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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 85, June 14, 1851 + A Medium of Inter-communication for Literary Men, Artists, + Antiquaries, Geneologists, etc. + +Author: Various + +Editor: George Bell + +Release Date: September 11, 2011 [EBook #37403] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, JUNE 14, 1851 *** + + + + +Produced by Charlene Taylor, Jonathan Ingram and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + + + + + +</pre> + + +<h1> +<span id="idno">Vol. III.—No. 85.</span> + +<span>NOTES <small>AND</small> QUERIES:</span> + +<span id="id1"> A MEDIUM OF INTER-COMMUNICATION</span> +<span id="id2"> FOR</span> +<span id="id3"> LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.</span> +</h1> + +<div class="center1"> +<p class="noindent"><b>"When found, make a note of."</b>—C<span class="smcap lowercase">APTAIN</span> C<span class="smcap lowercase">UTTLE.</span></p> +</div> + +<p class="noindent center smaller">V<span class="smcap lowercase">OL</span>. III.—No. 85.</p> +<p class="noindent center smaller">S<span class="smcap lowercase">ATURDAY</span>, J<span class="smcap lowercase">UNE</span> 14. 1851.</p> +<p class="noindent center smaller">Price Threepence. Stamped Edition 4<i>d.</i></p> + +<h2><span>CONTENTS.</span></h2> + +<p class="larger"> N<span class="smcap lowercase">OTES:</span>— </p> + +<div class="toc"><p class="indh i5">Illustrations of Chaucer, No. VIII.: The Armorican Word "Menez" <a title="Go to page 473" href="#Advertisements473">473</a></p> +<p class="indh i5">Folk Talk: "Eysell," "Captious" <a title="Go to page 474" href="#large474">474</a></p> +<p class="indh i5"> An Old Man whose Father lived in the Time of Oliver Cromwell <a title="Go to page 475" href="#your475"> 475</a></p> +<p class="indh i5"> Minor Notes:—On a Passage in Sedley—On a Passage in "Romeo + and Juliet"—Inscription on a Tablet in Limerick Cathedral <a title="Go to page 476" href="#of476">476</a></p> +</div> +<p class="larger">Q<span class="smcap lowercase">UERIES:</span>—</p> + +<div class="toc"><p class="indh i5">Princesses of Wales <a title="Go to page 477" href="#correctness477">477</a></p> +<p class="indh i5">Minor Queries:—Lady Mary Cavendish—Covey—Book + wanted to purchase—The Devil's Bit—Corpse + passing makes a Right of Way—Nao, a Ship—William + Hone—Hand giving the Blessing—Tinsell, a + Meaning of—Arches of Pelaga—Emiott Arms—Well + Chapels—Davy Jones's Locker—Æsopus Epulans—Written + Sermons—Pallavicino and the Conte d'Olivares <a title="Go to page 477" href="#correctness477">477</a></p> +<p class="indh i5"> M<span class="smcap lowercase">INOR</span> Q<span class="smcap lowercase">UERIES</span> A<span class="smcap lowercase">NSWERED</span>:—Athelney Castle, Somersetshire—Legend + of St. Molaisse—Bogatzky <a title="Go to page 478" href="#thanks478">478</a></p> +</div> +<p class="larger">R<span class="smcap lowercase">EPLIES:</span>—</p> + +<div class="toc"><p class="indh i5">Greene's Groatsworth of Witte, by Rev. Thos. Corser <a title="Go to page 479" href="#Ersch479">479</a></p> +<p class="indh i5">The Dutch Martyrology <a title="Go to page 479" href="#Ersch479">479</a></p> +<p class="indh i5">Replies to Minor Queries:—Spick and Span New—Under + the Rose—Handel's Occasional Oratorio—Stone + Chalice—Thanksgiving Book—Carved Ceiling in + Dorsetshire—"Felix quem faciunt," &c.—The Saint + Graal—Skeletons at Egyptian Banquet—Sewell—Col-fabias—Poem + from the Digby MS.—Umbrella—The + Curse of Scotland—Bawn—Catacombs and Bone-houses—Bacon + and Fagan—To learn by heart—Auriga—Vineyards + in England—Barker—The Tanthony, + &c. <a title="Go to page 480" href="#strange480">480</a></p> +</div> +<p class="larger"> M<span class="smcap lowercase">ISCELLANEOUS:</span>—</p> + +<div class="toc"><p class="indh i5"> Notes on Books, Sales, Catalogues, &c. <a title="Go to page 487" href="#Sanscrit487">487</a></p> +<p class="indh i5"> Books and Odd Volumes wanted <a title="Go to page 487" href="#Sanscrit487">487</a></p> +<p class="indh i5"> Notices to Correspondents <a title="Go to page 487" href="#Sanscrit487">487</a></p> +<p class="indh i5"> <a id="Advertisements473"></a>Advertisements <a title="Go to page 487" href="#Sanscrit487">487</a></p> +<p class="indh i5"> <a id="was_added1"></a><a title="Go to list of vol. numbers and pages" href="#pageslist1" class="fnanchor">List of Notes & Queries volumes and pages</a> +<span class="pagenum">[473]</span></p> +</div> + +<h2><span class="bla">Notes.</span></h2> + +<h3><span>ILLUSTRATIONS OF CHAUCER, NO. VIII.<br /> +(Vol. iii., pp. 388. 420.)</span></h3> + +<p class="center"><i>The Armorican Word "Menez."</i></p> + +<p>I have been induced, in consequence of the scene of one of the +<i>Canterbury Tales</i> being</p> + +<p class="blockquot"> "In <i>Armorike</i> that called is Bretaigne,"</p> + +<p class="noindent">to re-examine that tale (the Frankleine's) in the expectation that in +it, if anywhere, some light might be thrown upon this newly discovered +Chaucerian word "menez"; and I think I have succeeded in detecting its +use in the sense of <i>points</i> or <i>summits</i> of <i>rocks</i> emerging from the +surface of the water.</p> + +<p>But in weighing the probability of this being the true sense in which it +is used in the present instance by Chaucer, the wide applicability of +the word "means" in its usual acceptation of <i>instrument to an end</i>, +must not be lost sight of. There is scarcely the name of any one thing +for which "means" may not be made a plausible substitution; so much so, +that if a man were to ask for a hat to cover his head, his demand would +be quite intelligible if expressed by "a means" to cover his head.</p> + +<p>I make this proviso as an answer to the probable objection, that +"menes," in its usual acceptation, gives sufficiently good sense to the +passage in question; it may do so, and still not be the sense intended +by the author.</p> + +<p>The footing on which I wish to place the inquiry is this:</p> + +<p>1st. We have an <i>Armorican</i> word which it is desirable to prove was +known to, and used by, Chaucer.</p> + +<p>2dly. We find this identical word in a tale written by him, of which the +scene is <i>Armorica</i>.</p> + +<p>3dly. It bears, however, a close resemblance to another word of +different meaning, which different meaning happens also to afford a +plausible sense to the same passage.</p> + +<p>The question then is, in case this latter meaning should not appear to +be better, nor even so good, as that afforded by the word of which we +are in search, shall we not give that word the preference, and thereby +render it doubly blessed, giving and receiving light?</p> + +<p>In coming to a decision, it is necessary to take in the whole context. +Arviragus and Dorigene live in wedded happiness, until the former, +leaving his wife, takes shipping</p> + +<div class="poem"> + <p>—— "to gon and dwelle a yere or twaine</p> + <p>In Englelond, that cleped was <i>eke</i> Bretaigne."</p> +</div> + +<p class="noindent">Dorigene, inconsolable at his loss, sits upon the sea-shore, and views +with horror the "grisly, fendly, rockes," with which the coast is +studded, in every one of which she sees certain destruction to her +husband in his return. She accuses the gods of injustice in forming +these rocks for the sole apparent purpose of destroying man, so +favoured<span class="pagenum">[474]</span> in<a id="large474"></a> other respects, and she concludes her apostrophe in +these words,—</p> + + <div class="poem"> +<p> "Than, semeth it, ye had a gret chertee</p> + <p>Toward mankind; but how then may it be</p> + <p> That ye such <i>menēs</i> make, it to destroyen,</p> + <p>Which <i>menēs</i> don no good but ever anoyen?"</p> +</div> + +<p>Undoubtedly, in the third of these lines, "menes" seems to have a +perfectly good meaning in the sense of instrument, or <i>means</i> to +destroy. But, in the last line, the same sense is not so obvious—"means +to destroy" must <i>necessarily</i> be destructive, and Chaucer would never +be guilty of the unmeaning truism of repeating—"means which do no good +but ever annoy."</p> + +<p>Moreover, I am not aware that the accent is ever thrown upon the silent +<i>e</i> where the signification of "mene" is an instrument—</p> + +<div class="poem"> + <p>"She may be Goddēs mene and Goddēs whippe"—</p> +</div> + +<p class="noindent">but in the lines under discussion the last syllable in both cases is +accented, agreeing in that respect with the <i>Armorican sound</i>—"menez."</p> + +<p>Let us now examine whether the Armorican <i>sense</i> is capable of giving a +perfect meaning to <i>both</i> lines? That sense is, a rocky ridge or +emerging summit. Let us substitute the word <i>rockēs</i> for <i>menēz</i>, +and then try what meaning the passage receives.</p> + +<div class="poem"> + <p> "If, quoth Dorigene, ye love <i>mankind</i> so well ——</p> + <p>—— —— —— how then may it be</p> + <p> That ye such <i>rockēs</i> make, <i>it</i> to destroyen,</p> + <p>Which <i>rockēs</i> don no good but ever anoyen?"</p> +</div> + +<p>Here the sense is perfect in both lines—a sense, too, that is in exact +keeping with Dorigene's previous complaint of <span class="smcap lowercase">THE USELESSNESS</span> of these +rocks—</p> + +<div class="poem"> + <p>"That semen rather a foule confusion</p> + <p>Of werk, than any faire creation</p> + <p>Of swiche a parfit wisē God and stable;</p> + <p>Why have ye wrought this work unreasonable?</p> + <p>For by this werk, north, south, ne west, ne est,</p> + <p>There n'is yfostred man, ne brid, ne best;</p> + <p><i>It doth no good</i>, to my wit, <i>but anoyeth</i>."</p> +</div> + +<p>I therefore propose the following as the true reading of the passage in +question: viz.,</p> + +<div class="poem"> +<p> —— "Ye had a great chertee</p> + <p> Toward mankind; but how then may it be</p> + <p> That ye swiche menez make, it to destroyen,</p> + <p> Which menez don no good, but ever anoyen?"</p> +</div> + +<p class="noindent">And if I have succeeded in making good this position we no longer stand +in need of a precedent for the same reading in the case of—"In menez +libra."</p> + + <p class="right"> A. E. B.</p> + <p class="left"> Leeds, May 31. 1851.</p> + +<p>P.S. I have been favoured, through the publisher of "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>," +with an obliging note from S.S.S. (2), communicating some authorities, +of which the most germane to this subject are—</p> + +<p>1. From <i>Archæologia Britannica</i> (Edward Lhuyd. Oxford, 1707): "Armoric, +<i>Men</i>, a stone; <i>menez</i>, a mountain."</p> + +<p>2. From Walter's <i>Welsh Dictionary</i>: "Welsh, <i>Maen</i>, a stone; <i>maen +terfyn</i>, a boundary stone; <i>maen mawr</i>, a large stone."</p> + + +<h3><span>FOLK TALK: "EYSELL", "CAPTIOUS."</span></h3> + +<p>If folk lore be worthy of a place in your columns, folk talk should not +be shut out, and that the etymological solutions, gathered from this +source, which I have previously forwarded, have not appeared, is +doubtless attributable to some other cause than indifferentism to the +authority. I have found many inexplicable words and phrases, occurring +in the older writers, rendered plain and highly expressive by folk talk +definitions; and a glance at the relative positions of the common people +of this day, and the writers of the past, to the educated and scholarly +world of the nineteenth century, will suffice to show good reasons for a +discriminative reference to the language of the one, for the elucidation +of the other's expression. In common with the majority of your readers, +as I should think, I found the notes and replies on "eysell" and +"captious" to be highly interesting, and of course applied to the folk +talk for its definition. In the first case I obtained from my own +experience, what I think will be a satisfactory clue to its meaning, and +something more in addition. There is a herb of an acid taste, the common +name for which—the only one with which I am acquainted—is +<i>green-sauce</i>; and this herb is, or rather was, much sought after by +children in my boyish days. At a public school not a dozen miles from +Stratford-on-Avon, it was a common practice for we lads to spend our +holidays in roaming about the fields; and among objects of search, this +green-sauce was a prominent one, and it was a point of honour with each +of us to notify to the others the discovery of a root of green-sauce. In +doing this, the discoverer, after satisfying himself by his taste that +the true herb was found, followed an accepted course, and signified his +success to his companions by raising his voice and shouting, what I have +always been accustomed to write, "Hey-sall." I have no knowledge of the +origin of this word; it was with us as a school-rule so to use it; and I +have no doubt but that "ey-sell" was in Shakspeare's time the popular +name for the herb to which I allude.</p> + +<p>Mixing much with the rural population of Warwickshire, I have, on many +occasions, seen the word "captious" used in the sense of carping, +irritable, unthankfulness, and self-willed; and, in my humble opinion, +such a rendering would be more in accordance with the character of the +fiction, and the poet's early teaching, than any definition I have yet +seen in <a id="your475"></a>your pages. <span class="pagenum">[475]</span></p> + +<p class="right"> E<span class="smcap lowercase">MUN</span>.</p> + + +<h3><span>AN OLD MAN WHOSE FATHER LIVED IN THE TIME OF OLIVER CROMWELL.</span></h3> + +<p class="blockquot">[We are indebted to the kindness of the Rev. T<span class="smcap lowercase">HOMAS</span> C<span class="smcap lowercase">ORSER</span> for + the opportunity of preserving in our columns the following + interesting notice, from the <i>Manchester Guardian</i> of the 19th + August, 1843, of the subject of his communication in our No. for + May 31. (No. 83, p. 421.)]</p> + +<p>Having heard of the extraordinary circumstance of an old man named James +Horrocks, in his hundredth year, living in Harwood, about three miles +from Bolton, whose father lived in the time of Oliver Cromwell, we took +an opportunity, a few days ago, of visiting this venerable descendant of +a sire who was contemporary with the renowned Protector. Until within +the last few years he resided at Hill End, a small estate left him by an +uncle when he was about twenty-six years old; but both his surviving +daughters being married, and himself growing feeble, and his sight +failing him, he left the land and went to reside with his eldest +daughter, Margaret, and his son-in-law, John Haslam, at a place called +"The Nook," near the Britannia, in Harwood. Here we found the old man, +surrounded with every comfort which easy circumstances and affectionate +friends can afford, and, to use his own language, "neither tired of +living, nor yet afraid to die." He is a remarkably good-looking old man, +with long, silvery locks, and a countenance beaming with benevolence and +good nature. He has nearly lost the use of his eye-sight, and is a +little dull of hearing, yet he is enabled to walk about. The loss of his +sight he regrets most of all, as it prevents him from spending his time +in reading, to which he was before accustomed; and, as he remarked, also +denies him the pleasure of looking upon his children and his old +friends. He converses with remarkable cheerfulness for one of his years. +As an instance, we may mention, that, on observing to him that he must +have been a tall man in his youth, he sprang up from his arm chair with +the elasticity of middle age, rather than the decrepitude usually +accompanying those few who are permitted to spin out the thread of life +to the extent of a century, and, with a humorous smile upon his +countenance, put his hands to his thighs, and stood as straight as an +arrow against a gentleman nearly six feet, remarking, at the same time, +"I don't think I am much less now than ever I was." He stands now about +five feet eight inches and a half. A short time ago, on coming down +stairs in the morning, he observed to his daughter, with his accustomed +good humour, and buoyancy of spirit, "I wonder what I shall dream next; +I dreamt last night that I was going to be married again; and who knows +but I could find somebody that would have me yet." His son-in-law is an +old grey-headed man, much harder of hearing than himself; and it +frequently happens, that when any of the family are endeavouring to +explain anything to him, old James will say, "Stop, and I'll <i>insense</i> +him;" and his lungs seldom fail in the undertaking.