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CONTENTS.No. 277.

NOTES:-"Hagioscope" or Oriel 301-Bacon-Shakespeare Question, 302-Keats's 'Ode to a Nightingale '-Gods and Men, 305 - Thomas Hood-Jews in England - The Prime Minister at Whittinghame'-House of Commons'

"Sessions," 306-" Conservative" as Political Term, 307. QUERIES:-"Owing to," 307-St. Mary Overy-Warrington Wood, Sculptor- Major Colquhoun : Archibald Graham "Sniping" - Hymn by Dean Vaugha Hogarth and Wesley-Palenque," a Poem County Families-Rings in 1487" Pindy," 308-Clare MarketSynagoga: Chronista -Collie-dog-" Mary had a little lamb" Christmas Carols Wool as a Foundation Chaucerian Quotation-Sir John and Lady Taylor, 309J. P. Benjamin-Arthur Graham, 310.

F. A. Paley, in his 'Manual of Gothic Architecture,' 1846, refers to the "squint" as a "slanting hole from the transept into the chancel," and says that "of its use there can be no doubt. It was meant to afford a view of the elevation of the Host at the high altar" (p. 239). He also observes that "these apertures have been called hagioscopes."

In Parker's Concise Glossary of Architecture,' first published in 1846, the "squint" is defined in similar terms, and the author says:

"The usual situation of these openings is on one or both sides of the chancel arch, and there is frequently a projection, like a low buttress, on the outside across the angle to cover this opening: these projections are more common in some districts than in others; they are particularly abundant in the neighbourhood of Tenby, in South Wales; but the

"HAGIOSCOPE" OR ORIEL?

IN a recent number of 'N. & Q.' a question was asked about "the meaning or original use" of an enigmatical aperture in Piddinghoe Church, Sussex.* It was described by MR. GIBB, the querist, as "a square opening with a stone slab in front, situated in the south wall of the nave, just below the chancel." Replying to the query, MR. W. HENEAGE LEGGE described the opening as "between the chancel and the first bay of the south aisle," and, without giving his reasons, expressed the opinion that it was "a comparatively modern feature" of the church. Another correspondent,. MR. DORMER, said that "if the altar is visible through the opening it is a squint or hagioscope. "The object of the squint," said MR DORMER, was to facilitate a view of the elevation of the

Host."

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Similar definitions of " "hagioscope" are given in books of reference and dictionaries. Thus in the last edition of 'Chambers's Encyclopædia' (1901) we have :

"Squint or hagioscope, a narrow aperture cut in the wall of a church (generally about two feet wide) to enable persons standing in the side-chapels, &c., to see the elevation of the Host at the high altar.'

* See 9th S. x. 347, 477.

though they have commonly been plastered over, or sometimes boarded at the two ends, in other cases filled up with bricks. In some instances they are small narrow arches by the side of the chancel arch, extending from the ground to the height of ten or twelve feet, as at Minster Lovell, Oxon: usually they are not above a yard high and about two feet wide, often wider at the west end than at the east. They are commonly plain, but sometimes ornamented like niches, and sometimes have light open panelling across them; this is particularly the case in Somersetshire and Devonshire. There are many instances of these openings in other situations besides the usual one, but always in the direction of the high altar, or at least of an altar; sometimes the opening is from a chapel by the side of the chancel, as at Somerset, there is a series of these openings through Chipping-Norton, Oxon. In Bridgewater Church, three successive walls, following the same oblique line, to enable a person standing in the porch to see the high altar."

and this entry is closely related to No. 69, of uncertain authorship :

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'Nemo virtuti invidiam reconciliaverit præter mortem.

Indeed, the relation between the two entries is established by Horace himself, in the same Epistle, 11. 10-12, where he says that he who crushed the direful hydra, and subdued well-known monsters with fated labour, found envy to be conquered only at his latter end." Baconians apparently do not know that No. 69 forms part of the Antitheta of Envy,' that Bacon again refers to it in the 'De Aug.,' book viii. ch. viii., and that the sentiment itself is extremely common in all writers of the period and previously. And, of course, we may assume that the verse suggested to Bacon the masque which he wrote under Jonson's name, 'Pleasure reconciled to Virtue.' In the first Essay of Death' No. 60 is brought in thus:

"Death hath this also, that it openeth the gate to good fame, and extinguisheth envy: Extinctus amabitur idem."

