Chapter II: Part 2

J. E. J.

_Tooth of Sir I. Newton._--

"A tooth of Sir Isaac Newton was sold in 1815 for 730l.: a nobleman
bought it, and had it set in a ring."

The above has gone the round of the papers without comment, contradiction, or illustration. Lest it should become matter of history, I wish to ask whether it is a new story or an old one; and whether it is a simple lie, or has any foundation in fact?

H. B. C.

U. U. C.

_Thomas Ceeley._--Who was Thomas Ceeley, who defended Lyme Regis so gallantly with the famous Blake, the former being governor? His exploits have been recorded in the _History of Lyme Regis_, &c. Probably we must look to Plymouth for his residence.

Mr. Christopher Ceeley was with Sir Francis Drake in his third voyage into the West Indies in 1572-3. The "Elizabeth Drake," of sixty tons and thirty men, under Sir Francis Drake, when acting against the Armada, was commanded by _Thomas Sealye_, another way of spelling Ceeley. There were Ceeleys, Sealeys, &c., in Devonshire and Somersetshire.

G. R. L.

_Marigmerii--Melinglerii--Berefellarii._--In Pirri's _Sicilia Sacra_ (Grævius, _Antiqu. Sicil._, ii. 425.) four officers of the inferior clergy, called _marigmerii_, are enumerated among the members of the cathedral of Montereale: and, in the same work (iii. 921.), two officers in the cathedral of Cifalu called _melinglerii_. Can either or both of these words be misprints, or corruptions of some word answering to the French _marguillier_, which in parish churches means a churchwarden, in collegiate churches a keeper of the relics? And what is the derivation of _marguillier_?

In Dugd. _Monast._, edit. 1830, vi. 1308., seven of the inferior clergy of the collegiate church of Beverley are called by what is said to be an ancient name, _Berefellarii_. What does this word mean? Can it be a blunder, in the original document, for _beneficiatii_?

JOHN JEBB.

Peterstow Rectory, Ross.

"_Judæus odor._"--

"Abluitur Judæus odor baptismate divo,
Et nova progenies reddita surgit aquis."

I have seen the above lines attributed to Vigilantius, but have not been able to verify the quotation. Can any of your readers tell me where they are to be found? I suspect they are not of so great antiquity, as Sir Thomas Browne (_Vulgar Errors_, book iv. chap. 10.), though he investigates {208} and denies the "Judæus odor," does not notice the opinion that it is removed by baptism.

H.

_Lord Lyon King-at-Arms, Scotland._--Where is there an account of the origin of this office, and of the different possessors of it? Scotland does not, I believe, possess any corresponding work to Noble's _History of the College of Arms_, and I know of no history which contains the above-desired information collectively. To trace the succession of the Lord Lyon Kings-at-Arms would be interesting, as many celebrated, and even illustrious, individuals held that high office in Scotland. Poets as well as warriors might be mentioned amongst the number.

A. S. A.

Wuzzeerabad.

_Louisa Lady Gordon of Gordonstoun, N. B._--This lady, who was the only child of Dr. John Gordon, Dean of Salisbury in England, and Lord of Glenluce in Scotland, married, 1653, Sir Robert Gordon, son of the Earl of Sutherland (better known as the historian of that earldom), who was created a baronet in 1625, and died in 1656. Their lineal male descendants became extinct in 1795, in the person of their great-great-grandson, Sir William, the sixth baronet. What I desire to ascertain is, who was Lady Gordon's father, this dean of Salisbury; his marriage, death, &c., and more especially how he was _Lord of Glenluce_? Perhaps some of your antiquarian subscribers may be able to assist me in these inquiries.

A. S. A.

Wuzzeerabad.

_Contested Elections._--What book gives an accurate account of all the contested elections since the Restoration, and prior to the Reform Bill? I have one or two wretched compilations; but it seems no Dod existed before the _flood_.

X. Y. Z.

* * * * *

Minor Queries with Answers.

_Game of the Whetstone._--In Lambarde's _Perambulation of Kent_ (page 110., ed. 1596), the author, remarking on Ealred's assertion that King Edward the Confessor saw at mass the seven sleepers at Ephesus turn on one side after having slept seventy years together on the other, says:

"Which seeing it was within five years of so many as Epimenides slept,
Ealred (in my phansie) is worthie to have the second game at the
whetstone."

In the margin the note to this is--

"i Loue Lye or game for the whetstone."

Halliwell, in his _Dictionary_, says that in old authors frequent allusions occur to the custom of decorating notorious liars with whetstones; but I would thank any of your readers for a fuller account of "y^e game for y^e whetstone." What is known of Lambarde, or Lambert, as Gervase Markham calls him? Was his _Topographicall Dictionarie_ (mentioned, as prepared for the press, in the _Perambulation_) ever published, and what other works by him exist?

E. G. R.

[The extracts from our early writers given by Brand and Nares furnish
some clue to the origin and character of the game of the whetstone;
when the social and convivial combatants sharpened their wits to see
who could gain the satirical prize of the silver whetstone by telling
the greatest lie. In Lupton's _Too Good to be True_, p. 80., is the
following passage, somewhat illustrative of the game:

"_Siuqila._ Merry and pleasant lyes we take rather for a sport than a
sin. Lying with us is so loved and allowed, that there are many tymes
_gamings_ and _prises_ therefore purposely, to encourage one to outlye
another.

"_Omen._ And what shall he gaine that gets the victorie in lying?

"_Siuqila._ He shall have _a silver whetstone_ for his labour."

