Imágenes de páginas

sented by statue No. 22. But if we removed the shield from No. 28 there would be some difficulty in finding a rightful owner for it among the persons represented by the other statues in the group. Hence I would suggest that it was intended either for Elizabeth of Hungary (No. 20) or more probably for an effigy of her son, Ladislaus W., which was to be included in the group and was actually cast, but condemned and not set up in the group. The design of the coat armour of the figure was considered too poor, and, owing probably to the sluggishness of the metal, the statue came out of the mould full of holes. Of course I do not mean to infer that the arms as depicted on the shield attached to No. 28 were ever borne by either Elizabeth or her son. One more example to show how the artists employed by Maximilian and his executors treated heraldry. One of the forty statues included in the original design was to be that of King Stephen I., the Saint, of Hungary, for which a sketch was prepared by Christopher Amberger. The drawing is reproduced in the “Jahrbuch,' and shows the king with a shield: Quarterly, l and 4, barry of eight, 2 and 3, a triple mount surmounted by a patriarchal cross. §o: reigned from 1000 to 1038, and, of course, so far as we know, had no coat of arms. There are important documents extant of the reign of one of his successors, Béla III. (1173–1196), on which the royalseal is still without the slightest trace of any heraldic device. The oldest representation of the arms of Hungary appears on a deed of King Imre (Emericus) of the year 1202; it shows barry of nine, gules and argent, the four upper strips of the field either being charged with nine lions passant (three, three, two, one), or probably only diapered and the diapering mistaken for lions. The oldest known use of the patriarchal cross as an heraldic device dates from the year 1243, but the arms barry of eight quartered with the patriarchal cross surmounting the triple mount, as shown by the artist, according to our present knowledge, were not borne by any king before Ladislaus W., who reigned from 1440 to 1457, that is more than four centuries after the death of Stephen I. One interesting item of information in Dr. Schönherr's account is that Arthur's and Theodoric's statues, after being cast in 1513, were pawned, and remained in pawn for some years until the Imperial Exchequer could find money to ****

“CANARY BIRD,” An OPPRobbious TERM (8th S. i. 109, 198,339; ii. 378,433; iii. 395).-The John Udal referred to by Sutcliffe in 1592 is said to have been the worthy whom James I. complimented at the expense of all contemporary European scholars; nevertheless, Sutcliffe was pleased to characterize him as “a man utterly unlearned and very factious.” He was a Cantab, who graduated from Trinity, *ough he began his collegiate career as a sizar at

Christ's. He became a minister at Kingston-onThames, but having got into trouble, from alleged complicity with the Martinists, he was silenced there, and being invited to Newcastle-upon-Tyne, lived and laboured in that town for something like a year. ‘Diotrephes' and ‘A Demonstration of Discipline' are attributed to his pen. Udal was summoned back to London to answer for his opinions, was committed to prison, and, at one time, condemned to execution; he was, however, spared to die the natural death of a broken heart in the Marshalsea, in 1592 or 1593. Thomas Cartwright, who has been called “the head and most learned” of the early Puritans, was for a while his fellow captive. The full title of my libel, or libellus, is as follows: An Answere to a Certaine Libel Supplicatorie, or rather Diffamatory, and also to Certaine Calumnious Articles, and Interrogatories, both printed and scattered in secret corners to the slaunder of the Ecclesiasticall state, and put forth vnder the name and title of a Petition directed to her Maiestie: Wherein not onely the friuolous discourse of the Petitioner is refuted, but also the accusation against the Disciplinarians his clyents iustified, and the slaunderous cauils at the present gouernment disciphered by Mathew Sutcliffe. I fear me I was wrong in writing aforetime as though this work had been specially evoked by the publications of Udal and Cartwright, for great is the mystery of the Marprelate business, and I am not its soothsayer. Some former owner of my copy, who I naturally concluded was better informed than myself, wrote “Sutcliffe's Ans' to Udal and Cartwright” on the fly-leaf opposite the title-page, and I too rashly accepted his conclusion. Udal and Cartwright do, indeed, receive ugly rubs from Sutcliffe, but they are only two out of many whom he attempts to chastise; and unless they wrote the “Certaine Libel, the authorship of which is hidden from me, “An Answere 'cannot have been mainly addressed to them. Sutcliffe assumes no manner of doubt touching its origin. He says:— “The writer of this Libel is wel knowen; I would he so well knewe himselfe. His bedlem fits also, and helpers he had in his writing, are knowen.”—P. 104. “A very undecent thing it seemeth to me, that a man not conuersant in studie of diuinitie should teach diuines, that a disordered companion should controll gouernors, and lawes: that a man lately distracted of his wit should teach law and order, neither knowing order, nor lawe.”—Preface, B 3.

