonants to twenty; while a farther reduction is made by + the fact that <i>w</i> and <i>y</i> are <i>always</i> vowels in Welsh, + instead of being only occasionally so, as in English. J. M. will + therefore find that the Welsh alphabet contains but eighteen consonants + and seven vowels, twenty-five letters in all.</p> + + <p>This, however, I imagine, is not the point on which he wishes for + information. If a stranger glances at a page of Welsh without being aware + that <i>y</i> and <i>w</i> are, strictly speaking, vowels, he will of + course naturally conclude that he sees an over proportion of consonants. + Hence, probably, has arisen the very general idea on the subject, which + is perhaps strengthened by the frequent occurrence of the double + consonants <i>Ll</i> and <i>Dd</i>, the first of which is but a sign, + standing for a peculiar softening of the letter; and the latter for + <i>Th</i> of the English language.</p> + + <p>Such an idea might perhaps be conveyed by the following instances, + taken at random: <i>Dywyll</i>, <i>Dydd</i>, <i>Gwyddna</i>, + <i>Llwyn</i>, <i>Gwyrliw</i>, &c. But it will be dispelled by an + orthography adapted to the pronunciation; thus <i>Dou-ill</i><a + name="footnotetag3" href="#footnote3"><sup>[3]</sup></a>, <i>Deeth</i>, + <i>Goo-eeth-na</i>, <i>Lloo-een</i>, <i>Gueer-leeoo</i>.</p> + + <p>J. M. will be interested to know that the Welsh language can furnish + almost unexampled instances of an accumulation of vowels, such as that + furnished by the word <i>ieuainc</i>, young men, &c.; but above all + by the often-quoted <i>englyn</i> or stanza on the spider or silkworm, + which, in its four lines, <i>does not contain a single consonant</i>:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"O'i wiŵ wy i weu ê â,—a'i weau</p> + <p>O'i wyau e weua:</p> + <p>E weua ei ŵe aia,</p> + <p>A'i weau yw ieuau iâ."</p> + </div> + </div> + + <p class="author"><span class="sc">Seleucus.</span></p> + + <p>In reply to J. M. I beg to ask who ever before heard that consonants + "cracked and cracked, and ground and exploded?" and how could the writer + in Chambers's <i>Repository</i> possibly know that the drunken Welshman + cursed and swore in <i>consonants</i>? There is scarcely a more + harshly-sounding word in the Welsh language—admitted by a clever + and satirical author to have "the softness and harmony of the Italian, + with the majesty and expression of the Greek"—than the term + <i>crack</i>, adopted from the Dutch. There is no Welsh monosyllable that + contains, like the Saxon <i>strength</i>, seven consonants with only one + vowel. There is no Welsh proper name, like Rentzsch, the watchmaker of + Regent Street, that contains six consonants in succession in one + syllable; and yet the Welsh have never accused their <i>younger</i> + sister with the use of consonants which "cracked and cracked, and ground + and exploded." But if the Welsh language, with "its variety, copiousness, + and even harmony, to be equalled by few, perhaps excelled by none," has + no instance of six consonants in succession, it has one of six vowels in + succession, <i>Gwaewawr</i>, every one of which requires, according to + the peculiarity of its pronunciation, a separate inflection of the + voice.</p> + + <p>J. M. may be assured that the remark of the writer in question is only + one of those pitiful "cracks" which flippant authors utter in plain + ignorance of Cymru, Cymraeg, and Cymry.</p> + + <p class="author"><span class="sc">Cymro.</span></p> + + <p class="address">Marlbro.</p> + + <p>I think the following <i>englyn</i> or epigram on a silkworm, which is + composed entirely of vowels, will satisfy your correspondent. I have seen + it in some book, the name of which I forget. It <!-- Page 473 --><span + class="pagenum"><a name="page473"></a>{473}</span>must be borne in mind + that <i>w</i> is a vowel in Welsh, and is sounded like <i>oo</i> in + <i>boot</i>.</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"O'i wiw ŵy i weu ê â a'i weau</p> + <p>O'i wyau e weua;</p> + <p>E' weua ei ŵe aia'.</p> + <p>A'i weau yw ieuau iâ."</p> + </div> + </div> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"I perish by my art; dig my own grave;</p> + <p>I spin my thread of life; my death I weave."</p> + </div> + </div> + + <p class="author"><span class="sc">Thomas O'Coffey.</span></p> + +<div class="note"> + <a name="footnote3"></a><b>Footnote 3:</b><a + href="#footnotetag3">(return)</a> + <p>The <i>Dou</i> to be pronounced as in <i>Douglass</i>.</p> + +</div> +<hr class="short" /> + +<h3>SONGS of DEGREES (ASCENTS).</h3> + +<p class="cenhead">(Vol. ix., pp. 121. 376.)</p> + + <p>The analysis of the word <span lang="he" class="heb" + title="HAMA`ALWOT" ><bdo + dir="rtl">הַמַּעֲלוֹת</bdo></span>‎ + (<i>the steps</i>), confining ourselves to sensible objects, shows, + first, the preposition <span lang="he" class="heb" title="`AL" ><bdo + dir="rtl">עַל</bdo></span>‎, <i>over</i> + (=<i>up</i> + <i>on</i>); and, secondly, <span lang="he" class="heb" + title="MA`ALAH" ><bdo + dir="rtl">מַעֲלָה</bdo></span>‎, + the <i>chamber-over</i>. (Neh. ix. 4., xii. 37.; Jos. x. 10.; 1 Sam. ix. + 11.; Am. ix. 6.; Ps. civ. 13.) The translators of the authorised version, + in using the word "degrees," intended probably to convey the notion of + <i>rank</i>; but the modern mixed-mathematical ideas lead us of this day + rather to think of geographical, barometrical, &c. degrees. That + <i>steps</i> is the word most accordant with the ancient notions is + evident from the concurrence of the Greek, Latin, Syriac, Arabic, and + Ethiopic versions, as also from the Chaldee Targum, alluded to by + J. R. G., which has the inscription <span lang="he" class="heb" + title="SHYR' D'T'MR `AL MASWQIYN DTCHWOMA'" ><bdo + dir="rtl">שירא + דאתאמר עַל + מַסוקִין + דְּתְחוֹמָא</bdo></span>‎, + "a song called 'over the <i>steps</i> of the deep'" (Deut. viii. 7.; Ex. + xv. 8.). The root of this moral is <span lang="he" class="heb" + title="`LCH" ><bdo dir="rtl">עלח</bdo></span>‎, + in the Hebrew and its cognates, and the primitive notion is <i>to + ascend</i>; from which is formed in Arabic <a + href="images/238_473a.png"><img src="images/238_473a.png" class="middle" + style="height:3ex" alt="(ARABIC)" /></a>, <i>adscendit in tectum</i>; in + Syriac <a href="images/238_473b.png"><img src="images/238_473b.png" + class="middle" style="height:3ex" alt="(SYRIAC)" /></a>, <i>contignatio + superior, cœnaculum</i> (Jud. iii. 23-25.; Luc. xxii. 12.); and the + Chaldee <span lang="he" class="heb" title="`ALIYT" ><bdo + dir="rtl">עַלִּית</bdo></span>‎, + <i>pars domus superior, cubiculum, sive cœnaculum superius</i>, + Grĉc. <span title="huperôon" class="grk" + >ὑπερῶον</span> (Dan. vi. 11.). + See Shaw's <i>Itinerary</i>, pp. 360-365.</p> + + <p>The <span lang="he" class="heb" title="M" ><bdo + dir="rtl">מ</bdo></span>‎ prefixed is the + <i>participial</i> form of the verb, equivalent to the termination + <i>ing</i> in English; and converts the verb also into a verbal noun, + conveying the generalised idea of a class of <i>actions</i>; and thereby + the steps, <span lang="he" class="heb" title="HM`LWT" ><bdo + dir="rtl">המעלות</bdo></span>‎, + <i>the steppings upward</i>, literally, which means "the ascents," or + "the ascendings."</p> + + <p>The ascent by fifteen steps of the rabbins is probably equally + apocryphal with the quotations from St. Matthew and St. James (ix. + p. 376.); for the same reason (Ex. xx. 26.) which forbad the ascending + the altar by steps, would apply still more strongly to the supposed + "fifteen steps leading from the Atrium Israelis to the court of the + <i>women</i>."<a name="footnotetag4" href="#footnote4"><sup>[4]</sup></a> + Although the ground-plans of the temples are well known, their elevations + are involved in doubt.</p> + + <p>Your journal would not afford me sufficient space for an + <i>excursus</i> to establish the suggestion, <i>not</i> assertion, that I + have adventured as to the <i>domestic</i> use of the Alphabetic and + Degree Psalms, but there is negative evidence that these Psalms were + <i>not</i> used in the Jewish liturgy. I will only refer you to + Lightfoot's ninth volume (Pitman's edition), where the Psalms used, and + indeed the whole service of the Jews, is as clearly set forth as the + Greek service is in the liturgies of Basil and Chrysostom.</p> + + <p class="author"><span class="sc">T. J. Buckton.</span></p> + + <p class="address">Lichfield.</p> + +<div class="note"> + <a name="footnote4"></a><b>Footnote 4:</b><a + href="#footnotetag4">(return)</a> + <p>"Eadem ratio, ab honestate ducta, eandem pepererat apud Romanos legem. + Gellius ex Fabio Pictore, <i>Noct. Attic.</i>, lib. x. c. 15., de flamine + Diali: Scalas, nisi quĉ Grĉcĉ adpellantur, eas adscendere ei plus tribus + gradibus religiosum est. Servius ad <i>Ĉneid</i>, iv. 646. Apud veteres, + Flaminicam plus tribus gradibus, nisi Grĉcas scalas, scandere non + licebat, ne ulla pars pedum ejus, crurumve subter conspiceretur; eoque + nec pluribus gradibus, sed tribus ut adscensu duplices nisus non + paterentur adtolli vestem, aut nudari crura; nam ideo et scalĉ Grĉcĉ + dicuntur, quia ita fabricantur ut omni ex parte compagine tabularum + clausĉ sint, ne adspectum ad corporis aliquam partem + admittant."—Rosenmüller on Exod. x. 26. The ascent to the altar, + fifteen feet high, was by a gangway, <span lang="he" class="heb" + title="KBSH" ><bdo + dir="rtl">כבש</bdo></span>‎.</p> + +</div> +<hr class="short" /> + +<h3>THE SCREW PROPELLER.</h3> + +<p class="cenhead">(Vol. ix., p. 394.)</p> + + <p><span class="sc">Anon.</span> is clearly mistaken in thinking that, + when Darwin says that "the <i>undulating</i> motion of the tail of fishes + might be applied behind a boat with greater effect than common oars," he + had any idea of a screw propeller. He meant not a <i>rotatory</i>, but, + as he says, an "undulating" motion, like that of the fish's tail: such as + we see every day employed by the boys in all our rivers and harbours, + called <i>sculling</i>—that is, driving a boat forward by the rapid + lateral right and left impulsion of a single oar, worked from the stern + of the boat. It was the application of steam to some such machinery as + this that Darwin seems to have meant; and not to the special action of a + <i>revolving cut-water screw</i>.</p> + + <p>I avail myself of this occasion to record, that about the date of + Darwin's publication, or very soon after, the very ingenious Earl + Stanhope not only thought of, but actually employed, the identical screw + propeller now in use in a vessel which he had fitted up for the purpose; + and in which, by his invitation, I, and several other gentlemen, + accompanied him in various trips backwards and forwards between + Blackfriars and Westminster bridges. The instrument was a long iron axle, + <!-- Page 474 --><span class="pagenum"><a + name="page474"></a>{474}</span>working on the stern port of the vessel, + having at the end in the water a wheel of inclined planes, exactly like + the flyer of a smoke-jack; while, inboard, the axle was turned by a crank + worked by the men. The velocity attained was, I think, said to be four + miles an hour. I am sorry that I am not able to specify the exact date of + this experiment, but it must have been between 1802 and 1805. What Lord + Stanhope said about employing steam to work his machine, I do not clearly + recollect. He entered into a great many details about it, but I remember + nothing distinctly but the machine itself.