Chapter I: Part 1

[Transcriber's note: Original spelling variations have not been standardized. Underscores have been used to indicate _italic_ fonts. [Th] was used for a capital letter thorn, [th] for a lowercase thorn, and [Gh] shows a capital letter yogh. A list of volumes and pages in "Notes and Queries" has been added at the end.]

NOTES and QUERIES:

A MEDIUM OF INTER-COMMUNICATION

FOR

LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.

"When found, make a note of."--CAPTAIN CUTTLE.

VOL. IV.--No. 106. SATURDAY, NOVEMBER 8. 1851.

Price Threepence. Stamped Edition. 4_d._

CONTENTS.

Page

NOTES:--

Some Notes on Arundel House, Strand, and on the
Dispersion of Sculptures formerly Part of the
Arundelian Collection, by William Sidney Gibson 361

Panslavic Literature, and the Library of the British
Museum, by Dr. J. Lotsky 364

On Archbishop Ussher, by Bolton Corney 365

Anglo-Catholic Library--Bishop Overall's Convocation
Book 365

QUERIES:--

The Use of Misereres 367

Joceline's Legacy 367

Minor Queries:--Early Muster Rolls--Convocation
for the Province of York--The Scent of the
Bloodhound--Cooper's Miniature of Cromwell--Lines on
Cagliostro--The Names and Numbers of British
Regiments--Praed's Charade--Cozens the
Painter--Parliamentary Debates 367

MINOR QUERIES ANSWERED:--Merry Wakefield--The
two Kings of Brentford--Meaning of V. D. M. 369

REPLIES:--

Anachronisms of Painters 369

"Agla," Meaning of, by E. S. Taylor, &c. 370

Colonies of England 370

Replies to Minor Queries:--Broad Arrow--Sacro-Sancta
Regum Majestas--Grimsditch--"'Tis Twopence now,"
&c.--Pauper's Badge 371

MISCELLANEOUS:--

Notes on Books, Sales, Catalogues, &c. 373

Books and Odd Volumes wanted 373

Notices to Correspondents 374

Advertisements 374

Notes.

SOME NOTES ON ARUNDEL HOUSE, STRAND, AND ON THE DISPERSION OF SCULPTURES FORMERLY PART OF THE ARUNDELIAN COLLECTION.

The celebrated Thomas Howard, Earl of Arundel, was son of Philip Howard, Earl of Arundel--the faithful and constant, who being persecuted for his religion, was suffered by Queen Elizabeth to languish in the Tower, where he died in 1595--and great-grandson of Henry Howard, Earl of Surrey, the accomplished nobleman who was beheaded in 1547 by "the Nero of the Tudor race." Thomas Howard was restored, as your readers know, to the earldom of Arundel by James I., and in the reign of that king and of Charles I., who held him in veneration, received other honours and employments, but was yet more distinguished by his munificent patronage of the arts and of learning. He is called "the only great subject of the northern parts, who by his conversation and great collections set a value" upon transalpine lands; and he began about 1614 to decorate with the precious and costly works of art which he had collected in Greece and in his beloved Italy, the gardens and galleries of his quaint old palace in London, called Arundel House.

This mansion, or rather collection of buildings, the site of which had been taken from the see of Bath in the time of "Protector" Somerset, appears from Hollar's _Views_ (as is stated by Mr. Cunningham in his admirable _Handbook of London Past and Present_) to have comprised a range of irregular buildings, principally of red brick, erected at various periods, and combined without much regard to elegance or uniformity; although I find the earl is said to have been the first person who introduced uniformity in building, and to have been made chief commissioner for promoting this object in London. This famous, and once hospitable, mansion, stood between the gardens of Essex House on the east, and of Somerset (then Denmark) House on the west, its pleasure grounds coming down to the river, and commanding a fine view of the city as far as London Bridge, and of Westminster, and westward to Nine Elms. It is mentioned by Mr. Cunningham, that in this house Hollar drew his well-known view of London, as seen from the roof. The earl, of whose taste and munificence the Arundelian collections formed a noble monument, departed this life at Padua, on the 4th of October (or, as another account[1] says, the 26th September), 1646, in the sixty-first year of his age, having been two years before created Earl of Norfolk, in consideration of his lineal descent from Thomas de Brotherton, Earl of Norfolk, a younger son of King Edward I., and was interred at Arundel. His will, dated at Dover, 3rd September, 1640, was proved in the Prerogative Court of Canterbury, and is printed in the _Howard Anecdotes_. His marbles, medals, statues, books, and pictures (he is said to have possessed "a larger number of Hans Holbein's works than any other person, and to have been the first nobleman who set a value on them in our nation"), formed at that period, says Sir Charles Young[2], one of the finest and most splendid collections in England. Many of the articles of virtu and of the books were, during his lifetime, in the possession of Alathea, his Countess (who was a third daughter and coheir of Gilbert Talbot, Earl of Shrewsbury), from whom some of them were obtained by his younger son, Sir William Howard, the unfortunate Viscount Stafford (beheaded 1680, on perjured testimony); and a portion of the marble statues and library devolved upon Henry Frederick, his eldest son, who, in his father's lifetime, was summoned to parliament as Lord Mowbray, and succeeded him as Earl of Arundel, and who died in 1652, leaving Thomas, his eldest son, who became Earl of Arundel, Surrey, and Norfolk, and was, at the Restoration in 1660, restored to the dukedom of Norfolk, with limitation to the heirs male of his father. This nobleman died unmarried in 1677, and his brother Henry (who had been created Earl of Norwich, and in 1672 Earl Marshal of England, to him and the heirs male of his body, with other limitations in default) thereupon became sixth Duke of Norfolk. By him the marbles and library were finally dispersed.

