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p. 52), I ventured to propound other meanings of them than that given by the writer of the lines, in this way. This saying is also said to be derived from the cries of schoolboys, on the announcement of holidays, which was, “Let’s singe Old Rose and burn libellos,” which signified, “Let us singe Old Rose's wig, and burn our books.” In process of time the “singe” would lose its final letter and become “sing ”; and “libellos” would easily be corrupted to “the bellows.” Taylor's authority gives the “Ram Inn,” at Nottingham, as the place of the origin of the words, and “in good King Stephen's days” as the period. J. Potter BRIscoe.

The origin of the phrase, “Sing old Rose, and burn the bellows,” is thus solved in the ‘British Apollo’ (1740), vol. iii.;— In good King Stephen's days, the Ram, An ancient inn at Nottingham, Was kept, as our wise father knows, By a brisk female called Old Rose. Many like you, who hated thinking, Or any other theme but drinking, Met there, d'ye see, in sanguine hope, To kiss their landlady and tope; But one cross night, 'mongst many other, The fire burnt not without great pother, Till Rose, at last, began to sing, And the cold blades to dance and spring; So by their exercise and kisses They grew as warm as were their wishes: When scorning fire, the jolly fellows Cried, “Sing old Rose and burn the bellows.” Timbs, in ‘Something for Everybody’ (1866), says, “Izaak Walton, in his ‘Angler, makes the Hunter, in the second chapter, propose that they shall sing “Old Rose,” which is presumed to refer to the ballad, “Sing old Rose, and burn the bellows,” of which much trouble has been taken, in vain, to find a copy. Rose was the son of John Rose, living in Bridewell, London, who is said by Stow to have invented a lute early in the reign of Queen Elizabeth; he is also thought to have been “Rose, the old viole-maker.” Concerts of viols were the usual musical entertainments after the practice of singing madrigals grew into disuse. - -Gainsborough. MISBRERE CARVINGs (8*.S. i. 413, 481; ii. 9, 113, 214, 335; iii. 14).-Brilliant and humorous notes on the misereres in the church at Wellingborough, in this county, appear in an article entitled ‘Wellingborough,' in ‘Rambles Roundabout,’ by the late G. J. De Wilde, one of a series of articles originally appearing in the Northampton Mercury, collected at Mr. De Wilde's death, and edited by Mr. Edward Dicey. In this issue was a spirited illustration showing the humour of the carving, a representation of an “ale wife, about to fill the goblet for her customer, who stands by in all the felicity of anticipa ion ; with one hand he

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scratches his head, and with the other rubs his stomach, while his eyes glance sideways, watching the process of the “tolling out” with delighted satisfaction.” The carving is remarkably spirited. The drawing was by Mr. De Wilde, and the illustration was engraved in wood by his son, Mr. Rex De Wilde. I think the same illustration appeared afterwards in a volume of the Journal of the Proceedings of the Archaeological Association, with notes by the late Mr. Thomas Wright. The drawing of the “Shoemaker Miserere" at Wellingborough, in ‘Bygone Northamptonshire,’ is a very feeble representation of the beauty of the carving.

John TAYLOR. Northampton.

‘LINEs on TENNyson’ (8th S. iii. 7).-These are the lines from Mortimer Collins's ‘Letter to the Right Hon. B. Disraeli, M.P.”:—

Is Tennyson no Poet? Yes, indeed,
“Miss Alfred's" are delicious books to read:
In summer tide, when all the woods are still,
Pleasant to wander at one's own sweet will,
Dream of the amorous gossiping that broke
The eternal silence of a garrulous oak,
Dream of the Princess who was buried deep
In an unfathomed century of sleep,
Dream of the savage adjectives that fall
From the loud lunatic of “Locksley Hall.'
Sweet singer of the madrigal melodious,
Why did he make King Arthur's story odious!
Why, with a flattery at which men wince,
Compare the hero to a blameless Prince?
Why send the old figures to a modern school,
Turn Vivian harlot, Merlin sensual fool?
Lovely and lucid are the Laureate's pearls:
A perfect poet, sir, for little girls.
Soft flows his rhymeless verse, constructed well,
And sweetly matched each soothing syllable.
But where's the passion a great poet knows
When the hot blood in every artery flows?
Not his the satire even fools can feel,
When each strong line is a keen blade of steel;
Not his the lyric lore that has unlaced
The cestus, warm from Aphrodite's waist;
But if you like a smooth Virgilian style,
A very proper moral, free from bile,
Ethics of Dr. Watts, Colenso's creed,
Those nice green volumes give you all you need.