</p> + + <p class="author">C.</p> + +<hr class="short" /> + +<h3>AMONTILLADO SHERRY.</h3> + +<p class="cenhead">(Vol. ix., pp. 222. 336.)</p> + + <p>The wines of Xérès consist of two kinds, viz. sweet and dry, each of + which is again subdivided into two other varieties. Amontillado sherry, + or simply Amontillado, belongs to the latter class, the other description + produced from the dry wine being sherry, properly so called, that which + passes in this country generally by that name. These two wines, although + differing from each other in the peculiarities of colour, smell, and + flavour, are produced from the same grape, and in precisely a similar + manner; indeed, it frequently happens that of two or more <i>botas</i>, + or large casks, filled with the same <i>moùt</i> (wort or sweet wine), + and subjected to the same manipulation, the one becomes Amontillado, and + the other natural sherry. This mysterious transformation takes place + ordinarily during the first, but sometimes even during the second year, + and in a manner that has hitherto baffled the attempts of the most + attentive observer to discover. Natural sherry has a peculiar aromatic + flavour, somewhat richer than that of its brother, the Amontillado, and + partakes of three different colours, viz. pale or straw, golden, and deep + golden, the latter being the description denominated by us brown sherry. + The Amontillado is of a straw colour only, more or less shaded according + to the age it possesses. Its flavour is drier and more delicate than that + of natural sherry, recalling in a slight degree the taste of nuts and + almonds. This wine, beings produced by a phenomenon which takes place it + is imagined during the fermentation, is naturally less abundant than the + other description of sherry, and there are years in which it is produced + in very small quantities, and sometimes even not at all; for the same + reason it is age for age dearer also. The word "Amontillado" signifies + like or similar to Montilla, <i>i. e.</i> the wine manufactured at that + place. Montilla is situated in Upper Andalusia, in the neighbourhood of + Cordouc, and produces an excellent description of wine, but which, from + the want of roads and communication with the principal commercial towns + of Spain, is almost entirely unknown.</p> + + <p>The two sweet wines of Xérès are the "Paxarite," or "Pedro Ximenès," + and the "Muscatel." The first-named is made from a species of grape + called "Pedro Ximenès," sweeter in quality than that which produces the + dry sherry, and which, moreover, is exposed much longer to the action of + the sun previous to the process of manufacture; its condition when + subjected to the action of the pressers resembling very nearly that of a + raisin. Fermentation is in this case much more rapid on account of the + saccharine nature of the <i>moùt</i> or wort. In flavour it is similar to + the fruit called "Pedro Ximenès," the colour being the same as that of + natural sherry. Muscate wine is made from the grape of that name, and in + a manner precisely similar to the Paxarite. The wine produced from this + grape is still sweeter than the Pedro Ximenès, its taste being absolutely + that of the Muscat grape. In colour also it is deeper; but the colour of + both, like that of the two dry wines, increases in proportion to their + age, a circumstance exactly the reverse of that which takes place in + French wines. German sherry wines are capable of preservation both in + bottles and casks for an indefinite period. In one of the <i>bodegas</i> + or cellars belonging to the firm of M. P. Domecq, at Xérès, are to be + seen five or six casks of immense size and antiquity (some of them, it is + said, exceeding a century). Each of them bears the name of some + distinguished hero of the age in which it was produced, Wellington and + Napoleon figuring conspicuously amongst others: the former is preserved + exclusively for the taste of Englishmen.</p> + + <p>The history of sherry dates, in a commercial point of view, from about + the year 1720 only. Before this period it is uncertain whether it + possessed any existence at all; at all events it appears to have been + unknown beyond the immediate neighbourhood in which it was produced. It + would be difficult, perhaps, to say by whom it was first imported: all + that can be affirmed with any degree of certainty is, that a Frenchman, + by name Pierre Domecq, the founder of the house before mentioned, was + among the earliest to recognise its capabilities, and to bring it to the + high state of perfection which it has since attained. In appreciation of + the good service thus rendered to his country, Ferdinand VII. conferred + upon this house the right exclusively to bear upon their casks the royal + arms of Spain. This wine, from being at first cultivated only in small + quantities, has long since grown into one of the staple productions of + the country. In the neighbourhood of Xérès there are at present under + cultivation from 10,000 to 12,000 <i>arpents</i> of vines; these produce + annually from 30,000 to 35,000 <i>botas</i>, equal to 70,000 or 75,000 + hogsheads. In gathering the <!-- Page 475 --><span class="pagenum"><a + name="page475"></a>{475}</span>fruit, the ripest is invariably selected + for wines of the best quality. The wines of Xérès, like all those of the + peninsula, require the necessary body or strength to enable them to + sustain the fatigue of exportation. Previous, therefore, to shipment + (none being sold under four to five years of age), a little <i>eau de + vie</i> (between the fiftieth and sixtieth part) is added, a quantity in + itself so small, that few would imagine it to be the cause of the slight + alcoholic taste which nearly all sherries possess.</p> + + <p>In consequence of the high price of the delicious wines, numerous + imitations, or inferior sherries, are manufactured, and sold in immense + quantities. Of these the best are to be met with at the following places: + San Lucar, Porto, Santa Maria, and even Malaga itself. The spurious + sherry of the first-named place is consumed in larger quantities, + especially in France, than the genuine wine itself. One reason for this + may be, that few vessels go to take cargoes at Cadiz; whilst many are in + the habit of doing so to Malaga for dry fruits, and to Seville for the + fine wool of Estremadura. San Lucar is situated at the mouth of the + Guadalquiver.</p> + + <p class="author">W. C.</p> + +<hr class="short" /> + +<h3>RECENT CURIOSITIES OF LITERATURE.</h3> + +<p class="cenhead">(Vol. ix., p. 136.)</p> + + <p>Mr. Thackeray's work, <i>The Newcomes</i>, would, if consulted by your + correspondent, furnish him with farther examples. For instance, Colonel + Newcome's Christian name is stated (pp. 27. 57.) to be Thomas: at p. 49. + he is designated Col. J. Newcome. The letter addressed to him (p. 27.) is + superscribed "Major Newcome," although at p. 25. he is styled "Colonel." + At p. 71. mention is made of "Mr. Shaloo, the great Irish patriot," who + at p. 74. becomes "Mr. Shaloony," and at p. 180. relapses into the + dissyllabic "Shaloo." Clive Newcome is represented (p. 184.) as admiring + his youthful mustachios, and Mr. Doyle has depicted him without whiskers: + at p. 188. Ethel, "after Mr. Clive's famous mustachios made their + appearance, rallied him," and "asked him if he was (were?) going into the + army? She could not understand how any but military men could wear + mustachios." On this the author remarks, three lines farther on: "If + Clive had been in love with her, no doubt he would have sacrificed even + those beloved <i>whiskers</i> for the charmer."</p> + + <p>At p. 111. the Rev. C. Honeyman is designated "A.M.," although + previously described a Master of Arts of Oxford, where the Masters are + styled "M.A." in contradistinction to the Masters of Arts in every other + university. Cambridge Masters frequently affix M.A. to their names, but I + never heard of an instance of an Oxonian signing the initials of his + degree as A.M.</p> + + <p>Apropos of Oxford, I recently met the following sentence at p. 3. of + <i>Verdant Green</i>:</p> + +<blockquote class="b1n"> + + <p>"Although pronounced by Mrs. Toosypegs, his nurse, to be 'a perfect + progidye,' yet we are not aware that his <i>début</i> on the stage of + life, although thus applauded by such a <i>clacqueur</i> as the + indiscriminating Toosypegs, was announced to the world at large by any + other means than the notices in the county papers."</p> + +</blockquote> + + <p>If the author ever watched the hired applauders in a Parisian theatre, + he would have discerned among them <i>clacqueuses</i> as well as + <i>clacqueurs</i>.</p> + + <p class="author"><span class="sc">Juverna, M.A.</span></p> + +<hr class="short" /> + +<h3>ROLAND THE BRAVE.</h3> + +<p class="cenhead">(Vol. ix., p. 372.)</p> + + <p>In justification of Dr. Forbes' identifying Roland the Brave with the + hero of Schiller's ballad, Ritter Toggenburg, I beg to refer your + correspondent X. Y. Z. to <i>Deutsches Sagenbuch, von L. Bechstein</i>, + Leipzig, 1853, where (p. 95.) the same tale is related which forms the + subject of Mrs. Hemans' beautiful ballad, only with this difference, that + there the account of Roland's death entirely agrees with Schiller's + version of the story, whereas the English poet has adopted the general + tradition of Roland's fall at Roncesvalles.</p> + + <p>Most of the epic poems of the middle ages in which Roland's death is + recorded, especially the different old French <i>Chansons de Roland ou de + Roncevaux</i>, an Icelandic poem on the subject, and Stricker's + middle-high German lay of Roland, all of them written between A.D. 1100 + and 1230—agree in this, that after Roland's fall at Roncesvalles, + and the complete rout of the heathen by Charlemagne, the latter returns + home and is met—some say at Aix-la-Chapelle, others at Blavie, + others at Paris—by Alda or Alite, Olivier's sister, who inquires of + him where Roland, her betrothed, is. On learning his fate she dies on the + spot of grief. According to monk Conrad (about <span + class="scac">A.D.</span> 1175), Alda was Roland's wife. See <i>Ruolandes + Liet, von W. Grimm</i>, Göttingen, 1838, pp. 295—297.</p> + + <p>The legend of Rolandseck, as told by Bechstein from Rhenish folk lore, + begins thus:</p> + +<blockquote class="b1n"> + + <p>"Es sasz auf hoher Burg am Rhein hoch über dem Stromthal ein junger + Rittersmann, Roland geheiszen, (manche sagen Roland von Angers, Neffe + Karls des Groszen), der liebte ein Burgfräulein, Hildegunde, die Tochter + des Burggrafen Heribert, der auf dem nahen Schlosz Drachenfels sasz," + &c.</p> + +</blockquote> + + <p>Here the question is left open whether the hero of the story was + Roland the Brave, or some other knight of that name. The latter seems the + more probable, as Roland's fall at Roncesvalles is one of the chief + subjects of mediĉval poetry, whereas the death of knight Roland in sight + of <!