WILLIAM LAMBARDE was born October 18, 1536. He was the eldest son of
John Lambarde, alderman of London. In 1570 he resided at West Combe,
near Blackheath, a manor he then possessed. He purposed publishing a
general account of Great Britain, of which his _Perambulation of Kent_
was but the specimen; and he was only deterred by learning that Camden
was engaged on a similar task. His materials were published from the
original manuscript in 1730, under the title of _Dictionarium Angliæ
Topographicum et Historicum_, to which is prefixed a portrait of the
author, engraved by Vertue. His first work was _Archaionomia, sive de
priscis Anglorum legibus libri_, 1568, 4to. He also wrote _Eirenarcha_;
or, the Office of the Justices of the Peace, and Duties of Constables:
_Archeion_, a Discourse upon the High Courts of Justice. In 1600 he was
appointed by Queen Elizabeth Keeper of the Records in the Tower; and in
the following year he presented her Majesty with an account of them,
under the title _Pandecta Rotulorum_. He died at his residence at West
Combe, August 19, 1601, and was buried in the Church of St. Alphege,
Greenwich, where a monument was erected to his memory. In after days
this mortuary memorial was removed to the Church of Sevenoaks, in which
parish the family now possesses a seat. Lambarde was the first
Churchman after the Reformation who founded a hospital. It was called
"The College of the Poor of Queen Elizabeth at Greenwich, Kent," and
was opened in 1576.]

_Meals._--On the N.W. coast of Norfolk are certain sandbanks so called. Brancaster Meals, Blakeney Meals, and Wells Meals are among those most dreaded by the mariner.

In Bailey's _Dictionary_ occurs,

"_Meales, Malls._ The shelves or banks of sand on the sea-coasts of
Norway."

Can Norway be a misprint for Norfolk? It occurs Norway in ten or twelve editions of Bailey which I have examined. I can find no mention of "meals" or "malls" in any map of Norway, {209} except the whirlpool, the Maelström, be connected with it. In Norfolk _ea_, _ee_ are frequently changed for _oa_, _oo_. Thus "sheaf" and "reek" are in Norfolk "shoaf" and "roke;" and "smeath," a table land, is evidently from "smooth."

Can this change of vowels have taken place in this word, and "meals" signify "moles," from the shelf of sand projecting like a mole? or can any correspondent suggest a better etymology?

E. G. R.

[The quotation given above is omitted in the folio edition of Bailey,
1736; but is correctly given in Phillips's _New World of
Words_:--"MEALES, or MALES, the shelves or banks of sand on the
sea-coasts of _Norfolk_: whence Ingom-meals, the name of a sandy shore
in Lincolnshire." The word _Meales_, or _Malls_, is however obviously
connected with the Icelandic _Möl_, which Helmboe, in his
recently-published work, _Det Norske Sprogs_, &c., defines "coarse
sand; a sandy or stony place."]

_Haughmond Abbey, Salop._--I should feel obliged for any particulars of the history, or a reference to any work that contains a full account, of these fine ruins. Hulbert does not give by any means a detailed notice in his _History of Salop_.

SALOPIAN.

[Some account of this abbey, with two engraved views of it, will be
found in the _Beauties of England and Wales_, vol. xiii. part i. pp.
179-82. Consult also Dugdale's _Monasticon_, vol. vi. p. 107.]

"_As flies to wanton boys._"--Can you inform me from what writer is the following quotation (in Mary Wolstoncraft's _Travels in Sweden_)?--

"As flies to wanton boys are we to the gods;
They kill us for their sport."

J. P.

[Shakspeare's _King Lear_, Act IV. Sc. 1.]

_Quotation wanted._--Who is the author of the following lines?--

"Three poets in three distant ages born,
Greece, Italy, and England did adorn:
The first in loftiness of thought surpassed,
The next in majesty; in both the last.
The force of Nature could no further go;
To make a third, she joined the former two."

Of course it is obvious who were the three poets, the greatest the world has produced.

A. S. A.

Wuzzeerabad.

[These lines are by Dryden, and are frequently prefixed to _Paradise
Lost_. They are little more than a translation of a distich by
Salvaggi:--

"Græcia Mæonidem, jactet sibi Roma Maronem:
Anglia Miltonum jactat utrique parem."]

_Thomas Stanley, Bishop of Man._--I feel much obliged by your prompt answer to the Query about this prelate (Vol. vi., p. 130.); but some additional information appears necessary. If Bishop Stanley was appointed to this see in 1542, who was the possessor of it subsequently to the death of _Bishop Huan Hesketh_, or _Blackleach_, in 1510, a period of thirty-two years? Bishop Stanley's consecration does not appear in Cranmer's _Register_, which throws some doubt on the year 1542 as having been that of his appointment to the episcopate.

A. S. A.

[Huan Hesketh, or Blackleach, was consecrated in 1487, and died in
1510. The see was vacant twenty years. The next bishop was William
Stanley, who was consecrated March 4, 1530.]

* * * * *

Replies.

OLD SATCHELS.

(Vol. vi., pp. 10. 160.)

Your correspondent SIGMA having called attention in your pages to that respectable character Old Satchels, I should be sorry to see him dismissed with the dry bibliographical Note of T. G. S. If any proof were wanting of Captain Walter Scot's claim to more respectable notice, we have it in the fact of his book having reached a third edition: and, with your permission, I will take the liberty of supplying a few "jottings," furnished and suggested on turning over the reprint of 1776.

The whole title, or titles, of this curious production runs thus:

"A true History of several Honorable Families of the right honorable
Name of Scot in the Shires of Roxburgh and Selkirk, and others
adjacent. Gathered out of ancient Chronicles, Histories, and Traditions
of our Fathers, by Captain Walter Scot,

An old Soldier and no scholler,
And one that can write nane,
But just the letters of his name.

4to., pp. 60. End of First Part. Edinburgh: Printed by the Heirs of
And. Anderson, printer to his most sacred Majesty's City and College,
1688, and reprinted by Balfour and Smellie, 1776."

"Satchel's Post'ral, humbly presented to his noble and worthy Friends
of the Names of Scot and Elliot, and others. Part II., 4to., pp. 97.
Edinburgh as above, 1688 and 1776."

