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NOTES:-The United States and St. Margaret's, Westminster, 1-Notes on Burton's 'Anatomy,' 2-Epitaph on Queen Elizabeth, 3-President Loubet, 4-"To mug""Out of rodex"-Hammersmith-Orange Blossoms, 5Bracelet" Hôtel Lauzun, 6-Shakespeare's Books

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Cabinet," 7. QUERIES:- Lushington Crabbe's MSS. "Nightrail"-Marat in London, 7-Maclean-Dumas on Cats and Dogs-"That power that kindly spread the clouds"- Quarterings- Graham Appelbey - "Limericks" or "Learicks"? 8-"Tory"- English Grave at Ostend, 9. REPLIES:-" Unram," 9-Jews and Eternal Punishment, 10-Byron Quotation-'Passing By,' 12-Panton Family

-Keys to Thackeray's Novels - Inns of Chancery

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"Temple Shakespeare"-Tragedy at Heptonstall, 13-De Bathe Family-Sheffield Family-Author and Avenger of Evil-Boadicea's Daughters - Deputy-Mayor-Grotto at Margate - The Living Dead, 14- Reynolds Portrait Richard Nash-" Policy of pin-pricks"-Translation, 15Clare Market, 16-Robert Scot-Mrs. Samuel PepysByronlana-R. T. Claridge, 18-River not flowing on the Sabbath-Newspaper Cuttings changing Colour-Lady Hester Stanhope - Long Melford Church, Suffolk-Cardinals-Ballads and Methodism-Carson, 19.

NOTES ON BOOKS :-'New Volumes of the Encyclopædia

Britannica-Escott's 'King Edward and his Court.' Notices to Correspondents.



WHEN the time shall come (and it is rapidly approaching) for the records of the nineteenth century to be written, no inconsiderable space will have to be devoted to the changed aspect of the relationship between the United States and this country. The heritage of hate and the general bad feeling left at the close of the War of Independence have gradually year by year grown less until at the present time they are virtually non-existent. The victories of peace, which are no less renowned than those of war, have effected this; peaceful arts have caused the two countries to understand one another, and the cousinship has now reached the confines of brotherhood. Legal luminaries from the States have come here and dwelt among us, and many of our judges have crossed the Atlantic, to meet only with the greatest kindliness and consideration; men of science come to us bringing the learning of America to us, and we in return send ours to them. Our actors go to America at frequent intervals, and Sir Henry Irving and scores of others are as well known and quite as

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much at home in America as William Gillette and other American actors are from Land's End to John o' Groat's. The artists of the States come here and stay with us; and if ours do not go quite so much to America, I think their pictures do, and stay there, somewhat to our loss. The daughters of the States, queens at home, come here, and as querors" reign and remain queens in the old country. Our Churchmen go and visit the great Republic, notably Deans Stanley of Westminster, Hole of Rochester, and Farrar of Canterbury (when Archdeacon of Westminster, and rector of St. Margaret's); and in return there have been sent to us Bishops Whipple of Minnesota, Phillips Brooks of Massachusetts, and many more. Thus we may clearly see that peaceful efforts have brought about a state of things that would most likely never have been accomplished by wars and bloodshed.


St. Margaret's Church possesses most diverse memories, but none are so completely happy as those found in the fact that it contains several memorials intimately associated with the United States, and to them it is now my pleasing privilege to direct attention. They are to be found in the windows erected by the pious forethought of lovers of the old country generally, and of this church particularly, which has been a great feature of the religious life of London for many centuries. The first is a window over the door leading from the south aisle of the church into the vestry. The tracery is much older than that of any other window in the bilding, and of more graceful design, an filled in 1882, by an American lady, he memory of that unfortunate princess the Lady Arabella Stuart, who lies in the closely adjacent Abbey. She was wife of Charles Lennox and cousin of James I., and her body, as stated by Dean Stanley, was "after her troubled life brought at midnight by the dark river from the Tower, and laid with no solemnity under the coffin of Mary Stuart - her own coffin so frail that through its shattered frame the skull and bones were seen by the last visitors who penetrated into that crowded chamber.' This is accounted for by Keepe, who says that "to have had a great funeral for one dying out of the king's favour would have reflected on the king's honour." She was of the blood royal, being a descendant of Margaret, the elder daughter of Henry VII., by her second marriage with the Earl of Angus. Her life story is so well known that it is unnecessary to repeat it here. In the upper lights of her memorial window are four shields: Nos. 1 and 4 bear the quarterings



of the house of Stuart, Or, a fess chequy, azure and argent; No. 2 has the arms of the Province of Canterbury, Azure, an episcopal staff in pale or, and ensigned with a cross patée argent, surmounted by a pall of the last charged with four crosses formée-fitchée sable, edged and fringed or; while on No. 3 will be found the arms of the See of London, Gules, two swords in saltire argent, pommels or. In the three lights are represented three saints in the centre St. Barbara, and on either side SS. Dorothea and Perpetua, all holding the palm, typical of martyrdom, in their hands. The whole of the design is exquisitely beautiful, and exceedingly well carried out by the designers, Messrs. Clayton & Bell. The anonymity of the giver, so far as I know, has never been penetrated, but it is believed that the "American lady thought herself to be a descendant of the unhappy princess; but this I give with all reserve, and not as being a fact for which I can vouch.

