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 my copy the treatise, "De 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.


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:—

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

"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."

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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. D. P.

Stuarts Lodge, Malvern Wells. ARCHBISHOP MENTIONED BY CAVE (4th S. i. 74.) Dr. Hugh Boulter, Archbishop of Armagh and Lord Primate and Metropolitan of all Ireland, died Sept. 28, 1741. The abridgement of his life will be found in the Gentleman's Magazine, vol. xii., p. 547. His Grace was author of Letters containing an Account of the most interesting Transactions which passed in Ireland from 1724 to 1738. Oxford, 1769-70, 2 vols. J. MANUEL. Newcastle-on-Tyne.



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 Introduction; much, too, to the liberality of Mr. Wynne future biographer of Sir Kenelm will owe much to this 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 resumé of them, consist of between 150 and 160 separate books and tractates.

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Ludus Patronymicus; or, The Etymology of Curious Surnames. By 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. Edited by William Logan. With an Introductory Historical Sketch, by the Rev. William Anderson, LL.D. Fourth Edition, enlarged. Eleventh Thousand. (Nisbet & Co.)

The touching prefatory matter, the "words of comfort," and the numerous beautiful little poems which conclude this interesting volume, may well account for the extensive circulation which it has met with. Doubtless, it has proved a comfort to hundreds of sorrowing parents.


Particulars of Price, &c., o of the following Books, to be sent direct to the gentlemen by whom they are required, whose names and addresses are given for that purpose:

Wanted by Ralph Thomas, Esq., 1, Powis Place, W.C.

A Copy of the Coronation Service used in Westminster Abbey at the Coronation of H. M. Queen Victoria.

Wanted by T. M. Fallow, Esq., 8t. John's College, Cambridge.


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 1859, died 1800. These dates are correctly given in Watkins's Biographical Dictionary, edition, 1821.

ERRATUM-4th S. 1. p. 277, col. ii. line 8, for" Ep." read" Elegia."

A Reading Case for holding the weekly Nos. of "N. & Q." is now ready, and may be had of all Booksellers and Newsmen, price ls. 6d. ; or,free by post, direct from the publisher. for la. 8d.

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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


dame Guyon's Hymns-John Harley, Bishop of Hereford

Punctuated thus, the passage becomes so perspicuous that I will not affront my reader with any interpretation beyond pointing out that, in the phrase "Those imaged," the word "those refers back to, and identifies itself with, the


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 opening phrase, "Those monstrous and barbaric

of the Portland Vase, 364.


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QUERIES WITH ANSWERS:- "Dies Ira "- - Abraham Wood-
head 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 Dottingen - The Antiphones in Lincoln Cathe-
dral Anne Boleyn's Arms Kimbolton Battersea
Enamels-The Ancient Scottish Pronunciation of Latin-
I, Ego-Sub Brigadier-The Homilies- Baker's "His-

tory of Northamptonshire" — Fire at Stilton-Sir John
Davies Bane Fryc's Engravings Tavern Signs
Swaddler The Young Pretender-Dishington Family-
Quotation" Pierce the Ploughman's Crede" - Dryden's
Negligences "Property has its Duties," &c. - Song:
"The Tear that bedews," &c. - Wm. Hawkins: Robert
Callis-Jansenism in Ireland, 374.
Notes on Books, &c.




Prometheus Unbound, Act III. Sc. 4, p. 232. The "Spirit of the Hour," describing the mighty change and amelioration which has come over the world with the unbinding of Prometheus, says:— "Thrones, altars, judgment seats, and prisons


Were like those monstrous and barbaric shapes,
The ghosts of a no more remembered fame,
Which, from their unworn obelisks, look forth
In triumph o'er the palaces and tombs
Of those who were their conquerors: mouldering round
Those imaged to the pride of kings and priests,
A dark yet mighty faith, a power as wide
As is the world it wasted, and are now
But an astonishment; even so," &c.

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 "mouldering round those imaged to the pride,' &c., or such a disconnected plural as "l and are now." Surely the punctuation is a lamentable muddle, and should be altered thus:


Continued from p. 336.

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"Those monstrous and barbaric shapes,
The ghosts of a no more remembered fame,
Which, from their unknown obelisks, look forth
In triumph o'er the palaces and tombs

Of those who were their conquerors, mouldering round.
Those imaged, to the pride of kings and priests,
A dark yet mighty faith, a power as wide.
As is the world it wasted,-and are now
But an astonishment."

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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 cer-
tainly 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 re-
marriage on March 24, 1814, to obviate any pos-
sible 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 be-
tween April 18 and June, " much nearer,
hend, to the latter than the former." The sepa-
ration (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,


Omit the. superior to Moxon's.

"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 defective. "Who dares to talk" would set it right. 66 '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.

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:
"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


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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

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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,


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 the precise dates of Shelley's first meeting with Miss Godwin, and of his separation from Harriet ? and, secondly, What is the veritable ascertainable purport of the Stanzas, April, 1814?

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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:

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""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 thereA 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, the first six lines of this stanza? I confess that

I do not. The nearest, and by no means a near, 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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