[Footnote 1: _Hist. Anecd. of some of the Howard Family_, by Mr.
Charles Howard of Greystoke, 8vo. Lond. 1769. The writer became
Duke of Norfolk on the death of his cousin Edward, eighth duke, in
1777.]

[Footnote 2: In his preface to the Catalogue of MSS. given to the
College of Arms by Henry Duke of Norfolk (not published).]

The Royal Society had held their meetings since the Fire of London at Arundel House; and John Evelyn, Esq., author of the _Sylva_, one of the founders of the society, observing in 1667

"these precious monuments miserably neglected, and scattered up
and down about the garden and other parts of Arundel House, and
how exceedingly the corrosive air of London impaired them,"

induced this nobleman, then Mr. Henry Howard, to bestow on the University of Oxford

"his Arundelian marbles, those celebrated and famous inscriptions,
Greek and Latine, gathered with so much cost and industrie from
Greece, by his illustrious grandfather the magnificent Earl of
Arundel."--_Diary_, vol. ii. p. 295

In 1676 Mr. Evelyn induced the Duke to grant to the Royal Society the Arundel library, into which many of the MSS. formerly belonging to Lord William Howard (the famous ancestor of the Earl of Carlisle), who died in 1640, had found their way from Naworth Castle in the lifetime of Thomas, Earl of Arundel. In the same volume of Evelyn's _Diary_, p. 445., is a minute, under date 29th August, 1678, from which it appears that he was then called to take charge of the books and MSS., and remove to the then home of the Royal Society in Gresham College, such of them as did not relate to the office of Earl Marshal and to heraldry, his grace intending to bestow the books relating to those subjects upon the Heralds' College. It is known, however, that many chronicles and historical MSS. of great value formed part of the donation to the College of Arms; and it would appear from a document in the handwriting of Sir William Dugdale, referred to by Sir Charles Young, that many monastic registers and cartularies which were taken to Gresham College, had nevertheless been intended by the Duke for the College over which, as Earl Marshal, he presided. This nobleman died 1684.

In 1678, according to Mr. Cunningham (who quotes Walpole's _Anecdotes_, ii. 153.), Arundel House itself was demolished. This was done pursuant to an act of parliament, which had been obtained for the purpose of entailing the estate on heirs male, exempt from being charged with jointures or debts, and empowering the Duke to let a part of the site of the house and gardens to builders, at reserved ground-rents, which were to form a fund for building a mansion for the family on that part of the gardens adjacent to the river. The house was planned by Wren, but the design was laid aside about the year 1690, when Henry, seventh Duke of Norfolk, who was a favourite of William Prince of Orange, obtained an act of parliament empowering him to lease the remainder of the garden-ground for a term of forty-one years, and to appropriate to himself the fund which had accumulated. He accordingly let the ground to Mr. Stone of New Inn, an attorney, and buildings of a very different character to the palatial mansion that had been contemplated, ere long overspread the site of Arundel House. The seventh duke died in 1701. It appears that his friend King William had made him Governor of Windsor Castle; but at his death 12,000_l._ were due to him for arrears of salary, which sum it is said was never paid.

The museum of objects illustrative of natural history, and great part of the furniture of Arundel House, were removed to Stafford House (situated without Buckingham Gate, where Stafford Row was subsequently built), in which house, in the year 1720, the Duchess of Norfolk, consort of Thomas, eighth Duke, sold an immense quantity of plate, jewels, furniture, pictures, and curiosities. Besides these, however, many family _reliques_ were at that time in the hands of different branches of this noble family, as, for example, the grace-cup of St. Thomas of Canterbury (which had belonged to Thomas Earl of Arundel, and is now in the possession of Philip Henry Howard, Esq., of Corby Castle, M.P.), and the staff of office of High Constable of England, formerly used by the Earl, and which in 1757 was in the possession of the Earl of Stafford.

Of the fate of the marbles which remained at the time of the removal of Arundel House, some interesting particulars are given by Mr. James Theobald in a letter written from Surrey Street, 10th May, 1757, and addressed to Lord Willoughby de Parham, President of the Society of Antiquaries; and believing that these particulars are little known, I will now subjoin them to the somewhat lengthy memoranda which I have written by way of introduction.

"As there were many fine statues, basso-relievos, and marbles,
they were received," says Mr. Theobald, "into the lower part of
the gardens, and many of them were placed under a colonnade there;
and the upper part of the grounds, next the Strand, was let to
builders, who continued the street next the Strand, from Temple
Bar towards Westminster, and built thereon the several streets
called Arundel, Norfolk, and Surrey Streets, leading from the
Strand as far as the cross street called Howard Street, which ran
parallel therewith. A cross wall was built to separate the ground
let for building from that reserved for the family mansion; and
many of the workmen, to save the expense of carrying away the
rubbish, threw it over this cross wall, where it fell upon the
colonnade and at last by its weight broke it down, and falling
upon the statues, &c. placed there, broke several of them. A great
part of these statues, &c., in that sad condition, were purchased
by Sir William Fermor, from whom the present Earl of Pomfret is
descended, and he removed them to his seat at Easton Neston in
Northamptonshire, where he employed some statuary to repair such
as were not too much demolished. There they continued until the
year 1755, when the present countess made a present of them to the
University of Oxford. In this collection was the famous sleeping
Cupid represented lying on a lion's skin to express his absolute
dominion over fierceness and strength, some roses being scattered
on the skin, probably as emblems of silence and secrecy, as Cupid
presented that flower to Harpocrates, the god of silence, as a
bribe to him to conceal the amours of his mother, to whom the rose
is also supposed to be sacred. Below the foot of Cupid on the
cushion is the figure of a lizard, which some have supposed to
have been placed here as a known ingredient of great efficacy in
love-charms; others, as a proper attendant on those who sleep,
from an opinion that this reptile wakes them on approach of
danger. But the real design of the sculptor is, rather to
perpetuate his name by this symbol, for it was Saurus. The Romans,
observing how much the Grecian sculptors excelled them in this
art, whenever they employed them to execute any work of this sort
forbade them to put, as had been customary, their names to their
works; and Pliny tells us that Saurus had recourse to this
expedient, by putting the lizard upon this figure, as well as on
another which he executed jointly with Batrachus, on which they
were not permitted to put their names, therefore they placed on
the bases the figures of a frog and a lizard.