</p> + +<p>From this interesting family we learn, that William Horrocks, the father +of the present James, of whom we have been speaking, was born in 1657, +four years after Oliver Cromwell was declared protector, and one year +before his death. He would be two years old when Richard Cromwell, who +succeeded his father, resigned; and four years old when Charles II. was +crowned in 1661. The exact period of his first marriage we have not been +able to ascertain; but it is certain that his bride was employed as +nurse in the well-known family of the Chethams, either at Turton Tower, +or at Castleton Hall, near Rochdale. By this marriage he had four +children, as appears from the following memorandums, written in an +excellent hand in the back of an old black-letter Bible, printed in +1583:</p> + +<p class="blockquot"> "Mary, the daughter of William and Elizabeth Horrocks, was born + the 15th day of September, and baptised the 23d day of the same + month, Anno Dom. 1683."</p> + +<p class="blockquot"> "John, the son of William and Elizabeth Horrocks, was born the + 18th day of January, and baptized the 25th day of the same month, + Anno Dom. 1686."</p> + +<p class="blockquot">"Ann, the daughter of William and Elizabeth Horrocks, was born + the 14th day of March, and baptized the 23d day of the same + month, Anno Dom. 1699."</p> + +<p class="blockquot">"William, the son of William and Elisabeth Horrocks, was born the + 9th day of June, and baptised the 17th day of the same month, + Anno Dom. 1700."</p> + +<p>At what time his wife died, we are also unable to ascertain; but there +is no doubt he remained a widower for many years, and at length married +his housekeeper, a comely blooming young woman, whose kindness to the +old man was unremitting, and he married her in 1741, at the age of +eighty-four, she being at the time only twenty-six.</p> + +<p>This marriage evidently attracted much attention in the neighbourhood, +and we find that, about two years afterwards, the old man and his +youthful partner were sent for to Castleton Hall, the residence of a +branch of Humphry Chetham's family, where they were treated with great +kindness, and a portrait painter engaged to take their likenesses, which +are now in the possession of their son, and add much to the interest of +a visit to him. These portraits are well executed; and, of course, +appear rather like those of a grandfather and his grandchild than of +husband and wife, although he appears more like sixty than eighty-six. +In front of each painting is prominently inscribed the age of each of +the parties, and the date when the portrait was taken. Upon that of the +husband the inscription is, "ÆTA: 86—1743." And upon that of the wife, +"ÆTA: 28—1743." These, it appears, were taken two years after their +marriage,<span class="pagenum">[476]</span> and<a id="of476"></a> preserved in the Chetham family, at Castleton Hall, +as great curiosities.</p> + +<p>In the following year, the present James was born, as appears from the +following entry on the back of the same old Bible:</p> + +<p class="blockquot"> "James, the son of William and Elizabeth Horrocks of Bradshaw + Chapel, was born March 14th, 1744."</p> + +<p class="noindent">He will therefore complete his hundredth year on the 14th of next March. +He was born in a house near Bradshaw Chapel, which has long since been +removed. He was about twenty-seven years old when an uncle left him a +small estate in Harwood, called Hill End; and soon after he married, we +believe in 1773, and by that marriage had eight children. William, the +son of James and Margaret Horrocks, was born February 21, 1776; +Margaret, March 31, 1778; John, August 11, 1781; Simon, Dec. 23, 1783; +Matty, June 28, 1786; James, Jan. 13, 1789; Sarah, Sept. 22, 1791; and +Betty, Jan. 8, 1794.</p> + +<p>Of these, the only survivors are Margaret, aged sixty-five, the wife of +John Haslam, with whom the old man now resides; and Betty, the youngest, +aged forty-nine, who is married, and has four children.</p> + +<p>The old man was only eleven years old when his father died, and has no +recollection of hearing him mention any remarkable event occurring in +his lifetime.</p> + +<p>On asking the old man how he came into possession of the portraits of +his father and mother, he stated, that, some years ago, he saw in the +newspapers a sale advertised of the property at Castleton Hall, and went +there before the day to inquire after the portraits, with the view of +purchasing them before the sale. The servants at the hall admitted him, +and he found they were not there. He then went to the house of the +steward, and found he was not at home; he, however, left a message, +desiring that the steward would send him word if there was any +probability of his being able to purchase the portraits. Accordingly, +the steward sent him word that they had been removed, with the family +portraits, to the residence of a lady near Manchester, where he might +have the satisfaction of seeing them. The old man cannot remember either +the name or the address of the lady. However, he went to the place, in +company with a friend, and saw the lady, who treated him with the +greatest kindness. She showed him the portraits, and was so much pleased +with the desire he manifested to purchase them, that she said, if she +could be certain that he was the heir, she would make him a present of +them, as his filial affection did him great honour. His friend assured +her that he was the only child of his mother by William Horrocks, and +she then gave them to him, although she parted with them with regret, as +she had no other paintings that attracted so much attention. His +recollection of the circumstances are so perfect, that he remembers +offering a gratuity to the servants for packing the portraits, which the +lady would not allow them to receive.</p> + +<p>As an instance of the health and vigour of this remarkable old man, it +may be mentioned, that ten years ago, in the winter of 1832-3, he +attended at Newton, to vote for Lord Molyneux, then a candidate for +South Lancashire. He was then in his ninetieth year. He walked from +Harwood to Bolton, a distance of three miles. From thence he went to +Newton by the railway; and, having voted, he by some means missed the +train, and walked to Bolton, a distance of fifteen miles. On arriving +there he took some refreshment, and again set out for Harwood, and +accomplished the distance of twenty-one miles in the day, in the depth +of winter.—<i>Manchester Guardian</i>, Aug. 19, 1843.</p> + + +<h3><span class="bla">Minor Notes.</span></h3> + +<h4><span><i>On a Passage in Sedley.</i></span></h4> + +<p>—There is a couplet in Sir Charles Sedley's +poems, which is quoted as follows in a work in my possession:</p> + + <div class="poem"> + <p> "Let fools the name of loyalty divide:</p> + <p>Wise men and Gods are on the strongest side."</p> +</div> + +<p class="noindent">Does the context require the word "divide?" or is it a misprint for +"deride?" Of course, the latter word would completely alter the sense, +but it seems to me that it would make it more consistent with truth. The +word "divide" supposes loyalty to be characteristic of fools, and places +the Gods in antagonism to that sentiment; while the word "deride" +restores them to their natural position.</p> + + <p class="right"> H<span class="smcap lowercase">ENRY</span> H. B<span class="smcap lowercase">REEN</span>.</p> +<p class="left"> St. Lucia, April, 1851.</p> + + +<h4><span><i>On a Passage in Romeo and Juliet.</i></span></h4> + +<p>—In the encounter between Mercutio +and Tybalt (Act III. Sc. 1.), in which Mercutio is killed, he addresses +Tybalt tauntingly thus:—</p> + + <p class="blockquot"> "Good king of cats, &c., will you pluck your sword out of his + <i>pilcher</i> by the ears? Make haste, lest mine be about your ears + ere it be out."</p> + +<p class="noindent">The first quarto has <i>scabbard</i>, all the later editions have <i>pilcher</i>, +a word occurring nowhere else. There has been a vain attempt to make +<i>pilcher</i> signify a <i>leathern sheath</i>, because a <i>pilch</i> was a <i>garment +of leather</i> or <i>pelt</i>. To me it is quite evident that <i>pilcher</i> is a +mere typographical error for <i>pitcher</i>, which, in this jocose, bantering +speech, Mercutio substitutes for <i>scabbard</i>, else why are the <i>ears</i> +mentioned? The poet was familiar with the proverb "Pitchers have ears," +of which he has elsewhere twice availed himself. The <i>ears</i>, as every +one knows, are the <i>handles</i>, which have since been called the <i>lugs</i>. +Shakspeare would hardly have substituted a word of his own creation for +<i>scabbard</i>; but <i>pitcher</i> was suggested by the play<span class="pagenum">[477]</span> upon<a id="correctness477"></a> the word +<i>ears</i>, which is used for <i>hilts</i> in the plural, according to the +universal usage of the poet's time. The <i>ears</i>, applied to a <i>leathern +coat</i>, or even a <i>sheath</i>, would be quite unmeaning, but there is a well +sustained ludicrous image in "pluck your sword out of his <i>pitcher by +the ears</i>."</p> + +<p class="right"> S. W. S<span class="smcap lowercase">INGER</span>.</p> + + +<h4><span><i>Inscription on a Tablet in Limerick Cathedral.—</i></span></h4> + +<p class="blockquot"> "Mementi Mory.</p> + +<p class="blockquot">"Here lieth Littele Samuell Barinton, that great Under Taker, of + Famious Cittis Clock and Chime Maker; He made his one Time goe + Early and Latter, But now He is returned to God his Creator.</p> + +<p class="blockquot">"The 19 of November Then He Seest, And for His Memory This Here + is Pleast, By His Son Ben 1693."</p> + +<p>The correctness of this copy, <i>in every respect</i>, may be relied upon.</p> + +<p class="right"> R. J. R.</p> + + +<h2><span class="bla">Queries.</span></h2> + +<h3><span>PRINCESSES OF WALES.</span></h3> + +<p>Blackstone, in his <i>Commentaries</i>, vol. i. p. 224., says, the heir +apparent to the crown is usually made Prince of Wales and Earl of +Chester; upon which Mr. Christian in a note remarks, upon the authority +of Hume, that this creation has not been confined to the heir apparent, +for both Queen Mary and Queen Elizabeth were created by their father, +Henry VIII., Princesses of Wales, each of them at the time (the latter +after the legitimation of Mary) being heir presumptive to the crown.</p> + +<p>Can any of your correspondents inform me upon what authority this +statement of Hume rests? or whether there exists any evidence of such +creations having been made? Do any such creations appear upon the Patent +Rolls? The statement is not supported by any writer of authority upon +such subjects, and, as far as your Querist's investigation has +proceeded, seems without foundation. It is one, however, too important +in connexion with royal titles to remain uncontradicted, if the fact be +not so.</p> + +<p class="right">G.</p> + + +<h3><span class="bla">Minor Queries.</span></h3> + +<h4><span><i>Lady Mary Cavendish.</i></span></h4> + +<p>—Information is requested respecting the +<i>ancestry</i> of the Lady Mary Cavendish, who married a Lieutenant +Maudesley, or Mosley, of the Guards. She is thought to have been maid of +honour to Queen Anne. And a Sir Henry Cavendish, who was teller of the +Exchequer in Ireland some sixty years ago, was of the same family.</p> + +<p class="right"> C<span class="smcap lowercase">AVENDO</span>.</p> + + +<h4><span><i>Covey.</i></span></h4> + +<p>—When the witches in this country were very numerous, Satan for +convenience divided them into companies of thirteen (one reason why +thirteen has always been considered an unlucky number), and called each +company a <i>covine</i>. Is that the etymology of the word <i>covey</i>, as +applied to birds?</p> + +<p class="right"> L. M. M. R.</p> + + +<h4><span><i>Book wanted to purchase.</i></span></h4> + +<p>—Can any one help me to find a little book on +"Speculative Difficulties in the Christian Religion?" I read such a book +about four years ago, and have quite forgotten its title and its author. +The last chapter in the book was on the "Origin of Evil." There is a +little book called <i>Speculative Difficulties</i>, but that is not the one I +mean.</p> + +<p class="right"> L. M. M. R.</p> + + +<h4><span><i>The Devil's Bit.</i></span></h4> + +<p>—In the Barnane Mountains, near Templemore, Ireland, +there is a large dent or hollow, visible at the distance of twenty +miles, and known by the name of the "Devil's Bit."</p> + +<p>Can any of your readers assist me in discovering the origins of this +singular name? There is a foolish tradition that the Devil was obliged, +by one of the saints, to make a road for his Reverence across an +extensive bog in the neighbourhood, and so taking a piece of the +mountain in his mouth, he strode over the bog and deposited a road +behind him!</p> + +<p class="right"> S<span class="smcap lowercase">ING</span>.</p> + + +<h4><span><i>Corpse passing makes a Right of Way.</i></span></h4> + +<p>—What is the origin of the +supposed custom of land becoming public property, after a funeral has +passed over it? An instance of this occurred (I am told) a short time +since at Battersea.</p> + +<p class="right"> R. W. E.</p> + + +<h4><span><i>Nao, a Ship.</i></span></h4> + +<p>—Seeing it twice stated in Mr. G. F. Angas's <i>Australia +and New Zealand</i>, that "in the Celtic dialect of the Welsh, Nao (is) a +ship," I am desirous to learn in what author of that language, or in +what dictionary or glossary thereof, any such word is to be met with. +(See vol. ii., pp. 274. 278.) I doubt, or even disbelieve, the Britons +having had <i>any</i> name for a ship, though they had a name for an osier +floating basket, covered with raw hides. And when they became familiar +with the <i>navis longa</i> of the Romans, they and their Gaelic neighbours +adopted the adjective, and not the substantive. But the question of +<i>nao</i> is one of fact; and having got the assertion, I want the +authority.</p> + +<p class="right"> A. N.</p> + + +<h4><span><i>William Hone.</i></span></h4> + +<p>—I wish to meet with the interesting and touching +account of the conversion of William Hone, the compiler of the <i>Every +Day Book</i>, and should be obliged to any one who would tell me where it +is to be found.</p> + +<p class="right"> E. V.</p> + + +<h4><span><i>Hand giving the Blessing.</i></span></h4> + +<p>—What is the origin of holding up the two +forefingers and thumb, and pressing down the third and little fingers of +the right hand in giving "the blessing," as we see in figures of +bishops, &c.? Is it a mystic allusion to the Trinity?</p> + +<p class="right"> A. A. D.</p> +<p class="left"> 4. Moray Place, Birkenhead.