A. SAUNDERs DYER, M.A.

CADwallade R (8° S. ii. 487).-Is any story referred to ? Pistol is flouting Fluellen, and when he speaks about “Cadwallader and all his goats,” he probably uses the word “goats” instead of “men,” as goats were common on the Welsh mountains, and so characteristic of Wales. Cadwallader was the last King of Britain of the British race. Pistol's contemptuously coupling him with “goats” would be highly offensive to the patriotic Fluellen. F. C. BIRKBECK TERRY.

WHITECHAPEL BELL FoundRY (8° S. ii. 488, 537).-MR. F. T. HIBGAME, of Philadelphia, is not quite accurate in his dates and numbers. In 1750 this old bell foundry was owned by Thomas Lester, and it was not until two years later that the firm became Lester & Pack. Further, there are, or were, eight bells (not six) in the belfry of Christ Church, Philadelphia. There are eight bells, from the same foundry, at St. Mark's (exactly the same weight as those in Christ Church), as well as at St. Peter's, both in the same city. About 170 churches in North America contain bells from the Whitechapel foundry, the finest being a peal of eleven bells at the Cathedral Church of Notre Dame, at Montreal. The bell foundry was started in Whitechapel by one Robert Mot, in 1570, who carried it on until 1606, when he was succeeded by Joseph Carter. James Bartlet had the business from 1696 until 1701. When visiting the foundry, not long ago, I was shown original bells by Robert Mot and James Bartlet. If MR. HIBGAME or any one else interested in campanology will write to Messrs. Mears & Stainbank, the present representatives of the firm, and ask for their book on bells, the applicant will, in due course, receive a small brochure in which all the above facts and much else about bells is tersely compiled. HARRY HEMs. Fair Park, Exeter.

§istellantous,

NOTES ON BOOKS, &c.

Bnglish Book-Plates. An Illustrated Handbook for

Students of Ex-Libris. By Egerton Castle, M.A. F.S.A.

(Bell & Sons.) As a popular manual to the student of book-plates this volume of Mr. Egerton Castle, best known for his books on fencing, is welcome. It is abundantly illustrated (the greatest of recommendations in the case of a work of its class), is pleasantly written, and follows in method the luminous scheme arranged by the present Lord de Tabley. Book-plates, long a delight of bibliophiles and heralds, have sprung of late into public favour, and scores now own a book-plate or are collectors of bookplates who a decade ago would have asked the meaning of the word. To the amateur of to-day Mr. Castle's book is indispensable. It is, moreover, so to speak, elastically framed, and, while up to date now, will in future editions, which are sure to be demanded, admit of indefinite additions. It is useless to follow Mr. Castle through his historical chapters, in which he has aimed only at supplying a rapid survey. His volume, the only work on the subject at present accessible, is up to date, and, besides reproducing designs by Hogarth, Bewick, Gravelot, and Cipriani, gives the productions of Sir John Millais, William Bell Scott, Randolph Caldecott, Kate Greenaway, and Mr. Walter Crane, Fancy now runs riot in designs, interiors, portraits and the like. A valuable article might, however, be written upon the obligation of the book-plate to the printer's device, of which a magnificent collection is supplied in the ‘Marques Typographiques' of M. Silwestre.

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been, and still are, rebuked for their affection for moralizings of the kind they convey, and it may, at least, be doubted whether in any other country the grim and repellent surroundings of the grave could form the subject of a poem which should win acceptance for educational purposes. The first edition bears the title ‘Les Simulachres et Historiées Faces de la Mort, avtant *i. pourtraictes, qui artificiellement imaginées. A Lyon, Soubz l'escu de Coloigne, MDxxxvii.I.' The work, comprising in its first state forty-one cuts, subsequently enlarged to fifty-three, is believed to have been executed in Strasburgh in or before 1526, and to have been inspired in part by the earlier ‘Dance of Death,’ painted in Strasburgh, and long attributed in error to

| Holbein, who was not born at the time of its completion.