"Some other of these broken statues, not thought worth replacing,
were begged by one Boyder Cuper, who had been a servant (I think
gardener) to the family, and were removed by him to decorate a
piece of garden ground which he had taken opposite Somerset
water-gate, in the parish of Lambeth[3], which at that time was a
place of resort for the citizens and others in holiday time, still
called after him by the name of Cuper's, and thence corruptly
Cupid's Gardens, which were much of the same nature as Sadler's
Wells and Mary'bone Gardens. Here they continued for a
considerable time, till Mr. John Freeman of Fawley Court, near
Henley-on-Thames, and Mr. Edward Waller of Beaconsfield, observing
something masterly in the designs and drapery of several of them,
desired I would treat with Mr. John Cuper for them. I agreed with
him for 75_l_., and soon afterwards they were divided between
these two gentlemen, and sent part to Fawley Court, and part to
Beaconsfield, where they at present remain.

"What statues and broken fragments yet remained undisposed of in
Arundel Gardens, the Duke of Norfolk obtained leave from the Crown
to remove across the water, just on the opposite shore, to a piece
of waste ground in the manor of Kennington, belonging to the
principality of Wales; and one Mr. Arundel, a relation of the
Duke's I think, at the latter end of the reign of King Charles II.
or King James II., did obtain a grant of the said piece of ground
at a small rent for a term of years, which was renewed on paying a
fine. (These are again referred to.)

"What were thought not worth removing were buried in the
foundations of the buildings in the lower parts of Norfolk Street
and the other buildings on the gardens. Mr. Aislabie, who
inhabited one of these houses, found a broken statue in his
cellar, which he carried to his seat in Yorkshire; and he tells me
there is a sarcophagus in the cellar of Mr. James Adamson, who
lives in the corner house on the left hand going into the lower
part of Norfolk Street.

"As to those carried over the water and laid on the Prince of
Wales' ground, Mr. Arundel, soon after he obtained the grant of
the ground, let it for a timber-yard, and the person who took it
built up a wharf; and when the foundation of St. Paul's was laid
(Mr. Cunningham gives 1st May, 1674, as the date when the ground
began to be cleared), great quantities of the rubbish were brought
over thither to raise the ground which used to be overflowed every
spring tide, so that, by degrees, these statues and other marbles
were buried under the rubbish, and lay there for many years
forgotten. About 1712 this piece of ground was rented by my
father, who, on digging foundations, frequently met with some of
these broken fragments, which were taken up and laid on the
surface of the ground. The late Earl of Burlington having heard of
the things which had been dug up, and that they had formed part
of the Arundel collection, chose what he pleased and carried them
down to Chiswick House, where he placed one piece of basso-relievo
on the pedestal of an obelisk he erected there. Some years after
this, the Right Hon. Lord Petre, speaking to me about these things
of the Earl of Burlington's, told me he had heard that on some
parts of my ground there were still many valuable fragments
buried, and obtained my leave to employ men to bore the ground.
After six days' searching of every part, just as they were going
to give over, they fell upon something which gave them hopes, and
upon opening the ground they discovered six statues without heads
or arms, lying close to each other, some of a colossal size, the
drapery of which was thought to be exceedingly fine. These were
soon afterwards sent down to Worksop, the seat of his present
Grace the Duke of Norfolk, in Nottinghamshire, where they remain.

"There were some few blocks of a greyish veined marble, out of
which I endeavoured to cut some chimney-pieces and slabs to lay in
my house, the Belvedere in Lambeth parish, over against York
Buildings, but the expense was more than their worth; however, as
they were cut out, some of them were used. The fragment of a
column I carried into Berkshire to my house, Waltham Place, and
converted it into a roller for my bowling-green, it being about
six feet long and eighteen inches diameter."

[Footnote 3: Mr. Cunningham mentions that the Waterloo Bridge Road
now runs over the very centre of these gardens.]

Sic transit gloria mundi!

Such are the particulars recorded by Mr. Theobald. When I met with them lately, I determined on asking a place for this Note in your valuable publication, thinking that its contents might be new to some of even your readers, and might form an acceptable page of topographical illustration.

WILLIAM SIDNEY GIBSON.

Newcastle-upon-Tyne, Oct. 1851.

PANSLAVIC LITERATURE, AND THE LIBRARY OF THE BRITISH MUSEUM.

There existed, even in ancient times, some connecting links between the _Panslavian_ and the _Anglo-Saxon_ races: the most important, the introduction of Wickliff's Bible translation into Czechia by Anne, sister of Wenceslaw IV., and wife of Richard II. of England,--an event rich in great and salutary consequences. In allusion to the Library of the British Museum, it seems to me that in former times the diplomatic agents of this country must have taken care to collect the rare and interesting works of the places where they temporarily resided; and that in this way the libraries of this country became enriched by an astounding stock of Italian, Spanish, Portuguese, and Panslavic works, which subsequently merged some way or other in the national library. This, albeit hypothetical _genesis_ of that huge collection, will, I think, best explain its incompleteness and even _un-systematicity_ in former times; as there are some rare old works to be found, of which the concluding volume is wanting. But I shall not, on this occasion, _review_ a whole library, but confine myself to its late _exponent_ for the world-exhibition, described in the "_Short Guide to that Portion of the Library of Printed Books now open to the Public_, _May 1851_."

