voice, of the practice of singing, and a great variety of other matter concerning music. In fact the work consists of a great number of separate treatises, with such signatures for the sheets, and numbers of the pages, as to make them independent of each other. The consequence of this is that hardly any two copies of the work are precisely alike. In "De my copy the treatise, Campanis" forms the fourth book of the Harmonicorum Instrumentorum. It would delight me to lend it to MR. ELLACOMBE, if he has any desire to see it. EDWARD F. RIMBAULT.

THE FRENCH KING'S DEVICE (4th S. i. 274.) – I wish to add a few more details to those which I gave at p. 274. These imprese were certainly intended to have a political significance. Isabella (Elizabeth), daughter of Henry II. of France and Catherine de' Medici, became the wife of Philip II. of Spain, whose impresa I gave from Ruscelli. He gives her impresa also: "Isabella Valesia, Regina di Spagna." It shows the sun in the dexter corner, and the moon in the sinister, with stars between and round them, in a space enclosed by pillars carrying a heavy pediment. The sun and moon are represented by two young faces. In front of the frieze of the pediment, two amorini hold a crown. There is a great deal more of ornament which I need not describe. I give a few lines of Ruscelli's account of the impresa:

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"Il divino ingegno di questa giovane [Isabella, Queen of Spain] si può giudicar, che con questo abbia voluto dimostrar tre cose importantissime.

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"L'una, che l'acquisto della Terra Santa e la conversione degli Infideli, onde ne segua il pieno lume del mondo per la santissima Fede nostra, s' abbia da far unitamente dal Re Catolico suo marito e dal Re Cristianissimo suo fratello. Per intendimento di che tutto è da ricordar quello nel primo capitolo della Santa Bibia che Iddio creò due gran lumi ai quali diede ufficio di sovrastare e dar luce al mondo l'uno di giorno e l' altro la notte. e però voglia questa giovane mostrar con tal impresa che essendo il fratello e 'I marito suo i due gran lumi che abbiano a sovrastare e dar luce a tutto questo nostro inferior mondo, l'abbian a far non più con intervallo di tenebre e dioisamente, ma tutti in un tempo stesso e unitamente."

Laud mentions this use of the figures of the sun and moon, as of political significance, in his reply to Father Fisher. I cannot quote his words, not having the book at hand.

Stuarts Lodge, Malvern Wells.

D. P.

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Journal of a Voyage into the Mediterranean by Sir Kenelm Digby, A.D. 1628. Edited from the Original Autograph MS. in the possession of William Watkin E. Wynne, Esq. by John Bruce, Esq. F.S.A. (Printed for the Camden Society.)

It is well remarked by the Editor of this present volume, which has just been issued to the Members of the Camden Society, that a Life of Sir Kenelm Digby, "if written by a competent historical scholar in a proper spirit and founded upon a consultation of all the many MSS. relating to him, could not be otherwise than a most important and interesting work." The sketch of that life which Mr. Bruce has given us as an Introduction to Sir Kenelm's Journal, shows how abundant are the materials for such a work, and how glaringly erroneous are many of the received accounts which we have of him. The future biographer of Sir Kenelm will owe much to this

Introduction; much, too, to the liberality of Mr. Wynne in permitting the Camden Society to use the curious manuscript now given to the press, in which this singular. and in many respects extraordinary man enables us to

"Witness his action done at Scanderoon,"

an action which made every true English heart leap with joy. The work is a welcome addition to the political history of the time as well as to the biography of the man. The Grand Question Resolved. What we must do to be Saved; Instructions for a Holy Life, by the late reverend Divine, Mr. Richard Baxter. Edited by the Rev. A. B. Grosart. (Printed for Private Circulation.) Annotated List of the Writings of Richard Baxter, Author of the "Saint's Everlasting Rest," made from Copies of the Books and Tractates themselves. By the Rev. A. B. Grosart, Liverpool. (Printed for Private Circulation.) We have in the first of these publications another of those reprints of the Works of Old Worthies on which Mr. Grosart delights to employ himself. It is very characteristic of Baxter, and will be welcome to his admirers. The second is a little book of even wider interest, it being, as far as Mr. Grosart could accomplish, a perfect List, with notes and illustrations of the writings of the earnest divine, of whom Isaac Barrow once said, "His practical writings were never mended, and his controversial ones seldom confuted." These, as enumerated by Mr. Grosart, in this bibliographical resume of them, consist of between 150 and 160 separate books and tractates.