-- Page 476 --><span class="pagenum"><a + name="page476"></a>{476}</span>Nonnenwerth on the Rhine, forms the very + pith of the German local legend. From certain coincidences, however, it + was easy to blend the two stories together into one, as was done by Mrs. + Hemans. As to Schiller, we may suppose that he either followed altogether + a different legend, or, perhaps to avoid misconception, substituted + another name for that of knight Roland, similar to what he has done in + other instances.</p> + + <p class="author">R. R.</p> + + <p class="address">Canterbury.</p> + + <p>I think your correspondent X. Y. Z. is mistaken in attributing to Mrs. + Hemans the lines on the "Brave Roland." In Mr. Campbell's <i>Poems</i> he + will find some stanzas which bear a striking resemblance to those he has + quoted. I subjoin those stanzas to which X. Y. Z. has referred:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"The brave Roland! the brave Roland!</p> + <p>False tidings reach'd the Rhenish strand</p> + <p class="i1">That he had fall'n in fight;</p> + <p>And thy faithful bosom swoon'd with pain,</p> + <p>O loveliest maiden of Allemayne!</p> + <p class="i1">For the loss of thine own true knight.</p> + </div> + + <div class="stanza"> + <p class="hg3">"But why so rash has she ta'en the veil,</p> + <p>In yon Nonnenwerder's cloisters pale,</p> + <p class="i1">For her vow had scarce been sworn,</p> + <p>And the fatal mantle o'er her flung,</p> + <p>When the Drachenfels to a trumpet rung,</p> + <p class="i1hg1">'Twas her own dear warrior's horn!</p> + </div> + + <div class="stanza"> + <p> . . . . . . </p> + </div> + + <div class="stanza"> + <p class="hg3">"She died! he sought the battle plain;</p> + <p>Her image fill'd his dying brain,</p> + <p class="i1">When he fell and wish'd to fall:</p> + <p>And her name was in his latest sigh,</p> + <p>When Roland, the flower of chivalry,</p> + <p class="i1">Expired at Roncevall."</p> + </div> + </div> + + <p>X. Y. Z. seems also to have forgotten what Mr. Campbell duly records, + viz. that Roland used to station himself at a window overlooking "the + nun's green isle;" it being after her decease that he met his death at + Roncevall, which event, by the way, is alluded to by Sir W. Scott in + <i>Marmion</i>, canto vi.:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Oh, for a blast of that dread horn,</p> + <p>On Fontarabian echoes borne,</p> + <p class="i1">That to King Charles did come;</p> + <p>When Roland brave, and Olivier,</p> + <p>And every paladin and peer,</p> + <p class="i1">At Roncesvalles died!"</p> + </div> + </div> + + <p class="author">H. B. F.</p> + + <p>The legends of Roland, the nephew of Charlemagne, are very numerous + and vary much from each other. The Orlando of Pulci has a very different + history from the Orlando of Bojardo and Ariosto.</p> + + <p>The legend of "Rolandseck and the Nonnenwerth," which has been adopted + by Campbell, not Mrs. Hemans, and charmingly set to music by Mrs. + Arkwright, is well known on the Rhine. There are two poems on the legend + in Simrock's <i>Rheinsagen</i> (12mo., Bonn, 1841), one by the editor, + and another by August Kopisch. They exactly accord with Campbell's + poem.</p> + + <p>The legend of Ritter Toggenburg resembles that of Roland in many + particulars, but it is not the same, and it belongs to another locality, + to Kloster Fischingen, and not to Nonnenwerth. "Roland the Brave" appears + in all the later editions of Campbell's <i>Poems</i>. Simrock's + <i>Rheinsagen</i> is one of the most delightful handbooks that any one + can take through the romantic region which the poems (partly well + selected by the editor, and partly as well written by himself) + describe.</p> + + <p class="author">E. C. H.</p> + + <p>The author of the beautiful lines which are quoted by your + correspondent X. Y. Z., is Campbell, not Mrs. Hemans. The poet, in the + fifth stanza of his ballad, tells how the unfortunate Roland, on finding + that Hildegund had taken the veil, was accustomed to sit at his window, + and "sad and oft" to look "on the mansion of his love below."</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"There's yet one window of that pile,</p> + <p>Which he built above the nun's green isle;</p> + <p class="i1">Thence sad and oft look'd he</p> + <p>(When the chant and organ sounded slow)</p> + <p>On the mansion of his love below,</p> + <p class="i1">For herself he might not see.</p> + </div> + + <div class="stanza"> + <p class="hg3">"She died! He sought the battle plain,</p> + <p>Her image fill'd his dying brain,</p> + <p class="i1">When he fell and wish'd to fall;</p> + <p>And her name was in his latest sigh,</p> + <p>When Roland, the flower of chivalry,</p> + <p class="i1">Expired at Roncevall."</p> + </div> + </div> + + <p class="author"><span class="sc">F. M. Middleton.</span></p> + + <p>Scott has, in <i>Marmion</i>,—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"When Roland brave, and Olivier,</p> + <p>And every paladin and peer,</p> + <p class="i1">At Roncesvalles died!"</p> + </div> + </div> + + <p>I quote from memory, and have not the poem.</p> + + <p class="author">F. C. B.</p> + +<hr class="short" /> + +<h3>PHOTOGRAPHIC CORRESPONDENCE.</h3> + + <p><i>Recovery of Silver.</i>—As many correspondents of "N. & + Q." have asked how to recover the silver from their nitrate baths when + deteriorated or spoiled, perhaps the following hints may be acceptable to + them. Let them first precipitate the silver in the form of a chloride by + adding common salt to the nitrate solution. Let them then filter it, and + it may be reduced to its metallic state by either of the three following + methods.</p> + + <p>1. By adding to the wet chloride at least double its volume of water, + containing one-tenth part of sulphuric acid; plunge into this a thick + piece of zinc, and leave it here for four-and-twenty hours. The chloride + of silver will be reduced by the formation of <!-- Page 477 --><span + class="pagenum"><a name="page477"></a>{477}</span>chloride and sulphate + of zinc, and of pure silver, which will remain under the form of a + blackish powder, which is then to be washed, filtered, and preserved for + the purpose of making nitrate of silver.</p> + + <p>2. The chloride of silver which is to be reduced is put into a flask + with about twice its volume of a solution of caustic potash (of one part + of caustic potash to nine of water), in which a small portion of sugar + has been dissolved. Let it boil gently. The operation is complete when + the blackish powder which results from this process, having been washed + in several waters, is entirely soluble in nitric acid, which is easily + ascertained by experimenting on a small quantity. This powder is to be + preserved in the same way as the former for the purpose of converting it + into nitrate of silver.</p> + + <p>3. The metallic silver is obtained in the form of a button, by mixing + thoroughly 100 parts of dried chloride of silver, 70 parts of chalk or + whitening, and 4 parts of charcoal. This mixture is to be exposed in a + crucible to a fierce red heat for at least half an hour. When completely + cold the crucible is broken, and a button of pure silver is the result. + The first two processes are those which I should most strongly recommend + to your correspondents.</p> + + <p class="author">N. C.</p> + +<hr class="full" /> + +<h2>Replies to Minor Queries.</h2> + + <p><i>Ashes of "Lignites"</i> (Vol. ix., p. 422.).—<span + class="sc">Rusticus</span> is obliged to the Editor for so soon giving a + reply to his Query; but seems convicted of being a bad penman, like many + other rustics. For the strange word, respecting which he asked for + information, having seen it used in a newspaper, was not <i>lignites</i> + but <i>liquites</i>. <span class="sc">Rusticus</span> could have guessed + that the ashes of <i>lignites</i> were but wood-ashes under a pedantic + name; but a term which looks, to a rustic, as if chemists meant to + persuade him to burn his beer for a valuable residuum, is more + perplexing.</p> + + <p class="author"><span class="sc">Rusticus.</span></p> + + <p><i>Old Rowley</i> (Vol. ix., p. 457., &c.).—The late Sir + Charles Bunbury, who was long the father of the Jury, and considered as + an oracle in all matters relating to it, told me, many years ago, that + Charles II. was nicknamed "Old Rowley" after a favourite stallion in the + royal stud so called; and he added, that the same horse's appellation had + been ever since preserved in the "Rowley Mile," a portion of the + race-course still much used, and well-known to all frequenters of + Newmarket.</p> + + <p class="author"><span class="sc">Braybrooke.</span></p> + + <p>"<i>Bachelors of every Station</i>" (Vol. ix., p. 301.) is the + beginning of the <i>Berkshire Lady</i>, an old ballad nearly extinct, and + republished by me some years ago in the form of a small pamphlet, which + sold rapidly. If I can procure one, it shall be forwarded to Mr. + Bell.</p> + + <p>The story is a true one, and related to a daughter of Sir William + Kendrick's, who succeeded him, and was possessor of Calcot Place in the + parish of Tylehurst, and to Benjamin Child, Esq., whom she met at a + marriage feast in the neighbourhood. A wood near Calcot is where the + party met to fight the duel in case Mr. Child rejected the proposals of + marriage made to him by Miss Kendrick.</p> + + <p>I had the account from an old man between eighty and ninety years of + age, clerk of the parish; and my friend Miss Mitford agreed with me in + the accuracy of the story: she had it from the late Countess Dowager of + Macclesfield, an old lady celebrated for her extensive and accurate + knowledge of legendary lore.</p> + + <p>In opening a vault in St. Mary's, Reading, last year, her coffin was + found entire, with this inscription:</p> + +<blockquote class="b1n"> + + <p>"Frances Child, wife of Benjamin Child. Esq., of Calcot, and first + daughter of Sir Benjamin Kendrick, Bart. Died Feb. 27, 1722, aged 35. The + Lady of Berks."</p> + +</blockquote> + + <p>Another coffin,—</p> + +<blockquote class="b1n"> + + <p>"Benjamin Child, Esq., died 2nd May, 1767, aged 84 years."</p> + +</blockquote> + + <p class="author"><span class="sc">Julia R. Bockett.</span></p> + + <p class="address">Southcote Lodge.</p> + + <p><i>Mousehunt</i> (Vol. viii., pp. 516. 606.; Vol. ix., pp. 65. 136. + 385.).—In Vol. ix., p. 65., the <i>Natural History of + Quadrupeds</i>, by James H. Fennell, is quoted; where, speaking of the + Beech Marten (<i>alias</i> Mousehunt), he says:</p> + +<blockquote class="b1n"> + + <p>"In Selkirkshire it has been observed to descend to <i>the shore</i> + at night time to feed upon mollusks, particularly upon the large Basket + Mussel (<i>Mytilus modiolus</i>)."</p> + +</blockquote> + + <p>In p. 136, I ventured to state that Mr. Fennell must have been a + better naturalist than geographer, as Selkirkshire was well known to be + an inland county nowhere approaching the sea by many miles. I added, that + I hoped, for Mr. Fennell's sake, that <i>Selkirkshire</i> was either a + misprint or a misquotation.