In imitation of the National Library of Paris, a number of books have been publicly exhibited in the British Museum which, on account of their early date, rarity, costliness and splendour of printing, binding, or for certain interesting autographs, deserved general attention; thus forming an exemplified memorial and history of typographic art and enterprise. The show was a grand and instructive one, owing mostly to the specimens of the unmatched collection of the Grenville Library, the greatest gift ever bequeathed by an individual to a people. None could look without deep emotion on the set of Columbus' Letters, all printed during his lifetime (1493 _et seq._)--documents much adverted to by A. Humboldt in his _Examen Critique_ on the discovery of America. Of similar interest were the sets of first editions of Petrarca, Cervantes, Camoens--leaves invaluable to the thinker on human civilisation. Chinese, Indian, and Japanese specimens were also not wanting.

With all that, the gentleman who had arranged _en maestro_ this exhibition, did completely ignore the existence of _Panslavic_ literature, viz. that of a race of sixty millions of people! It is the perusal of the _Short Guide_ which will satisfy any one of the exactness of the assertions, that _not one single_ Russian, Polish, Czechian or Serbian book or fly-leaf was in the whole collection: an anomaly, the explaining of which is beyond my reach.

Still, Panslavia occupies a conspicuous place even in the history of typography and literature, although our later periods have been dimmed by the intrusion of foreign or despotic princes. It was so early as the year 1512, that a Slavonic translation of the Bible was begun. Ivan IV. established the first printing-press in 1564 at Moscow; and in 1659 the learned Patriarch Nikon published a revision of both the Old and New Testaments. Without entering here into an investigation on the first Slavian typographers, both Czechia and Poland were foremost in introducing this important discovery; and even our southernmost city, the Republic of Ragusa, printed Slavian works. Of all this the typographical exhibition of the British Museum contained no trace. What the Library may possess or not possess, is now more difficult to ascertain than ever, as the different sets of Catalogues amount to a couple of hundred volumes. In fact, I know that there exist in the Library the _Acta Fratrum Polonorum_ (the disciples of Socinus), a work unknown even to Lellewel but I am not aware how to find it without a great loss of time.[4] Unfortunately also, the Catalogues are encumbered by a host of exploded German works, which, remaining on the hands of the Leipzig publishers, are mostly sold as waste paper. The works of the greatest Slavian literati are wanting; for instance, Palacky's _History of Czechia_ (in German), published by order and at the expense of the house of representatives at Prague, of which a _second_ edition (reprint) has already appeared so far back as 1844.

[Footnote 4: [Our correspondent will find it in the King's
Catalogue, tom. i. p. 281., under _Bibliotheca_. The press mark is
273, i. 20.--ED.]]

DR. J. LOTSKY, Panslave.

ON ARCHBISHOP USSHER.

Without designing to take part in the question at issue regarding archbishop Ussher, I may be permitted to record the evidence of one of the earliest and best-informed witnesses on it--Nicholas Bernard, doctor of divinity, and preacher to the honourable society of _Grayes-Inne_, London.

"_Anno 1641._ The great businesse of the _Earle of Strafford_ came
in agitation, in which there is one thing he gave me a charge, as
I had occasion, to clear him, _viz._ of a _scandall_ raised on
him, by a _rash_, I will not say malicious pen, in his _Vocall
forrest_, as if he had made use of a pretended distinction of a
_Personall and politicall conscience_, to satisfy the late King,
that he might consent to the beheading of the said Earle; that
_though the first resisted, he might do it by the second;_ which,
I wonder men of prudence, or that had any esteem of him, could be
so credulous of: but there is a presumptuous _Observator_ of late,
hath more ridiculously and maliciously abused him in it, as if the
root of it was in revenge, for the _Earles suppressing the
Articles of Ireland;_ both are of the like falshood, as hath been
already made apparent, in an answer to him.

"And I have lately seen it under the hand of a person of quality,
affirming, that some yeers agone, a rumour being spread of the
death of this Reverend _Primate_ (who was much lamented at Oxford)
and this concerning the Earle being by one then objected against
him. He was an ear-witnesse, that the late _King_, answered that
person in very great Passion, and with an oath protested his
innocency therein."

Bernard received ordination from the hands of Ussher; was his librarian at the period in question; and was honoured with his confidence for thirty years. His _Life_ of Ussher is a work of authority, and deserves to be held in remembrance.

BOLTON CORNEY.

ANGLO-CATHOLIC LIBRARY--BISHOP OVERALL'S CONVOCATION BOOK.

The volume which is known under the title of Bishop Overall's _Convocation Book_, is a document possessing no ordinary degree of interest. It consists of a series of arguments and canons, in which are discussed and decided several questions of great moment relative to the authority of princes, the divine right of episcopacy, and the differences between the Church of England and the see of Rome. Though this document never obtained the sanction of the Crown, yet its intrinsic value is considerable; and its claim to be regarded as an authentic exposition of the doctrine of the Church of England, in the beginning of the seventeenth century, is unquestionable. Drawn up by the eminent divines who constituted the lower house of the Convocation of 1603, the signature of Bishop Overall at the end attests that the whole had been read three times in the hearing of the house, and unanimously approved.[5]

[Footnote 5: "Haec omnia suprascripta ter lecta sunt in domo
inferiori convocationis in frequenti synodo cleri, et unanimi
consensu comprobata. Ita testor,

"JOHANNES OVERALL, Prolocutor.

"April 16. 1606."

The whole of this passage, the editor informs us, "is in the
handwriting of Overall."--P. 272.]

In the year 1844, a new edition of this document was issued to the subscribers to the Library of Anglo-Catholic Theology. Some care and labour appear to have been bestowed in editing it. The name of the editor is not given: the preface does not even bear his initials. Consequently, the Committee, whose names are before the public, and to whom, as the subscribers are informed in the Rules of the Society, "the whole management of the fund subscribed is entrusted,"[6] have taken on themselves the entire and sole responsibility of this edition, and are the only parties in any way answerable to the subscribers, for the manner in which it has been prepared for publication.