It is a somewhat curious fact that the cities associated with the first appearance of the work should subsequently become centres of Protestantism, and a still more curious circumstance that the designer Holbein should have died of the Plague, in memory of which the earliest “Dances of Death have been supposed to have been composed. Holbein's designs have been reproduced in different forms, and in some cases, as in the plates on copper of Deuchar, London, 1803, with remarkable alterations and additions. In their new and handsome edition Messrs. Bell & Sons have given impressions from the blocks engraved in 1833 for Douce's edition. These constitute, as Mr. Linton says, “the best imitations in wood,” and the book is attractive and beautiful. An introduction by Mr. Dobson is, it is needless to say, in the best possible taste, and carries our information from the point at which it was begun by Peignot in 1826 so far as it has yet reached.

Three Generations of Englishwomen.
(Fisher Unwin.)

Of the three remarkable women whose lives have been told by a fourth, Sarah Austin is, in all respects, the most remarkable. Her memoir, accordingly, occupies the largest share in Mrs. Ross's volume, of which a new, revised, and enlarged edition, now sees the light. The lives of Susannah Taylor and Lady Duff Gordon are, however, wanting neither in interest nor value, and the entire volume furnishes a pleasant insight into intellectual and literary life during the present century. Of the esteem in which Sarah Austin was held by the most distinguished Frenchmen of the day abundant proof is furnished. A curious comment upon her correspondence with Auguste Comte is afforded in the fact that we have before us several volumes of the works of Comte with written dedications to Mistress Sarah Austin couched in terms of strong admiration, and dated from Paris, according to the philosopher's scheme of naming the months, “Le 27 Dante.” “Le 24 Homére,” &c., Here is a delightful story of Woltaire, told Mrs. Austin by Dr. Franck: “Woltaire had for some reason or other taken a grudge against the prophet Habakkuk, and affected to find in him things he never wrote. Somebody took the Bible, and began to demonstrate to him that he was mistaken. ‘C'est égal, he said. impatiently; ‘Habakkuk 6tait capable de tout.’” Extra portraits, including one of Lady Duff Gordon from Mr. G. F. Watts, are given.

The Poems of Edmund Waller. Edited by G. Thorn Drury. (Lawrence & Bullen) THE series known as "The Muses' Library” is rapidly becoming the most ideal series of seventeenth century poets in existence. The latest accession to it consists of the poems of Waller, carefully edited and published with such attractions as no previous edition of Waller has known. Foremost among these stand a portrait of Waller from a picture by Cornelius Janssen, and one of Sacharissa, Lady Dorothy Sidney, from a picture once in the poet's

By Janet Ross. possession, and believed to have been presented to him by the lady herself. These works are now in the possession of Edmund Waller, Esq., the present representative of the poet, by whose permission they are reproduced, adding singular interest and value to the werk in which they appear. That of Waller presents a bright open face, with a broad brow, long straight nose, piercing black eyes, and a faint moustache. Sacharissa's face is both beautiful and intelligent. An edition such as this of Waller is certain of a welcome. Waller's place among the seventeenth century poets is high. His three or four best poems, which are also the most familiar, are exquisite. That he has been, in a sense, overrated, being selected as representative of men greater than himself, and finding in the last century a place among opoets whose works are collected denied to Donne, Sucking, Lovelace, Wither, Marvell, Herrick, and Carew, is attributable to the fact that his verse is singularly modern and free from archaism. Mr. Drury points out a curious fact in connexion with Waller, namely, that he seems to have been, with the exception of Rogers— a man not, as a poet, to be named in the same breath— the most richly endowed with the world's goods of the sons of the Muses. Mr. Drury's introductory matter and his notes are alike excellent, and the edition is ideal.

Secret Service under Pitt. By W. J. FitzPatrick, F.S.A. (Longmans & Co.)