Lockhart, in his _Life of Scott_, has told us with what enthusiasm Sir Walter welcomed a copy of the first edition of this "True History," procured for him by Constable; and its rarity is accounted for by the author himself, when he says,--

"Therefore begone, my book, stretch forth thy wings and fly
Amongst the nobles and gentility:
Thou'rt not to sell to scavingers and clowns,
But giv'n to worthy persons of renown.
_The number's few I've printed_ in regard
My charges have been great, and I hope reward;
_I caus'd not print many above twelve score,_
_And the printers are engag'd that they shall print no
more_."--_Post'ral_, p. 97.

{210}

SIGMA inquires why "this ancestor of Sir Walter's was called Old Satchels?" Hear the poet himself upon this point:

"Since the water of Ail Scots they are all chang'd and gone,
Except brave Whitslade and Hardin;
And Satchels his estate is gone,
Except his poor designation;
Which never no man shall possess,
Except a Scot designed Satchels."--_Post'ral_, p. 97.

As a further sample of this old soldier's poetry, take his dedication "To the truely Worthy, Honorable, and Right Worshipful Sir Francis Scot of Thirlston, Knight Baronet, wishes Earth's honor and Heaven's happiness:"

"This book, good Sir, the issue of my brain,
Though far unworthy of your worthy view,
In hope ye gently will it intertain,
Yet I in duty offer it to you;
Although the method and the phrase be plain,
Not art, like writ, as to the style is due,
And truth, I know, your favor will obtain:
The many favors I have had from you
Hath forc'd me thus to show my thankful mind;
And of all faults I know no vice so bad
And hateful as ungratefully inclined.
A thankful heart is all a poor man's wealth,
Which, with this book, I give your worthy self.
I humbly crave your worthiness excuse
This boldness of my poor unlearned muse,
That hath presumed so high a pitch to fly
In praise of virtue and gentility.
I know this task's most fit for learned men,
For Homer, Ovid, or for Virgil's pen;
These lines I have presum'd to dite;
It's known to your Honor I could never write.

"Your Honor's most obed. servant, "WALTER SCOT of Satchels."

Satchels' chronicle deals largely in warlike matters. The Captain, indeed, seems to have a contempt for all not of his own honorable profession; consequently the book is full of the deeds, both foreign and domestic, of the "Bold Buccleugh," and the clans Scott and Elliott. Instigated, no doubt, by the example of John Barbour and Henry the Minstrel, the author aimed at doing for the Scotts what his prototypes so worthily achieved, respectively, for Robert Bruce and William Wallace.

As mentioned by T. G. S., there was another reprint of this curious book, that of Hawick, by Caw, 1784. I know not to whom we owe either. Looking, however, to the names of the printers and period of publication, I should say that the earliest of these _may_ have been one of the publications of that friend to the literature of his country, Sir David Dalrymple; and as we know that Sir Walter Scott made his first appearance as a poet in the _Poetical Museum_, printed at Hawick, by Caw, in 1786, may he not, with his strong and early predilection for the honour of the clan Scott, and his special affection for this "True History" of his namesake, have prompted the worthy Mr. Caw to the enterprise? Any edition of the book is of rare occurrence; and it has often surprised me that Captain Walter Scot should have been overlooked, when the Bannatyne, Maitland, and Abbotsford Clubs were so nobly employed in resuscitating the old literature of Scotland.

J. O.

* * * * *

STATUE OF ST. PETER.

(Vol. vi., p. 604.; Vol. vii., pp. 96. 143.)

B. H. C. asks for the authority on which is based the statement, that this statue was undoubtedly cast for a St. Peter, and cast in the time of St. Leo the Great (440-461). As the subject involves three questions, I will answer each separately.

1. Was this statue cast for a St. Peter, or is it an ancient statue that had been found in the Tiber; or the ancient statue of Jupiter Capitolinus? That it must have been cast for a St. Peter will be readily allowed, after a careful examination, by any one at all accustomed to compare Pagan and Christian statues. The left hand holding the keys and the right hand raised in benediction, are unmistakeable evidences of the personage represented.

2. What authority is there for believing it to have been cast in the pontificate of St. Leo? The authority is, first, a constant and very ancient tradition to that effect; secondly, a tradition that this same statue belonged to the ancient church of St. Peter's; and, thirdly, the almost unanimous belief in this tradition amongst the antiquaries and archæologists--local and at a distance, deceased and living.

This tradition is mentioned by most writers on the Basilica of St. Peter's:

"A destra evoi, in somma venerazione tenata, una statua in bronzo dell'
apostolo S. Pietro, _simulacro formato, secondo la pia tradizione, a
tempi di S. Leone I._ detto il grande," &c.--_Melchiorri_, p. 181., ed.
1840.

"On the right hand is a statue, held in very great veneration, of
bronze, of the Apostle St. Peter: a figure cast, according to the pious
tradition, in the time of St. Leo I., named the Great."

Tradition also asserts, that the statue belonged to the old church of St. Peter's:

"The seated bronze statue of St. Peter, _which belonged to the ancient
church_, is said to have been cast in the time of Leo the
Great."--_Rome, Ancient and Modern_, by J. Donovan, D.D., vol. i. p.
314.

There may now be seen, in what was part of old St. Peter's, and is now called the "Grotte Vecchie," where the old flooring still remains--the old base of the bronze figure of St. Peter. It is {211} kept in the aisle to the left, as you enter the Grotte Vecchie; and was the pedestal of the statue till it was removed from the crypt by Paul V., as Melchiorri informs us. The old base was left _in situ_, and a new one made, which is the chair of white marble, with the whole surface wrought in arabesque bas-relief, upon a pedestal of light coloured alabaster, with a central tablet of granite, called "granito verde."