[Footnote 6: The fifth rule is as follows:--

"5. That the whole management of the fund subscribed be entrusted
to a Committee, consisting of not less than twelve nor more than
twenty-four subscribers, who shall fill up all vacancies that may
occur in their own body."]

How that has been done the following observations may help to determine.

In the second part of the work this passage occurs (book ii. chap. vii.):--

"In these times it may well be granted that there was no need of
any other bishops but the Apostles, and likewise that then their
churches or particular congregations in every city were advised
and directed touching points of religion in manner and form
aforesaid by the common and joint advice of their priests or
ministers. In which respect, the same persons, who then were named
priests or ministers, were also in a general sense called bishops.
Howbeit this course dured not long, either concerning their said
common direction, or their names of bishops so attributed unto
them; but was shortly after ordered far otherwise, by a common
decree of the Apostles, to be observed in all such cities where
particular churches were planted, or, as one speaketh, _in toto
orbe_ 'throughout the world.'"

This passage will be found at p. 136. of the edition in the _Anglo-Catholic Library_, and at the foot of the page is the reference given by the Convocation to the words "_in toto orbe_."

"_Jerome in Ep. ad Tit._ cap. i. [See note O.]"

The words within brackets direct us to one of the notes which the editor has added at the end of the volume; where, at p. 281., the following is found:

"Note O., p. 136.

"_Jerome in Ep. ad Tit._ c. i. [The editor has failed in
discovering the passage here alluded to, although the Benedictine
and several earlier editions have been consulted.]"

Without waiting for an opportunity of referring to the Benedictine, or any of the earlier editions, to which the writer has not access at the present moment, it is sufficient to observe, that the passage in question occurs in St. Jerome's _Commentary on the Epistle to Titus_, and may be found in Vallarsius's edition, tom. vii. col. 694.

One would be glad to content oneself with this _note_, but the interests of literature and theology demand something more; and if the anonymous editor should feel pained by the following remarks, the writer can only say that he has not the slightest suspicion who the editor of this volume is, and that it is to the Committee (most especially in such a case as this, where they have allowed the editor to withhold his name,) the Subscribers--not to say the Church of England--will look for such a work being brought out in a proper manner.

To confess that a passage, which the Convocation of 1603 have referred to in this off-hand manner, is not to be found in the works of Jerome, is strange enough: but the confession assumes a new character, as regards both the editor and the Committee, when one reflects for an instant on the particular passage which the editor thus candidly informs us, he "has failed in discovering."

It is not at all too much to say, that no one could be even moderately acquainted with the Presbyterian controversy, and the arguments in defence of Episcopacy, without being so familiar with this passage as to recognise it at first sight. It is, indeed, one of the chief testimonies which the Presbyterians urged in proof of the antiquity of their discipline,--as Bishop Pearson says: "Locus Hieronymi, quem pro fundo habent novatores;" and, as such, it has been discussed by almost every divine of eminence, who has undertaken to defend the constitution of the English church.

To multiply references is needless. But, without attempting to exhaust even the resources of a small and very incomplete private collection, it will suffice to say, that Henry Dodwell has examined it in his additions to Pearson. (_De Success. prim. Romae Episcop._, Diss. I. cap. ix.) Bishop Bilson discusses it, and refers to it again and again (_Perpetual Government of Christ's Church_, "Epistle to the Reader," p. 5.; ch. xi. pp. 217. 268.; ch. xii. pp. 284. 289. 307.; edit. Oxford, 1842). Hooker quotes and explains it (book vii. ch. v. 7.; vol. iii. p. 162.; Oxford, 1845). It is the subject of an entire section of Jeremy Taylor's _Episcopacy asserted_ (sect. xxi.). And to enumerate no more, it is fully discussed by Archbishop Potter, in his _Discourse on Church Government_ (chap. iv.).

These facts will, it is trusted, exempt the writer from the charge of minute and carping criticism. The Convocation of 1603, indeed, merely allude to the passage as one with which every English divine would be familiar and most unquestionably no one could have been a stranger to it, who was acquainted with the subject which the Convocation were discussing.

It is surely then but reasonable to feel surprised, that a document so important, and drawn up by men of such eminence, should have been confided to an editor who had never heard of the passage, and knew not where to find it: in a word, to an editor, who, by his own acknowledgment (and his candour is deserving of respect), is a stranger to one of the principal subjects of the volume he was employed to edit.

The Committee of the _Anglo-Catholic Library_ are not persons who require to be informed, that something more is demanded in an editor, than industry in hunting out references, and transcribing scraps of Latin. Nor could this passage have presented an instant's difficulty to some whose names have stood on the list of the Committee from the commencement of the undertaking. But this is the very thing which the Subscribers have a right to complain of. They expected that the editors employed should have the benefit of co-operation and consultation with the Committee. They had a right to expect this. The Subscribers cannot be expected to feel satisfied with the unrevised performance of an anonymous editor. They had a right to expect, in the first place, that the Committee would not engage any one to edit a book until they had ascertained whether he was acquainted with the subject of which it treated. They had a right to expect also, that the Committee would exercise such a real and _bona fide_ superintendence and control as should have prevented the possibility of any work, issued with the sanction of their names, containing a confession so strange and so humiliating, and manifesting a degree of editorial incompetency so disappointing to the Subscribers, and so discreditable to the literary and theological character of the country. The names of the gentlemen of the Committee must be regarded as a pledge and guarantee that no such case as this could occur. On the faith of that assurance, and in the hope of receiving valuable editions of our standard theology, as well as with a wish to encourage a most useful undertaking, many persons have given their names and their subscriptions. There is too much reason to think now that this assurance is of less value than could have been anticipated. And when proof so unquestionable is thus forced on one's notice, it can scarcely be thought surprising, that regret and disappointment should be expressed by one who has been, from the beginning,

A SUBSCRIBER TO THE "ANGLO-CATHOLIC LIBRARY."