</p> + + +<h4><span><i>Tinsell, a Meaning of.</i></span></h4> + +<p>—I wish to know if this word is still used by +the country-people in the midland counties, and on the borders of North +Wales, to denote <i>fire-wood</i>. In a Report dated in 1620, from a surveyor +to the owner of an estate<a id="thanks478"></a> in<span class="pagenum">[478]</span> Wales, near the borders of +Shropshire, the following mention of it occurs:</p> + +<p class="blockquot"> "There is neither wood nor underwood on the said lands, but a few + underwoods in the park of hasell, alders, withie, and thornes, + and such like, which the tenants doe take and use for <i>Tinsel</i> as + need requires."</p> + +<p>The working people in Shropshire and Staffordshire still speak of +<i>tining</i> a fire (pronounced <i>teening</i>). This is but a slight change in +the Anglo-Saxon word <i>tynan</i>, to light a fire.</p> + +<p class="right"> S. S. S.</p> + + +<h4><span><i>Arches of Pelaga.</i></span></h4> + +<p>—A young sailor, in his passage from Alexandria to +Trinadas, mentions a place under this designation. Query, Is there a +place correctly so called, or is this one of the misnomers not +unfrequent among seamen?</p> + +<p class="right"> M. A. L<span class="smcap lowercase">OWER</span>.</p> + + +<h4><span><i>Emiott Arms.</i></span></h4> + +<p>—What are the arms of the family of Emiott of Kent?</p> + +<p class="right"> E. H. Y.</p> + + +<h4><span><i>Well Chapels.</i></span></h4> + +<p>—Will any of your learned readers be kind enough to +direct me to the best sources of information on this subject?</p> + + <p class="right"> H. G. T.</p> + + +<h4><span><i>Davy Jones's Locker.</i></span></h4> + +<p>—If a sailor is killed in a sea-skirmish, or +falls overboard and is drowned, or any other fatality occurs which +necessitates the consignment of his remains to the "great deep," his +surviving messmates speak of him as one who has been sent to "Davy +Jones's Locker." Who was the important individual whose name has become +so powerful a myth? And what occasioned the identification of the ocean +itself with the locker of this mysterious Davy Jones?</p> + +<p class="right"> H<span class="smcap lowercase">ENRY</span> C<span class="smcap lowercase">AMPKIN</span>.</p> + + +<h4><span><i>Æsopus Epulans.</i></span></h4> + +<p>—I shall be much obliged by information respecting the +authorship and history of this work, printed at Vienna, 1749, 4to.</p> + +<p class="right"> N. B.</p> + + +<h4><span><i>Written Sermons.</i></span></h4> + +<p>—Information is requested as to when the custom of +preaching from written sermons was first introduced, and the +circumstances which gave rise to it.</p> + +<p class="right"> M. C. L.</p> + + +<h4><span><i>Pallavicino and the Conte d'Olivares.</i></span></h4> + +<p>—I have in my possession an old +Italian MS., 27 pages of large foolscap paper. It is headed "Caduta del +Conte d'Olivares," and at the end is signed "Scritta da Ferrante +Pallavicino," and dated "28 Genaro, 1643." Of course this Count +d'Olivares was the great favourite of Philip IV. of Spain; but who was +Pallavicino? Could it have been the Paravicino who was court chaplain to +Philip III. and IV.? or was he of the Genoese family of Pallavicini +mentioned by Leigh Hunt (<i>Autobiography</i>, vol. ii. p. 177.) as having +been connected with the Cromwell family? What favours the latter +presumption is, that a gentleman to whom I showed the MS. said at once, +"That is Genoa paper, just the same I got there for rough copies;" and +he also told me that the water-mark was a well-known Genoa mark: it +consists of a bird standing on an eight pointed starlike flower.</p> + +<p>If any one can give me any likely account of this Pallavicino, or tell +me whether the MS. is at all valuable in any way, I shall owe him many +thanks.</p> + +<p class="right"> C<span class="smcap lowercase">HARLES</span> O. S<span class="smcap lowercase">OULEY</span>.</p> +<p class="left"> Broadway, New York, May 10. 1851.</p> + + + + +<h3><span class="bla">Minor Queries Answered.</span></h3> + +<h4><span><i>Athelney Castle, Somersetshire.</i></span></h4> + +<p>—Can any of your readers inform me, +whether Athelney Castle, built by King Alfred, as a monastery, in token +of his gratitude to God for his preservation, when compelled to fly from +his throne, is in existence; or if any remains of it can be traced, as I +do not find it mentioned either in several maps, gazetteers, or +topographical dictionaries? It was situated about four miles from +Bridgewater, near the conflux of the rivers Parrot and Tone?</p> + +<p class="right"> J. S.</p> +<p class="left"> Islington, May 15. 1851.</p> + +<p><i>Athelney</i>.—In a visit which I recently paid to the field of +<i>Sedgemoor</i> and the Isle of <i>Athelney</i> in Somersetshire, I found on the +latter a stone pillar, inclosed by an iron railing, designed to point +the traveller's eye to the spot, so closely associated with his earliest +historical studies, with the burnt cakes, the angry housewife, and the +castigated king. The pillar bears the following inscription, which you +may think perhaps worthy of preservation in your useful pages:—</p> + +<p class="blockquot"> "King Alfred the Great, in the year of our Lord 879, having been + defeated by the Danes, fled for refuge to the forest of Athelney, + where he lay concealed from his enemies for the space of a whole + year. He soon after regained possession of his throne, and in + grateful remembrance of the protection he had received, under the + favour of Heaven, he erected a monastery on this spot and endowed + it with all the lands contained in the Isle of Athelney. To + perpetuate the memorial of so remarkable an incident in the life + of that illustrious prince, this edifice was founded by John + Slade, Esq., of Mansell, the proprietor of Athelney and Lord of + the Manor of North Petherton, <small>A. D.</small> 1801."</p> + +<p class="right"> J. R. W.</p> +<p class="left"> Bristol.</p> + + +<h4><span><i>Legend of St. Molaisse </i></span> +<span>(Vol. ii., p. 79.).</span></h4> + +<p>—Can you tell me anything +more about this MS., and in whose possession it now is?</p> + +<p class="right"> R. H.</p> + +<p class="blockquot">["The Legend of S<span class="topnum">t</span>. Molaisse" was sold in a sale at Puttick + and Simpson's, July 3, 1850, for the sum of £8. 15<i>s.</i>]</p> + + +<h4><span><i>Bogatzky.</i></span></h4> + +<p>—Who was Bogatzky, the author of the well-known <i>Golden +Treasury</i>? Any particulars of his life will be acceptable.</p> + +<p class="right"> E. V.</p> + +<p class="blockquot"> [Bogatzky was a Polish nobleman, the pupil of the great Professor + Francke, and of a kindred spirit. He died at an advanced age in + 1768. It is not generally known that Bogatzky published a Second + Volume of his <i>Golden Treasury</i>, which Dr. Steinkopff revised and + edited in 1812, to which he prefixed a short but + interesting<span class="pagenum">[479]</span> account<a id="Ersch479"></a> of the author. See also <i>Allgemeine + Enyclopädie von Ersch und Gruber</i>, s.v.]</p> + + +<h2><span class="bla">Replies.</span></h2> + +<h3><span>GREENE'S "GROATSWORTH OF WITTE."<br /> +(Vol. iii., p. 140.)</span></h3> + +<p>In answer to M<span class="smcap lowercase">R</span>. H<span class="smcap lowercase">ALLIWELL</span>'s Query, "whether the remarkable passage +respecting Shakspeare in this work has descended to us in its genuine +state," I beg to inform him that I possess a copy of the edition of +1596, as well as of those of 1617 and 1621, from the latter of which the +reprint by Sir Egerton Brydges was taken, and that the passage in +question is exactly the same in all the three editions. For the general +information of your readers interested in Greene's works, I beg to +state, that the variations in the edition of 1596 from the other two, +consist of the words "written before his death, and published at his +dying request," on the title; and instead of the introductory address +"To Wittie Poets, or Poeticall Wittes," signed I. H., there are a few +lines on A 2, "The Printer to the Gentle Readers:"</p> + +<p class="blockquot">"I haue published heere, Gentlemen, for your mirth and benefit, + Greene's Groateswoorth of Wit. With sundry of his pleasant + discourses ye haue beene before delighted: But now hath death + giuen a period to his pen, onely this happened into my hands + which I haue published for your pleasures: Accept it fauourably + because it was his last birth, and not least worth, in my poore + opinion. But I will cease to praise that which is aboue my + conceit, and leaue it selfe to speake for it selfe: and so abide + your learned censuring.</p> + +<p class="right"> "Yours, W. W."</p> + +<p class="noindent">Then follows another short address, "To the Gentlemen Readers," by +Greene himself; and as this edition is so rare, only two copies being +known, and the address is short, I transcribe it entire for your +insertion:</p> + +<p class="blockquot">"Gentlemen, The Swan sings melodiously before death, that in all + his life time vseth but a iarring sound. <i>Greene</i>, though able + inough to write, yet deeplyer searched with sicknesse than euer + heretofore, sendes you his swanne-like song, for that he feares + he shall neuer againe carroll to you woonted loue layes, neuer + againe discouer to you youth's pleasures. Howeuer yet sicknesse, + riot, incontinence, haue at once shown their extremitie, yet if I + recouer, you shall all see more fresh springs then euer sprang + from me, directing you how to liue, yet not diswading you from + loue. This is the last I haue writ, and I feare me the last I + shall write. And how euer I haue beene censured for some of my + former bookes, yet, Gentlemen, I protest, they were as I had + special information. But passing them, I commend this to your + fauourable censures, and like an Embrion without shape, I feare + me will bee thrust into the world. If I liue to ende it, it shall + be otherwise: if not, yet will I commend it to your courtesies, + that you may as wel be acquainted with my repentant death, as you + haue lamented my carelesse course of life. But as <i>Nemo ante + obitum felix</i>, so <i>Acta exitus probat</i>: Beseeching therefore to + bee deemed hereof as I deserue, I leaue the worke to your liking, + and leaue you to your delights."</p> + +<p class="noindent">Greene died in September, 1592; and this is curious, as being probably +the last thing that ever came from his pen.</p> + +<p>The work commences on sig. A 4, the other three leaves being occupied +with the title and the two addresses. It concludes with Greene's "letter +written to his wife," and has not "Greene's Epitaph: Discoursed +Dialogue-wise betweene Life and Death," which is in the two later +editions.</p> + +<p>I may here mention that I possess a copy of an extremely rare work +relating to Robert Greene, which has only lately become known, viz.:</p> + +<p class="blockquot"> "Greene's Newes both from Heaven and Hell. Prohibited the first + for writing of Bookes, and banished out of the last for + displaying of Connycatchers. Commended to the Presse by B. R." + (Barnabee Rich) 4to. bl. lett. Lond. 1593.</p> + +<p class="noindent">Concerning the great rarity of this interesting tract, which was unknown +to the Rev. A. Dyce when publishing his edition of Greene's works, your +readers may see a notice by Mr. Collier in his <i>Extracts from the +Registry of the Stat. Comp.</i>, vol. ii. p. 233., apparently from the +present copy, no other being known.</p> + +<p class="right"> T<span class="smcap lowercase">HOS</span>. C<span class="smcap lowercase">ORSER</span>.</p> +<p class="left"> Stand Rectory.</p> + + +<h3><span>THE DUTCH MARTYROLOGY.<br /> +(Vol. iii., p. 443.)</span></h3> + +<p>Besides the copy of the above work mentioned by your correspondent J. H. +T., several others are known to exist in this country. Among them I may +mention one in the library of the Baptist College, Bristol. My own copy +was supplied by a London bookseller, who has likewise imported several +other copies from Holland, where it is by no means a scarce work.</p> + +<p>The second illustrated edition was published twenty years after the +decease of Van Braght. The first edition, without engravings, now before +me, appeared in 1660, which was the edition used by Danvers. But Danvers +does not appear to have known its existence, when the first edition of +his treatise came out in 1673. The "large additions" of his second +edition in 1674, are chiefly made from the work of Van Braght.</p> + +<p>The original portion of Van Braght's work is, however, confined to the +first part. The second part, <i>The Martyrology</i>, strictly so called, is +of much earlier date. Many single narratives appeared at the time, and +collections of these were early made. The earliest collection of +martyrdoms bears the date of 1542. This was enlarged in 1562, 1578, +1580, and 1595. This fact I give on the authority of Professor Müller of +Amsterdam, from the<span class="pagenum">[480]</span> <i>Jaarboekje voor de Doopsgezinde Gemeenten in +de Nederlanden, 1838 en 1839</i>, <a id="strange480"></a>pp. 102, 103.</p> + +<p>An edition, dated 1599, of these very rare books is now before me. It +has the following curious and affecting title:</p> + +<p class="blockquot"> "Dit Boeck wort genaemt: Het Offer des Heeren, Om het inhout van + sommige opgeofferde Kinderen Gods, de welcke voort gebrocht + hebben, wt den goeden schat haers herten, Belijdinghen, + Sentbrieuen ende Testamenten, de welcke sy met den monde beleden, + ende met den bloede bezeghelt hebben, &c. &c. Tot Harlinghen. By + my Peter Sebastiaenzoon, Int jaer ons Heeren <span class="smcap lowercase">MDXCIX</span>."</p> + +<p>It is a thick 12mo. of 229 folios, and contains the martyrdoms of +thirty-three persons (the first of which is Stephen), which were +subsequently embodied in the larger martyrologies. Each narrative is +followed by a versified version of it. A small book of hymns is added, +some of them composed by the martyrs; and the letters and confession of +one Joos de Tollenaer, who was put to death at Ghent in 1589.</p> + +<p>In 1615, a large collection of these narratives appeared at Haarlem in a +thick 4to. volume. The compilers were Hans de Ries, Jaques Outerman, and +Joost Govertsoon, all eminent Mennonite ministers. Two editions followed +from the press of Zacharias Cornelis at Hoorn in 1617 and 1626, both in +4to., but under different editorship. The last edition was offensive to +the Haarlem editors, who therefore published a fourth at Haarlem in +1631. As its title is brief, I will give it from the copy in my library:</p> + +<p class="blockquot">"Martelaers Spiegel der Werelose Christenen t' zedert <span class="smcap lowercase">A. D.</span> 1524. + Joan, xv. 20. Matt. x. 28. Esai, li. 7. Joan xvi. 2. 1 Pet. iv. + 19. [All quoted at length.] Gedrukt tot Haarlem Bij Hans + Passchiers van Wesbusch. In't Jaer onses Heeren, 1631."</p> + +<p>This edition is in small folio. The title-page is from a copperplate, +and is adorned with eight small engravings, representing scenes of +suffering and persecution from scripture. The narratives of martyrs +extends from 1524 to 1624. It is this work which forms the basis of Van +Braght's. He added to it the whole of his first part, and also some +additional narratives in the second. To the best of his ability he +verified the whole.</p> + +<p>These works are frequently referred to by Ottius in his <i>Annales +Anabaptistici</i> under the titles "Martyrologium Harlemense" and +"Martyrologium Hornanum."