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Upon the lower or bricked-up portion of the next window has been placed a memorial in " opus sectile work to the memory of Phillips Brooks, D.D., sometime Bishop of Massachusetts, who was well known and greatly respected in this country. The process used for this memorial has been happily described as the "revival of an ancient Roman process, differing in one respect from mosaic, inasmuch as the material used is opaque glass, cut to shape to resemble stained glass." The cost was mainly borne by nglish people, but some few American citas, mainly resident here, assisted by their contributions. The bishop was a unique personality, and Dean Farrar, who knew him as well as, perhaps better than, most people on this side of the Atlantic, said that he was "of all modern ecclesiastics the most famous." Of him it has been justly written :

Great bishop, greater preacher, greatest man,
Thy manhood far out-tower'd all church, all creed,


And made thee servant of all human need,
Beyond one thought of blessing or of ban,
Save of thy Master, whose great lesson ran
"The great are they who serve."
So now,
All churches are one church in loving heed
Of thy great life wrought on thy Master's plan.
As we stand in the shadow of thy death

How petty all the poor distinctions seen,

That would fence off the human and divine! Large was the utterance of thy living breath; Large as God's love thy human hope and dream; And now humanity's hushed love is thine! Mrs. Sinclair, in her little 'History and Description of Windows of the Parish Church of the House of Commons,' thus describes the tribute placed thereon:

"Above is the text 'Comfort ye My people, saith your God'; below are the words 'Jesus said unto Lord is represented as the Good Shepherd, holding him, Feed My sheep.' In the centre panel our a crook. Dean Farrar considers the Good Shepherd represents to us the joyful, cheerful side of Christianity, Luke xv. 1 to 7, John x. 1 to 18.' St. Peter is represented kneeling at his Master's feet on the right two other apostles, St. John and St. Thomas, are depicted; while on the left are sheep and a shepherd-boy. In the background is a small ship with sails. Underneath are the words In memory of Phillips Brooks, D.D., Bishop of and again below this has been placed a quatrain, Massachusetts, honoured and beloved, A.D. 1894'; in Latin elegiacs, written by the late Dr. Benson, formerly Archbishop of Canterbury, to the following effect:

Fervidus eloquio, sacra fortissimus arte, Suadendi gravibus vera Deumque Viris, Quæreris ad sedem populari voce regendam, Quæreris--ad sedem rapte Domumque Dei. This touching tribute has been most happily englished by the son of the writer:

True priest of God, whose glowing utterance stayed
The failing feet, the heart that was afraid,
Pastor and Friend, beloved, most desired
Thy people called thee, but thy God required.”



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(See ante, pp. 181, 222, 263, 322, 441.) As regards quotations from Juvenal, it should be added that although on p. 396 of vol. i. Shilleto's note to "Crambe bis cocta' is "Juv. vii. 154, quoted memoriter," while on p. 436 he calls "crambem bis coctam apponere an adaptation of Juv. vii. 154," yet on p. 19 in his note on cramben bis coctam apponere he rightly refers to Erasmus's Adagia.' (The absence of any thorough system of cross-references is one of the serious faults in this edition.) Compare "Quid, si apponeret cicutam aut cramben recoctam?" Erasmus, Colloquia,' 'Synodus Grammaticorum' (p. 562 in the Variorum edition of 1729). Perhaps in "a Poet? esurit, an hungry Jack," vol. i. p. 322, 1. 12 (Part. I. sect. ii. mem. iii. subs. xi.), esurit may be regarded as a quotation from Juvenal vii. 87.

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On the latter line of the couplet which occurs near the end of the 'Argument of the Frontispiece,'

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form as in the sixth. I venture to think that the sense is perfectly clear, and that the deviation in the second line from the normal type (its "initial truncation") has nothing surprising in it. Indeed, the variety in the line helps to emphasize the meaning.

Vol. i. p. 415, l. 8 from foot (Part. I. sect. ii. mem. iv. subs. vii., p. 163 in the sixth edition): Concussis cecidere animis, ceu frondibus ingens Silva dolet lapsis.