3. Was this statue cast from the metal of the Capitoline Jove? Melchiorri almost favours the opinion that it was; but the evidence of Martial, already quoted, seems fatal to this supposition. It occurs to me that the idea of this statue being a Jupiter converted, either by melting down or partial alteration, may have arisen from confounding this statue with another statue of St. Peter, now kept in the crypt of the church under the dome, and in the chapel of the Madonna della Bocciata or del Portico. This is also a seated statue of St. Peter, and stood in the atrium of the ancient basilica. _It seems to have been a Pagan figure converted_:--

"There is reason to believe that this statue of St. Peter had been
originally erected to some Gentile; and that the head, arms, and hands
were changed in order to metamorphose it into a St. Peter. In the old
church it was usual to vest it pontifically on the feast of St. Peter,
as is now the case with the bronze statue above. The Isaurian
iconoclast threatened St. Gregory II. with the demolition of this
statue: but the impotent menace cost him the duchy of Rome, and placed
the temporal power in the hands of the Popes."--_Rome, Ancient and
Modern_, vol. i. p. 574.

Possibly enough, the fact of this figure of St. Peter having been converted, may have led to the idea that it was the other and better known statue. It may be well to add, that in St. Peter's there are _forty metal statues_, in addition to one hundred and five in marble, one hundred and sixty-one in travertine, and ninety in stucco.

CEYREP.

* * * * *

LORD CLARENDON AND THE TUBWOMAN.

(Vol. vii., p. 133.)

The newspaper paragraph in question is quoted, in a MS. note in my possession, from the _Salisbury Journal_ of August 29, 1828. From what source it was derived does not appear: the whole story is, however, fabulous. Edward Hyde, first Earl of Clarendon, was twice married. His first wife was the daughter of Sir George Ayliffe, of Foxley, in the county of Wilts. He married her in 1628, when he was only twenty years old, and she died of the small-pox six months afterwards, before any child was born. In 1632 he married Frances, daughter of Sir Thomas and Lady Ailesbury, by whom he had four sons and two daughters. Anne, the eldest daughter, became, as is well known, the wife of the Duke of York, and the mother of Queen Mary and Queen Anne. Sir Thomas Ailesbury, the father of Lord Clarendon's second wife, was a person of some distinction, both social and intellectual; of his wife, Lady Ailesbury, Pepys mentions in his _Diary_, November 13, 1661, that the Duke of York is in mourning for his wife's grandmother, "which (he however adds) is thought a piece of fondness." In the collection of pictures at the Grove, the seat of the present Earl of Clarendon, there are portraits by Vandyke of Sir Thomas and Lady Ailesbury, and also a portrait, by an unknown artist, of Frances, the second wife of the Lord Chancellor Clarendon. (See Lady Theresa Lewis's _Lives of the Friends of Lord Chancellor Clarendon_, vol. iii. pp. 355, 356. 361.)

Mr. Hyde's two marriages are fully described by himself in his _Life_, vol. i. pp. 12. 15, ed. 8vo. 1761.

The story of the tubwoman, the grandmother of queens, seems to have been a legend invented for the purpose of exhibiting a contrast between the exalted rank of the descendants and the plebeian origin of the ancestor. Historical fiction and popular fancy delight in such contrasts. The story of _date obolum Belisario_, and Pope's account of the death of the second Duke of Buckingham, are more celebrated, but not more veracious, than the story of the marriage of Lord Chancellor Clarendon with the tubwoman.

L.

* * * * *

DISCOVERY OF PLANETS.

(Vol. vii., p. 84.)

LEONORA says, "supposing that the recently-discovered planets obey the same laws as the larger ones, they must be at all times apparently moving within the zodiac;" and she asks for an explanation of the fact of their not having been discovered before.

Ancient astronomers having observed that the moon, and the planets visible to them, were never seen at more than a small angular distance north or south from the plane of the earth's orbit, they drew two circles parallel to the ecliptic, at the distance which experience had shown them to be sufficient for comprehending the apparent places of those heavenly bodies at all times; and to the intervening space they gave the name of _zodiac_. But there is no law of matter, or, in other words, it is no necessary consequence of gravitation or planetary action, which confines the planets' orbits within the zodiac. The fact can only be ascribed to the will of Him who first projected them into their intended paths; though that will had doubtless some wise and calculated end in view.

It was further observed, in the last century, that the increasing distance of each successive planet {212} from the sun would follow an uniform rule, if there were not one wanting between Mars and Jupiter, to fill up the series. This put astronomers upon the search, and led to the discovery, in 1801, of four small planets, all at nearly the requisite distance, but moving in paths inclined to the ecliptic at such large angles as carry them beyond the zodiac, though they necessarily move across it. From hence it was inferred that they were portions of a planet originally harmonising, in size, position, and orbitual path, with the rest of our system, but burst into fragments by an internal explosion, at some time prior to man's recorded observations of the heavenly bodies. This supposition gains strength from the continued discovery of more and still smaller fragments, each still moving as a planet at nearly the same distance from the sun; and each seeming to proclaim that there was a world, probably larger than our earth, amongst whose inhabitants sin entered, as amongst us; but for whom mercy was not in like manner procured.

As to the discoverer of a previously unknown planet, your inquirer should be told, that more is necessary than its merely coming within the field of an observer's telescope, even if it attracts his notice. Some years before 1781, the year in which Herschel discovered the planet which should perpetuate his name, Lalande had noted down an observation of a star, of a certain magnitude, in a position where afterwards no such star could be found, but where calculations since made, from the known orbit of that planet, prove that it must then have been. By failing to continue his observation of it, till it should have changed its place amongst the fixed stars, Lalande lost the discovery. And though Herschel's much more powerful telescope enabled him to perceive, on a first inspection, that it had a defined disc, more observations were required to enable him to say that it could not be a comet shorn of his beams: whilst, as to the last discovered planets, I think we have been told that their apparent size is but that of a star of the ninth order, in decreasing magnitude; and no part of the heavens has been so accurately mapped as to give an observer reason to conclude, from catching sight of one of these planetary fragments, that he has detected an obscure wanderer not usually seen in that locality. But if its appearance leads his practised eye to suspect that it shines with but borrowed light, and that induces him to continue his nightly watch, he receives his reward, if it be so, and announces the existence of another planet.

HENRY WALTER.

* * * * *

STORY OF GENOVEVA.