Queries.

THE USE OF MISERERES.

I notice the following paragraph in Mr. Howitt's _Visits to Remarkable Places_, 1840, pp. 470, 471.:

"Perhaps the most curious things about the chapel [of Winchester
College] are the ancient stall-seats now affixed to the wall of
the ante-chapel. These have their seats so fixed upon hinges that
those who sit in them can only maintain their position by
balancing themselves with care, and resting their elbows on the
seat-arms; so that if the monks who used them dropped asleep
during divine service, the seats came forward and pitched them
headlong upon the floor; nay, if they only dozed and nodded the
least in the world, the hard oaken seat clapped against the hard
oaken back, and made a noise loud enough to attract the attention
of the whole audience. Nothing was ever more cleverly contrived to
keep people awake at church or chapel; and, no doubt, most of us
know where they would be especially useful now."

On the latter point there is little room for doubt; but allow me to ask whether this account of the use of the _miserere_ can be supported by adequate authority, and is anything more than a joke? Mediaeval monks were, doubtless, sometimes caught napping; since Dr. Maitland (_Dark Ages_, 2nd edit. pp. 336. and 337. n.) mentions an amusing expedient employed in the monastery of Clugni for the detection of drowsy brethren. What I doubt is, whether the _miserere_ was intended for that useful purpose. In the _Glossary of Architecture_ (4th edit. p. 242.) its use is thus described:--

"They [_misereres_] were allowed in the Roman Catholic church as a
relief to the infirm during the long services that were required
to be performed by the ecclesiastics in a standing posture."

In such matters, I should imagine Mr. Parker to be a better authority than his versatile contemporary; but if they were intended and permitted only for the _infirm_, it seems rather remarkable that they are so general in most cathedral or monastic churches that retain their ancient fittings. I would also ask when were they first introduced, and by whose authority?

QUIDAM.

JOCELINE'S LEGACY.

_The Mother's Legacy to her unborn Child_, by Elizabeth Joceline. This is the title to a thin octave volume printed at "Oxford at the Theater for the satisfaction of the person of quality herein concerned, 1684." This, the first edition, is of rare occurrence; that in the British Museum being a dirty duodecimo chap book. "The Approbation" of the volume bears the signature of "Thos. Goad." It is addressed as a legacy "to her truly and most dearly-loved husband, Tourell Joceline." The letter to her husband, and _The Mother's Legacy_, are two of as beautiful, pious, and feeling compositions, as were ever penned by woman. The latter is so full of religious instruction and exhortation to faith in the mercies of a Redeemer, under the apprehension that she might not survive the birth of a child, that it is surprising this valuable little tract has not become a standard book for distribution by the Society for Promoting Christian Knowledge.

My reason for bringing it under the notice of the correspondents of "NOTES AND QUERIES" is my strong desire to learn of what family was Tourell Joceline, the husband of this most excellent lady. Of that of the lady herself, I gather the following particulars from Mr. Goad's Approbation of the volume.

Elizabeth Joceline was the wife of Tourell Joceline, granddaughter of Doctor Chaderton, sometime Master of Queen's College, Cambridge, and Professor of Divinity in that university; afterwards Bishop, first of Chester, and then of Lincoln; by whom she was, from her tender years, carefully nurtured. Her father was Sir Richard Brooke; her mother the daughter of Dr. Chaderton. She was born in 1595, and died in childbed in 1622, six years after her marriage, as she seems to have anticipated; and hence her previous writing of the _Legacy_. The child, a daughter, survived the mother.

I ought to add, that I parted with the first edition of _The Mother's Legacy_ to the Rev. C. H. Craufurd, Rector of Old Swinford, Worcestershire, in exchange for a volume of his sermons, 1840; at the end of which he had printed the entire of _The Mother's Legacy_, which is well worthy to be printed separately.

J. M. G.

Worcester.

Minor Queries.

261. _Early Muster Rolls._--Are the muster rolls of the army that landed with King William at Torbay, or of the army that served in Ireland in 1690 and 1691, now to be met with, and if so, where? Any information on this subject will oblige

BARTANUS.

Dublin.

262. _Convocation for the Province of York._--The religious newspapers recently gave us an account of the meeting of Convocation for the province of _Canterbury_, but I have seen no account of the meeting of Convocation in the province of _York_. Does that body ever meet, and is any record kept of its proceedings?

ENQUIRER.

263. _The Scent of the Bloodhound._--In a MS. (Camb. Univ. _Dd._ i. p. 542.) I find the following allusion to this subject:--

"[Th]ei far as do[th] a blod hound
[Th]at al times of [th]e yer
Ha[th] fute and tast of eueri beste
[Th]at hi folewi[th] fer or ner:
But _whan [th]e hawethorn bereth blomes,
[Th]t hound ha[th] lorn his smel,
If he fele swetnes of [th]e flouris_;
And [th]us [th]e hunteris tel."

Is there any truth in this statement?

C. H.

264. _Cooper's Miniature of Cromwell._--Can any of your readers inform me what has become of the original miniature of Oliver Cromwell painted by Samuel Cooper? It was long in the possession of Sir Joshua Reynolds, and given by his will to Richard Burke the younger, who survived him only two years, dying unmarried in 1794.

Should the portrait be still extant, and the subject attract any notice, I am prepared to supply some authentic particulars as to its early history, respecting which Northcote was completely misinformed. See his _Life of Reynolds_, vol. ii. p. 221. 2d edition.

BRAYBROOKE.

Audley End, Nov. 1.