</p> + + <p>In p. 385. <span class="sc">Mr. Archibald Fraser</span>, Woodford, not + choosing to exonerate Mr. Fennell by either of my suggestions, prefers, + as a staunch, but I think rather an inconsiderate friend and champion, to + <i>vindicate</i> the paragraph as it stands, by candidly admitting that + if the word <i>beach</i> had been used, it would certainly have referred + to the sea; but that the word <i>shore</i> applies to rivers as well as + seas. And he goes back as far as Spenser to find an instance of its use, + as applied to the banks of the river Nile.</p> + + <p>I will not agree that this use is nearly obsolete, but give him the + full value of his quotation from Spenser. But what does he say to the + <i>habitat</i> of the <i>Mytilus modiolus</i>, which the Mousehunt goes + <!-- Page 478 --><span class="pagenum"><a + name="page478"></a>{478}</span>to the <i>shore</i> to feed upon. I quote + from <i>Rees' Cyclopĉdia</i>, voce "<span class="sc">Mytilus</span>:"</p> + +<blockquote class="b1n"> + + <p>"<span class="sc">Modiolus.</span> Shell smooth and blackish, obtuse + at the smaller end, and rounded at the other; one side near the beaks is + angular. Two varieties are noticed by Lister. It <i>inhabits</i> the + European, American, and Indian <i>seas</i>, adhering to fuci and + zoophytes; is six or seven inches long, and about half as broad: the fish + is red or orange, and eatable."</p> + +</blockquote> + + <p class="author"><span class="sc">J. S.s.</span></p> + + <p><i>Value of Money in the Seventeenth Century</i> (Vol. ix. p. + 375.).—Say, in his <i>Political Economy</i> (Prinsep's translation, + i. 413.), has furnished a comparative statement, the result of which is, + that the <i>setier</i> of wheat, whose relative value to other + commodities has varied little from 1520 down to the present time, has + undergone great fluctuations, being worth—</p> + +<table class="nobctr" summary="Value of Money in the Seventeenth Century." title="Value of Money in the Seventeenth Century."> +<tr><td class="nspcsingle"> <span class="scac">A. D.</span> 1520 </td><td class="qspcsingle" style="text-align:right"> 512 </td><td class="qspcsingle" style="text-align:center"> gr. of pure silver.</td></tr> +<tr><td class="nspcsingle"> <span class="scac">A. D.</span> 1536 </td><td class="qspcsingle" style="text-align:right"> 1063 </td><td class="qspcsingle" style="text-align:center"> ditto.</td></tr> +<tr><td class="nspcsingle"> <span class="scac">A. D.</span> 1602 </td><td class="qspcsingle" style="text-align:right"> 2060 </td><td class="qspcsingle" style="text-align:center"> ditto.</td></tr> +<tr><td class="nspcsingle"> <span class="scac">A. D.</span> 1789 </td><td class="qspcsingle" style="text-align:right"> 2012 </td><td class="qspcsingle" style="text-align:center"> ditto.</td></tr> +</table> + + <p>Whence it may be inferred that 1000<i>l.</i> in 1640, 1660, and 1680 + did not vary much from its value at the present time, <i>such value being + measured in silver</i>. But as the value of all commodities resolves + itself ultimately into the cost of labour, the rate of wages at these + dates, in the particular country or part of a country, must be taken as + the only safe criterion.</p> + + <p>Thus, if labour were 20<i>d.</i> per diem in 1640, and is 40<i>d.</i> + at this time, 1000<i>l</i>. in 1640 is equivalent to 500<i>l.</i> (only + half as much) now. But, on the contrary, as the cost of production of + numerous articles by machinery, &c. has been <i>by so much</i> + reduced, the power of purchase now, as compared with 1640, of + 1000<i>l.</i>, is <i>by so much</i> increased. The article itself must + determine by how much. The question put by C. H. is too general to admit + of a positive solution; but should he specify the commodity and place of + investment in the seventeenth century and to-day of the 1000<i>l.</i>, + our statistics might still be at fault, and deny us even a proximate + determination of his inquiry. Even his 1000<i>l.</i>, which he may + consider a fixed measure of value, or <i>punctum comparationis</i>, is + varying in value (=power of purchase) daily, even hourly, as regards + almost every exchangeable product. Tooke <i>On Prices</i> is a first-rate + authority on this subject.</p> + + <p class="author"><span class="sc">T. J. Buckton.</span></p> + + <p class="address">Lichfield.</p> + + <p><i>Grammars for Public Schools</i> (Vol. ix., pp. 8. 209.).—Pray + add this little gem to your list, now scarce:</p> + +<blockquote class="b1n"> + + <p>"The Gate of Tongues Unlocked and Opened, or else A Seminarie or Seed + Plot of all Tongues and Sciences, that is, a short way of teaching and + thorowly learning, within a yeare and a half at the farthest, the Latin, + English, French, and any other tongue, together with the ground and + foundation of Arts and Sciences, comprised under an hundred Titles and + 1058 Periods. In Latine first, and now as a token of thankfulnesse + brought to light in Latine, English, and French, in the behalfe of the + most illustrious Prince Charles, and of British, French, and Irish + Youths. By the labour and industry of John Anchoran, Licentiate of + Divinity, London, 1633."</p> + +</blockquote> + + <p>Our British youths of those days seem to have been <i>apt + scholars</i>.</p> + + <p class="author"><span class="sc">I. T. Abbott.</span></p> + + <p class="address">Darlington.</p> + + <p><i>Classic Authors and the Jews</i> (Vol. ix., pp. 221. + 384.).—Any edition of the <i>Historiĉ Augustĉ Scriptores Sex</i>, + containing an index, ought to supply B. H. C. with a few additional + references. See, for instance, the Index to the Bipont Edition, 2 vols. + 8vo., <a href="images/238_478.png"><img src="images/238_478.png" + class="middle" style="height:1.5ex" alt="MDCCLXXXVII" /></a>, under the + words "Judĉi," "Judaicus," "Moses."</p> + + <p class="author"><span class="sc">C. Forbes.</span></p> + + <p class="address">Temple.</p> + + <p><i>Hand-bells at Funerals</i> (Vol. ii., p. 478.; Vol. vii., p. + 297.).—A few years ago I happened to arrive at the small sea-port + of Roscoff, near the ancient cathedral town of St. Pol de Léon in + Britanny, on the day appointed for the funeral of one of the members of a + family of very old standing in that neighbourhood. My attention was + attracted by a number of boys running about the streets with small + hand-bells, with which they kept up a perpetual tinkling. On inquiring of + a friend of mine, a native of the place, what this meant, he informed me + that it was an old custom in Britanny—but one which in the present + day had almost fallen into disuse—to send boys round from door to + door with bells to announce when a death had occurred, and to give notice + of the day and the hour at which the funeral was to take place, begging + at the same time the prayers of the faithful for the soul of the + deceased. The boys selected for this office are taken from the most + indigent classes, and, on the day of the funeral, receive cloaks of + coarse black cloth as an alms: thus attired, they attend the funeral + procession, tinkling their bells as they go along.</p> + + <p class="author"><span class="sc">Edgar MacCulloch.</span></p> + + <p class="address">Guernsey.</p> + + <p>"<i>Warple-way</i>" (Vol. ix., p. 125.).—The communications of + your correspondents (Vol. ix., p. 232.) can scarcely be called answers to + the questions put.</p> + + <p>I find, in Holloway's <i>Dictionary of Provincialisms</i>, 8vo., 1838, + that a ridge of land is called, in husbandry, a <i>warp</i>. It is + defined to be a quantity of land consisting of ten, twelve, or more + ridges; on each side of which a furrow is left, to carry off the + water.</p> + + <p>Again, in Halliwell's <i>Dictionary of Archaic and Provincial + Words</i>, two volumes, 1847, it will be <!-- Page 479 --><span + class="pagenum"><a name="page479"></a>{479}</span>found that <i>warps</i> + are distinct pieces of ploughed land, separated by furrows. I think I + here give the derivation and meaning, and refer to the authority. If the + derivation be not here given, then I would refer to the Saxon word + <i>werpen</i>, meaning "to cast."</p> + + <p>Across marshy grounds, to this day, are seen ridges forming + foot-paths, with a furrow on each side. A ridge of this sort would + formerly be, perhaps, a <i>warple-way</i>. Or perhaps a path across an + open common field, cast off or divided, as Halliwell mentions, by warps, + would be a <i>warple-way</i>.</p> + + <p class="author"><span class="sc">Viator.</span></p> + + <p><i>Wapple-way</i>, or, as on the borders of Surrey and Sussex it is + called, <i>waffel-way</i>: and the gate itself, <i>waffel-gate</i>. If it + should appear, as in the cases familiar to me, these waffel-ways run + along the borders of shires and divisions of shires, such as + <i>hundreds</i>, I would suggest that they were military roads,—the + derivation <i>waffe</i> (Ger.), weapon.</p> + + <p class="author">H. F. B.</p> + + <p><i>Medal of Chevalier St. George</i> (Vol. ix., pp. 105. + 311.).—With reference to the observations of your correspondents + A. S. and H., I would beg to observe that, some time ago, I gave to the + Museum at Winchester a medal struck on the occasion of the marriage of + Prince James F. E. Stuart and M. Clementina Sobieski: on the obverse is a + very striking head and bust of Clementina, with this inscription:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Clementina, M. Britan., Fr., et Hib. Regina."</p> + </div> + </div> + + <p>On the reverse is Clementina, driving an ancient chariot towards the + Colosseum, with this inscription: on the top—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Fortunam causamque sequor."</p> + </div> + </div> + + <p>at the bottom—</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Deceptis Custodibus. <span class="scac">MDCCXIX</span>."</p> + </div> + </div> + + <p>This latter inscription refers to her escape from Innspruck, where the + princess and her suite had been detained by the emperor's orders.</p> + + <p>This marriage, to prevent which so many efforts were made, prolonged + for eighty-eight years the unfortunate House of Stuart.</p> + + <p class="author">E. S. S. W.</p> + + <p><i>Shakspeare's Inheritance</i> (Vol. ix., pp. 75. + 154.).—Probably the following extracts from Littleton's <i>Tenures + in English, lately perused and amended</i> (1656), may tend to a right + understanding of the meaning of <i>inheritance</i> and + <i>purchase</i>—if so, you may print them:</p> + +<blockquote class="b1n"> + + <p>"Tenant in fee simple is he which hath lands or tenement to hold to + him and his heires for ever: and it is called in Latine <i>feodum + simplex</i>; for <i>feodum</i> is called inheritance, and <i>simplex</i> + as much to say as lawful or pure, and so <i>feodum simplex</i> is as much + to say as lawfull or pure inheritance. For if a man will purchase lands + or tenements in fee simple, it behoveth him to have these words in his + purchase, To have and to hold unto him and to his heires: for these words + (his heires) make the estate of inheritance, <i>Anno</i> 10 + <i>Henrici</i> 6. fol. 38.; for if any man purchase lands in these words, + To have and to hold to him for ever, or by such words, To have and to + hold to him and to his assigns for ever; in these two cases he hath none + estate but for terme of life; for that, that he lacketh these words (his + heires), which words only make the estate of inheritance in all + feoffements and grants."