In Jonson's supposed work the two entries are closely paralleled several times; and in one place we find a repetition of Bacon's own phrasing, which Gabriel Harvey would dub as new as Newgate," but which is really

much older :

Cen. It will open the gate to your fame. 'The Silent Woman,' IV. ii. No. 123 is an innocent-looking phrase from Psalm cxlvii. 16 :

Qui dat nivem sicut lanam.

Yet it is a trap for the unwary Baconian who has forgotten to read Bacon. It reminds one of the musty proverb of trying to play Hamlet' without Hamlet. Judge. Mrs. Pott quotes from Shakespeare as follows:

His shroud as the mountain snow.

'Hamlet,' IV. v., Song. When snow the pasture sheets. 'Ant. and Cleop.,' I. iv. 65. When one turns from a Baconian to Bacon one must be prepared to shed bitter tears :"Snow hath in it a secret warmth; as the monk proved out of the text: Qui dat nivem sicut lanam, gelu sicut cineres spargit. Whereby he did infer, that snow did warm like wool, and frost did fret like ashes."-Natural History, 'Century viii. No 788. The saying is again alluded to in Century vi. That snow hath in it a secret warmth is a notion that reminds one of two other 'Promus' notes:

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No. 1366. Boreæ penetrabile.

No. 1367. Frigus adurit.

·

These notes together form part of line 93 of the first book of Virgil's Georgics,' and they appear thus in the 'Novum Organum ':

"Even a severe and intense cold produces a sensation of burning: Nec Boreæ penetrabile frigus adurit."-Book ii. Aph. xi. 27.

Baconians are always able to illustrate Bacon by passages from Shakespeare; they are as ready with parallels as a borrower is with his cap; hence four quotations appear from the plays, which give us to understand that the wind, from whatever quarter it comes, is apt to blow very cold. We do not now dispute the accuracy of the observation, yet nobody had recorded it previous to Bacon, who, as Mrs. Pott has told us in her book, is almost alone in noting that age causes even the Hyperion curl to change from gold to silver. Philosophy may not cure the toothache, but it puts many things into one's head, bees amongst the number. And since Bacon's time small boys and others have taken to playing with snow, and to the congenial pastime of pelting Robert with snowballsand solely because of Bacon's discovery that snow hath in it a secret warmth."

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Bacon had some very curious notions respecting the nature of heat and cold, to which he gives much prominence in the Novuin Organum' and in his 'Sylva Sylvarum' or Natural History'; but he rigidly excludes them from the plays and poems of Shakespeare. He tells us that flame does not mingle with flame, as air does with air, or water with water, but remains contiguous; that one flame within another quencheth not; and much more that is curious, if not contrary to the teachings of modern science. the antediluvian proverb that nail drives out And in the 'Promus,' No. 889, he notes down nail. Now, in Coriolanus,' and again in The Two Gentlemen of Verona,' the proverb is quoted and bracketed with the kindred saying that fire drives out fire. The notion that fire drives out fire finds expression several times in Shakespeare, and it is a maxim in the Baconian philosophy. Ergo, Bacon wrote Shakespeare.

It is true that Bacon does not any where in all his work couple the nail proverb with its perhaps more ancient brother - saying, but that does not matter. It is coupled so in Shakespeare, and that fact squares the circle, and proves the origin of the passages in the plays.

Here we may observe that the lines in The Two Gentlemen of Verona' are imitated from Romeus and Juliet,' the foundationstone of Shakespeare's 'Romeo and Juliet,' a poem written by one Arthur Brooke in or about 1562, when Bacon and Shakespeare were just out of their swaddling-clothes.

Chapman, in his "Monsieur D'Olive,'

V. i. 5-13, illustrates Bacon's original notion admirably; and John Lyly expounds it in orthodox fashion twice in Euphues.' Many other writers of the time do likewise; but if any body wishes to find other parallels to the passage outside Shakespeare, he will be wise if he avoids Bacon, who has nothing like it in all his work, except such sayings as that which we find in "Henry VII.,' where he writes that the citizens, finding the gates to be set on fire by the enemy, repulsed fire with fire."