I do not know to which member of the early Puritan party such innuendoes best applied. Cop. pinger was somewhat of an enthusiast, and believed that the Holy Spirit gave him many strange directions (Bancroft’s “Dangerous Positions,’ p. 144, &c.); but I am not aware that the cause was indebted to him for any literary support. Henry Nicholas, of the “Family of Love,” must have had a screw loose somewhere, and I have wondered if, in 1592, Sutcliffe thought he had him to deal with, since towards the end of the preface he is suddenly referred to in this manner:— “H. Nicholas hath painted his book with quotations, as full as T. C. he vseth the same stile and seemeth to have the same erronious spirit.” Other senses in which the passage might be taken are not hidden from me. There may be some plain statement as to the authorship of a “Certaine Libel’ in Sutcliffe's later ‘Answer,’ that to Job Throkmorton, in 1595. This work I know only from the excerpts given in ‘An Introductory Sketch to the Martin Marprelate Controversy” (Arber), and they do not satisfy my curiosity. “John Penry, say I, John Udall, John Field; all Johns : and Job Throkmorton; all concurred in making Martin,” wrote Sutcliffe; but many pens, not leagued with theirs, yet moved in sympathy. I feel sure that my snippets will provoke rather than satiate the Fijian appetite. I am sorry to offer a mess so innutritious. Let me end with a note and a query. I note that the Rev. Mathew Sutcliffe exclaims, “A bloudie fault,” when he meets the complaint, “The Curate must tolle a Bell: yet doeth not he, but the Sexten” (p. 118); and I must ask for an explanation of the words italicized below: “The stile is like John Bels song of Couentrie, the sentences hang together like lenten deames.” ST. SwitHIN, [A communication concerning Nicholas Udal, recently received from a valued contributor, but, on account of its crudity of language, suppressed, shows that he pleaded guilty to a shameful offence.]

LADY of THE BEDCHAMBER (8th S. iii. 247, 355,392).-I also have tried hard, in going through the Close Rolls and Wardrobe Rolls, to find any hint, even the slightest implication, of relationship between Geoffrey and Thomas Chaucer, and have entirely failed.

When one of the queen's ladies is mentioned on the Rolls, she is (if I rightly remember, invariably) styled either “domina de camera Reginae" (which very rarely occurs), “domicella camerae Reginae,” or “domicella Reginae.” Philippa Chaucer is always styled “domicella cameras,” but Philippa Pycard is always “domicella Reginae.” The ladies pensioned on Queen Philippa's death in 1369 (Patent Roll, 43 Edw. III., part ii.) were the “domicellae Reginae" only; and neither the name of Philippa Chaucer nor that of Alice Perrers appears on this list, while Philippa Pycard is there. I am very glad to find that my convictions respecting Philippa Chaucer are backed by so high an authority as PROF. SKEAT. That Chaucer was her maiden name I never could believe.


SAMPLERs (8° S. iii. 327).-As I have before mentioned (8° S. ii. 91), I possess a very old

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sampler, worked by my grandmother's great-grandmother, in 1718, and I do not recollect ever having seen one of an earlier date, though doubtless there are such in existence. MR. TUER asks, “Where are some good typical examples to be seen 7" and I can only say that, if he ever finds himself in this neighbourhood, I shall be very happy to show him mine. It is in excellent condition, and, as I wrote in the above reply, the colours are not at all faded and might almost have been worked in yesterday. As regards “the earliest known child's sampler with a date,” an answer is scarcely likely to be arrived at, though, as I say, I have never seen an earlier dated one than my own. But that they go back to the Middle Ages there can be little doubt, and certainly to the time of Elizabeth. In the “Midsummer Night's Dream” (III. ii.), Helena exclaims to Hermia,— We, Hermia, like two artificial gods, Have with our neelds created both one flower, Both on one sampler,which opens up a new question, viz., Was it the custom—as Shakespeare, who observed everything, hints—for more than one girl to work upon one sampler? Has, in fact, any one ever seen a sampler signed by two workers? JNo. BioUNDELLE-BURTox. Barnes Common, S.W.