(Vol. vii., p. 133.)

The story of Genoveva is a popular German legend, and is given in No. 8 of the _Volksbücher_, published at Leipzig, 1838.

Genoveva was a daughter of the Duke of Brabant, and wife of Count Siegfried, of Treves. When Charles Martel was attacked by the Saracens, Siegfried went to his assistance, leaving his wife to the care of his steward Golo. Golo fell in love with Genoveva, and being rejected, resolved to destroy her. To do so, he got up a charge against her of incontinency with the cook, and put both in confinement. On Siegfried's return, Golo convinced him, by the help of a witch and false witnesses, that his wife was guilty, and that the child to which she had given birth in prison was born eleven months after her husband's departure. Siegfried ordered Golo to bring the criminals to justice. He, fearing exposure, had the cook poisoned in gaol, and commissioned two of his servants to take the countess and her boy into a wood and kill them; but, moved by her tears, they left the intended victims, and deceived their master. Genoveva took shelter in a cavern, and lived upon roots; but her milk failing, the child was about to die. She prayed fervently, and a beautiful doe, tame as a domestic cow, came and suckled the child, and returned daily for that purpose for seven years. The passage illustrated in SILURIAN'S picture is as follows:

"Als die weinende Mutter dies gefleht hatte, sihe, da kam eine
Hirschkuh zu ihr, welche sich als ein zahmes Vieh anstellte, und
freundlich um sie herstrich; gleichsam, als wollte sie sagen: Gott habe
sie dahin gesendet, dass sie das Kindlein ernähren sollte. Die betrübte
Mutter erstaunte, und erkannte alsbald die Vorsehung Gottes, legte das
Kind an die Zitzen des Wildes, und liess es so lange saugen, bis es
wieder Kraft bekam. Durch diese himmlische Wohlthat wurde die liebe
Genoveva so sehr erfreut, dass sie mit vielen süssen Thränen den
gütigen Gott Dank sagte, und ihn demüthig um Fortsetzung solcher
gnädigen Hilfe anflehte."--P. 24.

The story ends happily. Siegfried discovers that his wife is innocent, takes her back, and punishes Golo: but for these matters I refer those who are curious to the book, which is well worth reading. Genoveva died April 2, 750, and the doe pined to death at her grave.

H. B. C.

U. U. Club.

SILURIAN will find a very beautiful illustration of his engraving by Felsing, after Steinbrück, in the little poem entitled _Genoveva_, published by Moxon.

V.

_Genoveva of Brabant_, a tale of old times, translated from the German of Christopher Schmid, published by Burns or Masters, price 2s. 6d. illustrated, will give SILURIAN the information required; as also will _Genoveva_, a poem by the Rev. R. C. Trench, London, 1842, Moxon.

+

Oakhurst.

{213}

* * * * *

ANCIENT DUTCH ALLEGORICAL PICTURE.

(Vol. vi., pp. 457. 590.; Vol. vii., pp. 46. 97.)

My Query respecting this picture has been answered in the _Navorscher_ by a learned gentleman who writes under the signature of CONSTANTER, in that publication. The editor of the _Navorscher_ has communicated to me the name of this gentleman, and also the following translation of his remarks on my Query, and has also kindly permitted me to make what use of the latter I think fit. I therefore transmit them to you, that you may, if you think the subject of sufficient interest, insert them in your pages.

JAS. H. TODD.

Trinity College, Dublin.

* * * * *

Did not the whole arrangement of the picture give me reason to suppose that it must be a kind of symbolical point (figuurlÿk punt), such as the Rhetoricians were wont to show during their solemn processions--the character also of the additional verses, and especially the description of the paintings against the wall of the room, which is represented on the piece, would corroborate this meaning. These pictures, with the arms mentioned as making part of them, point directly at _Haarlem_ as the town whence the painting must have had its origin; for who is not acquainted, albeit only through the title of the _Opregte Haarlemsche Courant_[1], with, "the sword proper, on a red field, between four stars, surmounted by a cross, or?"

Now, in the seventeenth century there existed at Haarlem _three_ Societies of Rhetoricians. One, the Oude Kamer[2], erected in 1503, had chosen for its motto, _Trou moet blÿcken_; and for its symbol, the _pelican_ or _speelkoornen_; whilst her shield was emblazoned as follows,--in the middle our Saviour crucified, and, behind the cross, Æneas bearing his father. To this _Kamer_ the painting alludes, of which Dr. James H. Todd says, "That nearest the fire-place is oval, representing the crucifixion. There is a white scroll across the picture, containing words which I cannot make out." Had the sentence not been obliterated, the querist would have read, _Trou moet blÿcken_. The second allegory, with illegible subscription, cannot be anything but the ensign of the so-called _Jonge Kamer_ at Haarlem, _de Wÿngaertrancken_, with the symbol, _Liefde boven al_ (Love above all). I presume this on account of the framework of the painting, ornamented on each side with bunches of red grapes (vine-branches) dependent from below. These bunches have been figured in the identical way on a scutcheon of the same _Kamer_, which is still preserved in the council-hall of _Beverwÿk_: there also we see, to the right, a female statue representing _Faith_; and, on the upper part, in the middle, another with a burning heart in her hand, and two (not three) children at her side, representing _Charity_, who thus has been placed _above all_ the rest, conformably to the motto of the Society. But, in lieu of the third child, stands immediately under her on the Beverwÿk blazon another woman, _Rhetorica_; and to the left, instead of the man with the hawk (?), another female representing _Hope_, and completing, in this manner, the Christian trilogy (1 Cor. xiii. 13.). Besides, in the middle compartment, not John Baptist but our Lord is seen, standing as victor over Hell, in which Satan is conspicuous. However, notwithstanding these deviations, I think the resemblance too striking not to consider the painting on the wall as the ensign of the _Jonge Kamer_. The third or last picture, representing the _marriage of Christ with the Church_, is the well-known blazon of the third _Rederÿkerkamer_ at Haarlem, surnamed _de Flaamsche_ (the Flemish), which bore the _Witte Angieren_ (white _stock-flowers_, not lilies), with the motto, _In liefd getrouw_. This shield too is still preserved in the town-hall at Beverwÿk.