</p> + +<p>From a paper in the <i>Archivs für Kunde österreichischer +Geschichtsquellen</i>, I learn that a MS. exists in the City library of +Hamburgh, with the following title:</p> + +<p class="blockquot">"Chronickel oder Denkbüechel darinnen mit kurtzen Begriffen, Was + sich vom 1524 Jar, Bis auff gegenwärtige Zeit, in der gemain + zuegetragen, vnd wie viel trewer Zeugen Jesu Christij die warheit + Gottes so riterlich mit irem bluet bezeugt. 1637."</p> + +<p>The work appears chiefly confined to a history of the Moravian +Anabaptists: but from passages given by the writer, Herr Gregor Wolny, +it is evident that it contains many of the narratives given by Van +Braght. The earlier portion of the MS. was written previous to 1592, +when its writer or compiler died. Three continuators carried on the +narrations to 1654. The last date in it is June 7, 1654; when Daniel +Zwicker, in his own handwriting, records his settlement as pastor over a +Baptist church. Mention is made of this MS. by Ottius, and by Fischer in +his <i>Tauben-kobel</i>, p. 33., &c. For any additional particulars +respecting it, I should feel greatly obliged.</p> + +<p>It does not appear to be known to your correspondent that a translation +of the second part of Van Braght's work has been commenced in this +country, of which the first volume was issued by the Hanserd Knollys +Society last year. A translation of the entire work appeared in 1837, in +Pennsylvania, U. S., for the use of the Mennonite churches, emigrants +from Holland and Germany to whom the language of their native land had +become a strange tongue.</p> + +<p class="right"> E. B. U.</p> +<p class="left"> 33. Moorgate Street, London.</p> + + + + +<h3><span class="bla">Replies to Minor Queries.</span></h3> + +<h4><span><i>Spick and Span New </i></span> +<span>(Vol. iii., p. 330.).</span></h4> + +<p>—The corresponding <i>German</i> +word is <i>Spann-nagel-neu</i>, which may be translated as "New from the +stretching needle;" and corroborates the meaning given by you. I may +remark the French have no equivalent phrase. It is evidently a familiar +allusion of the clothmakers of England and Germany.</p> + +<p class="right"> B<span class="smcap lowercase">ENBOW</span>.</p> +<p class="left"> Birmingham.</p> + + +<h4><span><i>Under the Rose </i></span> +<span>(Vol. iii., pp. 300.).</span></h4> + +<p>—There is an old Club in this +town (Birmingham) called the "Bear Club," and established (ut dic.) +circa 1738, formerly of some repute. Among other legends of the Club, is +one, that in the centre of the ceiling of their dining-room was once a +carved rose, and that the members always drank as a first toast, to "The +health of the King," [under the rose], meaning the Pretender.</p> + +<p class="right"> B<span class="smcap lowercase">ENBOW</span>.</p> + + +<h4><span><i>Handel's Occasional Oratorio </i></span> +<span>(Vol. iii., p. 426.).</span></h4> + +<p>—The "Occasional +Oratorio" is a separate composition, containing an overture, 10 +recitatives, 21 airs, 1 duet, and 15 choruses. It was produced in the +year 1745. It is reported, I know not on what authority, that the King +having ordered Handel to produce a new oratorio on a given day, and the +artist having answered that it was impossible to do it in the time +(which must have been unreasonably short, to extort such a reply from +the intellect that produced <i>The Messiah</i> in three weeks, and <i>Israel in +Egypt</i> in four), his<span class="pagenum">[481]</span> <a id="Majesty481"></a>Majesty deigned no other answer than that +done it must and should be, whether possible or not, and that the result +was the putting forward of the "Occasional Oratorio."</p> + +<p>The structure of the oratorio, which was evidently a very hurried +composition, gives a strong air of probability to the anecdote. +Evidently no libretto was written for it; the words tell no tale, are +totally unconnected, and not even always tolerable English, a fine +chorus (p. 39. Arnold) going to the words "Him or his God we no fear." +It is rather a collection of sacred pieces, strung together literally +without rhyme or reason in the oratorio form, than one oratorio. The +examination of it leads one to the conclusion, that the composer took +from his portfolio such pieces as he happened to have at hand, strung +them together as he best could, and made up the necessary quantity by +selections from his other works. Accordingly we find in it the pieces +"The Horse and his Rider," "Thou shalt bring them in," "Who is like unto +Thee?" "The Hailstone Chorus," "The Enemy said I will pursue," from +<i>Israel in Egypt</i>, written in 1738; the chorus "May God from whom all +Mercies spring," from <i>Athaliah</i> (1733); and the chorus "God save the +King, long live the King," from the <i>Coronation Anthem</i> of 1727. There +is also the air "O! Liberty," which he afterwards (in 1746) employed in +<i>Judas Maccabæus</i>. Possibly some other pieces of this oratorio may be +found also in some of Handel's other works, not sufficiently stamped on +my memory for me to recognise them; but I may remark that the quantity +of <i>Israel in Egypt</i> found in it may perhaps have so connected it in +some minds with that glorious composition as to have led to the practice +referred to of prefixing in performance the overture to the latter work, +to which, although the introductory movement, the fine adagio, and grand +march are fit enough, the light character of the fugue is, it must be +confessed, singularly inappropriate.</p> + +<p>I am not aware of any other "occasion" than that of the King's will, +which led to the composition of this oratorio.</p> + +<p class="right"> D. X.</p> + + +<h4><span><i>Stone Chalice</i></span> +<span> (Vol. ii., p. 120.).</span></h4> + +<p>—They are found in the ancient +churches in Ireland, and some are preserved in the Museum of the Royal +Irish Academy, and in private collections. A beautiful specimen is +engraved in Wakeman's <i>Handbook of Irish Antiquities</i>, p. 161.</p> + +<p class="right"> R. H.</p> + + +<h4><span><i>Thanksgiving Book </i></span> +<span>(Vol. iii., p. 328.).</span></h4> + +<p>—The charge for a +"Thanksgiving Book," mentioned by A C<span class="smcap lowercase">HURCHWARDEN</span>, was no doubt for a +Book of Prayers, &c., on some general thanksgiving day, probably after +the battle of Blenheim and the taking of Gibraltar, which would be about +the month of November. A similar charge appears in the Churchwardens' +accounts for the parish of <i>Eye, Suffolk</i>, at a much earlier period, +viz. 1684, which you may probably deem worthy of insertion in your +pages:</p> + + +<table summary="Thanksgiving Charge 1684"> +<tr> +<th> </th> +<th> </th> +<th> </th> +<th class="tdcenter"><i>l.</i></th> +<th class="tdcenter"><i>s.</i></th> +<th class="tdcenter"><i>d.</i></th> +</tr> + +<tr> +<td> </td> +<td class="tdright" colspan="4">"<i>Payments</i></td> +<td> </td> +<td> </td> +</tr> + +<tr> +<td class="tdhang">"It.</td> +<td class="tdhang">To Flegg for sweepinge and +dressinge upp the church the nynth of September beeinge A day of <i>Thanks-givinge</i> for + his Ma<span class="topnum">ties</span> delivañce from the Newkett Plot</td> +<td class="tdhang"><b>}</b></td> +<td class="tdcenter">00</td> +<td class="tdcenter">03</td> +<td class="tdcenter">00</td> +</tr> + +<tr> +<td class="tdhang">"It.</td> +<td class="tdhang">For twoe <i>Bookes</i> for the 9th of September aforesaid</td> +<td class="tdhang"><b>}</b></td> +<td class="tdcenter">00</td> +<td class="tdcenter">01</td> +<td class="tdcenter">00</td> +</tr> +</table> + + +<p class="right"> J. B. C<span class="smcap lowercase">OLMAN</span>.</p> +<p class="left"> Eye, April 29, 1851.</p> + + +<h4><span><i>Carved Ceiling in Dorsetshire </i></span> +<span>(Vol. iii., p. 424.).</span></h4> + +<p>—Philip, King of +Castile (father to Charles V.), was forced by foul weather into Weymouth +Harbour. He was hospitably entertained by Sir Thomas Trenchard, who +invited Mr. Russell of Kingston Russell to meet him. King Philip took +such delight in his company that at his departure he recommended him to +King Henry VII. as a person of spirit "fit to stand before princes, and +not before mean men." He died in 1554, and was the ancestor of the +Bedford family. Sir Thomas Trenchard probably had the ceiling. See +Fuller's <i>Worthies</i> (<i>Dorsetshire</i>), vol. i. p. 313.</p> + +<p class="right"> A. H<span class="smcap lowercase">OLT</span> W<span class="smcap lowercase">HITE</span>.</p> + +<p>The house of which your correspondent has heard his tradition is +certainly <i>Woolverton House</i>, in the parish of Charminster, near this +town.</p> + +<p>It was built by Sir Thomas Trenchard, who died 20 Hen. VIII.; and +tradition holds, as history tells us, that Phillip, Archduke of Austria, +and King of Castile, with his queen <i>Juana</i>, or <i>Joanna</i>, were driven by +weather into the port of Weymouth: and that Sir Thomas Trenchard, then +the High Sheriff of the county, invited their majesties to his house, +and afforded them entertainment that was no less gratifying than timely.</p> + +<p>Woolverton now belongs to James Henning, Esq. There is some fine carving +in the house, though it is not the ceiling that is markworthy; and it is +thought by some to be the work of a foreign hand. At Woolverton House +were founded the high fortunes of the House of Bedford. Sir Thomas +Trenchard, feeling the need of an interpreter with their Spanish +Majesties, happily bethought himself of a John Russell, Esq., of +Berwick, who had lived some years in Spain, and spoke Castilian; and +invited him, as a Spanish-English mouth, to his house: and it is said he +accompanied the king and queen to London, where he was recommended to +the favour of Hen. VII.; and after rising to high office, received from +Hen. VIII. a share of the monastic lands.</p> + +<p><a id="See482"></a>See Hutchins's <i>History of Dorset</i>.</p> + +<p class="right"> W. B<span class="smcap lowercase">ARNES</span>.</p> +<p class="left"> Dorchester.<span class="pagenum">[482]</span></p> + + +<h4><span><i>"Felix quem faciunt," &c. </i></span> +<span>(Vol. iii., pp. 373. 431.).</span></h4> + +<p>—The passage +cited by C. H. P. as assigned to Plautus, and which he says he cannot +find in that author, occurs in one of the interpolated scenes in the +<i>Mercator</i>, which are placed in some of the old editions between the 5th +and 6th Scenes of Act IV. In the edition by Pareus, printed at Neustadt +(Neapolis Nemetum) in 1619, 4to., it stands thus:</p> + +<p class="blockquot"> "Verum id dictum est: Feliciter is sapit, qui periculo alieno + sapit."</p> + +<p>I was wrong in attributing it to Plautus, and should rather have called +it <i>Plautine</i>. By a strange slip of the pen or the press, pericu<i>lum</i> is +put instead of pericu<i>lo</i> in my note. Niebuhr has a very interesting +essay on the interpolated scenes in Plautus, in the first volume of his +<i>Kleine Historische und Philologische Schriften</i>, which will show why +these scenes and passages, marked as supposititious in some editions, +are now omitted. It appears that they were made in the fifteenth century +by Hermolaus Barbarus. See a letter from him to the Bishop of Segni, in +<i>Angeli Politiani Epistolæ</i>, lib. xii. epist. 25.</p> + +<p>To the parallel thoughts already cited may be added the following:</p> + + + <p class="blockquot">"Ii qui sciunt, quid aliis acciderit, facile ex aliorum eventu, + suis rationibus possunt providere."</p> +<p class="author2"><i>Rhetoric. ad Herennium</i>, L. 4. c. 9.</p> + +<div class="poem"> +<p>"I' presi esempio de' lor stati rei,</p> + <p>Facendomi profitto l' altrui male</p> + <p>In consolar i casi e dolor miei."</p> +<p class="author"> Petrarca, <i>Trionfo della Castità</i>.</p> +</div> +<div class="poem"> + <p>"Ben' è felice quel, donne mie care,</p> + <p> Ch' essere accorto all' altrui spese impare."</p> +<p class="author"> Ariosto, <i>Orl. Fur.</i>, canto X.</p> +</div> + + <p class="right">S. W. S<span class="smcap lowercase">INGER</span>.</p> + + +<h4><span><i>The Saint Graal </i></span> +<span>(Vol. iii., p. 413.).</span></h4> + +<p>—I see that M<span class="smcap lowercase">R</span>. G. S<span class="smcap lowercase">TEPHENS</span> +states, that Mons. Roquefort's nine columns are decisive of Saint Graal +being derived from Sancta Cratera. I am unacquainted with the word +<i>cratera</i>, unless in Ducange, as meaning a basket. But <i>crater</i>, a +goblet, is the word meant by Roquefort.</p> + +<p>How should <i>graal</i> or <i>greal</i> come from <i>crater</i>? I cannot see common +sense in it. Surely that ancient writer, nearly, or quite, contemporary +with the publication of the romance, Helinandus Frigidimontanus, may be +trusted for the fact that <i>graal</i> was French for "gradalis or gradale," +which meant "scutella lata et aliquantulum profunda in quâ preciosæ +dapes cum suo jure divitibus solent apponi." (Vide Helinand. ap. +Vincentium Bellovacensem, <i>Speculum Historiale</i>, lib. 43. cap. 147.) Can +there be a more apparent and palpable etymology of any word, than that +<i>graal</i> is <i>gradale</i>? See Ducange in <i>Gradale</i>, No. 3, and in +<i>Gradalis</i>, and the three authorities (of which Helinand is not one) +cited by him.</p> + + <p class="right"> A. N.</p> + + +<h4><span><i>Skeletons at Egyptian Banquet</i> </span> +<span>(Vol. iii., p. 424.).</span></h4> + +<p>—The <i>interpretation</i> of this is probably from Jer. Taylor's own head. See, +for the history of the association in his mind, his sermon on the +"Marriage Ring."</p> + + <p class="blockquot">"It is fit that I should infuse a bunch of myrrh into the + festival goblet, and, after the Egyptian manner, serve up a dead + man's bones as a feast."</p> + + <p class="right"> Q. Q.</p> + + +<h4><span><i>Sewell </i></span> +<span>(Vol. iii., p. 391.).</span></h4> + +<p>—Allow me to refer H. C. K. to a passage +in the <i>Letters on the Suppression of the Monasteries</i>, published by the +Camden Society, p. 71., for an example of the word <i>sewelles</i>. It is +there said to be equivalent to <i>blawnsherres</i>. The scattered pages of +Duns Scotus were put to this use, after he was banished from Oxford by +the Royal Commissioners.</p> + +<p>The word is perhaps akin to the low Latin <i>suellium</i>, threshing-floor, +or to the Norman French <i>swele</i>, threshold: in which case the original +meaning would be <i>bounds</i> or <i>limits</i>.</p> + +<p class="right"> C. H.</p> +<p class="left"> St. Catharine's Hall, Cambridge.</p> + + +<h4><span><i>Col-fabias </i></span> +<span>(Vol. iii., p. 390.).</span></h4> + +<p>—This word is a Latinised form of the +Irish words Cul-{f}eabu{s} (cul-feabus), <i>i. e.</i> "a closet of decency" +or "for the sake of decency."</p> + +<p class="right"> F<span class="smcap lowercase">RA</span>. C<span class="smcap lowercase">ROSSLEY</span>.</p> + + +<h4><span><i>Poem from the Digby MS.</i></span> +<span> (Vol. iii., p. 367.).</span></h4> + +<p>—Your correspondent H. +A. B. will find the lines in his MS. beginning</p> + + <div class="poem"> <p> "You worms, my rivals," &c.,</p> +</div> + +<p class="noindent">printed, with very slight variations, amongst Beaumont's poems, in +Moxon's edition of the Works of Beaumont and Fletcher, 1840. They are +the concluding lines of "An Elegy on the Lady Markham."</p> + +<p class="right"> W. J. B<span class="smcap lowercase">ERNHARD</span> S<span class="smcap lowercase">MITH</span>.</p> + + +<h4><span><i>Umbrella </i></span> +<span>(Vol. iii., pp. 37. 126.).</span></h4> + +<p>—I find the following passage in +the fourth edition of Blount's <i>Glossographia</i>, published as far back as +1674.