THE second edition of Mr. FitzPatrick's ‘Secret Service under Pitt' has trodden closely on the heels ef the first. It is a work of supreme interest, and, in a sense, one of the saddest volumes ever written. There is no need to sympathize with Irish schemes for independence in order to feel how abject treachery was to be found among men of scholarship, position, and influence. Mr. Wills, in his ‘King Charles I.,' has some lines concerning Judas which are practically unprinted and inaccessible. For his conception of the arch-traitor Mr. Wills, it is evident, need not have gone outside his own country of Ireland. The manner, meanwhile, in which Mr. FitzPatrick has tracked out those responsible for the betrayal of the Irish leaders is a marvel of ingenuity, patience, and research. Absolutely admirable are the chapters in which Lord Downshire's mysterious visitor is traced, Mr. FitzPatrick's conclusions being irresistible. Perhaps the most remarkable chapter is that on Father Arthur O'Leary. Concerning General Napper Tandy, Leonard §§§. and others, and, indeed, concerning Lord Edward Fitzgerald, much of highest interest is told. Mr. FitzPatrick, it must be remembered, has had access to Government papers hitherto most jealously guarded, and has made splendid use of his opportunities. While possessing all the fascination of a novel, or, indeed, a drama, his book is an all-important contribution to history, indispensable to all who seek to obtain a knowledge of the sinister history of Ireland at the close of the last century and the beginning of the present. Among those on whom light is incidentally thrown is Shelley, to whose life in Dublin reference is occasionally made. The book is calculated to enchant those whose delight is found in the bypaths of history.

St. John the Evangelist, Westminster: Parochial Memorials. By J. E. Smith, Westry Clerk of St. Margaret and St. John. (Printed for #. Author by Wightman & Co., Westminster.) This parochial history contains a good deal that will be of interest to readers of ‘N. & Q.,’ and much reference to that publication. Mr. Thoms had lived so long in Westminster, and was so well acquainted with its archaeology, that it was to be expected that his contributions to “N. & Q.' should deal largely with the parish which is the theme of Mr. Smith. Mr. Thoms wrote in ‘N, & Q.'

on the names of Westminster streets, on the coronation of George IV. and the reception on that occasion of the Queen, and on the mistakes made by Lord Albemarle in his diary. A biography is given of Mr. Thoms, who was born in College Street, Westminster, baptized in St. Margaret's Church, christened under a wrong name, and the error corrected fifty-four years later by a sworn affidavit by an aunt who had stood godmother. Mr. Thoms began life in the secretary's office at Chelsea Hospital, and held the secretaryship of the Camden Society from 1838 to 1873. In a parochial biography it is necessary to name the fact that Mr. Thoms was elected a vestryman of St. John in 1852, when he was living in Great College Street, in what had previously been his father's house; but to us it is more pleasant that Mr. J. E. Smith records in the highest terms of sympathy the foundation of “N. & Q.,’ and the language used with regard to it by its parent in the later years of his life.

WE hear with regret of the death, in his forty-ninth year, of Gustave Adolphe Schrumpf, a master at University College School, which took place on December 18. A competent linguist, he had done good work in philology, as may be seen in his ‘Aryan Reader,’ and in papers on Armenian dialects contributed to the Philological Society and to the recent Oriental Congress. Mr. Schrumpf was formerly an assistant in a school at Whitby, and at one time a frequent contributor to ‘N. & Q.”

MR. ELLIOT STOCK announces for early publication * How to Decipher Ancient Documents,’ by E. E. Thoytes. It will have an introduction by Mr. C. Trice Martin, of the Public Record Office.

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L'I N T E R M E D I AIR E DES CHER CHE U R S E T C U RIE U X;

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tion and carries it to the door of all the learned, and in a following number brings him the answer for which he had so long waited. There is a bond which brings together all the readers of L'INTERMEDIAIRE–the desire to help one another. The }. and the replies are inserted without the rawing of any distinction of oğ. or of religious opinion. The independence of L'INTERMEDIAIRE is complete, and that of its correspondents is guarded, if they wish it, by the most scrupulous anonymity. Whatever may be the excitement of politics, our Notes and Queries have always interested the press and the world of letters, for they explain the historical, artistic, and literary past, and bring out from their ordinary reserve men who are able to answer, and who often have not previously spoken. Many have been the indiscretions committed in the paper to the benefit of history.

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