Burton's marginal note is "Maph.," to which Shilleto adds, "Possibly Maphæus, who, according to Hallam, added a thirteenth book to Virgil's Eneid."" Presumably. See Julius Cæsar Scaliger's Poetice,' bk. vi. chap. iv. (pp. 785-6 in edition of 1586), where five and a half lines (ending at "concussis cecidere animis ") are quoted from Maphæus Vegius's addition to the Eneid,' and highly praised.

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A propos of the 'Poetice' a curious error in Shilleto's edition may here be mentioned. Vol. iii. p. 305, 1. 6, "Scaliger, Poet. lib. cap. 13, concludes against women. Besides their inconstancy, treachery, suspicion, dissimulation......," &c. Shilleto gives Burton's marginal note to this as follows: Ideo: mulieres præterquam quod sunt infidæ, suspicaces...," &c. To those acquainted with the Poetice' a moment's consideration will show that 'Ideo' should probably be 'Idea,' the title of Book III. of that work; and an examination of the sixth edition of the 'Anatomy' (p. 597, Part. III. sect. iii. mem. i. subs. ii.), of which Shilleto's edition is professedly a reprint, with some alterations in spelling (see publishers' note on p. v), will show that Idea is clearly printed. The number of the chapter, however, which Burton gives as 13, ought to be 14. See 'Poetices,' Liber iii. chap. 14, headed 'A Sexu.' (Did Burton misread xiiii. as xiii. ?) Vol. i. p. 439, 1. 15, "nescis quid serus secum vesper ferat" (Part. I. sect. ii. mem. v. subs. v., p. 178 in ed. six). Shilleto calls this " a reminiscence of Virg. Georg. i. 461." Surely the "nescis" points to the title of Varro's Satira Menippea' "Nescis quid vesper serus vehat" (see Aulus Gellius, xiii., xi. 1, and p. 196 of Varronis Menippeæ,' printed at the end of the third edition of Bücheler's 'Petronius').

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Vol. i. p. 446, 1. 16 from foot, as Felix Plater notes of some young Physicians, that study to cure diseases, [that they] catch them themselves......" Shilleto would appear to be wrong in inserting "that they." It is true that the text of the sixth edition (p. 183, Part. I. sect. iii. mem. i. subs. ii.) cannot well stand; but the right remedy is to be seen

from ed. four, which reads "that studying to cure diseases," &c.


Vol. ii. p. 14, 1. 10 from foot, or that Golden Legend of Jacobus de Voragine." Shilleto's foot-note states that Jacobus de Voragine died in 1292. He died in 1298 (see, e.g., the introduction to 'La Légende Dorée traduite du Latin par Teodor de Wyzewa,' 1902). If 1292 is not a mere slip or a misprint, the curious might guess how Shilleto's error arose by examining the account of Jacobus de Voragine in the Encyclopædia Britannica.'

Vol. ii. p. 191, 1. 5 from foot (Part. II. sect. iii. mem. iii.) :—

Ipse deus simul atque volet me solvet, opinor. The reader of Shilleto's edition finds the following mysterious foot-note to this line: "Leonides." The line is, of course, with one slight change ("volet" for "volam "), from Horace (Epist. I. xvi. 78); but why "Leonides"? In the sixth edition, p. 334, the "reference" (a t) which directs the reader to the note "Leonides" is prefixed to the line "Ipse deus......," while there is no "reference" before the next quotation in verse:


Servus Epictetus, mutilati corporis, Irus Pauper: at hæc inter carus erat Superis, and the error has been repeated in the present edition. Shilleto has a note " See the original Greek of these lines in Aulus Gellius, 'Noct. Att.,' ii. 18." Any one, however, consulting Hertz's critical edition of Gellius, or his text of the same author in Teubner's series, will fail to see the Greek lines. The short section containing this Greek couplet, which was printed by many editors at the end of Gellius, ii. 18, is taken from Macrobius, 'Saturnalia,' I. xi. 45, where it is immediately preceded by this chapter of Gellius which Macrobius has "conveyed." See also 'Anth. Pal.,' vii. 676. The lines are anonymous; their ascription to Leonidas is apparently due to an error in the 'Anthologia Planudea. One cannot help noticing that Burton's English rendering of the Latin version is strangely incorrect.

EDWARD BENSLY. The University, Adelaide, South Australia. (To be continued.)

EPITAPH ON QUEEN ELIZABETH. MISS AGNES STRICKLAND in the fourth volume of her Lives of the Queens of England,' which treats of Queen Elizabeth, writes on p. 784 as follows:

composed for her, and hung up in many churches, "Among the complimentary epitaphs which were was one ending with the following couplet :

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