</p> + +<p class="blockquot"> "<i>Umbrello</i> (Ital. <i>Ombrella</i>), a fashion of round and broad + Fans, wherewith the <i>Indians</i> (and from them our great ones) + preserve themselves from the heat of the sun or fire; and hence + any little shadow, Fan, or other thing, wherewith the women guard + their faces from the sun."</p> + +<p>In Kersey's <i>Dictionarium Anglo-Britannicum</i>, 1708, it is thus noticed—</p> + +<p class="blockquot">"<i>Umbrella</i>, or <i>Umbrello</i>, a kind of broad Fan or Skreen, + commonly us'd by women to shelter them from Rain: also a Wooden + Frame cover'd with cloth to keep off the sun from a window."</p> + +<p class="blockquot">"<i>Parasol (F.)</i>, a small sort of canopy or umbrello, which women + carry over their heads."</p> + +<p class="noindent">And in Phillips's <i>New World of Words</i>, 7th ed., 1720—</p> + +<p class="blockquot">"<i>Umbrella</i> or <i>Umbrello</i>, a kind of broad Fan or Skreen, which + in hot countries People hold <a id="over483"></a>over their<span class="pagenum">[483]</span> heads to keep off + the Heat of the Sun; or such as are here commonly us'd by women + to shelter them from Rain: Also, a wooden Frame cover'd with + cloth or stuff, to keep off the sun from a window."</p> + +<p class="blockquot">"<i>Parasol (Fr.)</i>, a small sort of canopy or umbrello, which women + carry over their Heads, to shelter themselves from Rain," &c.</p> + + <p class="right"> T. C. T.</p> + + +<h4><span><i>The Curse of Scotland </i></span> +<span>(Vol. iii., p. 22.).</span></h4> + +<p>—Your correspondent L. +says, the true explanation of the circumstance of the nine of diamonds +being called the curse of Scotland is to be found in the game of Pope +Joan; but with all due deference to him, I must beg entirely to dissent +from this opinion, and to adhere to the notion of its origin being +traceable to the heraldic bearing of the family of Dalrymple, which are +or, on a saltire azure, <i>nine lozenges of the field</i>.</p> + +<p>There can be no doubt that John Dalrymple, 2nd Viscount and 1st Earl of +Stair, justly merited the appellation of the "Curse of Scotland," from +the part which he took in the horrible massacre of Glencoe, and from the +utter detestation in which he was held in consequence, and which +compelled him to resign the secretaryship in 1695. After a deliberate +inquiry by the commissioners had declared <i>him</i> to be guilty of the +massacre, we cannot wonder that the man should be held up to scorn by +the most popular means which presented themselves; and the nine diamonds +in his shield would very naturally, being the insignia of his family, be +the best and most easily understood mode of perpetuating that +detestation in the minds of the people.</p> + +<p class="right"> L. J.</p> + + +<h4><span><i>Bawn </i></span> +<span>(Vol. i., p. 440.; Vol. ii., pp. 27. 60. 94.).</span> +</h4> +<p>—Your correspondents will find some information on this word in Ledwich's +<i>Antiquities of Ireland</i>, 2nd edit. p. 279.; and in Wakeman's <i>Handbook +of Irish Antiquities</i>, p. 141. Ledwich seems to derive the word from the +Teutonic <i>Bawen</i>, to construct and secure with branches of trees.</p> + + <p class="right"> R. H.</p> + + +<h4><span><i>Catacombs and Bone-houses </i></span> +<span>(Vol. i., p. 171.).</span></h4> + +<p>—MR. G<span class="smcap lowercase">ATTY</span> will find a +vivid description of the bone-house at Hythe, in Mr. Borrow's +<i>Lavengro</i>, vol. i. I have no reference to the exact page.</p> + +<p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + +<h4><span><i>Bacon and Fagan </i></span> +<span>(Vol. iii., p. 106.).</span></h4> + +<p>—The letters B and F are +doubtless convertible, as they are both labial letters, and can be +changed as <i>b</i> and <i>p</i> are so frequently.</p> + +<p>1. The word "batten" is used by Milton in the same sense as the word +"fatten."</p> + +<p>2. The Latin word "flo" is in English "to blow."</p> + +<p>3. The word "flush" means much the same as "blush."</p> + +<p>4. The Greek word <ins title="Greek: bremô">βρέμω</ins> is in the Latin changed to "fremo."</p> + +<p>5. The Greek word <ins title="[Greek: bora]">βορὰ</ins> = in English "forage."</p> + +<p>6. <i>Herod.</i> vii. 73. <ins title="[Greek: Bilippos]">Βίλιππος</ins> +for <ins title="[Greek: Philippos">Φίλιππος</ins>; <ins title="[Greek: Bryges]">Βρύγες</ins> + for <ins title="[Greek: Phryges]">Φρύγες</ins>.</p> + +<p>7. <ins title="[Greek: Phalaina]">Φάλαινα</ins> in Greek = "balæna" in Latin = "balène" in French.</p> + +<p>8. <ins title="[Greek: Pherô]">Φέρω</ins> in Greek = "to bear" in English.</p> + +<p>9. "Frater" in Latin = "brother" in English.</p> + +<p>Many other instances could probably be found.</p> + +<p>I think that we may fairly imply that the labials <i>p</i>, <i>b</i>, <i>f</i>, <i>v</i>, +may be interchanged, in the same way as the dental letters <i>d</i> and <i>t</i> +are constantly; and I see no reason left to doubt that the word Bacon is +the same as the word Fagan.</p> + +<p class="right"> <ins title="[Greek: Philologos.]">Φιλόλογος.</ins></p> + + +<h4><span><i>To learn by Heart</i></span> +<span> (Vol. iii., p. 425.).</span></h4> + +<p>—When A S<span class="smcap lowercase">UBSCRIBER TO YOUR</span> +J<span class="smcap lowercase">OURNAL</span> asks for some account of the origin of the phrase "to learn by +Heart," may he not find it in St. Luke i. 66, ii. 19. 51.?</p> + +<p>"To learn by <i>memory</i>" (or by "<i>rote</i>") conveys to my own mind a very +different notion from what I conceive to be expressed by the words "To +learn by <i>heart</i>." Just as there is an evident difference between a +<i>gentleman in heart and feeling</i>, and a <i>gentleman in manners and +education only</i>; so there is a like difference (as I conceive) between +learning by heart and learning by rote; namely, the difference between a +<i>moral</i>, and a merely <i>intellectual</i>, operation of the mind. To learn by +<i>memory</i> is to learn by <i>rote</i>, as a parrot: to learn by <i>heart</i> is to +learn <i>morally—practically</i>. Thus, we say, we give our hearts to our +pursuits: we "love God with all our hearts," pray to Him "with the +spirit, and with the understanding," and "with the heart believe unto +righteousness:" we "ponder in our hearts," "muse in our hearts," and +"keep things in our hearts," i. e. "<i>learn by heart</i>."</p> + + <p class="right"> J. E.</p> + + +<h4><span><i>Auriga </i></span> +<span>(Vol. iii., p. 188.).</span></h4> + +<p>—Claudius Minois, in his Commentaries on +the <i>Emblemata</i> of Alciatus, gives the following etymology of +"Auriga:"—</p> + + +<p class="blockquot"> "Auriga non dicitur ab auro, sed ab aureis: sunt enim aureæ lora + sive fræni, qui equis ad aures alligantur; sicut oreæ, quibus ora + coercentur."—<i>Alciati Emblemata</i>, Emb. iv. p. 262.</p> + + + + <p class="right"> W. R.</p> + + <p class="left"> Hospitio Chelhamensi.</p> + + + + +<h4><span><i>Vineyards in England </i></span> +<span>(Vol. ii., p. 392.; Vol. iii., p. 341.).</span> +</h4> +<p>—Add to the others <i>Wynyard</i>, so far north as Durham.</p> + +<p class="right"> C.</p> + + + + +<h4><span><i>Barker </i></span> +<span>(Vol. iii., p. 406.).</span> +</h4> +<p>—Mr. Barker lived in West Square, St. +George's Fields, a square directly opposite the Philanthropic Society's +chapel.</p> +<p class="right"> G.</p> + +<p><i>Barker, the original Panorama Painter.</i>—M<span class="smcap lowercase">R</span>. C<span class="smcap lowercase">UNNINGHAM</span> is quite +correct in stating Robert Barker to be the originator of the Panorama. +His<span class="pagenum">[484]</span> <a id="first484"></a>first work of the kind was a view of Edinburgh, of which +city, I believe, he was a native.</p> + +<p>On his death, in 1806, he was succeeded by his son, Mr. Henry Aston +Barker, the Mr. Barker referred to by A. G. This gentleman and his wife +(one of the daughters of the late Admiral Bligh) are both living, and +reside at Bitton, a village lying midway between this city and Bath.</p> + + <p class="right"> A S<span class="smcap lowercase">UBSCRIBER</span>.</p> + <p class="left"> Bristol, June 2, 1851.</p> + + + +<h4><span><i>The Tanthony </i></span> +<span>(Vol. iii., pp. 105. 229. 308.).</span> +</h4> +<p>—A<span class="smcap lowercase">RUN</span>'s Query is fully +answered by a reference to Mrs. Jameson's <i>Sacred and Legendary Art</i>, +vol. ii. p. 379., where the bell is shown to be emblematic of the +saint's power to exorcise evil spirits, and reference is made to several +paintings (and an engraving given of one) in which it is represented. +The phrase "A Tantony Pig" is also explained, for which see further +Halliwell's <i>Dict. of Arch. and Prov. Words</i>, s.v. Anthony.</p> + +<p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + + +<h4><span><i>Essay on the Irony of Sophocles, &c.</i></span> +<span> (Vol. iii., p. 389.).</span> +</h4> + +<p>—Three Queries by N<span class="smcap lowercase">EMO</span>: 1. The Rev. Connop Thirlwall, now Bishop of St. +David's, is the author of the essay in question. 2. Cicero, <i>Tusc. +Disp.</i>, i. 15. 39.:—<i>Errare</i> mehercule <i>malo cum Platone ... quam cum +istis vera sentire</i>; (again), Cicero, <i>ad Attic.</i>, l. viii. ep. +7.:—<i>Malle</i>, quod dixerim, me <i>cum Pompeio vinci, quam cum istis +vincere</i>. 3. The remark is Aristotle's; but the same had been said of +Homer by Plato himself:</p> + +<p class="blockquot">"Aristot. [<i>Eth. Nicom.</i> l. i. cap. 6. § 1. ed. Oxon.] is + reluctant to criticise Plato's doctrine of <i>Ideas</i>, <ins title="[Greek: dia to philous andras eisagagein ta eidê]">διὰ + τὸ φίλους ἄνδρας + εἰσαγάγειν τὰ εἴδη</ins>: but, he adds, the truth + must nevertheless be spoken:—<ins title="[Greek: amphoin gar ontoin philoin, hosion protiman tên alêtheian.]">ἀμφοῖν + γὰρ ὄντοιν φίλοιν, + ὅσιον προτιμᾶν τὴν ἀλήθειαν.</ins></p> + +<p class="blockquot">"Plato [<i>de Repub.</i>, X. cap. 1. p. 595 b.]:—<ins title="[Greek: Philia tis me kai aidôs ek paidos echousa peri Homêrou apokôlyei legein ... + all' ou gar pro ge tês alêtheias timêteos anêr.]">Φιλία τίς με καὶ + αἰδὼς ἐκ παιδὸς ἔχουσα + περὶ Ὁμήρου ἀποκωλύει λέγειν + ... ἀλλ' οὐ γὰρ πρό γε τῆς +ἀλήθειας τιμητέος ἄνηρ.</ins>"</p> + + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + + + +<h4><span><i>Achilles and the Tortoise </i></span> +<span>(Vol. ii., p. 154.).</span> +</h4> +<p>—S. T. Coleridge has +explained this paradox in <i>The Friend</i>, vol. iii. p. 88. ed. 1850: a +note is subjoined regarding Aristotle's attempted solution, with a +quotation from Mr. de Quincey, in <i>Tate's Mag.</i>, Sept. 1834, p. 514. The +passage in <i>Leibnitz</i> which <ins title="[Greek: Idiôtês]">Ἰδιώτης</ins> requires, is probably +"<i>Opera</i>, i. p. 115. ed. Erdmann."</p> + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + + +<h4><span><i>Early Rain called "Pride of the Morning" </i></span> +<span>(Vol. ii., p. 309.).</span> +</h4> +<p>—In connexion with this I would quote an expression in Keble's <i>Christian +Year</i>, "On the Rainbow," (25th Sun. after Trin.):</p> + + <div class="poem"> <p> "<i>Pride of the</i> dewy <i>Morning</i>!</p> + <p class="i3"> The swain's experienced eye</p> + <p> From thee takes timely warning,</p> + <p class="i3"> Nor trusts else the gorgeous sky."</p> +</div> + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + + +<h4><span><i>The Lost Tribes </i></span> +<span>(Vol. ii., p. 130.).</span> +</h4> +<p>—J<span class="smcap lowercase">ARLTZBERG</span> will find one theory +on this subject in Dr. Asahel Grant's book, <i>The Nestorians; or, the +Lost Tribes</i>, published by Murray; 12mo.</p> + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + +<h4><span><i>"Noli me Tangere" </i></span> +<span>(Vol. ii., pp. 153. 253. 379.).</span> +</h4> +<p>—There is an exquisite criticism upon the treatment of this subject by various +painters, accompanied by an etching from Titian, in that delightful +book, Mrs. Jameson's <i>Sacred and Legendary Art</i>, vol. i. pp 354. 360.; +and to the list of painters who have illustrated this subject, add +<i>Holbein</i>, in the Hampton Court Gallery. (See Mrs. Jameson's <i>Handbook +to the Public Galleries</i>, pp. 172. 353., 1845.)</p> + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + +<h4><span><i>"The Sicilian Vespers" </i></span> +<span>(Vol. ii., p. 166.).</span> +</h4> +<p>—Your correspondent is +referred to <i>The War of the Sicilian Vespers</i>, by Amari, translated by +the Earl of Ellesmere, published very lately by Murray.</p> + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + +<h4><span><i>Antiquity of Smoking </i></span> +<span>(Vol ii., pp. 216. 521.)</span> +</h4> +<p>—C. B. says, alluding to J<span class="smcap lowercase">ARLTZBERG</span>'s references, "there is nothing in Solinus;" I read, however, +in Solinus, cap. xv. (fol. 70. ed. Ald. 1518), under the heading, +"Thracum mores, etc.":</p> + +<p class="blockquot"> "Uterque sexus epulantes focos ambiunt, herbarum quas habent + semine ignibus superjecto. Cujus nidore perculsi pro lætitiâ + habent imitari ebrietatem sensibus sauciatis."</p> + + +<p>J<span class="smcap lowercase">ARLTZBERG</span>'s reference to Herod. i. 36. supplies nothing to the point: +Herod. iv. 2. mentions the use of bone pipes, <ins title="[Greek: physêtêras osteïnous]">φυσητῆρας ὀστεΐνους</ins>, by the Scythians, <i>in milking</i>; but Herodotus (iv. 73. 75.) +describes the orgies of the Scythians, who produced intoxicating fumes +by strewing hemp-seed upon red-hot stones, as the leaves and seed of the +Hasisha al fokara, or hemp-plant, are smoked in the East at the present +day. (See De Sacy, <i>Chrestom. Arabe</i>, vol. ii. p. 155.) Compare also +Plutarch de Fluviis (<i>de Hebro</i>, fr. 3.), who speaks of a plant +resembling Origanum, from which the Thracians procured a stupefying +vapour, by burning the stalks:</p> + + +<p class="blockquot"><ins title="[Greek: +Epititheasi pyri ... kai tên anapheromenên anathymiasin dechomenoi tais anapnoiais, karountai, kai eis bathyn hypnon katapherontai.]">"Ἐπιτιθέασι πυρὶ +... καὶ τὴν ἀναφερομένην + ἀναθυμίασιν δεχόμενοι + ταῖς ἀναπνοίαις, + καροῦνται, καὶ εἰς βαθὺν + ὕπνον καταφέρονται"</ins> [Opera Varia, vol. vi. p. 444. ed. Tauchn.]"</p> + + + <p class="right"> C. P. P<span class="smcap lowercase">H</span>***.</p> + + + +<h4><span><i>Milton and the Calves-Head Club</i></span> +<span> (Vol. iii., p. 390).</span> +</h4> +<p>—Dr. Todd, in his +edition of Milton's <i>Works</i>, in 1809, p. 158., mentions the rumour, +without expressing any opinion of its truth. I think he omits all +mention of it in his subsequent edition in 1826, and therefore hope he +has adopted the prevailing opinion that it is a contemptible libel. In a +note to the former edition is a reference to Kennett's <i>Register</i>, p. +38., and to <i>"Private forms of Prayer fitted for the late sad times," +&c.</i>, 12mo., Lond., 1660, attributed to Dr. Hammond. An anonymous +author, quoting the verbal assurance<span class="pagenum">[485]</span> <a id="of485"></a>of "a certain active Whigg," +would be entitled to little credit in attacking the character of the +living, and ought surely to be scouted when assailing the memory of the +dead. In Lowndes' <i>Bib. Man.</i> it is stated that</p> + +<p class="blockquot">"This miserable trash has been attributed to the author of + Hudibras."</p> + + <p class="right"> J. F. M.</p> + + + +<h4><span><i>Voltaire's Henriade </i></span> +<span>(Vol. iii., p. 388.).</span> +</h4> +<p>—I have two translations of +this poem in English verse, in addition to that mentioned at p. 330., +viz., one in 4to., Anon., London, 1797; and one by Daniel French, 8vo., +London, 1807. The former, which, as I collect from the preface, was +written by a lady and a foreigner, alludes to two previous translations, +one in blank verse (probably Lockman's), and the other in rhyme.