Debrett's Illustrated House of Commons and the Judicial Bench. Compiled and Edited by R. H. Mair. Personally revised by the Members of Parliament and the Judges. (Dean & Son.)

This useful supplement to Debrett's Peerage and Baronetage contains much more than the title-page indicates such as not only the arms of the M.Ps. and Judges, but of the Counties, Cities, and Boroughs which return Members; Lists of Commissioners of Bankruptcy and County Court Judges; Explanations of Parliamentary Expressions, and a short chapter explanatory of Heraldic Distinctions and Armorial Bearings.

History of the Forest of Rossendale, by T. Newbigging. With a Chapter on its Geology, by Captain Aitken; and Observations on the Botany of the District, by A. Stansfield. (Simpkin & Marshall.)

A very exhaustive history of this interesting district, containing much that is very interesting on the social condition of the inhabitants in addition to the archæolo

gical, geological, and botanical information promised by the title-page.

The Mysteries of Mount Calvary, translated from the Latin of Antonio de Guevara. Edited by the Rev. Orby Shipley, M.A. (Rivingtons.)

This is an adaptation, to a considerable extent, of the old English translation of Guevara's work; and in preparing the present edition, special regard has been had to its object as a book of devotional reading for the Season of Lent, and not as a mere literary curiosity.

Ludus Patronymicus; or, The Etymology of Curious SurBy Richard F. Charnock, Ph. D., F.S.A. (Trübner & Co.)


Mr. Charnock, in this little volume, answers Shakespeare's query, "What's in a name?" with great ingenuity, and no small amount of curious learning.

Words of Comfort for Parents bereaved of Little Children.


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Notices to Correspondents.

UNIVERSAL CATALOGUE OF BOOKS ON ART.-All Additions and Corrections should be addressed to the Editor, South Kensington Museum, London, W.

ROTAL ACADEMY.-This year being the centenary of the Royal Academy, we shall publish on Saturday, April 18, the first part of an interesting paper on the hundred Royal Academy Catalogues.

ESPEDARE no doubt saw in "N. & Q." of last week, on p. 314, an explanation of his query as to the letters I. N. R. I. on p. 310.

AN OLD CONTRIBUTOR. The late Rev. S. R. Maitland, Mr. Dilke, and Sir G. C. Lewis.

S. R. (Liverpool) will surely find the particulars of the trial in Feb. 1828, in any file of Dublin newspapers.

A CONSTANT READER may in like manner find a list of those who were presented at Court in April, 1859, by consulting a file of the Times or Morning Post.

T. 8. B. Lord Herbert of Lea died Aug. 2, 1861. We do not think he ever brought the question of signing literary articles, as in France, before Parliament.

GEORGE ELLIS. C. Cort's engraving of the Nativity is from a picture of Polidoro Caldara da Caravaggio, born 1495, died 1543; and not by Michael Angelo Amerigi da Caravaggio, born 1659, died 1809. These dates are correctly given in Watkins's Biographical Dictionary, edition, 1821.

