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PORTRAITS AS BOOK-PLATES.

(8th S. iii. 81, 129.)

The suggestion that a visit to the Royal Society Library and to the Pepysian Library would prove that it has already been discovered that Pirkheymer and Pepys used their own portraits as personal book-plates does not seem to me to be worth accepting.

Take it for granted that the Pirkheymer portrait dated 1524 is in some of the volumes collected by Thomas, Earl of Arundel, given to the Royal Society by the sixth Duke of Norfolk in 1678, that goes very little way indeed in clearing aside the doubt that B. Pirkheymer himself ever put it there. He died in 1530. His real woodcut book-plate includes the arms of his wife as well as his own. He married in 1497, and became a widower in 1503. Between these two dates the book-plate was most probably engraved, and thirty years is about the time it may have been in use by him. The portrait by Dürer, engraved on copper, is dated 1524. In six years afterwards Pirkheymer was dead, and his books passed through the hands of three or four subsequent generations of his family. During the hundred or more years that elapsed before the great Earl of Arundel bought these books there was plenty of time for any of the Pirkheymer family, to say nothing of the earl or his librarians, to paste the Dürer portrait into some of the volumes, in memoriam, or as a book illustration. I have a book title before me now with the earl's signature thereon, dated Venice, Sept. 5, 1613. It is, at any rate, a slight testimony that he liked to connect books with persons, places, and times.

Nothing could be more legitimate than for Dürer to put such a motto as "Vivitur ingenio, cætera mortis erunt" on the portrait. It may be said that the motto is of a general and impersonal kind. In this sense it certainly occurs in the first page of the 'Nucleus Emblematum Selectissimorum' (Magdeburg, 1611), by G. Rollenhagius, most artistically illustrated with engravings by Crispin de Pass the elder. These passed into the possession of George Wither, the poet, and were used to illustrate the first edition of his 'Embleme,' 1635. The motto was translated by Wither in a general sense; but such an impersonal meaning would change into personal boasting, or to what the Americans call "bunkum," directly one attached this motto to one's own book-plate. I submit that it would then amount to saying:

My learning and my wit will live, To gloomy death the rest I give. Now Pirkheymer was not only a man of cultivated taste, but of modest and earnest self-respect. And that is the reason why, as I before briefly stated,

it is scarcely conceivable that he would use a bookplate bearing such a legend.

Next, as regards the alleged portrait bookplate of Pepys. Information is wanting as to the number of books in which it is found in the Pepysian Library at Cambridge as compared with the number of books having his two recognized armorial (or Admiralty blazoned) and initialed book-plates. Until this be forthcoming, it is difficult to surmise whether the pasting inside the covers of possibly a small part of the library of a portrait which I have proved was used by Pepys as a frontispiece, would have constituted evidence of so distinct and absolute user of it as a book-plate by Pepys himself as to justify MR. WHEATLEY'S never before heard any one doubt it." At any rate, in addition to the doubt I have entertained, there is now the further doubt of MR. JOHN LEIGHTON, with whom I quite agree that:—

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"Regarding the Pepys 'kit-cat,' I can see nothing to connect it with the Bibliothèque-no arms, view, legend, to the frontispiece, or to the picture-frame." livre, or device-hence it appears reasonable to delete it

What I have said about the so-called Vennitzer

book-plate is not as yet contradicted. But your correspondent NE QUID NIMIS cites another example of a seventeenth century assumed portrait book-plate, namely, that of John Hacket, Bishop of Lichfield, observing:

but at least there is here the using the likeness of an "This may be more of an ex-dono than an ex-libris, owner as a personal mark in all his books, and this is the very thing that is doubted or in question."

Permit me to explain that the doubt or question I have really raised is not about using the likeness of an owner, but about using the likeness by an owner. Bishop Hacket was dead before Faithorne, in the year 1670, engraved the portrait of him used in the books bequeathed by that prelate. Those of us who are teachable may be inclined to accept the Hacket commemorative or ex - dono portrait-plate as a proof, if such be needed, of what may be taken almost as an axiom, that gift bookplates or labels include posthumous or impersonal book-plates, whilst the ordinary ex-libris exclude them."