</p> + + <p class="right"> J. F. M.</p> + + +<h4><span><i>Petworth Register </i></span> +<span>(Vol. iii., p. 449.).</span> +</h4> +<p>—Your correspondent C. H. +appears to give me too much credit for diligence, in having "searched" +after this document; for in truth I did nothing beyond writing to the +rector of the parish, the Rev. Thomas Sockett. All that I can positively +say as to my letter, is, that it was intended to be courteous; that it +stated my reason for the inquiry; that it contained an apology for the +liberty taken in applying to a stranger; and that Mr. Sockett did not +honour me with any answer. I believe, however, that I asked whether the +register still existed; if so, what was its nature, and over what period +it extended; and whether it had been printed or described in any +antiquarian or topographical book.</p> + +<p>Perhaps some reader may have the means of giving information on these +points; and if he will do so through the medium of your periodical, he +will oblige both C. H. and myself. Or perhaps C. H. may be able to +inquire through some more private channel, in which case I should feel +myself greatly indebted to him if he would have the goodness to let me +know the result.</p> + + <p class="right"> J. C. R<span class="smcap lowercase">OBERTSON</span>.</p> + <p class="left"> Beakesbourne.</p> + + +<h4><span><i>Apple-pie Order</i></span> +<span> (Vol. iii., p. 330.).</span> +</h4> +<p>—The solution of J. H. M. to M<span class="smcap lowercase">R</span>. +S<span class="smcap lowercase">NEAK</span>'s inquiry is not satisfactory. "Alternate layers of sliced pippins +and mutton steaks" might indeed make a pie, but not an apple-pie, +therefore this puzzling phrase must have had some other origin. An +ingenious friend of mine has suggested that it may perhaps be derived +from that expression which we meet with in one of the scenes of +<i>Hamlet</i>, "Cap à pied;" where it means perfectly appointed. The +transition from <i>cap à pied</i>, or "cap à pie," to <i>apple-pie</i>, has rather +a rugged appearance, orthographically, I admit; but the ear soon becomes +accustomed to it in pronunciation.</p> + + <p class="right"> A. N.</p> + +<p class="blockquot"> [M<span class="smcap lowercase">R</span>. R<span class="smcap lowercase">OBERT</span> S<span class="smcap lowercase">NOW</span> and several other correspondents have also + suggested that the origin of the phrase "apple-pie order" is to + be found in the once familiar "cap à pied."]</p> + + + + +<h4><span><i>Durham Sword that killed the Dragon </i></span> +<span>(Vol. iii., p. 425.).</span> +</h4> +<p>—For details +of the tradition, and an engraving of the sword, see Surtees' <i>History +of Durham</i>, vol. iii. pp. 243, 244.</p> + + <p class="right"> W. C. T<span class="smcap lowercase">REVELYAN</span>.</p> + + + + +<h4><span><i>Malentour </i></span> +<span>(Vol. iii., p. 449.)</span> +</h4> +<p>—Your correspondent F. E. M. will find +the word <i>Malentour</i>, or <i>Malæntour</i>, given in Edmondson's <i>Complete +Body of Heraldry</i> as the motto of the family of Patten alias Wansfleet +(<i>sic</i>) of Newington, Middlesex: it is said to be borne on a scroll over +the crest, which is a Tower in flames.</p> + +<p>In the "Book of Mottoes" the motto ascribed to the name of Patten is +<i>Mal au Tour</i>, and the double meaning is suggested, "Misfortune to the +Tower," and "Unskilled in artifice."</p> + +<p>The arms that accompany it in Edmondson are nearly the same as those of +William Pattyn alias Waynflete, Bishop of Winchester and Lord Chancellor +temp. Hen. VI.—the founder of Magdalen College, Oxford.</p> + + <p class="right"> F. C. M.</p> + + + + +<h4><span><i>The Bellman and his History </i></span><span>(Vol. iii., pp. 324. 377.).</span> +</h4> +<p>—Since my +former communication on this subject I have been referred to the cut of +the Bellman and his <i>Dog</i> in Collier's <i>Roxburghe Ballads</i>, p. 59., +taken from the first edition of Dekker's <i>Belman of London</i>, printed in +1608.</p> + + <p class="right"> C. H. C<span class="smcap lowercase">OOPER</span>.</p> + <p class="left"> Cambridge, May 17, 1851.</p> + + + +<h4><span><i>"Geographers on Afric's Downs" </i></span> +<span>(Vol. iii., p. 372.).</span> +</h4> +<p>—Is your +correspondent A. S. correct in his quotation? In a poem of Swift's, "On +Poetry, a Rhapsody," are these lines:—</p> + +<div class="poem"> + <p>"So geographers, in Afric maps</p> + <p>With savage pictures fill their gaps,</p> + <p> And o'er unhabitable downs</p> + <p>Place elephants for want of towns."</p> + + <p class="author"><i>Swift's Works, with Notes by Dr. Hawksworth</i>, 1767, + vol. vii. p, 214.</p> +</div> + +<p class="right"> C. <span class="smcap lowercase">DE</span> D.</p> + + + + +<h4><span><i>"Trepidation talk'd" </i></span> +<span>(Vol. iii., p. 450.).</span> +</h4> +<p>—The words attributed to +Milton are—</p> + + <div class="poem"> <p> "That crystalline sphere whose balance weighs</p> + <p> The trepidation talk'd, and that first moved."</p></div> + +<p>Paterson's comment, quoted by your correspondent, is exquisite: he +evidently thinks there were two trepidations, one <i>talked</i>, the other +<i>first moved</i>.</p> + +<p>The <i>trepidation</i> (not a tremulous, but a turning or oscillating motion) +is a well-known hypothesis added by the Arab astronomers to Ptolemy, in +explanation of the precession of the equinoxes. This precession they +imagined would continue retrograde for a long period, after which it +would be direct for another long period, then retrograde again, and so +on. They, or their European followers, I forget which, invented the +<i>crystal</i> heaven, an apparatus outside of the <i>starry</i> heaven +(these<span class="pagenum">[486]</span> cast-off <a id="phrases486"></a>phrases of astronomy have entered into the +service of poetry, and the <i>empyreal</i> heaven with them), to cause this +slow turning, or trepidation, in the starry heaven. Some used <i>two</i> +crystal heavens, and I suspect that Paterson, having some confused idea +of this, fancied he found them both in Milton's text. I need not say +that your correspondent is quite right in referring the words <i>first +moved</i> to the <i>primum mobile</i>.</p> + +<p>Again, <i>balance</i> in Milton never <i>weighs</i>. <i>Scale</i> is his word (iv. 997. +x. 676.) for a weighing apparatus. Where he says of Satan's army (i. +349.),</p> + + <div class="poem"> <p> "In even balance down they light</p> + <p> On the firm brimstone,"</p></div> + +<p class="noindent">he appears to mean that they were in regular order, with a right wing to +balance the left wing. The direct motion of the crystal heaven, +following and compensating the retrograde one, is the "balance" which +"<i>was</i> the trepidation <i>called</i>;" and this I suspect to be the true +reading. The past tense would be quite accurate, for all the Ptolemaists +of Milton's time had abandoned the <i>trepidation</i>. As the text stands it +is nonsense; even if Milton did <i>dictate</i> it, we know that he never +<i>saw</i> it; and there are several passages of which the obscurity may be +due to his having had to rely on others. Witness the lines in book iv. +995-1002.</p> + + + <p class="right"> M.</p> + + + + +<h4><span><i>Registry of Dissenting Baptisms in Churches </i></span> +<span>(Vol. iii., p. 370.).</span> +</h4> +<p>—I forward extracts from the Registers of the parish of Saint Benedict in +this town relating to the baptism of Dissenters. (Mr. Hussey, mentioned +in several of the entries, was Joseph Hussey, minister of a Dissenting +congregation here from 1691 to 1720. His meeting-house on Hog Hill (now +St. Andrew's Hill) in this town was pillaged by a Jacobite mob, 29th +May, 1716. He died in London in 1726, and was the author of several +works, which are now very scarce.)</p> + +<p class="indh6"> + "1697. October 14<span class="topnum">th</span>. William the Son of Richard + Jardine and Elisabeth his Wife was baptiz'd + in a Private Congregation by Mr. Hussey + in y<span class="topnum">e</span> name of the Father the Son and the + Holy Ghost.</p> + + <p class="i9"> Witnesses, Robert Wilson, + Rich<span class="topnum">d</span>. Jardine.</p> + +<p class="indh6"> "1698. Henery the Son of John and Sarah Shipp + was baptized in a Private Congregation by + Mr. Hussey December 1. + Elisabeth the Daughter of Richard and + Elisabeth Jardine was born y<span class="topnum">e</span> twenty-first + day of January and baptized the second day + of February 1698-9 in a Private Congregation.</p> + +<p class="indh6"> "1700. Walter the Son of Richard and Elisabeth + Jardine born July 23 and said to be baptized + in a Separate Congregation by Mr. + Hussey Aug. 20.</p> +<p class="indh6"> "1701. Elisabeth Daughter of Richard Jardine and + Elisabeth his wife born October 7. and + said to be baptized at a Private Congregation + Novemb. 3<span class="topnum">d</span>.</p> +<p class="indh6">"1702. June 22. Miram the Son of Thomas Short + and Mary his Wife said to be baptized at a + Separate Congregation. + Jane the Daughter of Richard Jardine and + Elizabeth his Wife said to be baptized at a + Separate Congregation Dec. 21.</p> +<p class="indh6"> "1703. John the Son of Alexander Jardine and + Elisabeth his Wife said to be baptized at a + Separate Congregation, Mar. 31.</p> +<p class="indh6"> "1705. Alexander the Son of Alexander Jardine + and ... his Wife was as 'tis said baptized + in a Separate Congregation July 1705.</p> +<p class="indh6"> "1706. John the Son of Alexander Jardine and + Elisabeth his Wife said to be baptized at a + Private Congregation Dec. 11.</p> +<p class="indh6"> "1707. Nov. 11. John the Son of Alexander and + Elis. Jardine was said to be baptized in + Separate Congregation.</p> +<p class="indh6"> "1710. Aug. 23. John y<span class="topnum">e</span> Son of Bryan and Sarah + Ellis was said to have been baptized in + Separate Congregation.</p> +<p class="i9"> Nov. 15. Nath. y<span class="topnum">e</span> Son of Alexander and + Elisa Jardine was said to be baptiz'd in a + Separate Congregation.</p> + + +<p>I have no recollection of having met with similar entries in any other +Parish Register.</p> + + + <p class="right"> C. H. C<span class="smcap lowercase">OOPER</span>.</p> + + +<h4><span><i>Redwing's Nest </i></span> +<span>(Vol. iii., p. 408.).</span> +</h4> +<p>—I think that upon further +consideration C. J. A. will find his egg to be merely that of a +blackbird. While the eggs of some birds are so constant in their +markings that to see one is to know all, others—at the head of which we +may place the sparrow, the gull tribe, the thrush, and the +blackbird—are as remarkable for the curious variety of their markings, +and even of the shades of their colouring. And every schoolboy's +collection will show that these distinctions will occur in the same +nest.</p> + +<p>I also believe that there has been some mistake about the nest, for +though, like the thrush, the blackbird coats the interior of its nest +with mud, &c., it does not, like that bird, leave this coating exposed, +but adds another lining of soft dried grass.</p> + + + <p class="right"> S<span class="smcap lowercase">ELEUCUS</span>.</p> + + + + +<h4><span><i>Champak </i></span> +<span>(Vol. iii., p. 84.).</span> +</h4> +<p>—A correspondent, C. P. P<span class="smcap lowercase">H</span>***., asks +"What is Champak?" He will find a full description of the plant in Sir +William Jones's "Botanical Observations on Select Indian Plants," vol. +v. pp. 128-30. <i>Works</i>, ed. 1807. In speaking of it, he says:</p> + + +<p class="blockquot">"The strong aromatic scent of the gold-coloured Champac is + thought offensive to the bees, who are never seen on its + blossoms; but their elegant appearance on the black hair of the + Indian women is mentioned by Rumphius; and both facts have + supplied the Sanscrit poets with elegant allusions." +</p> + + + <p class="right"> D.<a id="Sanscrit487"></a> C.<span class="pagenum">[487]</span></p> + + + + + + +<h2><span class="bla">Miscellaneous.</span></h2> + + +<h3><span>NOTES ON BOOKS, SALES, CATALOGUES, ETC.</span></h3> + +<p>The first volume issued to the members of the Camden Society in return +for the present year's subscription affords in more than one way +evidence of the utility of that Society. It is an account <i>of Moneys +received and paid for Secret Services of Charles II. and James II.</i>, and +is edited by Mr. Akerman from a MS. in the possession of William Selby +Lowndes, Esq. Of the value of the book as materials towards illustrating +the history of the period over which the payments extend, namely from +March 1679 to December 1688, there can be as little doubt, as there can +be that but for the Camden Society it never could have been published. +As a publishing speculation it could not have tempted any bookseller; +even if its owner would have consented to its being so given to the +world: and yet that in the simple entries of payments to the Duchess of +Portsmouth, to "Mrs. Ellinor Gwynne," to "Titus Oates," to the +Pendrells, &c., will be found much to throw light upon many obscure +passages of this eventful period of our national history, it is probable +that future editions of Mr. Macaulay's brilliant narrative of it will +afford ample proof.</p> + +<p><i>The Antiquarian Etching Club</i>, which was instituted two or three years +since for the purpose of rescuing from oblivion, and preserving by means +of the graver, objects of antiquarian interest, has just issued the +first part of its publications for 1851. This contains twenty-one plates +of various degrees of merit, but all of great interest to the antiquary, +who looks rather for fidelity of representation than for artistic +effect.</p> + +<p>C<span class="smcap lowercase">ATALOGUES</span> R<span class="smcap lowercase">ECEIVED</span>.—G. Bumstead's (205. High Holborn), Catalogue, Part +LI., containing many singularly Curious Books; James Darling's (Great +Queen Street, Lincoln's Inn Fields) Catalogue, Part 49. of Books chiefly +Theological.</p> + + +<h3><span>BOOKS AND ODD VOLUMES<br /> +WANTED TO PURCHASE.</span> +</h3> + +<ul> +<li> A<span class="smcap lowercase">LBERT</span> L<span class="smcap lowercase">UNEL</span>, a Novel in 3 Vols.</li> + +<li> D<span class="smcap lowercase">R</span>. A<span class="smcap lowercase">DAMS</span>' + S<span class="smcap lowercase">ERMON ON THE </span>O<span class="smcap lowercase">BLIGATION OF</span> + V<span class="smcap lowercase">IRTUE</span>. Any edition.</li> + +<li> E<span class="smcap lowercase">NGRAVED</span> P<span class="smcap lowercase">ORTRAITS OF</span> B<span class="smcap lowercase">ISHOP</span> B<span class="smcap lowercase">UTLER</span>.</li> + +<li> R<span class="smcap lowercase">ETROSPECTIVE</span> R<span class="smcap lowercase">EVIEW</span>. Vol. IV.</li> + +<li> D<span class="smcap lowercase">ENS</span>' T<span class="smcap lowercase">HEOLOGIA</span> M<span class="smcap lowercase">ORALIS ET</span> D<span class="smcap lowercase">OGMATICA</span>. 8 Vols. 12mo. Dublin, 1832.</li> + +<li> M<span class="smcap lowercase">ARLBOROUGH</span> D<span class="smcap lowercase">ISPATCHES</span>. Volumes IV. and V.</li> + +<li> A<span class="smcap lowercase">RT</span> J<span class="smcap lowercase">OURNAL</span>. 1839 to 1844 inclusive. Also 1849.</li> + +<li> B<span class="smcap lowercase">ULWER'S</span> N<span class="smcap lowercase">OVELS</span>. 12mo. Published + at 6<i>s.</i> per Vol. Pilgrims of the Rhine, Alice, and Zanoni.