</p> + + <p>"And it is to be understood that this word (<i>inheritance</i>) is not + only understood where a man hath lands or tenements by descent of + heritage, but also every fee simple or fee taile that a man hath by his + purchase, may be said inheritance; for that, thus his heires may inherite + them. For in a Writ of Right that a man bringeth of land that was of his + own purchase, the writ shall say, <i>Quam clamat esse jus et hĉreditatem + suam</i>, this is to say, which he claimeth to be his right and his + inheritance."</p> + + <p>"Also <i>purchase</i> is called the possession of lands or tenements + that a man hath by his deed or by his agreement, unto which possession he + commeth, not by descent of any of his ancestors or of his cosins, but by + his own deed."</p> + +</blockquote> + + <p class="author"><span class="sc">J. Bell.</span></p> + + <p class="address">Cranbroke, Kent.</p> + + <p><i>Cassock</i> (Vol. ix., pp. 101. 337.).—A note in Whalley's + edition of <i>Ben Jonson</i> has the following remark on this word:</p> + +<blockquote class="b1n"> + + <p>"<i>Cassock</i>, in the sense it is here used, is not to be met with + in our common dictionaries: it signifies a soldier's loose outward coat, + and is taken in that acceptation by the writers of Jonson's times. Thus + Shakspeare, in <i>All's Well that Ends Well:</i></p> + +</blockquote> + +<blockquote class="b2n"> + + <p>'Half of the which dare not shake the snow from their + <i>cassocks</i>.'"</p> + +</blockquote> + + <p>This is confirmed in the passage of <i>Jonson</i>, on which the above + is a note.</p> + +<blockquote class="b1n"> + + <p>"This small service will bring him clean out of love with the soldier. + He will never come within the sign of it, the sight of a + <i>cassock</i>."—<i>Every Man in his Humour</i>, Act II. Sc. 5.</p> + +</blockquote> + + <p>The cassock, as well as the gown and band, seem to have been the usual + attire of the clergy on all occasions in the last century, as we find + from the paintings of Hogarth and the writings of Fielding, &c. When + did this custom cease? Can any reader of "N. & Q." supply traditional + proof of clergymen appearing thus apparelled in ordinary life?</p> + + <p class="author">E. H. M. L.</p> + + <p><i>Tailless Cats</i> (Vol. ix., p. 10.).—On the day on which + this Query met my eye, a friend informed me that she had just received a + letter from an American clergyman travelling in Europe, in which he + mentioned having seen a tailless cat in Scotland, called a Manx cat, from + having come <!-- Page 480 --><span class="pagenum"><a + name="page480"></a>{480}</span>from the Isle of Man. This is <i>not</i> + "a Jonathan." Perhaps the Isle of Man is too small to swing long-tailed + cats in.</p> + + <p class="author"><span class="sc">Uneda.</span></p> + + <p class="address">Philadelphia.</p> + + <p>Mr. T. D. Stephens, of Trull Green, near this town, has for some years + had and bred the Manx tailless cat; and, I have no doubt, would have + pleasure in showing them to your correspondent <span class="sc">Shirley + Hibberd</span>, should he ever be in this neighbourhood.</p> + + <p class="author">K. Y.</p> + + <p class="address">Taunton.</p> + + <p>A friend of mine, who resided in the Park Farm, Kimberley, had a breed + of tailless cats, arising from the tail of one of the cats in the + <i>first instance</i> having been cut off; many of the kittens came + tailless, some with half length; and, occasionally, one of a litter with + a tail of the usual length, and this breed continued through several + generations.</p> + + <p class="author">G. J.</p> + + <p><i>Names of Slaves</i> (Vol. viii., p. 339.).—I can answer the + first of J. F. M.'s Queries in the affirmative; it being common to see in + Virginia slaves, or free people who have been slaves, with names acquired + in the manner suggested: <i>e. g.</i> "Philip Washington," better known + in Jefferson county as "Uncle Phil.," formerly a slave of the + Washingtons. A large family, liberated and sent to Cape Palmas, bore the + surname of "Davenport," from the circumstance that their progenitor had + been owned by the Davenports. In fact, the practice is almost universal. + But fancy names are generally used as first names: <i>e. g.</i> John + Randolph, Peyton, Jefferson, Fairfax, Carter, &c. A fine old + body-servant of Col. Willis was called "Burgundy," <i>shortened</i> into + "Uncle Gundy." So that "Milton," in the case mentioned, may have been + merely the homage paid to genius by some enthusiastic admirer of that + poet.</p> + + <p class="author"><span class="sc">J. Balch.</span></p> + + <p class="address">Philadelphia.</p> + + <p><i>Heraldic</i> (Vol. ix., p. 271.).—On the brass of Robert + Arthur, St. Mary's, Chartham, Kent, are two shields bearing a fess + engrailed between three trefoils slipped: which may probably be the same + as that about which <span class="sc">Loccan</span> inquires, though I am + unable to tell the colours. There are two other shields bearing, Two bars + with a bordure. The inscription is as follows:</p> + +<blockquote class="b1n"> + + <p>"Hic iacet d<span class="over">n</span>s Robertus Arthur quondam + Rector isti' Eccliē qui obiit xxviii<sup>o</sup> die marcii + A<sup>o</sup> d<span class="over">n</span>i Millō + CCCC<sup>o</sup>LIIII<sup>o</sup>. Cui' aīe ppiciet' de' + Amē."</p> + +</blockquote> + + <p class="author">F. G.</p> + + <p><i>Solar Annual Eclipse of 1263</i> (Vol. viii., p. 441.).—Mr. + Tytler, in the first volume of his <i>History of Scotland</i>, mentions + that this eclipse, which occurred about 2 <span class="scac">P.M.</span> + on Sunday, August 5, 1263, has been found by calculation to have been + actually central and annular to Ronaldsvoe, in the Orkneys, where the + Norwegian fleet was then lying: a fine example, as he justly adds, "of + the clear and certain light reflected by the exact sciences on history." + S. asks, is this eclipse mentioned by any other writer? As connected with + the Norwegian expedition, it would seem not; but Matthew of Westminster + (vol. ii. p. 408., Bohn's edit.) mentions it having been seen in England, + although he places it erroneously on the 6th of the month.</p> + + <p class="author"><span class="sc">J. S. Warden.</span></p> + + <p><i>Brissot de Warville</i> (Vol. ix., p. 335.).—Brissot's + <i>Mémoires</i> is a very common book in the original, and has gone + through several editions. The passage quoted by N. J. A. was only an + impudent excuse for an impudent assumption. Brissot, in his early + ambition, wished to pass himself off as a gentleman, and called himself + <i>Brissot de Warville</i>, as Danton did D'Anton, and Robespierre de + Robespierre; but when these worthies were endeavouring to send <i>M. de + Warville</i> to the scaffold as an aristocrat, he invented this fable of + his father's having some landed property at <i>Ouarville en Beauce</i> + (not Beance), and that he was called, according to the custom of the + country, from this place, where, it seems, he was put out to nurse. When + the dread of the guillotine made <i>M. de Warville</i> anxious to get rid + of his aristocratic pretensions, he confessed (in those same + <i>Mémoires</i>) that his father kept a cook's shop in the town of + Chartres, and was so ignorant that he could neither read nor write. I + need not add, that his having had a landed property to justify, in any + way, the son's territorial appellation, was a gross fiction.</p> + + <p class="author">C.</p> + + <p>"<i>Le Compère Mathieu</i>" (Vol. vi., pp. 11. 111. 181.).—On + the fly-leaf of my copy (three vols. 12mo., Londres, 1766) of this + amusing work, variously attributed by your correspondents to Mathurin + Laurent and the Abbé du Laurens, is written the following note, in the + hand of its former possessor, Joseph Whateley:</p> + +<blockquote class="b1n"> + + <p>"Ecrit par Diderot, fils d'un Coutelier: un homme très licentieux, qui + écrit encore plusieurs autres Ouvrages, comme La Religieuse, Les Bijoux + méchant (<i>sic</i>), &c. Il jouit un grand rôle après dans la + Révolution.</p> + +</blockquote> + + <p class="author">"J. W."</p> + + <p>By the way, A. N. styles it "a not altogether undull work." May I ask + him to elucidate this phrase, as I am totally at a loss to comprehend its + meaning. "Not undull" must surely mean <i>dull</i>, if anything. The + work, however, is the reverse of dull.</p> + + <p class="author"><span class="sc">William Bates.</span></p> + + <p class="address">Birmingham.</p> + + <p><i>Etymology of "Awkward"</i> (Vol. viii., p. 310.—H. C. K. has + probably given the true derivation of this word, but he might have + noticed the <!-- Page 481 --><span class="pagenum"><a + name="page481"></a>{481}</span>singularity of one Anglo-Saxon word + branching off into two forms, signifying different ways of acting wrong; + one, <i>awkward</i>, implying ignorance and clumsiness; the other, + <i>wayward</i>, perverseness and obstinacy. That the latter word is + derived from the source from which he deduces <i>awkward</i>, can, as I + conceive, admit of no doubt.</p> + + <p class="author"><span class="sc">J. S. Warden.</span></p> + + <p><i>Life and Death</i> (Vol. ix., p. 296.).—What is death but a + sleep? We shall awake refreshed in the morning. Thus Psalm xvii. 15.; + Rom. vi. 5. For the full meanings, see these passages in the original + tongues. Sir Thomas Browne, whose <i>Hydriotaphia</i> abounds with quaint + and beautiful allusions to this subject, says, in one place, "Sleep is so + like death, that I dare not trust him without my prayers:" and he closes + his learned treatise with the following sentence:</p> + +<blockquote class="b1n"> + + <p>"To live indeed is to be again ourselves; which being not only a hope, + but an evidence in noble believers, it is all one to lie in St. + Innocent's churchyard as in the sands of Egypt; ready to be anything in + the ecstasy of being ever, and as content with six feet as the moles of + Adrianus."</p> + + <div class="poem"> + <div class="stanza"> + <p class="i4hg3">"Tabesne cadavera solvat,</p> + <p>An rogus, haud refert."—<i>Lucan.</i></p> + </div> + </div> + +</blockquote> + + <p>How fine also is that philosophical sentiment of Lucan:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Victurosque Dei celant, ut vivere durent,</p> + <p>Felix esse mori."</p> + </div> + </div> + + <p>Can any of your correspondents say in what work the following + analogous passage occurs, and who is the author of it? The stamp of + thought is rather of the philosophic pagan than the Christian, though the + latinity is more monkish than classic:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Emori nolo, sed me esse mortuum, nihil curo."</p> + </div> + </div> + + <p class="author">J. L.</p> + + <p class="address">Dublin.</p> + + <p>These notes remind my parishioners of an epitaph on a child in + Morwenstow churchyard:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Those whom God loves die young!</p> + <p class="i1">They see no evil days;</p> + <p>No falsehood taints their tongue,</p> + <p class="i1">No wickedness their ways!</p> + </div> + + <div class="stanza"> + <p class="hg3">"Baptized, and so made sure</p> + <p class="i1">To win their blest abode;</p> + <p>What could we pray for more?