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NOTES:-Notes and Emendations of Shelley, 357-Inedited Pieces, 360 Folk-lore, 361-Fly-leaf Scribbling from an old Volume of Medical Tracts, 362- Familiar Words," 863-"Very not well"-Low Side Windows Elias: Helias: Alias-Tennyson's "Palace of Art," 364. QUERIES:- John Ackwood, or Giovanni Aguto-Batelle and Luson Families- The Bell Cow of Brigstock-John Coughem and the Pacificators - The Gulf Stream - Madame Guyon's Hymns Mr. W. Marrat- Letter of Increase Mather to Mr. Gouge-Organ Accompaniment to Solo Singers - Poem Quotation in Giannone Quotations Rice Beer Truman Henry Safford - St. Alban's Club-Trade Marks Verse Inscriptions in Churches - Wedgwood's Copies

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of the Portland Vase, 364.

John Harley, Bishop of Hereford

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QUERIES WITH ANSWERS: - "Dies Ira"-Abraham Woodhead " Watty and Meg Scotch Heraldry (Old Sculp. ture) "Par ternis suppar - Angelus Bell, 367. REPLIES: - Shakespeare and the Bible, 368 Patrick Lord Ruthven, 370- Les Échelles, 371 - Shuttleworth Family, 372-To make War for an Idea, 373-English Officers at Dettingen The Antiphones in Lincoln Cathedral Anne Boleyn's Arms Kimbolton Battersea Enamels- The Ancient Scottish Pronunciation of LatinI, Ego-Sub Brigadier-The Homilies- Baker's "His

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tory of Northamptonshire" — Fire at Stilton -Sir John Bane- Frye's Engravings Tavern Signs Swaddler-The Young Pretender-Dishington Family Quotation -"Pierce the Ploughman's Credo"-Dryden's Negligences "-"Property has its Duties," &c.


" The Tear that bedews,' &c.-Wm. Hawkins: Robert Callis-Jansenism in Ireland, 374.

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The leading idea in this magnificent simile is clear enough: the half-intelligible figures on ancient Egyptian obelisks remaining unruined amid the ruins of less ancient palaces and tombs, such as those of the Caliphs in Cairo. The mind catches this leading idea, and perhaps glides lightly over the details. If it attends to those details, it will find some hard morsels in such a phrase as 66 mouldering round those imaged to the pride," &c., or such a disconnected plural as "" and are now." Surely the punctuation is a lamentable muddle, and should be altered thus:

* Continued from p. 336.

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"When the sunset sleeps Upon its snow,”

followed by the words, completing the same metre, sentence, and rhyme:

"And the weak day weeps

That it should be so.'

Earth, who forthwith continues, reverting to his But these last two lines are assigned to the own longer metre:

"O gentle Moon, the voice of thy delight

Falls on me," &c.

Why should the final couplet of the Moon's metre be put into the mouth of the Earth? I can discover no visible or probable reason for the transfer, and feel privately convinced that it is a mere printer's error. A stickler for authority would nevertheless retain it, and perhaps should not be censured for doing so.

My notes have now reached to the close of that most inspired and monumental of the poetic works of the nineteenth century, the Prometheus Unbound. I shall reserve for another communication what I find to remark upon in the remaining works of its unrivalled author.

"Then it was I whose inarticulate words Fell from my lips, who with tottering steps Fled from your presence, as you now from mine." The Cenci, Act II. Sc. 1, p. 265. Read" and who with tottering steps." This is so given in Ascham's edition, 1834.

"A judge who makes the truth weep at his decree." Id. Act II. Sc. 2, p. 269.

Omit the.

superior to Moxon's.

66 Guilty! who dares talk of guilt? My lord, I am more innocent," &c.

Id. Act IV. Sc. 4, p. 293. The metre of the first line is obviously defec"Who dares to talk" would set it right.



Oh, dart

The terrible resentment of those eyes On the dread earth! Turn them away from me!" Id. Act V. Sc. 2, p. 298. "The dread earth" sounds meaningless and wrong. Ascham's edition gives "dead" instead of "dread"; and I think we may safely admit this to be the true reading.

"Like sulphureous clouds half-shattered by the storm,” Hellas, p. 320,

stands as a blank-verse line. Surely it should be "sulphurous," for the metre's sake.