</li> + +<li> S<span class="smcap lowercase">TEPHANI</span> T<span class="smcap lowercase">HESAURUS</span>. Valpy. Parts I. II. X. XI. and XXIX.</li> + +<li> K<span class="smcap lowercase">IRBY'S</span> B<span class="smcap lowercase">RIDGEWATER</span> T<span class="smcap lowercase">REATISE</span>. 2 Vols.</li> + +<li> The <i>Second Vol.</i> of C<span class="smcap lowercase">HAMBER'S</span> C<span class="smcap lowercase">YCLOPÆDIA OF</span> E<span class="smcap lowercase">NGLISH</span> L<span class="smcap lowercase">ITERATURE</span>.</li> + +<li> M<span class="smcap lowercase">ITFORD'S</span> H<span class="smcap lowercase">ISTORY OF</span> + G<span class="smcap lowercase">REECE</span>, continued by Davenport. 12mo. 8 Vols. Published by Tegg and + Son, 1835. Volume <i>Eight</i> wanted.</li> + +<li> L'A<span class="smcap lowercase">BBÉ DE</span> S<span class="smcap lowercase">AINT</span> + P<span class="smcap lowercase">IERRE</span>, P<span class="smcap lowercase">ROJET DE</span> + P<span class="smcap lowercase">AIX</span> P<span class="smcap lowercase">ERPETUELLE</span>. 3 Vols. 12mo. Utrecht, 1713.</li> + +<li> A<span class="smcap lowercase">IKIN'S</span> S<span class="smcap lowercase">ELECT</span> + W<span class="smcap lowercase">ORKS OF THE</span> B<span class="smcap lowercase">RITISH</span> + P<span class="smcap lowercase">OETS</span>. 10 Vols. 24mo. Published by Longmans and Co. 1821. Vols. I. V. and VIII. wanted.</li> + +<li> C<span class="smcap lowercase">AXTON'S</span> R<span class="smcap lowercase">EYNARD THE</span> + F<span class="smcap lowercase">OX</span> (Percy Society Edition). Sm. 8vo. 1844.</li> + +<li> C<span class="smcap lowercase">RESPET</span>, P<span class="smcap lowercase">ERE</span>. Deux Livres de la Haine de + Satan et des Malins Esprits contre l'Homme. 8vo. Francfort, 1581.</li> + +<li> C<span class="smcap lowercase">HEVALIER</span> R<span class="smcap lowercase">AMSAY</span>, + E<span class="smcap lowercase">SSAI DE</span> P<span class="smcap lowercase">OLITIQUE</span>, où l'on traite de la Nécessité, + de l'Origine, des Droits, des Bornes et des différentes Formes de la Souveraineté, selon les Principes de l'Auteur + de Télémaque. 2 Vols. 12mo. La Haye, without date, but printed in 1719.</li> + +<li> The same. Second Edition, under the title "Essai Philosophique sur le Gouvernement Civil, selon les Principes de Fénélon," 12mo. + Londres, 1721.</li> + +<li> T<span class="smcap lowercase">HE</span> C<span class="smcap lowercase">RY OF THE</span> + O<span class="smcap lowercase">PPRESSED</span>, being a True and Tragical Account of the unparalleled Sufferings + of Multitudes of Poor Imprisoned Debtors, &c. London, 1691. 12mo.</li> + +<li> M<span class="smcap lowercase">ARKHAM'S</span> H<span class="smcap lowercase">ISTORY OF</span> + F<span class="smcap lowercase">RANCE</span>. Vol II. 1830.</li> + +<li> M<span class="smcap lowercase">ARKHAM'S</span> H<span class="smcap lowercase">ISTORY OF </span> + E<span class="smcap lowercase">NGLAND</span>. Vol. II. 1836. Sixth Edition.</li> + +<li> J<span class="smcap lowercase">AMES'S</span> N<span class="smcap lowercase">AVAL</span> + H<span class="smcap lowercase">ISTORY</span>. (6 Vols. 8vo.) 1822-4. Vol. VI.</li> + +<li> H<span class="smcap lowercase">UME'S</span> H<span class="smcap lowercase">ISTORY OF</span> + E<span class="smcap lowercase">NGLAND</span>. (8 Vols. 1818.) Vol. IV.</li> + +<li> R<span class="smcap lowercase">USSELL'S</span> E<span class="smcap lowercase">UROPE FROM THE</span> + P<span class="smcap lowercase">EACE OF</span> U<span class="smcap lowercase">TRECHT</span>. 4to. 1824 Vol. II.</li></ul> + + +<p class="indh6"><span class="topnum">*</span><span class="botnum">*</span><span class="topnum">*</span> Letters, stating particulars and lowest price, + <i>carriage free</i>, to be sent to M<span class="smcap lowercase">R</span>. B<span class="smcap lowercase">ELL</span>, Publisher of "NOTES AND + QUERIES," 186. Fleet <a id="Notices_to_C471"></a>Street.</p> + + + + +<h3><span>NOTICES TO CORRESPONDENTS.</span></h3> + + +<p>A<span class="smcap lowercase">N</span> M. D. <i>We cannot say whether the Queries referred to by our +correspondent have been received, unless he informs us to what subjects +they related.</i></p> + +<p>C. P. P<span class="smcap lowercase">H</span>*** <i>is thanked for his corrigenda to</i> Vol. I.</p> + +<p>H. E. <i>The proper reading of the line referred to, which is from Nat. +Lee's</i> Alexander the Great, <i>is</i>,—</p> + + + <div class="poem"><p> "When Greeks joined Greeks, then was the tug of war."</p> +</div> + +<p><i>See</i> "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>" No. 14. Vol. I., p. 211.</p> + +<p>S<span class="smcap lowercase">ILENUS</span>. <i>The oft quoted lines</i>,—</p> + + + <div class="poem"><p>"He that fights and runs away," &c.,</p> +</div> + + +<p><i>by Sir John Menzies, have already been fully illustrated in our +columns. See</i> Vol. I., pp. 177. 203. 210.; <i>and</i> Vol. II., p. 3.</p> + +<p>T<span class="smcap lowercase">HE</span> T<span class="smcap lowercase">RADESCANTS</span>. <i>In</i> C. C. R.'s <i>communication respecting this family</i>, +No. 84. p. 469., <i>for</i> "-<i>a</i>pham" <i>and</i> "Me<i>a</i>pham" read "-<i>o</i>pham" +<i>and</i> "Me<i>o</i>pham."</p> + +<p>C<span class="smcap lowercase">IRCULATION OF OUR</span> P<span class="smcap lowercase">ROSPECTUSES BY </span>C<span class="smcap lowercase">ORRESPONDENTS</span>. <i>The suggestion of</i> +T. E. H., <i>that by way of hastening the period when we shall be +justified in permanently enlarging our Paper to 24 pages, we should +forward copies of our</i> P<span class="smcap lowercase">ROSPECTUS</span> <i>to correspondents who would kindly +enclose them to such friends as they think likely, from their love of +literature, to become subscribers to</i> "N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span>," <i>has already +been acted upon by several friendly correspondents, to whom we are +greatly indebted. We shall be most happy to forward Prospectuses for +this purpose to any other of our friends able and willing thus to assist +towards increasing our circulation.</i></p> + +<p>R<span class="smcap lowercase">EPLIES</span> R<span class="smcap lowercase">ECEIVED</span>.—<i>Trepidation talked—Carling Sunday—To learn by +Heart—Abel represented with Horns—Moore's Almanack—Dutch +Literature—Prenzie—Pope Joan—Death—Gillingham—Lines on the +Temple—Champac—Children at a Birth—Mark for a Dollar—Window +Tax—Tradescants—Banks Family—A regular Mull—Theory of the Earth's +Form—Heronsewes—Verse Lyon—Brittanicus—By the Bye—Baldrocks—A +Kemble Pipe—Republic of San Marino—Mythology of the Stars.</i></p> + +<p>V<span class="smcap lowercase">OLS</span>. I. <i>and</i> II., <i>each with very copious Index, may still be had, +price 9s. 6d. each.</i></p> + +<p>N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span> <i>may be procured, by order, of all Booksellers and +Newsvenders. It is published at noon on Friday, so that our country +Subscribers ought not to experience any difficulty in procuring it +regularly. Many of the country Booksellers, &c., are, probably, not yet +aware of this arrangement, which will enable them to receive</i> N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span> <i>in their Saturday parcels.</i></p> + +<p><i>All communications for the Editor of</i> N<span class="smcap lowercase">OTES AND</span> Q<span class="smcap lowercase">UERIES</span> <i>should be +addressed to the care of</i> M<span class="smcap lowercase">R</span>. B<span class="smcap lowercase">ELL</span>, No. 186. Fleet Street.</p> + + + + + + + +<div class="boxad"> +<p class="indh">Just published, in One handsome Volume, 8vo., profusely illustrated with +Engravings by J<span class="smcap lowercase">EWITT</span>, price One Guinea,</p> + +<p class="cap">SOME ACCOUNT OF DOMESTIC ARCHITECTURE IN ENGLAND, from the CONQUEST to +the END of the THIRTEENTH CENTURY, with numerous Illustrations of +Existing Remains from Original Drawings. Interspersed with some Notices +of Domestic Manners during the same Period. By T. H<span class="smcap lowercase">UDSON</span> T<span class="smcap lowercase">URNER</span>.</p> + + + <p class="center"> Oxford: JOHN HENRY PARKER; and 377. Strand, London.</p> + +</div> + + +<div class="boxad"> +<p class="center1">THE</p> +<p class="center2"> LANSDOWNE SHAKSPEARE.</p> + +<p class="center">On July 1st will be published, Part I., price 4s.,</p> + +<p class="center">To be completed in Four Monthly Parts, to form one Handsome Volume, +crown 8vo.</p> + +<p>This beautiful and unique edition of Shakspeare will be produced under +the immediate and auspicious encouragement of the Most Noble the Marquis +of Lansdowne.</p> + +<p>It is anticipated that its triumph as a Specimen of the Art of Printing +will only be exceeded by the facility and clearness which the new +arrangement of the text will afford in reading the works of "the +mightiest of intellectual painters." Its portability will render it as +available for travelling, as its beauty will render it an ornament to +the drawing-room.</p> + +<p>Every care has been taken to render the text the most perfect yet +produced. The various folios and older editions, together with the +modern ones of Johnson, Steevens, Malone, Boswell, Knight, and Collier +(also Dyce's Remarks on the two latter), have been carefully compared +and numerous errors corrected.</p> + +<p>The Portrait, after Droeshout, will be engraved by H. ROBINSON in his +first style.</p> + + + <p class="center"> London: W<span class="smcap lowercase">ILLIAM</span> W<span class="smcap lowercase">HITE</span>, Pall Mall; and to be obtained of all Booksellers. +</p> + +</div> + +<div class="boxad"> +<p class="cap">NIMROUD OBELISK.—A reduced <i>Model</i> of this interesting Obelisk is just +published, having the Cuneiform Writing, and five rows of figures on +each side, carefully copied from that sent by Dr. Layard to the British +Museum. The Model is in Black Marble, like the original, and stands +twenty inches high. <i>Mr. Tennant</i>, 149. Strand, London, will be happy to +show a copy, and receive Subscribers' names. He has also Models of +several Egyptian Obelisks.</p> +</div> + + +<div class="boxad"> +<p class="center">Price 2<i>s.</i> 6<i>d.</i>; by Post 3<i>s.</i></p> + +<p class="cap">ILLUSTRATIONS AND ENQUIRIES RELATING To Mesmerism. Part I. By the R<span class="smcap lowercase">EV</span>. +S. R. M<span class="smcap lowercase">AITLAND</span>, DD. F.R.S. F.S.A. Sometime Librarian to the late +Archbishop of Canterbury, and Keeper of the MSS. at Lambeth.</p> + + +<p class="blockquot"> "One of the most valuable and interesting pamphlets we ever + read."—<i>Morning Herald.</i></p> + +<p class="blockquot">"This publication, which promises to be the commencement of a + larger work, will well repay serious perusal."—<i>Ir. Eccl. + Journ.</i></p> + +<p class="blockquot"> "A small pamphlet in which he throws a startling light on the + practices of modern Mesmerism."—<i>Nottingham Journal.</i></p> + +<p class="blockquot">"Dr. Maitland, we consider, has here brought Mesmerism to the + 'touchstone of truth,' to the test of the standard of right or + wrong. We thank him for this first instalment of his inquiry, and + hope that he will not long delay the remaining + portions."—<i>London Medical Gazette.</i></p> + +<p class="blockquot">"The Enquiries are extremely curious, we should indeed say + important. That relating to the Witch of Endor is one of the most + successful we ever read. We cannot enter into particulars in this + brief notice; but we would strongly recommend the pamphlet even + to those who care nothing about Mesmerism, or <i>angry</i> (for it has + come to this at last) with the subject."—<i>Dublin Evening Post.</i></p> + +<p class="blockquot">"We recommend its general perusal as being really an endeavour, + by one whose position gives him the best facilities, to ascertain + the genuine character of Mesmerism, which is so much + disputed.—<i>Woolmer's Exeter Gazette.</i></p> + +<p class="blockquot">"Dr. Maitland has bestowed a vast deal of attention on the + subject for many years past, and the present pamphlet is in part + the result of his thoughts and inquiries. There is a good deal in + it which we should have been glad to quote ... but we content + ourselves with referring our readers to the pamphlet + itself."—<i>Brit. Mag.</i></p> + + +<p class="center"> W. S<span class="smcap lowercase">TEPHENSON</span>, 12. and 13. Parliament Street. +</p> +</div> + +<div class="boxad"> + +<p class="center">Next week, Volumes III. and IV. of</p> + +<p class="cap">THE JUDGES OF ENGLAND. By E<span class="smcap lowercase">DWARD</span> F<span class="smcap lowercase">OSS</span>, F.S.A. Comprehending the period +from Edward I. to Richard III., 1272 to 1485.</p> + +<p class="center">Lately published, price 28<i>s.</i></p> + +<p>V<span class="smcap lowercase">OLUMES</span> I. and II. of the same Work; from the Conquest to the end of +Henry III., 1066 to 1272.</p> + + +<p class="blockquot">"A work in which a subject of great historical importance is + treated with the care, diligence, and learning it deserves; in + which Mr. Foss has brought to light many points previously + unknown, corrected many errors, and shown such ample knowledge of + his subject as to conduct it successfully through all the + intricacies of a difficult investigation; and such taste and + judgment as will enable him to quit, when occasion requires, the + dry details of a professional inquiry, and to impart to his work + as he proceeds, the grace and dignity of a philosophical + history."—<i>Gent. Mag.</i></p> + + <p class="center"> London: L<span class="smcap lowercase">ONGMAN</span>, B<span class="smcap lowercase">ROWN</span>, G<span class="smcap lowercase">REEN</span>, and L<span class="smcap lowercase">ONGMANS</span>. +</p> +</div> + + +<div class="boxad"> +<p class="center">Just published, with Twelve Engravings, and Seven Woodcuts royal 8vo. +10<i>s.</i>, cloth,</p> + +<p class="cap">THE SEVEN PERIODS OF ENGLISH ARCHITECTURE + DEFINED AND ILLUSTRATED. An +Elementary Work, affording at a single glance a comprehensive view of +the History of English Architecture, from the Heptarchy to the +Reformation. By E<span class="smcap lowercase">DMUND</span> S<span class="smcap lowercase">HARPE</span>, M.A., Architect. +</p> + +<p class="blockquot">"Mr. Sharpe's reasons for advocating changes in the nomenclature + of Rickman are worthy of attention, coming from an author who has + entered very deeply into the analysis of Gothic architecture, and + who has, in his 'Architectural Parallels,' followed a method of + demonstration which has the highest possible + value."—<i>Architectural Quarterly Review.</i></p> + +<p class="blockquot"> "The author of one of the noblest architectural works of modern + times. His 'Architectural Parallels' are worthy of the best days + of art, and show care and knowledge of no common kind. All his + lesser works have been marked in their degree by the same careful + and honest spirit. His attempt to discriminate our architecture + into periods and assign to it a new nomenclature, is therefore + entitled to considerable respect."—<i>Guardian.</i></p> + + + <p class="center"> London: G<span class="smcap lowercase">EORGE</span> B<span class="smcap lowercase">ELL</span>, 186. Fleet Street. +</p> +</div> + + +<div class="boxad"> +<p class="center">Now ready, price 5<i>s.</i> illustrated, No. I. of</p> + +<p class="cap larger">THE ARCHITECTURAL QUARTERLY</p> +<p>REVIEW.</p> + +<p class="center1">CONTENTS.</p> + + +<ul> +<li>Introductory Address to our Readers.</li> +<li>The Great Exhibition and its Influence upon Architecture.</li> +<li>Design in Ecclesiastical Architecture.