265. _Lines on Cagliostro._--Mr. Carlyle, in _Miscellanies_, 3rd edit., vol. iii. p. 324., quotes the following "epigraph," as appended to a portrait of Cagliostro:

"De l'Ami des Humains reconnaissez les traits:
Tous ses jours sont marques par de nouveaux bienfaits;
Il prolonge la vie, il secourt l'indigence;
Le plaisir d'etre utile est seul sa recompense."

Is there any possibility of ascertaining, at the present day, to which of the countless dupes of that "quack of quacks" we are indebted for this hyperbolical effusion?

HENRY H. BREEN.

St. Lucia, Sept. 1851.

266. _The Names and Numbers of British Regiments._--Formerly the regiments in the British army were distinguished not by a particular _number_, but the _name_ of an officer of rank.

I shall feel obliged by information on the following points:--

1. What was the origin of thus _naming_, instead of numbering, regiments?

2. _Who_ conferred the name? Was it done at the War-office, or how?

3. If in honour of an officer commanding the corps, was the name changed when that officer died, or removed to another regiment; or what was the rule?

4. When did the present mode of _numbering_ regiments begin, and by whom was it introduced; and what was the rule adopted in applying the number to each corps? I mean, what was the principle followed in giving any regiment a certain number? Was it according to the length of time it had been embodied?

5. What is the guide now, in identifying a _named_ with a _numbered_ regiment?

[Gh.]

267. _Praed's Charade._--Can any of your correspondents tell me the answer to the following charade by W. M. Praed?

"My first's an airy thing,
Joying in flowers;
Evermore wandering,
In Fancy's bowers;
Living on beauteous smiles
From eyes that glisten;
And telling of love's wiles
To ears that listen.

"But if, in its first flush
Of warm emotion,
My second come to crush
Its young devotion,
Oh! then it wastes away,
Weeping and waking,
And, on some sunny day,
Is blest in breaking."

I have several of Praed's charades, but this is the only one of which I have not the answer.

E. C.

268. _Cozens the Painter._--Can any of your correspondents give me information as to Cozens, the painter? The celebrated painter Turner has declared that for much of the poetry of painting he is indebted to Cozens. Now, on the wall opposite to which I am sitting, hangs a portrait of Cozens by Pine, which has been sometime in our family. I wish to know where I shall find mention of him, or where I can see any of his works.

C. S. B. S.

269. _Parliamentary Debates._--By the fortunate preservation of the MSS. of Mr. Cavendish, there was a probability of our getting a pretty full report of the proceedings of what has been called "the unreported parliament," which sat from 1768 to 1774. Unfortunately, on the death of Mr. Wright, the publication stopped, having arrived only to the debates of March, 1771. Is there any chance of the further publication of this important work? If not, where is the MS., and can it be consulted?

P. D.

Minor Queries Answered.

_Merry Wakefield._--Whence arose the Yorkshire proverb "Merry Wakefield?" Fuller mentions it in his _Worthies_; but does not give, or guess at, its derivation.

R. W. ELLIOT.

[What peculiar cause of mirth the town of Wakefield hath above
others, Fuller certainly confesses he cannot tell, unless that it
may be entitled to that epithet from its cheapness, and the plenty
of good cheer. Grose, however, adds, "Might it not be _mirrie_,
that is, faithful Wakefield? and allude to some event in the
disputes between the houses of York and Lancaster. _Mirrie-men_ is
a term that frequently occurs in old ballads, signifying true or
faithful men." While again it has been suggested that it derives
this complimentary epithet from the reputation of that

"Merry man the Pindar of the town
Of Wakefield, George a Green, whose fames so far are blown;

"for Braithwaite, in his _Strappado for the Divell_, applies it to
both of them, when he speaks of

"'Merry Wakefield and her Pindar too.']

_The two Kings of Brentford._--Occasionally when there is an expression of ultra-friendship on the part of two persons who were before supposed, their profession to the contrary notwithstanding, to hate each other right heartily, the following comparison is elicited from the bystanders: "They are like the two kings of Brentford smelling at one nosegay." I have sought for the meaning of this _profound_ remark from many denizens of that ancient locality, but hitherto without success; it being, somewhat like the mud of Brentford, impenetrable.

Presuming that the remark, like most popular sayings, bears reference to some foregone fact or event, I shall feel obliged by some one of your contributors stating to what the adage refers, and what it is meant to imply. Does it bear any relation to the fact that the two members for Middlesex are nominated at Brentford? And is the comparison quoted from any and what work?

E. J. HYTCHE.

[The saying owes its rise to the celebrated farce of _The
Rehearsal_, written by _Villiers, Duke of Buckingham_, with the
assistance of Butler, Spratt, and others, in order to correct the
public taste by holding up the rhyming tragedies to ridicule. It
is said that no less than ten years were employed in collecting
and polishing the materials. The original hero was Davenant,
satirized under the name of Bilboa; but Dryden eventually became
its Bayes. The allusion referred to by our correspondent is to Act
II. Sc. 2., where the stage direction is, "Enter the two Kings,
hand in hand,"--where they probably did so--"smelling at one
nosegay," although no such direction occurs; or to Act V. Sc. 1.,
"The two right Kings of Brentford descend, in the clouds, singing,
in white garments; and three Fidlers sitting before them in
green."]

_Meaning of V. D. M._--In the church of old St. Chads, Shrewsbury, there is a tablet to a celebrated Nonconformist minister, Rev. Job Orton, after whose name (which is twice mentioned) occurs the (to me) uncommon suffix or designation V.D.M written thus--Rev. Job Orton, V.D.M. "Vir dignus memoriae," or "Veri Dei minister," &c., &c., may be suggested. All I want to know is, whether it represents any recognised formula.

G. R. M.

[This suffix is _Verbi Dei Minister_, Minister of the Word of
God.]

Replies.

ANACHRONISMS OF PAINTERS.

(Vol. iii., pp. 369. 517.; Vol. iv., p. 150.)