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of these samplers—the work of five generations of ladies in one family. They are all dated at the time of working them; but no one need consult the dates in order to arrange them according to age. The oldest shows by far the most careful work and the best taste. As they come down to the latest they get ruder and ruder, till we reach those wonderful tubs with inconceivable fruit-trees or flowers in them, or those still more wonderful and less conceivable peacocks, worked with coarse thread on coarse canvas, and not in any respect superior, either in taste or execution, to the paintings or sculpturing of the lowest savages we know. All the young ladies who worked these five samplers belonged to a chain of families living in affluence and refinement, and it was assuredly not a want of culture or taste which gave origin to those marvellous birds and decorative borders in the later of them, for the parents of some of the workers were among the appreciators and patrons of Raeburn. Sampler-work was a practice dying out, and death came to it in the usual way, by a process of degradation. This is the

whole explanation.” W. E. WILSON.

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play Fleay says is “generally and rightly dated 1603":— * Mrs. Overdone. But what’s his offence?

“Pompey. Groping for trouts in a result, o, ... li.


HERALDIC CASTLE (8° S. iii. 347).-In modern heraldry a castle is represented with not fewer than two towers, connected with a wall and gateway (Boutell and Aveling). More than this number are called “a castle triple-towered,” or a castle with four towers, which is always blazoned in perspective. Cussans's ‘Heraldry' describes “a castle” as an embattled fortress, “on which are commonly placed three towers.” Clark and Wormull give the same description, and all give “a tower” as a single turret and as a different charge.

Guilliam (the edition of 1638) contradicts himself, for he says “when the architecture extendeth itself over all the field from one side of the Escocheon to the other, then must it be named a castle, but if it be thus Turretted and environed by the Field, then must it be blazoned “a Tower triple-tow’red.’” But in his examples he gives in the arms of Castillion a lion rampant, “a castle in the dexter point,” and the woodcut gives a simple tower. In our own arms we bear (as a modern augmentation on the grant of a peerage) on the original canton “a castle triple towered” for the Castle of Norwich. B. Florence ScARLETT.

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in the eyes.” Fidelia, in a conversation with lope, which marched with them on parade, led by Manly, the whole of which need not be quoted, / a silver chain.

A. G. B. says:

The 4th Battalion Beds Regiment (Horts “Pray, have you a caro of gloating eyes; for be that

1: Militia) bad, up to a few years ago, a stag to preloves to gaze upon 'om, will find at last a thousand fools and cuckolds in 'om instead of cupids."

code them. It either injured or killed a man, and

had to be destroyed. Since then the custom has W. F. Prideaux.

been discontinued. When I was a child “babies” was a common

8. POSTLETAWAITE POLLARD. nursery term for pictures in books. “Shall we look Belle Vue, Bengeo. at the babbies ?" was nurse's way of introduciog a fresh book. The same name was given to the tiny

"TAIRTY DAYS HATH SEPTEMBER” (8th S. ii. figures of people seen in the eyes. This refers to

| 245).—The following rhyme (first printed, I believe, over half a century ago.


in 1571) may be found in Grafton's' Abridgemont

of the Chronicles of Englande......1572,' sig. Ff. ii. TABLE PROVERB (8th S. iii, 265). The proverb verso:to which there is reference is much earlier than

Thirty dayes hath Nouember, 1664, though porbaps that is merely a quotation of

Aprill, Iune & September. it. It is to be met with in the form below in Villa

February bath xxviij. alone,

And all the rest have xxxi. Nova's commentary on "Schola Salernitana' as

Five years later (1577) it appears in Harrison's Post canam stabis, aut passus mille meabis.

Eogland,' with one or two trivial changes and the • Regimen Sanitatis Salernitanum' (Oxf., 1830, p. 156). I

addition of the line Compare

But in the leape you must ad one.
As men

That the version with September in the first line
Do walk a milo, women should talk an hour was current by 1601 is evidenced by a passage in
After supper, 'tis their exercise
Beaumont and Fletcher, ‘Philaster,' 1620;

• The Return from Parnassus,' written in that year Works,' i. 240.