</p> + <p class="i1">They die, and are with God!"</p> + </div> + </div> + + <p class="author"><span class="sc">R. H. Morwenstow.</span></p> + + <p><i>Shelley's "Prometheus Unbound"</i> (Vol. ix., p. 351.).—I + offer a conjecture on the meaning of the obscure passage adduced by <span + class="sc">J. S. Warden</span>. It seems that Shelley intended to speak + of that peculiar feeling, or sense, which affects us so much in + circumstances which he describes. With the slight alterations indicated + by Italics, his meaning I think will be apparent; though in his hurry, or + inadvertence, he has left his lines very confused and ungrammatical.</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Who made that sense which, when the winds of spring</p> + <p><i>Make</i> rarest visitation, or the voice</p> + <p>Of one beloved <i>is</i> heard in youth alone,</p> + <p>Fills the faint eyes with falling tears," &c.</p> + </div> + </div> + + <p class="author">F. C. H.</p> + + <p>"<i>Three Crowns and a Sugar-loaf</i>" (Vol. ix., p. 350.).—The + latter was perhaps originally a mitre badly drawn, and worse copied, till + it received a new name from that it most resembled. The proper sign would + be "The Three Crowns and a Mitre," equivalent to "The Bishop's Arms:" if + Franche was in the diocese of Ely, or Bristol, the reference would be + clearer. Similar changes are known to have happened.</p> + + <p class="author"><span class="sc">G. R. York.</span></p> + + <p>To the inquiry of <span class="sc">Cid</span>, as to the meaning of + the above sign of an inn, I answer that there can be little doubt that + its original meaning was the Pope's tiara.</p> + + <p class="author">F. C. H.</p> + + <p><i>Stanza in "Childe Harold"</i> (Vol. viii., p.258.).—I fear + that, considering Lord Byron's cacography and carelessness, a reference + to his MS. would not mend the matter much; as, although the stanza + undoubtedly contains some errors due to the printer or transcriber for + the press, the obscurity and unconnected language are his lordship's own, + and nothing short of a complete recast could improve it materially: + however, to make the verses such as Byron most probably wrote them, an + alteration of little more than <i>one letter</i> is required. For + "wasted," read "washed;" to supply the deficient syllable, insert "yet" + or "still" after "they," and remove the semicolon in the next line from + the middle to the end of the verse. Then the stanza runs thus:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Thy shores are empires, changed in all save thee;</p> + <p class="i1">Assyria, Greece, Rome, Carthage, where are they?</p> + <p>Thy waters wash'd them while they yet were free,</p> + <p class="i1">And many a tyrant since their shores obey,</p> + <p>The stranger, slave, or savage—their decay</p> + <p class="i1">Has dried up realms to deserts," &c.</p> + </div> + </div> + + <p>The sentiment is clear enough, although not well expressed; and the + use of the present tense, "obey," for "have obeyed," is not at all + warranted by the usage of our language. In plain prose, it + means—</p> + +<blockquote class="b1n"> + + <p>"Thy waters washed their shores while they were independent, and do so + still, although many a race of tyrants has successively reigned over them + since then: their decay has converted many fertile regions to + wildernesses, but thou art still unchanged."</p> + +</blockquote> + + <p>Not having your earlier volumes at hand, I cannot be sure that these + conjectures of mine are original (the correction in the punctuation of + the fourth line certainly is not), and have only to request the <!-- Page + 482 --><span class="pagenum"><a + name="page482"></a>{482}</span>forbearance of any of your correspondents + whose "thunder" I may have unwittingly appropriated.</p> + + <p class="author"><span class="sc">J. S. Warden.</span></p> + + <p><i>Errors in Punctuation</i> (Vol. viii., p. 217.).—Every one + must agree with R. H. C. as to the importance of correct punctuation; and + it may easily be supposed how it must puzzle readers of works whose + language is in great part obsolete, to meet with mistakes of this kind, + when we find modern writers frequently rendered almost unintelligible by + similar errors. To take those whose works have, perhaps, been oftener + reprinted than any others of this century, Byron and Scott, the foregoing + passage in <i>Childe Harold</i> is a signal instance; and as another, the + Sonnet translated by Byron from Vittorelli, has only had corrected in the + very latest editions, an error in the punctuation of the first two lines + which rendered them a mystery to those who did not understand the + original, as printed on the opposite page. In note 12 to the 5th Canto of + <i>Marmion</i>, every edition, British or foreign, down to the present + day, punctuates the last two or three lines as follows:</p> + +<blockquote class="b1n"> + + <p>"A torquois ring;—probably this fatal gift is, with James's + sword and dagger, preserved in the College of Heralds, London."</p> + +</blockquote> + + <p>Sir Walter is thus made to express a doubt, which he never intended, + as to the ring being there. A comma after "ring," another after "gift," + and the omission of the dash, will restore the true meaning of the + sentence.</p> + + <p class="author"><span class="sc">J. S. Warden.</span></p> + + <p><i>Waugh of Cumberland</i> (Vol. ix., p. 272.).—John Waugh + (D.C.L., Feb. 8, 1734)—born and educated at Appleby, Fellow of + Queen's College, Oxford; Rector of St. Peter's, Cornhill; Prebendary of + Lincoln; Dean of Gloucester,—was consecrated to the See of Carlisle + Oct. 13, 1723: he died Oct. 1734, and was buried in the church of St. + Peter, Cornhill. He bore for arms: Arg., on a chevron engrailed gules, + three bezants.</p> + + <p class="author"><span class="sc">Mackenzie Walcott, M.A.</span></p> + + <p><i>"Could we with ink," &c.</i> (Vol. viii. + <i>passim</i>).—Perhaps one more communication may find admission + on the above interesting lines. I received from a clerical friend, many + years ago, a version of them, which differs considerably from that given + in "N. & Q.," Vol. viii., p. 127. The variations I have marked by + Italics:</p> + + <div class="poem"> + <div class="stanza"> + <p class="hg3">"Could <i>you</i> with ink the ocean fill,</p> + <p class="i1"><i>Were the whole world</i> of parchment made,</p> + <p>Were every <i>single stick</i> a quill,</p> + <p class="i1">And every man a scribe by trade,</p> + <p>To write the love of God <i>alone</i>,</p> + <p class="i1">Would drain the ocean dry,</p> + <p>Nor could the <i>earth</i> contain the <i>scroll</i>,</p> + <p class="i1">Though stretch'd from sky to sky."</p> + </div> + </div> + + <p>My friend did not profess to know who wrote these lines; but he + understood that they were an attempt to render in English verse a sublime + passage of the great St. Augustin. It is highly probable that this + eminent Father was the original author of the passage. It is extremely + like one of his grand conceptions; but I have hitherto searched his + voluminous works for it in vain.</p> + + <p class="author">F. C. H.</p> + +<hr class="full" /> + +<h3>BOOKS AND ODD VOLUMES WANTED TO PURCHASE.</h3> + + <p>Particulars of Price, &c. of the following Books to be sent direct + to the gentlemen by whom they are required, and whose names and addresses + are given for that purpose:</p> + + <p><span class="sc">The Hundred and Ten Considerations of Signior John + Valdesso</span>, translated by Nich. Farrer. Oxford, 1638; or the later + edition of 1650.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>Mr. J. G. Nichols</i>, 25. Parliament Street.</p> + </div> + </div> + + <p><span class="sc">Archbishop Lawrence's Examination of Griesbach's + Systematic Classification of MSS.</span></p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>Longman & Co.</i>, Paternoster Row.</p> + </div> + </div> + + <p><span class="sc">Poems on Several Occasions</span>, by William Broome, + LL.D. London, 1727-1739. 8vo.</p> + + <p><span class="sc">Assize Sermon</span>, by the same. on Ps. cxxii. 6. + 4to. 1737.</p> + + <p><span class="sc">Sermon</span>, by the same, on 1 Tim. ii. 1, 2. 8vo. + 1700.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>T. W. Barlow</i>, St. James' Chambers, Manchester.</p> + </div> + </div> + + <p><span class="sc">Osw. Crollius's Admonitory Preface</span>, in + English. London, 1657. 8vo.</p> + + <p>——— <span class="sc">The Mysteries of Nature.</span> + London. 1657. 8vo.</p> + + <p>——— <span class="sc">On Signatures.</span> London, + 1669. Folio.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>J. G.</i>, care of Messrs. Ponsonby, Booksellers, Grafton Street, Dublin.</p> + </div> + </div> + + <p><span class="sc">Warren's Collection of Glees.</span> Wanted, to + perfect the Set, Nos. 7. 10. 17. 25. and 27 to 32 inclusive. Any one + possessing the above, or a portion of them, may hear of a purchaser, upon + application at Novello's Sacred Music Warehouse, 69. Dean Street, Soho + Square.</p> + +<p class="cenhead">——</p> + + <p>The following Works of Symon Patrick, late Lord Bishop of Ely, + &c.:—</p> + + <p><span class="sc">Sermon at the Funeral of Mr. John Smith</span>, + 1652.</p> + + <p><span class="sc">Divine Arithmetic</span>, Sermon at the Funeral of + Mr. Samuel Jacomb, June 17, 1659.</p> + + <p><span class="sc">Angliĉ Speculum</span>, Sermon at the Fast, April 24, + 1678.</p> + + <p><span class="sc">Sermon at Covent Garden</span>, Advent Sunday, + 1678.</p> + + <p><span class="sc">Sermon on St. Peter's Day</span>, with enlargements. + 1687.</p> + + <p><span class="sc">Sermon on St. Mark's Day</span>, 1686.</p> + + <p><span class="sc">Fast Sermon before the King and Queen</span>, April + 16, 1690: Prov. xiv. 34.</p> + + <p><span class="sc">Exposition of the Ten Commandments</span>, 1665.</p> + + <p><span class="sc">Discourse concerning Prayer.</span></p> + + <p><span class="sc">The Pillar and Ground of Truth</span>, 4to. 1687.</p> + + <p><span class="sc">Examination of Bellarmine's Second Note of the + Church</span>, viz., Antiquity. 4to. 1687.</p> + + <p><span class="sc">Examination of the Texts which Papists cite out of + the Bible to prove the Supremacy of St. Peter</span>, &c. 1688.</p> + + <p><span class="sc">Answer to a Book entitled "The Touchstone of the + Reformed Gospel.</span>" 1692.</p> + + <p><span class="sc">A Private Prayer to be used in difficult + Times.</span></p> + + <p><span class="sc">A Thanksgiving for our late wonderful + Deliverance</span>, 1689.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by the <i>Rev. Alexander Taylor</i>, 3. Blomfield Terrace, Paddington.</p> + </div> + </div> + +<p><!-- Page 483 --><span class="pagenum"><a name="page483"></a>{483}</span></p> + + <p><span class="sc">The Advancement of Arts, Manufactures, and + Commerce</span>, or a Description of Machines and Models, &c., + contained in the Repository of the Society of Arts, &c. By William + Bailey, Registrar of the Society, 1772.</p> + + <p><span class="sc">A Register of the Premiums and Bounties given by the + Society for the Encouragement of Arts, Manufactures, And Commerce</span>, + from the original Institution in the year 1754 to 1776 inclusive. Printed + for the Society by James Phillips. 