I have read D'Israeli's list of the above, to which J. E. alludes in Vol. iii., p. 369., and they are certainly well-known glaring instances of the inconsistencies and absurdities into which artists may be led by ignorance and total want of good taste and feeling: those given by J. E., at the same page, are also unhappy examples. I cannot, however, think that the instance, given by G. T. R. in Vol. iii., p. 517., deserves to be placed in the same category: the subject is, The Woman taken in Adultery; and G. T. R. complains of the anachronism of Steenwyk's having represented our Saviour as writing on the ground in _Dutch_. But this is not necessarily the result of ignorance, and is justifiable on the ground of making the painting more intelligible to his countrymen. For the same reason the writing is often in Latin; and, in fact, often as the subject has been painted, I do not recollect any instance of the proper language being used. In making the scene take place in a building of the architecture of the thirteenth century, Steenwyk has erred (if error it be) in company with the best Italian masters. Both Tintoretto and Paul Veronese engraft into their paintings the architecture and other accessories of their own day. In Tintoretto's celebrated picture of the Marriage of Cana, the artist has made use of the drinking vessels and loaves of bread still used in Venice at the present day. In fact, if strict accuracy were contended for, not a single representation by the old masters of this subject, and of the Last Supper, would pass muster, as, according to the facts of the case, our Saviour and His disciples would not be sitting at a table, but reclining on the ground. But I think these liberties not only defensible, but that the artist's faculty of thus introducing successfully into his paintings the scenes passing before his eyes is often a great proof of his genius; and pictures often owe much of their power and reality to this very circumstance. Space, as well as time, is often annihilated not from ignorance or inadvertence, but purposely, and with the most happy results. Tintoretto, in a painting of the Entombment of Christ, has introduced the stable of Bethlehem in the background; thus finely contrasting the birthplace of Him who was found "lying in a manger" with the fulfillment of the prophecy of His being "with the rich in His death:" and such liberties both of time and place are equally allowable in pictures of at all an imaginative character, the artist feeling that by sacrificing a minor and lower truth he can gain a higher, or make his subject appeal more to the sympathies of his spectators. The instance also noticed by P. P. in Vol. iv., p. 150., is no mistake, but a legitimate employment of a symbol: the cross or flag, with the motto "Ecce Agnus Dei," soon became the recognised symbol of St. John the Baptist, and as such was generally used without reference to the exact time when the motto became strictly applicable. The same strict criticism which would disallow this license, would require the Madonna to be always painted as a Jewess: but I cannot think that paintings are fairly liable to such close and prosaic scrutiny. P. P.'s instance of Zebedee's sons being represented as young children, is treading on more doubtful ground, and some great counterbalancing gain to the picture would alone justify such a bold alteration of facts: but if the subject be altogether treated in an allegorical manner, it might be defensible. His modern instances are, of course, sheer blunders, and cannot be too severely reprehended; and artists must always remember that such liberties should never be taken, unless by these means some higher object is gained. Nor should modern painters expect the same indulgence, until they express in their works the same spirit of devotion, and simple, childlike earnestness of feeling, which distinguish the early painters of the Italian Religious School.

B. H. C.

Oxford.

"AGLA," MEANING OF.

(Vol. iv., p. 116.)

I have the pleasure of being able to refer MR. MARTIN to an interpretation of this inscription. The mystical word AGLA belongs to that species of Cabbala, used by the Rabbinical writers, which is called _Notaricon_, and which consists of forming one word out of the initial letters of a sentence. Thus Agla is composed of the initials of [Hebrew] Attah-Gibbor-Leholam-Adonai ("Thou art strong for ever, O Lord!"), and signifies either "I reveal," or "a drop of dew," and is the cabbalistic name of God.

They also reversed this process, and made an entire sentence from the letters of one word: thus of [Hebrew], Bereshith, which is the first word of Genesis, they made the sentence [Hebrew] Bara-Rakiya-Eretz-Shamayim-Yam-Tehomoth (_i.e._ "he created the firmament, the earth, the heavens, the sea, and the deep"). It would, however, be more correctly written [Hebrew]. Vide _Dr. Hook's Church Dictionary_, art. Cabbala.

In Arnaud's work on the Vaudois, translated by Acland (Murray, 1825), there is mention made of certain inscribed talismans or preservatives, found on the slain French soldiers of Marshal Catinat, the inscriptions of which are given, and among them is one bearing the legend [+]AGVA[+]BATOME[+].

E. S. TAYLOR.

The word "AGLA" mentioned by your correspondent MR. MARTIN as being inscribed on a ring, is mentioned by Reginald Scott in his _Discoverie of Witchcraft_ (1584), as being inscribed on the conjuring knives employed to describe the circles used in calling spirits. He gives a cut of "the fashion or form of the conjuring knife, and the names thereon to be engraved," and on one side is AGLA.

E. H. K.

According to M. Collin de Plancy, in his _Dictionaire Infernal_, vol. i. p. 34., this word is composed of the four first letters of the following Hebrew words, _Athar_, _gabor leolam_, _Adonai_, "Thou art powerful and eternal, O Lord," and was a cabbalistic word used against evil spirits. A brooch of gold found near Devizes, and set with rubies in the form of the letter [A], and having the word AGLA thereon, was shown at the Winchester meeting of the Archaeological Institute by W. Herbert Williams (_Journal_, vol. iii. p. 359.).

EDWARD HAILSTONE.

COLONIES IN ENGLAND.

(Vol. iv., p. 272.)

"The inhabitants of Haverfordwest derived their origin from
Flanders, and were sent by Henry I. to inhabit these districts; a
people brave and robust, ever hostile to the Welsh; a people, I
say, well versed in commerce and woollen manufactures; a people
anxious to seek gain by sea and land, in defiance of fatigue or
danger; a hardy race, equally fitted for the plough and sword; a
people brave and happy," &c.--_Giraldus Cambrensis._