Connected with this suggestion it should be kept in mind that Dürer's habit in his book-plate designs was to a marked extent to make them topical, that is, relating to some personal incident. The British Museum possesses two sketches of his for Pirkheymer ex-libris. One of them is for the well-known armorial design above assumed to be referable to the occasion of his friend's marriage. In the same way there are undoubtedly personal allusions in the sketches for a book-plate of Melchior Pfinzing, in the Berlin collection of prints, and of Johann Tscherte, the architect, and friend and correspondent of Dürer and Pirkheymer, in the Imperial Library at Vienna.

FREDE. HENDRIKS.

Only the other day I came across a portrait of Dr. James Beattie, "published by J. Sewell, Cornhill, Jan. 1, 1801," which was pasted inside the front board of the first volume of Dr. Beattie's 'Works' (1814), in the place where one looks for a book-plate. J. F. MANSERGH. Liverpool.

ANGELICA CATALANI (8th S. ii. 485; iii. 113). -In reference to this celebrated woman MR. ADAMS quotes some lines which do not fairly reflect the fame of that great singer. Whatever may have been the relative value of "a groat" to the writer of that ill-natured verse, it is notorious that Catalani received larger emoluments than any singer of her time. The REV. JOHN PICKFORD quotes from a trustworthy source a statement which, though perhaps exaggerated, is in the main correct. Catalani's throat seemed to be endued (as has been remarked by medical men) with a power of expansion and muscular motion very unusual; and when she threw out her voice to the utmost it had a volume and strength that were quite surprising; while its agility in divisions, running up and down the scale in semi-tones, and its compass in jumping over two octaves at once were equally astonishing. My grandfather, who often heard her sing, says, in his 'Musical Reminiscences': "She is fond of singing variations on some known simple air, and has latterly pushed this taste to the very height of absurdity, by singing, even without words, variations composed for the fiddle.” Catalani seems to have been more successful in comic than in serious operas, as in the former she sang with greater simplicity and ease. She was very handsome, with a countenance peculiarly fine on the stage, and capable of great variety of expression. Her supreme love of power and sole admiration made her many enemies; and she was at one time left without adequate support on the stage. Half the company engaged to sing with her threw up their engagements in disgust. Her disposition seems to have been so arrogant, and the extravagance of her annual demands so great, that the manager could no longer keep the opera going. For a short time Catalani led, both in comic and serious opera, but the crash came at last, and the theatre was finally closed at the end of the season of 1813. Catalani's husband seems to have been a tactless creature, and encouraged her in these absurd pretensions. He is even reported to have said: "Ma femme, et quatre ou cinq poupées, voila tout ce qu'il faut." After leaving England, Catalani wandered about Europe, giving concerts, at which she was generally the only vocal performer. Meanwhile the opera in England gradually declined, and fell at last to such a state of degradation as to cease to be fashionable, and was nearly deserted. It may be truly said that with Catalani, and without Catalani, opera in

England was impossible. She reappeared in the summer of 1828, and sang at a musical festival at York. Having subsequently fulfilled concert engagements in different parts of England, this great singer went to Plymouth, on a visit to the Earl of Northesk, who was the Port Admiral there. My grandfather had at that time many opportunities for hearing her sing. I venture to quote his own words:

"During her stay of some weeks she was prevailed upon to give one public concert. There I again heard

her sing, for the first time since she had left the opera in 1813. So much had been said of her falling off, and of the failure of her voice, that I was most agreeably surprised at finding how little change there was in her, and how well she had retained her powers during so long a period. Although she had reached middle age, it was still bein a style that no one else can equal, and concluded the yond any other younger voice. She sang several songs concert with God save the King and Rule Britannia,' which last I always thought she sang better than any body. So she did on this occasion. It electrified and enraptured the audience. In myself it excited feelings with which music had long ceased to inspire me: it was impossible to restrain them. It may seem strange that in her latter years she pleased me more than in the most brilliant part of her career. But so it was; and I now found out that at one time I liked her less than some of her predecessors, I now liked her better than most of her

successore. The last notes I ever heard from her were n my own house, accompanying herself on the pianoforte, in some beautiful little Italian canzonets."

The REV.