Here again Ascham's edition is however, was certainly not the case. Firstly, it conflicts with the uncompleted Life of Shelley by Mr. Jefferson. Hogg. At the very end of that curious performance (vol. ii.), we find that Mr. Hogg visited the first Mrs. Shelley some short time (apparently only a few days) before April 18, 1814 (the date of the month given to the Stanzas now under consideration), she being then certainly as yet unseparated from her husband: the only fact of a later date included in Mr. Hogg's work is a sojourn of Shelley incognito at his father's seat, Field Place, in June, 1814. Secondly (see that valuable little book, Mr. Garnett's Relics of Shelley, 1862), it is known that the poet and his first wife Harriet went through a form of remarriage on March 24, 1814, to obviate any possible informality in their original union. Soon after this Shelley became acquainted with Miss Godwin. Mr. Peacock (quoted by Mr. Garnett, Pp. 150-51) says that this acquaintance began between April 18 and June, "much nearer, I apprehend, to the latter than the former." The separation (see p. 160) "did not occur later than June 17." A poem of Shelley's, dated in that same month, shows that Mary Godwin and he had not yet joined their fortunes "for better for worse, though they had united their hearts; and, indeed, "Mary lived under her father's roof till July 28." So far as the dates show, then, it seems fairly feasible that the separation between Shelley and Harriet may have been resolved upon, or imminent, before the close of April, 1814; and also that Mary Godwin may, through motives worthy of all honour, have been doing her best, likewise before the end of April, to stem the ardour of Shelley's growing passion. I would ask, first, Can any reader of "N. & Q." come any nearer to Miss Godwin, and of his separation from Harriet? the precise dates of Shelley's first meeting with and, secondly, What is the veritable ascertainable purport of the Stanzas, April, 1814?

Stanzas, April 1814, p. 363. These stanzas, of a music which lingers long on the ear, seem pretty evidently to have some application to the circumstances of Shelley's own life; but I do not remember to have ever seen them discussed or

elucidated. I extract the first of the (three) stanzas, as a reminder to the reader:

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"Away! the moor is dark beneath the moon;

Rapid clouds have drunk the last pale beam of even : Away! the gathering winds will call the darkness soon, And profoundest midnight shroud the serene lights

of heaven.

Pause not ! the time is past! Every voice cries Away!'
Tempt not with one last glance thy friend's ungentle


Thy lover's eye, so glazed and cold, dares not entreat thy stay:

Duty and dereliction guide thee back to solitude." The last two lines run

“Thy remembrance, and repentance, and deep musings,

are not free

From the music of two voices, and the light of one sweet smile."

If the date favours the notion, it appears to me that the natural interpretation to put on the poem is that it relates to the then actual or impending separation between Shelley and his first wife being in fancy addressed, first, either to the first wife (which I think the least probable alternative); or second, as an apostrophe to himself, on the event of the separation (the most probable); or third, to himself, in consequence of some temporary parting which that event had induced between him and Miss Godwin, afterwards his second wife (not without some plausibility).

The question of date, so far as I know it, stands thus. According to the Shelley Memorials, edited by Lady Shelley in 1859, the poet and his first wife had become estranged "towards the close of 1813"; and were I to take Lady Shelley's phrase as conclusive, I should infer that the actual separation had become a fact before 1814. This,

"In aëry rings they bound
My Lionel, who, as every strain
Grew fainter but more sweet, his mien
Sunk with the sound relaxedly."

Rosalind and Helen, p. 411.

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But no power to seek or shun,
He is ever drifted on."

Lines written among the Euganean Hills, p. 415. The punctuation here is not only incorrect, but confusing. We evidently ought to read —

"Still recedes, as-ever still
Longing with divided will,
But no power to seek or shun-

He is ever drifted on.'

"I stood listening to the pæan

With which the legioned rooks did hail
The sun's uprise majestical;

Gathering round with wings all hoar,
Through the dewy mist they soar
Like grey shades."—Id. p. 416.