Thus, the three Haarlem Societies of Rhetoricians are represented by their shields in the room designed; nay, if I am not mistaken, the painter has given us a delineation of their meeting-place. This appears: 1. By the statue in the niche, _Rhetorica_. 2. By the two cup-boards, one of which contains the prizes, carried by the _Kamers_ at various entries and processions; to wit, silver and gold cups, flagons, and dishes: whilst in the other, its books are deposited. 3. By the table under the window, well to be distinguished from that around which the guests are seated, and used by the Rhetoricians as a movable stage, on which to rehearse their plays (whence Willems and Mone derive the name of _tafelspel_ [table-play]). 5. By the broad roller under the pictures, that occupies the space, where otherwise was commonly hung the _Keur_ (statutes) of the _Kamer_. This last inscription, connected with what is to be read over the fire-place, fully explains the meaning of the whole picture. The lines censure the disputes regarding the dogmata of religion, because every body thinks _his_ conviction the best one; many controversies being carried on "Wanneer het volck is vol" (whilst people are full), by incompetent and illiberal critics, and these contentions alienating their hearts from _Charity_, the chief commandment of Christ. In a word, the painting is the faithful representation of what the Haarlem Rhetorician, Dirk Volkerts Coornhert, professed {214} and advocated in his writings. Still the piece belongs to a later period, perhaps between the years 1618 and 1630, when the disputes with Remonstrants, Socinians, and _Kooledsjanten_ (_Collegianten_, collegians, sectarians of the van der Kodde's) had reached their highest point. It is known that the Rhetoricians frequently meddled with these contending parties, to the great displeasure of the Synods, which more than once contrived to elicit severe measures from the magistrates against them. How far the Haarlem Societies made themselves justly liable to such interferences, I have not been able to discover; but it might be ascertained by means of one or other of their works published about that time, as, _Der Wit-Angieren Eerenkrans: ghesproten nyt de Flaemsche Natie, ter eeren der Slaghet van Rederÿcke tot Haerlem_, 1630, 4to, or the _Refereinen en Liedekens van't Hemelert_, 1648.

The verses, excepting the last but one, which is sorely maimed, are easily to be explained. Whether the figures be portraits, I cannot decide without ocular inspection of the painting.

CONSTANTER.

Amsterdam.

[Footnote 1: The first number of the still existing _Sincere Haarlem Courant_ (I give you a literal translation of the title) must have appeared before May 19, 1665, on which day its _nineteenth_ number was printed. See the _Navorscher_, vol. ii. pp. 29. 96. 126.--J. H. V. L.]

[Footnote 2: See Ampzing, _Kronyk von Haarlem_, p. 398.; and A. van den Willigen's monograph in Witsen Geysbeek's _Apollineum_, vol. iii. p. 59.--CONSTANTER.]

This reply was written before the publication of your last notices ("N. & Q.," Vol. vii., pp. 46. and 97.). The verses you mentioned in the last-named part are, in English, "Here one must guess To wash glasses And to p--s in them Would not be fit." I entirely agree with the poet.

Could you not acquaint me with the length, breadth, and height of the picture, and with the painter's name?

* * * * *

THE "PERCY ANECDOTES."

(Vol. vii., p. 134.)

I have much pleasure in replying to the inquiries of UNEDA. The _Percy Anecdotes_, published in forty-four parts, in as many months, commencing in 1820, were compiled by "Sholto and Reuben Percy, Brothers of the Benedictine Monastery of Mont Benger." So said the title-pages, but the names and the locality were _supposé_. Reuben Percy was Mr. Thomas Byerley, who died in 1824: he was the brother of Sir John Byerley, and the first editor of the _Mirror_, commenced by John Limbird in 1822. Sholto Percy was Mr. Joseph Clinton Robertson, who died in 1852: he was the projector of the _Mechanics' Magazine_, which he edited from its commencement to his death. The name of the collection of Anecdotes was not taken from the popularity of the _Percy Reliques_, but from the Percy Coffee-house in Rathbone Place, where Byerley and Robertson were accustomed to meet to talk over their joint work. The idea was, however, claimed by my clever master and friend, Sir Richard Phillips, who stoutly maintained that it originated in a suggestion made by him to Dr. Tilloch and Mr. Mayne, to cut the anecdotes from the many years' files of the _Star_ newspaper, of which Dr. Tilloch was then editor, and Mr. Byerley assistant editor; and to the latter overhearing the suggestion, Sir Richard contested, might the _Percy Anecdotes_ be traced. I have not the means of ascertaining whether Sir Richard's claim is correct; and I should be equally sorry to reflect upon his statement as upon that of Mr. Byerley, my predecessor in the editorship of the _Mirror_. The _Percy Anecdotes_ were among the best compilations of their day: their publisher, Mr. Thomas Boys, of Ludgate Hill, realised a large sum by the work; and no inconsiderable portion of their success must be referred to Mr. Boys's excellent taste in their production: the portrait illustrations, mostly engraved by Fry, were admirable.

JOHN TIMBS.

* * * * *

LADY NEVILL'S MUSIC-BOOK: MODE OF READING THE ANCIENT VIRGINAL MUSIC.

(Vol. vii., p. 59.)

The index to _Lady Nevill's Music-book_, printed by your correspondent L. B. L., was made known to the public in 1789, in the third volume of Dr. Burney's _History of Music_. In addition to the information given in "N. & Q.," the doctor adds:

"Besides the great number of Bird's compositions for keyed instruments,
which are preserved in the _Virginal book_ of Queen Elizabeth (now in
the Fitzwilliam Museum), another manuscript collection of his pieces
still subsists, under the title of _Lady Nevil's Music-book_. It is a
thick quarto, very splendidly bound and gilt, with the family arms
beautifully emblazoned and illuminated on the first page, and the
initials H. N. at the lowest left-hand corner."--P. 91.