Dr. Theobald records many instances of parallel phrases in Bacon and Shakespeare, and in one or two cases he qualifies them with remarks to the effect that such phrases are sometimes to be met with in other writers of the time. Consequently, we may assume that the absence of qualifying remarks is an indication that the phrases are new and of Bacon's coinage.

Starting holes.-This phrase is said to be a curious one, and a passage in '1 Henry IV.' which contains it is quoted. Of course, Bacon

uses it.

Two instances at least occur in Jonson: one in 'The Case is Altered,' and the other in the Discoveries,' De Bonis et Malis.' It is a very common expression, and Peele used it in the earliest known draft of his 'Edward I.,' but struck it out when revising his play, perhaps because it had been battered about so much by others. See Dyce's 'Peele,' p. 415, col. 1. Greene often uses it, and it occurs in Gascoigne's 'Voyage into Holland,' 1572. But we need not be surprised that such parallels are adduced, for the same writer gravely informs us that "play prizes is another" curious expression," and that Bacon coined the phrase "gross and palpable"!

To put tricks upon.-Another choice phrase from the Bacon mint. And yet Dr. Theobald does not see that his claim for Bacon is refuted by Bacon in the very passage that he quotes:

"Some build rather upon the abusing of others, and (as we now say) putting tricks upon them,' &c.-Essay of 'Cunning.'

Dr. Theobald might have added that this phrase is met with again in the 'Spurious Apophthegms,' No. 16

"Two scholars and a countryman, travelling upon the road, one night lodged all in one inn and supped together, where the scholars thought to have put a trick upon the countryman," &c.

6

However, the phrase is to be found in Ben Jonson several times. It occurs in Every Man in his Humour'; twice in 'Catiline'; in "The New Inn'; and again in 'Bartholomew Fair.' Yet Dr. Theobald is so confident of

the Baconian origin of the phrase, and of the time at which it was minted, that he adduces it as a piece of evidence in regard to the dates of two of Shakespeare's plays which use it :

"As neither of these plays ['The Tempest' and All's Well'] were [sic] known till 1623, there is no reason for giving the phrase an earlier date than the Essay [1612]."

Now Jonson uses the expression in both versions of his 'Every Man in his Humour,' and therefore it was current as early as 1596.

Discourse of reason.-When this phrase is mentioned to a Baconian, he removes his hat and bows his body. It is such a "profound philosophical expression"; and has not Theobald the great Theobald - traced it to Homer? Of course, it originated with Bacon. Nevertheless, Prof. Dowden in his paper Shakespeare as a Man of Science,' printed in the National Review last July, has shown that the phrase occurs in Caxton, in Sir Thomas More, in Eden, in Holland's translation of Plutarch's Morals,' and at least four times in Florio's translation of Montaigne. Here is another case :

"How they [the Romans] could have sped well in undertaking such a match: it is uneasy to find in discourse of human reason." Sir Walter Raleigh's History of the World'; Arber, English Garner,' vol. i. p. 67.

Dr. Theobald remarks that

one rather frequent mode of expression with Bacon is to say of some attribute or quality that it lies in the object to which it addresses itself, and does not exist for its own sake.”

And he cites the following as an example :—

"So that it is said of untrue valours that some men's valours are in the eyes of them that look on, so such men's industries [i.e., other than learning] their own designments." are in the eyes of others, or at least in regard of "Advancement of Learning,' ' book i.

Bacon's expression "it is said " shows conclusively that he was using a common form of speech; and, as a matter of fact, he could not help employing it in the connexion he does. The saying re valour and lookers-on was proverbial, and Bacon tells us so in a has forgotten to quote:the whole of which Dr. Theobald

passage

"Of valour I speak not; take it from the witnesses that have been produced before: yet, the old observation is not untrue, that the Spaniard's valour lieth in the eye of the looker-on; but the English valour lieth about the soldier's heart."-"Of a War with Spain.'

Four passages are quoted from Shakespeare to show that he uses the form "lies in," but the only one that is worth noticing is the following::