(III. i., p. 37 of Arber's ed.):The lines were not part of the original 'Schola

"S. Rad. How many dayes hath September ? Salerni' (see p. 151, .8.). Ed. MARSHALL.

Im. Aprill, Iune and Nouember, February bath 28.

alone and all the rest hath 30 and one. “SQUIN” (8th S. ii. 166. 299). -The pecten is! “S. Rad. Very learnodly in good faith, he bath also a mentioned as & dainty fish by Horace ('Sat.,'||

smacke in poetry." ii. iv. 34): “Pectinibus patulis jactat se molle

Our continental neighbours have been no less Tarentum." E. WALFORD, M.A.

appreciative than ourselves of the utility of this Ventoor.

mnemonic canon. An old Italian version is included

in Giusti's 'Provorbi Toscani,' art.“ Meteorologia," LOST OR SUSPENDED MEMORY (8th S. iii. 389). - &c.:Many instances of failure of memory are recorded Trenta di ha novembre, april, giugno e settembre; in All the Year Round, Second Series, vi. 365 ; Di ventotto ce n'è uno : tutto gli altri n'han trentuno. xi. 464. Nearly fifty years ago I was acquainted | I can give no date for this; but the following with a young man who, from an accidental injury French version is from a book published in 1664, to the brain, entirely lost all memory of the past, | . Proverbes on Rimes,' ii. 311:and, from being a cadet on board H.M. ship Ex

Trente ont les Mois de Nouembre, cellent, was obliged to be taught his alphabet.

Avril & Iuin & Septembre;

Et vingt-huit jours en a yn, 71, Brecknock Road.

Tous les autres en ont trente-vn. Mr. Hooper should read the marvellous history.

Comment on the stupid blander denounced by of the Rev. Eleazar Williams-otherwise Lonig your correspondent would be a waste of your space. XVII.—which all torns upon a recovery of memory.

F. ADAMS. I believe there is a modern reprint of the book. RAYME ON CALVINISM (8th S. iii. 428).-MR.

EDWARD A. MARSHALL, M.A. FLEMING will find the rhyme relating to this in an Hastiogs.

early sermon of C. H. Spurgeon, on ‘Calvin and ToteMS IN THE BRITISH ARMY (866 S. iii. 407). /

Calvinism,' published early in the sixties.

T. R. SLEET. - The 6th (Royal Warwickshire) bear the badge

67, Trinity Road, Wood Green. of the antelope. Its origin is uncertain, but some authorities have suggested that the figure of an | Sir Thomas Pate Hankin, Knt. (866 8. iii. antelope was on one of the standards captured by 369).-He joined the 2nd or Royal North British this regiment at Saragossa, and by them presented Regiment of Dragoons as cordet, July 21, 1795 ; to Queen Ande. When quartered at the Tower, was promoted a lieutenant, Aug. 13, 1796; captain, somo years ago, the Warwickshire had a pet ante- Oct. 18, 1798; major, April 4, 1808 ; lieutenant

colonel in the army, June 4, 1814; and lieutenant flower referred to is the Caltha palustris. And I colonel commanding the above-named regiment, am curious to know why it is wrong to call this Oct. 11, 1821. He served in that distinguished flower the marsh-marygold. It has been so called corps at the Battle of Waterloo, where he sustained since Lyte's time at least, and the name has the & severe wound in the knee. Upon the visit of stamp of Tennyson's approval in one of his finest George IV. to Scotland in 1822, Lieut. Col. Han- descriptive lines :kin, then in command of the regiment there, re- The wild Marsh-marigold shines like fire in swamps and ceived, at Holyrood House, on Aug. 22, the honour hollows gray. of knighthood. He was twice married, first to the For anything I know it has as good a right to only daughter of Capt. John Reade, of the 25th the name as the garden marigold (Calendula Regiment, who died within a year after their union; officinalis). It does not, however, appear to be and secondly, to Miss Margetts, of Huntingdon- referred to by Shakspeare, and it is almost cershire, who survived him. Sir Thomas died at the tainly not his “cuckoo-bud of yellow bue.” In the Cavalry Barracks in Norwicb, Oct. 26, 1825, aged first place, it blooms some weeks before the cuckoo fifty-nine, and was buried in Norwich Cathedral. comes (I gathered a quantity this year in the first The name of Hankin is of frequent occurrence in week of April); and in the second it is hardly a the parish registers of Ashwell, Baldock, and San meadow flower. We have heaps of it aloog our don, Hertfordshire.