The MS. in question was the property of Dr. Burney, at whose sale, in 1814, it was purchased for 10l. 10s. by Mr. Thomas Jones, of Nottingham Place. At the sale of the latter, about ten years afterwards, it was bought by Triphook, the bookseller, and by him sold to Lord Abergavenny. I remember seeing the book when in Triphook's possession, since which time I had lost sight of it, until the notice by L. B. L. in your pages.

Mr. Thomas Jones was a well-known musical antiquary, and possessed many rare treasures in this department. One of the most important was the _original_ MS. of _Lady Nevill's Music-book_, in the handwriting of William Byrd the composer. This valuable relic is now in my library.

John Baldwine, the person who made the splendid copy for the use of Lady Nevill, was a singular character. I have some materials for his biography which may one day see the light. He was a poet in his own time, and wrote a metrical {215} account of famous musicians. The latter part, which I extract from the MS. now before me, relates to the composer of _Lady Nevill's Music-book_:

"An Englishe man, by name _William Birde_, for his skill,
Which I shoulde have sett first, for so it was my will,
Whose greate skill and knowledge dothe excell all at this tyme,
And far to strange countries abroade his skill doth shyne.
Famous men be abroade, and skilful in the arte,
I do confesse the same, and will not from it starte,
But in Europp is none like to our English man,
Which doth so farre exceede, as trulie I it scan,
As ye cannot finde out his equale in all thinges,
Threwghe out the worlde so wide, and so his fame now ringes.
With fingers and with penne he hathe not now his peere;
For in this worlde so wide is none can him come neere:
The rarest man he is in Musick's worthy arte
That now on earthe doth live, I speak it from my harte,
Or heere to fore hath been, or after him shall come,
None such I feare shall rise that may be calde his sonne.
O famous man! of skill and judgemente great profounde,
Let heaven and earthe ringe out thy worthye praise to sounde;
Nay, lett thy skill it selfe thy worthye fame recorde
To all posteritie thy due desert afforde;
And let them all which heere of thy greate skill then saie,
Fare well, fare well, thou prince of musicke, now and aye;
Fare well, I say, fare well, fare well, and here I ende,
Fare well, melodious _birde_; fare well, sweet musick's frende.
All these things do I speak not for rewarde or bribe,
Nor yet to flatter him, or sett him upp in pride;
Not for affection, or ought might move there too,
But even the truth reporte, and that make known to you.
So heere I end: fare well, committinge all to God,
Who kepe us in his grace, and shilde us from his rodd."

As regards the ancient notation of _Lady Nevill's Music-book_, I will now say a few words.

In the most ancient music for keyed instruments, such as the organ, virginals, harpsichord, spinet, &c., a staff consisting of _eleven_ lines was used, that is, five lines for the treble, and five lines for the bass, and a _centre_ line, being the note C. This was improved upon by dividing the staff into two sixes, and repeating the C line twice over, viz. in the _lower_ part of the treble staff, and in _upper_ part of the bass staff. As music progressed, and performers required more scope for the movement of the hands, the staff of twelve lines was rent asunder, and the middle C line excluded altogether. It then became the custom to print the five upper lines and the five lower lines much more widely apart, as is now done in modern music. But it ought not to be forgotten that there is only one line really between them; that is to say, there are only three notes between the two sets of five lines, viz. the note _below_ the upper five, the note _above_ the lower five, and the note on that middle line, and that note is middle C, or, more properly, _tenor_ C. A knowledge of this important fact would much facilitate the student in learning to read in the tenor cleff.

In decyphering the old _virginal_ music, all we have to do is to leave out the _lower_ line of the upper staff, and the _higher_ one of the lower staff. It then reads like our modern music.

EDWARD F. RIMBAULT.

* * * * *

SCARFS WORN BY CLERGYMEN.

(Vol. vii., p. 143.)

The statement made in the _Quarterly Review_ for June, 1851, p. 222., referred to in "N. & Q.," is very inadequate. The scarf now worn by many clergymen represents two ornaments very different, though now generally confounded, viz. the broad and the narrow scarf. I can well remember, in my boyhood, hearing mention made of the distinction between the _broad_ and _narrow_ scarf, then customarily observed by many; and this at a time when the _res vestiaria_, and matters connected with the ritual, had not become objects of public attention. The broad scarf was the distinction (of what standing I cannot pretend to say) used by chaplains of the king, and of privileged persons, by doctors in divinity, and by the capitular members of collegiate churches. It was worn with the surplice and gown; and, by doctors in divinity only, with the scarlet academical robe. The narrow scarf has been immemorially used by clergymen, whether priests or deacons, in many large towns, and by the clergy in some cathedrals, and not unfrequently by country clergymen. By custom, those who serve, or have served, the office of junior dean in Trinity College, Dublin, wear a scarf. In fact, it represents the stole, or that ornament (under whatever various names it was known) which, all through Christendom, had been a badge of the three orders of bishop, priest, and deacon. In the Church of England, however, none of those variations in its mode of arrangement, which elsewhere discriminates these three orders, have been retained. Is there any proof that it has not been used ever since the Reformation? And may not its very frequent disuse within memory {216} be attributable to that well-known slovenliness in ritual matters which was but too characteristic of the last century?

JOHN JEBB.

Peterstow Rectory, Ross.

* * * * *

UNANSWERED QUERIES REGARDING SHAKSPEARE.

Domestic anxieties having unavoidably detained me in this place during the last three or four months, I am necessarily without nearly all my books. My corrected folio, 1632, is one of the very few exceptions; and as I have not the No. of "N. & Q." to which A. E. B. refers, I am unable to reply to his question, simply because I do not remember it.