1778.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>P. Le Neve Foster</i>, 7. Upper Grove Lane, Camberwell.</p> + </div> + </div> + + <p><span class="sc">Scott's Poetical Works.</span> 8vo. 1830. Vol. I., or + the "Minstrelsy," of that date.</p> + + <p><span class="sc">Southey's Brazil.</span> 4to. Vols. II. and III.</p> + + <p><span class="sc">Salazar, Historia de la Conquista de Mexico.</span> + Fol. 1743 or 1786.</p> + + <p><span class="sc">Percy Society's Publications</span>, 93 and 94. + (1<i>l.</i> will be given for them.)</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>J. R. Smith</i>, 36. Soho Square.</p> + </div> + </div> + + <p><span class="sc">Archĉologia</span>, Numbers or Volumes, from Vol. + XXV. to Vol. XXIX. inclusive.</p> + + <div class="poem"> + <div class="stanza"> + <p>Wanted by <i>James Dearden</i>, Upton House, Poole, Dorset.</p> + </div> + </div> + +<hr class="full" /> + +<h3>Notices to Correspondents.</h3> + + <p><i>We have been induced, by the number of articles we have in type + writing for insertion, to omit our usual</i> <span class="sc">Notes on + Books</span>, &c.</p> + + <p><span class="sc">Agmond.</span> Cecil <i>was written by Mrs. + Gore</i>.</p> + + <p>F. M. M. Balaam Box <i>has long been used in Blackwood as the name of + the depository of rejected articles. The allusion is obvious.</i></p> + + <p>H. M. H. <i>will find all the information he can desire respecting</i> + The Gentlemen at Arms, <i>in Pegge's</i> Curialia; <i>Thiselton's Memoir + of that Corps, published in 1819; or, better still, Curling's</i> Account + of the Ancient Corps of Gentlemen at Arms, 8vo. 1850.</p> + + <p>J. C. K. <i>The coin is a very common penny of Henry III., worth + ninepence, or a shilling at most.</i></p> + + <p><span class="sc">Balliolensis.</span> <i>Porson's jeu d'esprit is + reprinted in the</i> Facetiĉ Cantabrigienses (1850). p. 16.</p> + + <p><span class="sc">Enquirer.</span> <i>A triolet is a stanza of eight + lines, in which, after the third the first line, and after the sixth the + first two lines, are repeated, so that the first line is heard three + times: hence the name. It is suited for playful and light subjects, and + is cultivated by the French and Germans. The volume of</i> Patrick + Carey's Trivial Poems and Triolets, <i>edited by Sir Walter Scott, in + 1820, from a MS. of 1651, is an early instance of the use of the + term</i>.</p> + + <p>A. B. M. <i>The line referred to</i>—"Pride, pomp, and + circumstance of glorious war"—<i>is from</i> Othello, <i>Act III. + Sc. 3</i>.</p> + + <p><span class="sc">Jarltzberg.</span> <i>Has not our Correspondent + received a note we inclosed to him respecting</i> The Circle of the + Seasons?</p> + + <p><span class="sc">Old Mortality's</span> <i>offer of a collection of + Epitaphs is declined with thanks. We have now waiting for insertion + almost as many as would fill a cemetery.</i></p> + + <p><span class="sc">Abhba.</span> <i>The proverb "Mad as a March hare" + has appeared in our</i> Fourth Volume, p. 208.—<i>Also, in the same + volume</i>, p. 309. <i>&c., will be found several articles similar to + the one forwarded on "Bee Superstitions."</i></p> + + <p>F. (Oxford.) <i>The extract forwarded from Southey's</i> Common Place + Book <i>is a copy of the title-page of the anonymous work + required</i>.</p> + + <p>H. C. M. <i>The date of the earliest Coroner's Inquest, we should + think, cannot be ascertained. The office of Coroner is of so great + antiquity that its commencement is not known. It is evident that Coroners + existed in the time of Alfred, for that king punished with death a judge + who sentenced a party to suffer death upon the Coroner's record, without + allowing the delinquent liberty to traverse.</i> (Bac. on Gov. 66.; 6 + Vin. Abr. 242.) <i>This officer is also mentioned by Athelstan in his + charter to Beverly</i> (Dugd. Monast. 171.).</p> + + <p>I. R. R. <i>Henry Machyn was a citizen and merchant-tailor of London + from A.D. 1550 to 1563. See a notice of him prefixed to his</i> Diary, + <i>published by the Camden Society</i>.——<i>An account of + John Stradling, the epigrammatist, will be found in Wood's</i> Athenĉ + (Bliss), vol. ii. p. 396.——<i>Hockday, or Hokeday, is a + high-day, a day of feasting and mirth, formerly held in England the + second Tuesday after Easter, to commemorate the destruction of the Danes + in the time of Ethelred.</i>——<i>For notices of George Wither + in the</i> Gentleman's Mag., <i>see</i> vol. lxxxvi. pt. ii. 32. 201.; + vol. lxxxvii. pt. i. 42.; vol. lxxxviii. pt. i. 138.——<i>An + interesting account of the</i> Paschal <i>Eggs is given in Hone's</i> + Every-Day Book, vol. i. p. 246., vol. ii. pp. 439. 450.; <i>and in + Brand's</i> Popular Antiquities.——<i>Marvell's reference is + probably to Charles Gerard, afterwards created Baron Gerard of Brandon, + gentleman of the bed-chamber to Charles II., and captain of his + guards.</i></p> + + <p>W. S. <i>The lens is certainly very good; you should practise to + obtain an accurate focus on the ground glass. An experienced hand will + often demonstrate how much the actual sharpness of a picture depends upon + nice adjustment of the focus; for though the picture looks pretty, it is + not sharp in detail.</i></p> + + <p><span class="sc">Photo.</span> <i>We hope shortly to be enabled to + report upon the new paper manufacturing by Mr. Saunders for photographic + purposes.</i></p> + + <p>"<span class="sc">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="full" /> + +<p class="cenhead">PHOTOGRAPHIC CAMERAS.</p> + +<p class="cenhead">OTTEWILL AND MORGAN'S<br /> +Manufactory, 24. & 25. Charlotte Terrace,<br /> +Caledonian Road, Islington.</p> + + <p>OTTEWILL's Registered Double Body Folding Camera, adapted for + Landscapes or Portraits, may be had of A. ROSS, Featherstone Buildings, + Holborn; the Photographic Institution, Bond Street; and at the + Manufactory as above, where every description of Cameras, Slides, and + Tripods may be had. The Trade supplied.</p> + +<hr class="full" /> + + <p>PHOTOGRAPHIC APPARATUS.—MR. JOHN J. GRIFFIN has now ready an + entirely NEW CATALOGUE OF PHOTOGRAPHIC APPARATUS AND CHEMICALS at Reduced + Prices; embracing an account of every article required for the processes + on Silver, Paper, and Glass, with estimates of the cost of complete sets + for Home Use and for Travellers. Postage Fourpence.</p> + +<p class="cenhead">JOHN J. GRIFFIN, F.C.S., Chemist and +Optician, 10. Finsbury Square, London.</p> + +<hr class="full" /> + + <p>PHOTOGRAPHY.—HORNE & CO'S Iodized Collodion, for obtaining + Instantaneous Views, and Portraits in from three to thirty seconds + according to light.</p> + + <p>Portraits obtained by the above, for delicacy of detail rival the + choicest Daguerreotypes, specimens of which may be seen at their + Establishment.</p> + + <p>Also every description of Apparatus, Chemicals, &c. &c., used + in this beautiful Art.—123. & 121. Newgate Street.</p> + +<hr class="full" /> + + <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> + + <p>THE COLLODION AND POSITIVE PAPER PROCESS. By. J. B. HOCKIN. Price + 1<i>s.</i>, per Post, 1<i>s.</i> 2<i>d.</i></p> + +<hr class="full" /> + + <p>TO PHOTOGRAPHERS, DAGUERREOTYPISTS, &c.— Instantaneous + Collodion (or Collodio-Iodide Silver). Solution for Iodizing Collodion. + Pyrogallic, Gallic, and Glacial Acetic Acids, and every Pure Chemical + required in the Practice of Photography, prepared by WILLIAM BOLTON, + Operative and Photographic Chemist, 146. Holborn Bars. Wholesale Dealer + in every kind of Photographic Papers, Lenses, Cameras, and Apparatus, and + Importer of French and German Lenses, &c. Catalogues by Post on + receipt of Two Postage Stamps. Sets of Apparatus from Three Guineas.</p> + +<hr class="full" /> + + <p>COLLODION PORTRAITS AND VIEWS obtained with the greatest ease and + certainty by using BLAND & LONG'S preparation of Soluble Cotton; + certainty and uniformity of action over a lengthened period, combined + with the most faithful rendering of the half-tones, constitute this a + most valuable agent in the hands of the photographer.</p> + + <p>Albumenized paper, for printing from glass or paper negatives, giving + a minuteness of detail unattained by any other method, 5<i>s.</i> per + Quire.</p> + + <p>Waxed and Iodized Papers of tried quality.</p> + + <p>Instruction in the Processes.</p> + + <p>BLAND & LONG, Opticians and Photographical Instrument Makers, and + Operative Chemists, 153. Fleet Street, London.</p> + +<p class="cenhead">*** Catalogues sent on application.</p> + +<hr class="full" /> + + <p>THE SIGHT preserved by the Use of SPECTACLES adapted to suit every + variety of Vision by means of SMEE'S OPTOMETER, which effectually + prevents Injury to the Eyes from the selection of Improper Glasses, and + is extensively employed by</p> + +<p class="cenhead">BLAND & LONG, Opticians, 153. Fleet +Street, London.</p> + +<hr class="full" /> + +<p><!-- Page 484 --><span class="pagenum"><a name="page484"></a>{484}</span></p> + +<p class="cenhead">IMPERIAL LIFE INSURANCE +COMPANY.</p> + +<p class="cenhead">1. OLD BROAD STREET, LONDON.</p> + +<p class="cenhead">Instituted 1820.</p> + +<p class="cenhead">——</p> + +<p class="cenhead">SAMUEL HIBBERT, ESQ., <i>Chairman</i>.<br /> +WILLIAM R. ROBINSON, ESQ., <i>Deputy-Chairman</i>.</p> + +<p class="cenhead">——</p> + + <p>The SCALE OF PREMIUMS adopted by this Office will be found of a very + moderate character, but at the same time quite adequate to the risk + incurred.</p> + + <p>FOUR-FIFTHS, or 80 per cent. of the Profits, are assigned to Policies + <i>every fifth year</i>, and may be applied to increase the sum insured, + to an immediate payment in cash, or to the reduction and ultimate + extinction of future Premiums.</p> + + <p>ONE-THIRD of the Premium on Insurances of 500<i>l.</i> and upwards, + for the whole term of life, may remain as a debt upon the Policy, to be + paid off at convenience; or the Directors will lend sums of 50<i>l.</i> + and upwards, on the security of Policies effected with this Company for + the whole term of life, when they have acquired an adequate value.</p> + + <p>SECURITY.—Those who effect Insurances with this Company are + protected by its Subscribed Capital of 750,000<i>l.</i>, of which nearly + 140,000<i>l.</i> is invested, from the risk incurred by Members of Mutual + Societies.</p> + + <p>The satisfactory financial condition of the Company, exclusive of the + Subscribed and Invested Capital, will be seen by the following + Statement:</p> + +<table class="nobctr" summary="Acrostic." title="Acrostic."> +<tr><td class="spacsingle">On the 31st October, 1853, the sums Assured, including Bonus added, amounted to </td><td class="spacsingle" style="text-align:right; vertical-align:bottom;">£2,500,000</td></tr> +<tr><td class="spacsingle">The Premium Fund to more than </td><td class="spacsingle" style="text-align:right; vertical-align:bottom;"> 800,000</td></tr> +<tr><td class="spacsingle">And the Annual Income from the same source, to </td><td class="spacsingle" style="text-align:right; vertical-align:bottom;"> 109,000</td></tr> +</table> + + <p>Insurances, without participation in Profits, may be effected at + reduced rates.