That

When these notes were written-in 1834-Catalani was corresponding with my grandfather from Florence, where she then resided. markable woman died in 1849, at Paris. JOHN PICKFORD says (ante, p. 113) that this remay be so-and I will not presume to differ-but I happened to visit the Campo Sante, at Pisa, in 1885, and gazed with deep interest at the mona ment of Angelica Catalani, a conspicuous object in that sacred enclosure. I certainly was under the impression that the great singer lay in its vicinity beneath the waving grass and straggling flowers lulled in her eternal sleep by the ceaseless song of birds. RICHARD EDGCUMBE.

2, Reichs Strasse, Dresden.

GLASS EYES (8th S. iii. 108).-MR. BUTLER asks how much further back than Shakespeare's time can the "witty invention" of glass eyes be traceable. The earliest notice of artificial eyes I am acquainted with occurs in a very rare work by the French surgeon Ambroise Paré, entitled 'La methode curative des playes et fractures de la teste humaine,' Paris, 1561. At p. 226, Paré gives a description and figures of artificial eyes, to be worn in cases where the eyeball has given way, and all the humours have escaped. They are to be segments of a hollow sphere, made of gold, coated with enamel painted in natural colours. With the exception of the gold, they are exactly like the eyes in use at the present time, which are made wholly of glass. J. DIXON.

CUDHAM CHURCH (8th S. iii. 145).—It is not surprising that, inasmuch as this church has been restored twice in about forty years, it should show evident signs of this twofold disaster. Alice Waleys was by birth a Leigh of Addington, as appears by her arms on the brass. In the east window of the north aisle are the arms of Waleys in ancient glass, Gu., a fess ermine, and in the same window is a shield for England, and for Valence. I see that on a visit to the church, two years ago, I made the girth of the yew tree over thirty feet; it is nearly hollow. The church has these features of interest,-a low-side window in an unusual position at the west end of the north aisle; there are two chancels, and the piscina in each of them is in the east wall, instead of in its more usual position in the south wall; and on the jambs of an old doorway leading into the vestry is a remarkable number of old crosses and masons' marks cut in the soft stone.

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With regard to the inscription given by MR. NORMAN, it is not uncommon in the district. could give more than one example had I the references at hand. The following is a variant of it: All ye that pass this way along, Oh look how sudden I was gone. Death gives no warning, as you see, Therefore prepare to follow me.

In 'Monumental Inscriptions in St. Matthew's,. Ipswich,' three instances of this inscription are given at pp. 82, 90, and 177:

All you that stop and read my stone
Remember how soon I was gone,
Death came and did short warning give,
Therefore be careful how you live.

In 'Epitaphiana,' Fairley, 1873, at pp. 30 and 100, are two variations of the above.

The call to the passers-by seems to connect it with the monkish doggerel of the Middle Ages so frequent on tombs : Quisquis eris qui transieris," and the Norman French, "Vous qui par ici pas

sietz."

In the churchyard of Bagshot, Surrey, on a stone to Mary Hart, died 1834, is the following :All you that pass this way along See how sudden I was gone; Death do not always warning give, Therefore be careful how you live. G. L. G.

ARABELLA FERMOR (8th S. iii. 128).-In a notice prefixed to the Rape of the Lock' in an edition of the 'Works of the English Poets from Chaucer to Cowper' (1810), we are told that :

"Mr. Caryl (a gentleman who was secretary to Queen Mary, wife of James II.) originally proposed the subject to Pope, in a view of putting an end, by this piece of ridicule, to a quarrel that was risen between two noble families, those of Lord Petre and Mrs. Fermor, on the trifling occasion of his having cut off a lock of her hair." It would appear from this that Arabella Fermor belonged to a noble family; and as there seems to

have been but one noble family of the name of Fermor, namely, the family ennobled in the person of William Fermor, who was created in 1692 Lord Lempster (or Leominster), and whose son_Thomas was advanced in 1721 to the earldom of Pomfret, the inference naturally is that Arabella Fermor was a member of this family.

Sir Hatton Fermor, grandfather of the first Lord Lempster, had a daughter, according to Collins's 'Peerage,' named Arabella, who died unmarried. As Sir Hatton, however, died in 1640, this Arabella, if the Arabella in question, must have been at least seventy-two years old when Pope, in 1712, published the Rape of the Lock,' with an "epistle dedicatory" to Mrs. Arabella Fermor, in which occur the following words :

"If this poem had as many graces as there are in your person, or in your mind, yet I could never hope it should pass through the world so uncensured as you have done."