To talk of "rooks with wings all hoar" sounds strange: the idea of rooks with black wings is much more germane to the human mind. No doubt, however, Shelley wrote "hoar," intending to express the optical effect of the mountain mist, through which the black wings look blanched or whitish. To enforce this image it would, I think, be preferable to regard "Through the dewy mist as meaning "as seen through," or "under the influence of," the dewy mist; and to punctuate thus:·

"Gathering round, with wings all hoar
Through the dewy mist, they soar
Like grey shades."

"Alas, love!

Fear me not: against thee I'd not move
A finger in despite."

Julian and Maddalo, p. 434.

The intermediate line is obviously a syllable too short. This syllable would be supplied by the very simple alteration of reading "I would," instead of "I'd." Even then, the line would not be particularly euphonious, but it would be saved from positive incorrectness.

"An army, which liberticide and prey

Makes as a two-edged sword to all who wield."
England in 1819, p. 482.

This is, of course, a grammatical laxity-one out of many of the like kind. I do not see why we should not rectify it by printing make.

"As two gibbering night-birds flit,

From their bowers of deadly hue,
Through the night to frighten it,
When the morn is in a fit,

And the stars are none or few."
Similes for Two Political Characters of
1819, p. 482.
Can anybody doubt that we ought to substitute

moon for morn?

An Exhortation, p. 487.—This elegant, fanciful, and wise little poem, beginning —

"Cameleons feed on light and air,”— was written in 1819; and sets forth that poets naturally vary from their original selves while they reach after love and fame, but deprecates

any the like variation with wealth or power for its incentive. The poem looks as if it had been called forth by some slippery conduct of some brother poet, whom Shelley still admired and respected, while reprobating his weakness. Was this Wordsworth? or is anything distinct known concerning the poem ?

"Below, far lands are seen tremblingly;

Its horror and its beauty are divine.'

On the Medusa of Leonardo da Vinci, p. 488. The first line is glaringly out of metre. I would read "the far lands."

""Tis the melodious hues of beauty thrown
Athwart the darkness and the glare of pain,
Which humanised and harmonise the strain."
Id. p. 488.

two italicised verbs should be in the past tense, I cannot perceive any reason why one of the the other being in the present. I think the first ought to stand "humanise."

The concluding stanza is printed thus:-
""Tis the tempestuous loveliness of terror;

For from the serpents gleams a brazen glare
Kindled by that inextricable error,

Which makes a thrilling vapour of the air
Become a [ and ever-shifting mirror

Of all the beauty and the terror there-
A woman's countenance, with serpent locks,
Gazing in death on heaven from those wet rocks."
Id. p. 489.

Does anybody understand clearly, and in detail, I do not. The nearest, and by no means a near, the first six lines of this stanza? I confess that approach to a meaning that I can make out, is loveliness of terror; for a brazen glare, kindled as follows: "Here is expressed the tempestuous by the inextricable intertangling of the serpents, gleams from them, which glare makes a thrilling vapour of the air [i. e. according to the preceding stanza, the midnight sky which is flaring] become an ever-shifting mirror of the beauty and terror of the gorgon-head;" in other words, the glare from the serpents is reflected on to the sky. The fact is, as it appears to me, that this poem on the Medusa, a most fascinating weft of mystic imagination, ought not to appear among Shelley's finished productions-it is properly a fragment, or first draft. There are two confessed lacunæ in the sense and the metre, not to speak of other more subtle evidences of incompletion. Nor is the Medusa poem the only one which should be relegated to the section of Fragments. The following should all, I conceive, bear it company; some of them, indeed, are called "Fragments,' but all are printed among the completed works:From the poems of 1817: "Prince Athanase." From the poems of 1818: "The Woodman and the Nightingale"; "Misery"; "To Mary" (begins, "O Mary dear, that you were here!");

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