</li> +<li>Museums at Home and Abroad.</li> +<li>Ruskin and "The Stones of Venice."</li> +<li>Architectural Nomenclature and Classification.</li> +<li>Domestic Gothic Architecture in Germany.</li> +<li>Inventors and Authorship in relation to Architecture.</li> +<li>Assyrian Architecture.</li> +<li>N<span class="smcap lowercase">OTICES OF</span> N<span class="smcap lowercase">EW</span> B<span class="smcap lowercase">OOKS</span>.</li> +<li>Classified List of Books recently published.</li> +<li>R<span class="smcap lowercase">ETROSPECTIVE</span> R<span class="smcap lowercase">EVIEW</span>:—Chevreul on Colour.</li> +<li>B<span class="smcap lowercase">UILDINGS AND</span> F<span class="smcap lowercase">URNITURE</span>.</li> +<li>N<span class="smcap lowercase">EW</span> I<span class="smcap lowercase">NVENTIONS</span>:—Machinery, Tools, and Instruments.—Materials, +and Contrivances; Self-acting Dust-shoot Door; Removal of Smoke +by Sewers, &c. &c.—Patents and Designs registered, &c. &c.</li> +</ul> + + <p class="center">G<span class="smcap lowercase">EORGE</span> B<span class="smcap lowercase">ELL</span>, 186. Fleet Street.</p> +</div> + + +<div class="boxad"> +<p class="center">Just published, No. IX., imperial 4to., price 2<i>s.</i> 6<i>d.</i></p> + +<p class="cap">DETAILS OF GOTHIC ARCHITECTURE, measured and drawn from existing +Examples by J. K. C<span class="smcap lowercase">OLLING</span>, Architect. Continued Monthly. +</p> +<p class="center"><span class="smcap lowercase">CONTENTS</span>.</p> + + +<ul> +<li> Arches from Leverington Church, Cambridgeshire.</li> +<li> Details of ditto.</li> +<li> Tracery and Details from Altar Screen, Beverley Minster.</li> +<li> Parapet and Basement from St. Mary's Church, Beverley.</li> +<li> Seven Examples of Key Plates.</li> +</ul> + + + <p class="center"> London: G<span class="smcap lowercase">EORGE</span> B<span class="smcap lowercase">ELL</span>, 186. Fleet Street. +</p> +</div> + + + +<p>Printed by T<span class="smcap lowercase">HOMAS</span> C<span class="smcap lowercase">LARK</span> S<span class="smcap lowercase">HAW</span>, of No. 8. New Street Square, at No. 5. New +Street Square, in the Parish of St. Bride in the City of London; and +published by G<span class="smcap lowercase">EORGE</span> B<span class="smcap lowercase">ELL</span>, of No. 186. Fleet Street, in the Parish of St. +Dunstan in the West, in the City of London, Publisher, at No. 186. Fleet +Street aforesaid.—Saturday, June 14, 1851.</p> + +<div class="tnbox"> +<p>Transcriber's Note: Original spelling varieties have not been standardized.</p> + +<p><a id="pageslist1"></a><a title="Return to top" href="#was_added1"> Pages + in "Notes & Queries", Vol. I-III</a> </p> + + + +<table border="1" summary="Notes & Queries on PG"> +<tr><td class="tdleft">Vol. I, pp. 1-17</td><td class="tdleft">Number 1. November 3, 1849</td><td class="tdleft">PG ebook #8603</td></tr> +<tr><td class="tdleft">Vol. I, pp. 18-32</td><td class="tdleft">Number 2. November 10, 1849</td><td class="tdleft">PG ebook #11265</td></tr> +<tr><td class="tdleft">Vol. I, pp. 33-46</td><td class="tdleft">Number 3. November 17, 1849</td><td class="tdleft">PG ebook #11577</td></tr> +<tr><td class="tdleft">Vol. I, pp. 49-63</td><td class="tdleft">Number 4. November 24, 1849</td><td class="tdleft">PG ebook #13513</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 65-80</td><td class="tdleft">Number 5. December 1, 1849</td><td class="tdleft">PG ebook #11636</td></tr> +<tr><td class="tdleft">Vol. I, pp. 81-95</td><td class="tdleft">Number 6. December 8, 1849</td><td class="tdleft">PG ebook #13550</td></tr> +<tr><td class="tdleft">Vol. I, pp. 97-112</td><td class="tdleft">Number 7. December 15, 1849</td><td class="tdleft">PG ebook #11651</td></tr> +<tr><td class="tdleft">Vol. I, pp. 113-128</td><td class="tdleft">Number 8. December 22, 1849</td><td class="tdleft">PG ebook #11652</td></tr> +<tr><td class="tdleft">Vol. I, pp. 130-144</td><td class="tdleft">Number 9. December 29, 1849</td><td class="tdleft">PG ebook #13521</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 145-160</td><td class="tdleft">Number 10. January 5, 1850</td><td class="tdleft">PG ebook #xx</td></tr> +<tr><td class="tdleft">Vol. I, pp. 161-176</td><td class="tdleft">Number 11. January 12, 1850</td><td class="tdleft">PG ebook #11653</td></tr> +<tr><td class="tdleft">Vol. I, pp. 177-192</td><td class="tdleft">Number 12. January 19, 1850</td><td class="tdleft">PG ebook #11575</td></tr> +<tr><td class="tdleft">Vol. I, pp. 193-208</td><td class="tdleft">Number 13. January 26, 1850</td><td class="tdleft">PG ebook #11707</td></tr> +<tr><td class="tdleft">Vol. I, pp. 209-224</td><td class="tdleft">Number 14. February 2, 1850</td><td class="tdleft">PG ebook #13558</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 225-238</td><td class="tdleft">Number 15. February 9, 1850</td><td class="tdleft">PG ebook #11929</td></tr> +<tr><td class="tdleft">Vol. I, pp. 241-256</td><td class="tdleft">Number 16. February 16, 1850</td><td class="tdleft">PG ebook #16193</td></tr> +<tr><td class="tdleft">Vol. I, pp. 257-271</td><td class="tdleft">Number 17. February 23, 1850</td><td class="tdleft">PG ebook #12018</td></tr> +<tr><td class="tdleft">Vol. I, pp. 273-288</td><td class="tdleft">Number 18. March 2, 1850</td><td class="tdleft">PG ebook #13544</td></tr> +<tr><td class="tdleft">Vol. I, pp. 289-309</td><td class="tdleft">Number 19. March 9, 1850</td><td class="tdleft">PG ebook #13638</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 313-328</td><td class="tdleft">Number 20. March 16, 1850</td><td class="tdleft">PG ebook #16409</td></tr> +<tr><td class="tdleft">Vol. I, pp. 329-343</td><td class="tdleft">Number 21. March 23, 1850</td><td class="tdleft">PG ebook #11958</td></tr> +<tr><td class="tdleft">Vol. I, pp. 345-359</td><td class="tdleft">Number 22. March 30, 1850</td><td class="tdleft">PG ebook #12198</td></tr> +<tr><td class="tdleft">Vol. I, pp. 361-376</td><td class="tdleft">Number 23. April 6, 1850</td><td class="tdleft">PG ebook #12505</td></tr> +<tr><td class="tdleft">Vol. I, pp. 377-392</td><td class="tdleft">Number 24. April 13, 1850</td><td class="tdleft">PG ebook #13925</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 393-408</td><td class="tdleft">Number 25. April 20, 1850</td><td class="tdleft">PG ebook #13747</td></tr> +<tr><td class="tdleft">Vol. I, pp. 409-423</td><td class="tdleft">Number 26. April 27, 1850</td><td class="tdleft">PG ebook #13822</td></tr> +<tr><td class="tdleft">Vol. I, pp. 425-447</td><td class="tdleft">Number 27. May 4, 1850</td><td class="tdleft">PG ebook #13712</td></tr> +<tr><td class="tdleft">Vol. I, pp. 449-463</td><td class="tdleft">Number 28. May 11, 1850</td><td class="tdleft">PG ebook #13684</td></tr> +<tr><td class="tdleft">Vol. I, pp. 465-479</td><td class="tdleft">Number 29. May 18, 1850</td><td class="tdleft">PG ebook #15197</td></tr> + +<tr><td class="tdleft">Vol. I, pp. 481-495</td><td class="tdleft">Number 30. May 25, 1850</td><td class="tdleft">PG ebook #13713</td></tr> +<tr><td class="tdleft">Vol. II, pp. 1-15</td><td class="tdleft">Number 31. June 1, 1850</td><td class="tdleft">PG ebook #12589</td></tr> +<tr><td class="tdleft">Vol. II, pp. 17-32</td><td class="tdleft">Number 32. June 8, 1850</td><td class="tdleft">PG ebook #15996</td></tr> +<tr><td class="tdleft">Vol. II, pp. 33-48</td><td class="tdleft">Number 33. June 15, 1850</td><td class="tdleft">PG ebook #26121</td></tr> +<tr><td class="tdleft">Vol. II, pp. 49-64</td><td class="tdleft">Number 34. June 22, 1850</td><td class="tdleft">PG ebook #22127</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 65-79</td><td class="tdleft">Number 35. June 29, 1850</td><td class="tdleft">PG ebook #22126</td></tr> +<tr><td class="tdleft">Vol. II, pp. 81-96</td><td class="tdleft">Number 36. July 6, 1850</td><td class="tdleft">PG ebook #13361</td></tr> +<tr><td class="tdleft">Vol. II, pp. 97-112</td><td class="tdleft">Number 37. July 13, 1850</td><td class="tdleft">PG ebook #13729</td></tr> +<tr><td class="tdleft">Vol. II, pp. 113-128</td><td class="tdleft">Number 38. July 20, 1850</td><td class="tdleft">PG ebook #13362</td></tr> +<tr><td class="tdleft">Vol. II, pp. 129-143</td><td class="tdleft">Number 39. July 27, 1850</td><td class="tdleft">PG ebook #13736</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 145-159</td><td class="tdleft">Number 40. August 3, 1850</td><td class="tdleft">PG ebook #13389</td></tr> +<tr><td class="tdleft">Vol. II, pp. 161-176</td><td class="tdleft">Number 41. August 10, 1850</td><td class="tdleft">PG ebook #13393</td></tr> +<tr><td class="tdleft">Vol. II, pp. 177-191</td><td class="tdleft">Number 42. August 17, 1850</td><td class="tdleft">PG ebook #13411</td></tr> +<tr><td class="tdleft">Vol. II, pp. 193-207</td><td class="tdleft">Number 43. August 24, 1850</td><td class="tdleft">PG ebook #13406</td></tr> +<tr><td class="tdleft">Vol. II, pp. 209-223</td><td class="tdleft">Number 44. August 31, 1850</td><td class="tdleft">PG ebook #13426</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 225-240</td><td class="tdleft">Number 45. September 7, 1850</td><td class="tdleft">PG ebook #13427</td></tr> +<tr><td class="tdleft">Vol. II, pp. 241-256</td><td class="tdleft">Number 46. September 14, 1850</td><td class="tdleft">PG ebook #13462</td></tr> +<tr><td class="tdleft">Vol. II, pp. 257-272</td><td class="tdleft">Number 47. September 21, 1850</td><td class="tdleft">PG ebook #13936</td></tr> +<tr><td class="tdleft">Vol. II, pp. 273-288</td><td class="tdleft">Number 48. September 28, 1850</td><td class="tdleft">PG ebook #13463</td></tr> +<tr><td class="tdleft">Vol. II, pp. 289-304</td><td class="tdleft">Number 49. October 5, 1850</td><td class="tdleft">PG ebook #13480</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 305-320</td><td class="tdleft">Number 50. October 12, 1850</td><td class="tdleft">PG ebook #13551</td></tr> +<tr><td class="tdleft">Vol. II, pp. 321-351</td><td class="tdleft">Number 51. October 19, 1850</td><td class="tdleft">PG ebook #15232</td></tr> +<tr><td class="tdleft">Vol. II, pp. 353-367</td><td class="tdleft">Number 52. October 26, 1850</td><td class="tdleft">PG ebook #22624</td></tr> +<tr><td class="tdleft">Vol. II, pp. 369-383</td><td class="tdleft">Number 5. November 2, 1850</td><td class="tdleft">PG ebook #13540</td></tr> +<tr><td class="tdleft">Vol. II, pp. 385-399</td><td class="tdleft">Number 54. November 9, 1850</td><td class="tdleft">PG ebook #22138</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 401-415</td><td class="tdleft">Number 55. November 16, 1850</td><td class="tdleft">PG ebook #15216</td></tr> +<tr><td class="tdleft">Vol. II, pp. 417-431</td><td class="tdleft">Number 56. November 23, 1850</td><td class="tdleft">PG ebook #15354</td></tr> +<tr><td class="tdleft">Vol. II, pp. 433-454</td><td class="tdleft">Number 57. November 30, 1850</td><td class="tdleft">PG ebook #15405</td></tr> +<tr><td class="tdleft">Vol. II, pp. 457-470</td><td class="tdleft">Number 58. December 7, 1850</td><td class="tdleft">PG ebook #21503</td></tr> +<tr><td class="tdleft">Vol. II, pp. 473-486</td><td class="tdleft">Number 59. December 14, 1850</td><td class="tdleft">PG ebook #15427</td></tr> + +<tr><td class="tdleft">Vol. II, pp. 489-502</td><td class="tdleft">Number 60. December 21, 1850</td><td class="tdleft">PG ebook #24803</td></tr> +<tr><td class="tdleft">Vol. II, pp. 505-524</td><td class="tdleft">Number 61. December 28, 1850</td><td class="tdleft">PG ebook #16404</td></tr> +<tr><td class="tdleft">Vol. III, pp. 1-15</td><td class="tdleft">Number 62. January 4, 1851</td><td class="tdleft">PG ebook #15638</td></tr> +<tr><td class="tdleft">Vol. III, pp. 17-31</td><td class="tdleft">Number 63.January 11, 1851</td><td class="tdleft">PG ebook #15639</td></tr> +<tr><td class="tdleft">Vol. III, pp. 33-47</td><td class="tdleft">Number 64.January 18, 1851</td><td class="tdleft">PG ebook #15640</td></tr> + +<tr><td class="tdleft">Vol. III, pp. 49-78</td><td class="tdleft">Number 65.January 25, 1851</td><td class="tdleft">PG ebook #15641</td></tr> +<tr><td class="tdleft">Vol. III, pp. 81-95</td><td class="tdleft">Number 66.February 1, 1851</td><td class="tdleft">PG ebook #22339</td></tr> +<tr><td class="tdleft">Vol. III, pp. 97-111</td><td class="tdleft">Number 67.February 8, 1851</td><td class="tdleft">PG ebook #22625</td></tr> +<tr><td class="tdleft">Vol. III, pp. 113-127</td><td class="tdleft">Number 68.February 15, 1851</td><td class="tdleft">PG ebook #22639</td></tr> +<tr><td class="tdleft">Vol. III, pp. 129-159</td><td class="tdleft">Number 69.February 22, 1851</td><td class="tdleft">PG ebook #23027</td></tr> + +<tr><td class="tdleft">Vol. III, pp. 161-174</td><td class="tdleft">Number 70. March 1, 1851</td><td class="tdleft">PG ebook #23204</td></tr> +<tr><td class="tdleft">Vol. III, pp. 177-200</td><td class="tdleft">Number 71. March 8, 1851</td><td class="tdleft">PG ebook #23205</td></tr> +<tr><td class="tdleft">Vol. III, pp. 201-215</td><td class="tdleft">Number 72. March 15, 1851</td><td class="tdleft">PG ebook #23212</td></tr> +<tr><td class="tdleft">Vol. III, pp. 217-231</td><td class="tdleft">Number 73. March 22, 1851</td><td class="tdleft">PG ebook #23225</td></tr> +<tr><td class="tdleft">Vol. III, pp. 233-255</td><td class="tdleft">Number 74. March 29, 1851</td><td class="tdleft">PG ebook #23282</td></tr> + +<tr><td class="tdleft">Vol. III, pp. 257-271</td><td class="tdleft">Number 75. April 5, 1851</td><td class="tdleft">PG ebook #23402</td></tr> +<tr><td class="tdleft">Vol. III, pp. 273-294</td><td class="tdleft">Number 76. April 12, 1851</td><td class="tdleft">PG ebook #26896</td></tr> +<tr><td class="tdleft">Vol. III, pp. 297-311</td><td class="tdleft">Number 77. April 19, 1851</td><td class="tdleft">PG ebook #26897</td></tr> +<tr><td class="tdleft">Vol. III, pp. 313-342</td><td class="tdleft">Number 78. April 26, 1851</td><td class="tdleft">PG ebook #26898</td></tr> +<tr><td class="tdleft">Vol. III, pp. 345-359</td><td class="tdleft">Number 79. May 3, 1851</td><td class="tdleft">PG ebook #26899</td></tr> + +<tr><td class="tdleft">Vol. III, pp. 361-382</td><td class="tdleft">Number 80. May 10, 1851</td><td class="tdleft">PG ebook #32495</td></tr> +<tr><td class="tdleft">Vol. III, pp. 385-399</td><td class="tdleft">Number 81. May 17, 1851</td><td class="tdleft">PG ebook #29318</td></tr> +<tr><td class="tdleft">Vol. III, pp. 401-415</td><td class="tdleft">Number 82. May 24, 1851</td><td class="tdleft">PG ebook #28311</td></tr> +<tr><td class="tdleft">Vol. III, pp. 417-439</td><td class="tdleft">Number 83. May 31, 1851</td><td class="tdleft">PG ebook #36835</td></tr> +<tr><td class="tdleft">Vol. III, pp. 441-471</td><td class="tdleft">Number 84. June 7, 1851</td><td class="tdleft">PG ebook #37379</td></tr> +<tr><td class="tdleft">Vol. I Index</td><td class="tdleft">November 1849-May 1850</td><td class="tdleft">PG ebook #13536 </td></tr> +<tr><td class="tdleft">Vol. II Index</td><td class="tdleft">June-December 1850</td><td class="tdleft">PG ebook #13571</td></tr> +<tr><td class="tdleft">Vol. III Index</td><td class="tdleft">January-June 1851</td><td class="tdleft">PG ebook #26770</td></tr> +</table> +</div> + + + + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Notes and Queries, Number 85, June 14, +1851, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK NOTES AND QUERIES, JUNE 14, 1851 *** + +***** This file should be named 37403-h.htm or 37403-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/4/0/37403/ + +Produced by Charlene Taylor, Jonathan Ingram and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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