To whomsoever these initials belong, he is a man of so much acuteness and learning, that, although I may deem his conjectures rather subtle and ingenious than solid and expedient, I consider him entitled to all the information in my power. I do not, of course, feel bound to notice all anonymous speculators (literary or pecuniary); but if A. E. B. will be good enough to take the trouble to repeat his interrogatory, I promise him to answer it at once.

My recent volume was put together with some rapidity, and under many disadvantages: not a few of the later sheets were corrected, and several of them written, two hundred miles from home. Such was the case with the note on the suggestion I hastily attributed to MR. CORNISH, on the faith of his letter in "N. & Q." I did not advert to the circumstance that Warburton had proposed the same emendation; and it may turn out that a few other notes by me are in the same predicament. The authority I usually consulted as to the conjectures of previous editors was the _Variorum Shakspeare_, in twenty-one volumes 8vo.

I need hardly add that I was acquainted with the fact that MR. SINGER had published an edition of Shakspeare; but, like some others, it was not before me when I wrote my recent volume, nor when I printed the eight volumes to which that is a supplement. Even the British Museum does not contain all the impressions of the works of our great dramatist; but I resorted, more or less, to twenty or thirty of them in the progress of my undertaking.

MR. SINGER'S edition, no doubt, deserves more than the praise he has given to it: on the other hand, I am thoroughly sensible of the imperfectness of my own labours, however anxious I was to avoid mistakes; and when I prepare a new impression, I will not fail duly to acknowledge the obligations of Shakspeare to MR. SINGER. One of my notes on a celebrated passage in _Timon of Athens_ will have shown that there was no reluctance on my part to give MR. SINGER full credit for a very happy emendation.

I hope and believe that he does not participate in the anger some have expressed, because I have been merely the medium of making known other emendations at least equally felicitous.

J. PAYNE COLLIER.

Torquay.

* * * * *

THE PASSAMEZZO GALLIARD.

(Vol. vi., p. 311.)

The passage quoted by _Mr. Forbes_ from Richard Ligon's _History of Barbadoes_, in illustration of a scene in the 2nd Part of _King Henry IV._, was pointed out by Sir John Hawkins in his _History of Music_ (Vol. iii. p. 383., note).

For "passame sares galiard," as it stands in Ligon, we should read "passamezzo galliard." Sir John Hawkins derives _passamezzo_ from _passer_, to walk, and _mezzo_, the middle or half. The term is variously corrupted by the English poets and dramatists,--_passy-measure_, _passa-measure_, _passing-measure_, &c. Douce, in his valuable _Illustrations of Shakspeare_ (edit. 1839, p. 72.), has the following passage on the subject:

"Florio, in his _Italian Dictionary_, 1598, has _passamezzo_, a
_passameasure_ in dancing, a cinque pace; and although the English word
is corrupt, the other contributes a part, at least, of the figure of
this dance, which is said to have consisted in making several steps
round the ball-room, and then _crossing it in the middle_. Brantôme
calls it 'le _pazzameno_ d'Italie,' and it appears to have been more
particularly used by the Venetians. It was much in vogue with us during
Shakspeare's time, as well as the _pavan_; and both were imported
either from France, Spain, or Italy. In a book of instructions for the
lute, translated from the French by J. Alford, 1568, 4to., there are
two _passameze_ tunes printed in letters according to the lute
notation."

The _passamezzo_ was sometimes sung as well as danced. Morley, in his _Introduction to Practicall Musicke_, 1597, has an interesting passage bearing on the point, which has been overlooked by modern writers:

"There is likewise a kind of songs (which I had almost forgotten)
called _Justinianas_, and are all written in the _Bergamasca_ language.
A wanton and rude kinde of musicke it is, and like enough to carrie the
name of some notable curtisan of the citie of _Bergama_; for no man
will deny that _Justiniana_ is the name of a woman. There be also manie
other kinds of songs which the Italians make; as _pastorellas_ and
_passamesos_, with a dittie, and such like, which it would be both
tedious and superfluous to dilate unto you in words; therefore I will
leave to speak any more of them, and begin to declare unto you those
kinds which they make without ditties."

MR. FORBES asks, "Is the tune of the _galliard_ known?" I know at least a hundred different galliard tunes. They are distinguished by appellations which seem to indicate their being the {217} favourites of particular persons, as in these instances:--"The King of Denmark's Galliard," "The Earl of Essex's Galliard," "Sir John Souch his Galliard," "Sir Henry Noell his Galliard," &c.--See Douland's _Lachrymæ, or Seaven Tears_, 1603.

The _galliard_ is a lively air in triple time: Brossard intimates that it is the same with the _Romanesca_, a favourite dance with the Italians. It is graphically described in Burton's _Anatomy of Melancholy_:

"Let them take their pleasures, young men and maides flourishing in
their age, fair and lovely to behold, well attired, and of comely
carriage, dauncing a _Greek galliarde_, and, as their dance required,
kept their time, now turning, now tracing, now apart, now altogether,
now a curtesie, then a caper, &c., that it was a pleasant sight."

Christopher Sympson, in his _Compendium of Practical Musick_ (ed. 1678, p. 116.), says:

"A _pavan_ doth commonly consist of three strains, each strain to be
play'd twice over.... Next in course after a _pavan_ follows a
_galliard_, consisting sometimes of two, and sometimes of three
strains."

Specimens of the _passamezzo pavan_ and _galliard_ may be found in Queen Elizabeth's _Virginal Book_, in the Fitzwilliam Museum, Cambridge. One is dated 1592. Others may be found in the Public Library, Cambridge (MS. marked "D. d. 3, 18.") Also in two rare printed books,--Robinson's _School of Musick_, fol. 1603; and _Neder-landtsche Gedenck-clanck_, Haerlem, 1626. The latter work contains the "Passamezzo d'Anvers."

EDWARD F. RIMBAULT.

* * * * *

PHOTOGRAPHIC NOTES AND QUERIES.

_The Albumen Process._--In answer to MR. LAWRENCE'S Queries regarding the albumen process (in Vol. vii., p. 116.), I think I can supply him with the information he requires.