</p> + + <div class="poem"> + <div class="stanza"> + <p>SAMUEL INGALL, Actuary.</p> + </div> + </div> + +<hr class="full" /> + + <p>PIANOFORTES, 25 Guineas each.-D'ALMAINE & CO., 20. Soho Square + (established <span class="scac">A.D.</span> 1785) sole manufacturers of + the ROYAL PIANOFORTES, at 25 Guineas each. Every instrument warranted. + The peculiar advantages of these pianofortes are best described in the + following professional testimonial, signed by the majority of the leading + musicians of the age:—"We, the undersigned members of the musical + profession, having carefully examined the Royal Pianofortes manufactured + by MESSRS. D'ALMAINE & CO., have great pleasure in bearing testimony + to their merits and capabilities. It appears to us impossible to produce + instruments of the same size possessing a richer and finer tone, more + elastic touch, or more equal temperament, while the elegance of their + construction renders them a handsome ornament for the library, boudoir, + or drawing-room. (Signed) J. L. Abel, F. Benedict, H. R. Bishop, J. + Blewitt, J. Brizzi, T. P. Chipp, P. Delavanti, C. H. Dolby, E. F. + Fitzwilliam, W. Forde, Stephen Glover, Henri Herz, E. Harrison, H. F. + Hassé, J. L. Hatton, Catherine Hayes, W. H. Holmes, W. Kuhe, G. F. + Kiallmark, E. Land, G. Lanza, Alexander Lee, A. Leffler, E. J. Loder, + W. H. Montgomery, S. Nelson, G. A. Osborne, John Parry, H. Panofka, Henry + Phillips, F. Praegar, E. F. Rimbault, Frank Romer, G. H. Rodwell, E. + Rockel, Sims Reeves, J. Templeton, F. Weber, H. Westrop, T. H. Wright," + &c.</p> + +<p class="cenhead">D'ALMAINE & CO., 20. Soho Square. Lists +and Designs Gratis.</p> + +<hr class="full" /> + + <p>CHUBB'S FIRE-PROOF SAFES AND LOCKS.—These safes are the most + secure from force, fraud, and fire. Chubb's locks, with all the recent + improvements, cash and deed boxes of all sizes. Complete lists, with + prices, will be sent on application.</p> + + <p>CHUBB & SON, 57. St. Paul's Churchyard, London; 28. Lord Street, + Liverpool; 16. Market Street, Manchester; and Horseley Fields, + Wolverhampton.</p> + +<hr class="full" /> + +<h3>WESTERN LIFE ASSURANCE +AND ANNUITY SOCIETY.</h3> + +<p class="cenhead">3. PARLIAMENT STREET, LONDON.</p> + +<p class="cenhead">Founded A.D. 1842.</p> + +<hr class="short" /> + +<p class="cenhead"><i>Directors.</i></p> + + +<table class="nobctr" summary="directors" title="directors"> + <tr> + <td class="rightbsing" style="vertical-align:top; text-align:left"> + <p>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.</p> + + </td> + <td class="hspcsingle" style="vertical-align:top; text-align:left"> + <p>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.</p> + + </td> + </tr> +</table> + +<p class="cenhead"><i>Trustees.</i>—W. Whateley, Esq., Q.C.; George Drew, Esq., T. Grissell, Esq.<br /> +<i>Physician.</i>—William Rich. Basham, M.D.<br /> +<i>Bankers.</i>—Messrs. Cocks, Biddulph, and Co., Charing Cross.</p> + +<p class="cenhead">VALUABLE PRIVILEGE.</p> + + <p>POLICIES effected in this Office do not become void through temporary + difficulty in paying a Premium, as permission is given upon application + to suspend the payment at interest, according to the conditions detailed + in the Prospectus.</p> + + <p>Specimens of Rates of Premium for Assuring 100<i>l.</i>, with a Share + in three-fourths of the Profits:—</p> + +<table width="35%" class="nobctr" summary="Specimens of Rates" title="Specimens of Rates"> +<tr> +<td class="hspcsingle" style="text-align:left; width:28%">Age</td> +<td class="hspcsingle" style="text-align:right; width:7%"><i>£</i></td> +<td class="hspcsingle" style="text-align:right; width:7%"><i>s.</i></td> +<td class="rightbsing" style="text-align:right; width:7%"><i>d.</i></td> +<td class="hspcsingle" style="text-align:left; width:28%">Age</td> +<td class="hspcsingle" style="text-align:right; width:7%"><i>£</i></td> +<td class="hspcsingle" style="text-align:right; width:7%"><i>s.</i></td> +<td class="hspcsingle" style="text-align:right; width:7%"><i>d.</i></td> +</tr> +<tr> +<td class="hspcsingle" style="text-align:left"> 17</td> +<td class="hspcsingle" style="text-align:right">1</td> +<td class="hspcsingle" style="text-align:right">14</td> +<td class="rightbsing" style="text-align:right">4</td> +<td class="hspcsingle" style="text-align:left"> 32</td> +<td class="hspcsingle" style="text-align:right">2</td> +<td class="hspcsingle" style="text-align:right">10</td> +<td class="hspcsingle" style="text-align:right">8</td> +</tr> +<tr> +<td class="hspcsingle" style="text-align:left"> 22</td> +<td class="hspcsingle" style="text-align:right">1</td> +<td class="hspcsingle" style="text-align:right">18</td> +<td class="rightbsing" style="text-align:right">8</td> +<td class="hspcsingle" style="text-align:left"> 37</td> +<td class="hspcsingle" style="text-align:right">2</td> +<td class="hspcsingle" style="text-align:right">18</td> +<td class="hspcsingle" style="text-align:right">6</td> +</tr> +<tr> +<td class="hspcsingle" style="text-align:left"> 27</td> +<td class="hspcsingle" style="text-align:right">2</td> +<td class="hspcsingle" style="text-align:right">4</td> +<td class="rightbsing" style="text-align:right">5</td> +<td class="hspcsingle" style="text-align:left"> 42</td> +<td class="hspcsingle" style="text-align:right">3</td> +<td class="hspcsingle" style="text-align:right">8</td> +<td class="hspcsingle" style="text-align:right">2</td> +</tr></table> + +<p class="cenhead">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 class="full" /> + +<p class="cenhead">BANK OF DEPOSIT.</p> + +<p class="cenhead">No. 3. Pall Mall East, and 7. St. Martin's +Place, Trafalgar Square, London.</p> + +<p class="cenhead"><i>Established</i> <span class="scac">A.D.</span> 1844.</p> + +<p class="cenhead">INVESTMENT ACCOUNTS +may be opened daily, with capital of any +amount.</p> + +<p class="cenhead">Interest payable in January and July.</p> + +<p class="cenhead">PETER MORRISON.<br /> + Managing Director.</p> + +<p class="cenhead">Prospectuses and Forms sent free on application.</p> + +<hr class="full" /> + + <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="cenhead">65. CHEAPSIDE.</p> + +<hr class="full" /> + +<p class="cenhead">AS SECRETARY OR AMANUENSIS.</p> + + <p>A GENTLEMAN who is quite Conversant with the French, German, and + Italian Languages, and well acquainted with Botany and Entomology, is + desirous of obtaining some permanent Employment. The most satisfactory + References as to competency and respectability of family and connections + can be given.</p> + + <p>Address, F. G. H., care of MR. NEWMAN, Printer, 9. Devonshire Street, + Bishopsgate Street.</p> + +<hr class="full" /> + + <p>ALLSOPP'S PALE or BITTER ALE.—MESSRS. S. ALLSOPP & SONS beg + to inform the TRADE that they are now registering Orders for the March + Brewings of their PALE ALE in Casks of 18 Gallons and upwards, at the + BREWERY, Burton-on-Trent; and at the under-mentioned Branch + Establishments:</p> + + <div class="poem"> + <div class="stanza"> + <p>LONDON, at 61. King William Street, City.</p> + <p>LIVERPOOL, at Cook Street.</p> + <p>MANCHESTER, at Ducie Place.</p> + <p>DUDLEY, at the Burnt Tree.</p> + <p>GLASGOW, at 115. St. Vincent Street.</p> + <p>DUBLIN, at 1. Crampton Quay.</p> + <p>BIRMINGHAM, at Market Hall.</p> + <p>SOUTH WALES, at 13. King Street, Bristol.</p> + </div> + </div> + + <p>MESSRS. ALLSOPP & SONS take the opportunity of announcing to + PRIVATE FAMILIES that their ALES, so strongly recommended by the Medical + Professions, may be procured in DRAUGHT and BOTTLES GENUINE from all the + most RESPECTABLE LICENSED VICTUALLERS, on "ALLSOPP'S PALE ALE" being + specially asked for.</p> + + <p>When in bottle, the genuineness of the label can be ascertained by its + having "ALLSOPP & SONS" written across it.</p> + +<hr class="full" /> + +<p class="cenhead">Patronised by the Royal +Family.</p> + +<p class="cenhead">TWO THOUSAND POUNDS +for any person producing Articles superior +to the following:</p> + +<p class="cenhead">THE HAIR RESTORED AND GREYNESS +PREVENTED.</p> + + <p>BEETHAM'S CAPILLARY FLUID is acknowledged to be the most effectual + article for Restoring the Hair in Baldness, strengthening when weak and + fine, effectually preventing falling or turning grey, and for restoring + its natural colour without the use of dye. The rich glossy appearance it + imparts is the admiration of every person. Thousands have experienced its + astonishing efficacy. Bottles 2<i>s.</i> 6<i>d.</i>; double size, + 4<i>s.</i> 6<i>d.</i>; 7<i>s.</i> 6<i>d.</i> equal to 4 small; + 11<i>s.</i> to 6 small; 21<i>s.</i> to 13 small. The most perfect + beautifier ever invented.</p> + +<p class="cenhead">SUPERFLUOUS HAIR REMOVED.</p> + + <p>BEETHAM'S VEGETABLE EXTRACT does not cause pain or injury to the skin. + Its effect is unerring, and it is now patronised by royalty and hundreds + of the first families. Bottles, 5<i>s.</i></p> + + <p>BEETHAM'S PLASTER is the only effectual remover of Corns and Bunions. + It also reduces enlarged Great Toe Joints in an astonishing manner. If + space allowed, the testimony of upwards of twelve thousand individuals, + during the last five years, might be inserted. Packets, 1<i>s.</i>; + Boxes, 2<i>s.</i> 6<i>d.</i> Sent Free by BEETHAM, Chemist, Cheltenham, + for 14 or 36 Post Stamps.</p> + +<blockquote class="b1n"> + + <p>Sold by PRING, 30. Westmorland Street; JACKSON, 9. Westland Row; + BEWLEY & EVANS, Dublin; GOULDING, 108. Patrick Street, Cork; BARRY, + 9. Main Street, Kinsale; GRATTAN, Belfast; MURDOCK, BROTHERS, Glasgow; + DUNCAN & FLOCKHART, Edinburgh. SANGER, 150. Oxford Street; PROUT, + 229. Strand; KEATING, St. Paul's Churchyard; SAVORY & MOORE, Bond + Street; HANNAY, 63. Oxford Street; London. All Chemists and Perfumers + will procure them.</p> + +</blockquote> + +<hr class="full" /> + + <p>Printed by <span class="sc">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="sc">George Bell</span>, of No. 186. Fleet + Street, in the Parish of St. Dunstan in the West, in the City of London, + Publisher, at No. 186. Fleet Street aforesaid.—Saturday, May 20. + 1854.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 238, May 20, +1854, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, MAY 20, 1854 *** + +***** This file should be named 31398-h.htm or 31398-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/3/9/31398/ + +Produced by Charlene Taylor, Jonathan Ingram, Keith Edkins +and the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Library of Early +Journals.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/31398-h/images/$rbrace.png b/31398-h/images/$rbrace.png Binary files differnew file mode 100644 index 0000000..5c76c09 --- /dev/null +++ b/31398-h/images/$rbrace.png diff --git a/31398-h/images/238_473a.png b/31398-h/images/238_473a.png Binary files differnew file mode 100644 index 0000000..6358c56 --- /dev/null +++ b/31398-h/images/238_473a.png diff --git a/31398-h/images/238_473b.png b/31398-h/images/238_473b.png Binary files differnew file mode 100644 index 0000000..daddd1a --- /dev/null +++ b/31398-h/images/238_473b.png diff --git a/31398-h/images/238_478.png b/31398-h/images/238_478.png Binary files differnew file mode 100644 index 0000000..e00c4d4 --- /dev/null +++ b/31398-h/images/238_478.png |