DANIEL HIPWELL. drains and ditches, where it makes a gallant sbow; , 17, Hilldrop Crescent, N.

but it is almost entirely confined to them. MRS. BARCLAY'S 'ENGLISH DICTIONARY' (8th S. iii.

| WHITE 8878 that elsewhere Shakespeare speaks of

the crowfoot. Does she mean the crow-flower-a 428). — The Complete and Universal English

very different thing ? Shakespeare, unless I am Dictionary' was by the Rev. James Barclay. The first edition was published in quarto in 1774; see

mistaken, never mentions the crowfoot; but I have

| little doubt that he refers to it in the passage MRS. Mr. H. B. Wheatley's Chronological Notices of the Dictionaries of the English Language,' in the

Wøite is inclined to apply to the marsh-marigold.

His crow-flower is our ragged robin, of which Transactions of the Philological Society for 1865.

Gerarde says that it “serves for garlands and

G. L. APPERSON. Wimbledon.

crowns"-as it did for poor Ophelia. 0. C. B. KILBURN WELLS (8th S. iii. 167, 435).-C. A. O.

Why does Mrs. C. A. WAITE day of the bright may be referred to Old and New London,' vol. v. 19

Caltha palustris that it is wrongly named marsh: pp. 245, 246, where Mr. Walford gives quotations

marygold ? The name caltha is said to be derived from the Kilburn Almanac,' Mr. Harrison Ains

from cabathos, a cup.

JAMES HOOPER. worth, Mr. Richard Owen Cambridge, and the

Norwich. Public Advertiser of 1773. Mus URBANOS. The Pope's GOLDEN ROSE (8th S. üi. 343).GEORGE ELIOT (8th S. iii. 307, 352).—An old |

The following passages on this subject may interest

some of your readers :acquaintance kindly points out a mistake of mine with regard to the date of George Eliot's first pub

"On the fourth Sunday in Lent, which falls in spring, lication of verse.

the Pope, dressed in white, consecrated on the altar of a "The Spanish Gypsy' appeared chapel adorned with roses, in the presence of the College in 1868, and had, therefore, precedence of Jubal.' of Cardinals, a golden rose, which was afterwards preI am sure the distinction in the article I remember sented as ensuring a blessing to princes and princesses, was between verse and prose, not, as MR. MAR- and even to churches and towns. The Pope dipped the SHALL suggests, between verse and poetry. Cer

rose in balsam, sprinkled it with holy water and incense,

and prayed to Christ as the Flower of the field and the tain passages from the novels were taken, and it

Lily of the valley. Shortly before the Reformation, was shown that they easily could be read in metre. Frederic the Wise, Elector of Saxony, received the

| Golden Rose, and in our time it has been bestowed on passages from ‘Lorna Doone' in a similar way, as

the ill-fated Empress Charlotte of Mexico, and the pious demonstration of the fact that Mr. Blackmore's

Isabella II. of Spain. Notes relating to this peculiar

custom may be found as far back as the eleventh century, prose might be considered poetry in the techoical when Leo Ix, was Pope; but its origin is evidently consense.

E. H. HICKEY. nected with the ancient Roman conception of the rose as Hampstead.

the symbol both of life and of perishableness, which in The article for which Miss HICKEY inquires | his joy, but also his mortality and humility. i-Victor

the hand of a conqueror expressed not only his glory and certainly appeared before any of George Eliot's Hehn, Wanderings of Plants and Animals,' ed. by J. S. poems. I remember it well, but cannot, for the Stallybrass, 1885, pp. 193-4. life of me, remember in what magazine it was pub

"The Rosa Aurea, wbich is of pure gold inraught with lished.

rubies and other gems, is solemnly blessed by the Pope C. C. B.

on Laetare, Mid-Lent Sunday, as an emblem of Christ,

wbo is the flower of the field and the lily of the valley, MAY-DAY (8th S. iii. 427).--I suppose cattha

and as a sign of the joy of the church triumphant and in this note is a misprint for caltha, and that the militant in Him. The rose is sent to Catholic sovereigns,

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