I can find no traces of any other Arabella Fermor. The eldest son only of Sir Hatton Fermor married, and he, Sir William Fermor (father of Lord Lempster), had no daughter, apparently, of the name of Arabella. Was, then, Sir Hatton's daughter the Arabella Fermor in question? If she was not, I can only suppose that Sir William had a daughter Arabella, whose name in Collins's notice of the family has been accidentally omitted. C. W. CASS.

"Belinda" seems to have been a cousin, more or less "removed," of Thomas, second Lord Lempster, as Brydges spells him. Arabella was a family name of the Fermors. It was borne by the youngest but one of the six daughters of Sir Hatton Fermor, who, "having broken his leg by a fall out of his coach, died of it, Oct. 28, 1640." W. F. WALLER.

BRYAN TUNSTALL (8th S. iii. 167).-The will of Bryan Tunstall, in the ordinary course, would be proved under the Archdeaconry of Richmond, but it is not amongst the Richmond wills which have been preserved and are now at Somerset House. There are, however, several wills of members of this family-notably those of Bryan Tunstall, of Burrow (in Tunstall), proved 1654, and Bryan Tunstall, of Tunstall, proved 1609; there is also the will of Richard Tunstall, of Tunstall, proved 1585. None of these names appears on the pedigree of the family as given by Baines in his 'Histris HENRY FISHWICK, the of Lancashire.'

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rendered easier of calculation if the locality of St. George's Church had been more exactly specified." Of course it is the Church of St. George the Martyr, Southwark, that is meant, which stands at the corner of the Great Dover High Road, where it joins the Borough High Street, which runs up to London Bridge, from the Surrey side of which the "milestones on the Dover Road" are numbered. W. R. TATE.

Walpole Vicarage, Halesworth.

PENAL LAWS (8th S. iii. 188).-The last case of death by beheading for high treason was no doubt in 1745; but beheading after death lasted much longer, and was last executed on the Cato Street conspirators in 1820. A less-known case was with some machine-breakers at Derby, in 1817. See Mozley's 'Reminiscences,' i. 191. C. F. S. WARren, M.A. Longford, Coventry.

D. ANGELO (8th S. iii. 187).-MR. BUTLER will find such particulars as are likely to be forthcoming respecting the parentage or pedigree of the elder Angelo in the Memoirs' of his son, published by Colburn, in 2 vols., in-I think, I have not the book at hand-1827. W. F. WALLER,

St. Leonards.

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THOMAS GENT (8th S. iii. 145): REV. LAURENCE STERNE (8th S. iii. 165).-In common fairness MR. HIPWELL should have stated that the source of his notes is the late Mr. R. H. Skaife's 'Register of Marriages in York Minster,' reprinted from the Yorkshire Archaeological Journal, 1874, pp. 59, 95. W. C. B.

FOREIGN PARODIES (8th S. iii. 108).-As MR. BOUCHIER has honoured me by a personal appeal for information on this topic, may I be allowed to refer him to vol. vi. p. 323 of my 'Collection of Parodies,' in which he will find a long list of parodies and burlesques in the French language? Or if MR. BOUCHIER will send me his address, I will forward him the part containing this bibliography, and to any other reader of N. & Q' who is interested in this topic. All I ask in return is that my attention should be called to any errors or omissions that may be noticed. French parodies are therein enumerated of Homer, Virgil, Horace, Ovid, Molière, Voltaire, Chateaubriand, La Fontaine, Racine, Corneille, Eugène Sue, Dumas, and he Victor Hugo.

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rep Obviously such a list is hardly suited for the cing 'umns of N. & Q.,' as it would occupy a great leaving of space, and would probably interest but a giving proportion of its readers. Suffice it to say, vocal pee, that no French author of repute, whether land gradu velist, or dramatist, has escaped parody, state of deg scarcely any serious dramatic work can on the stage in Paris without being

and was near that with Catal.

immediately burlesqued at one or more of the minor theatres. It is, indeed, true of France, as one of her parodists (J. Méry) remarks :—

"Les plus belles choses ont eu les honneurs de la parodie. C'est le sort de l'humanité littéraire. Virgile le divin a été parodié par Scarron l'invalide. Le Cid' été parodié par Boileau. Chateaubriand de Corneille a été parodié par M. Chateauterne. Le plus grand poète qui ait existé depuis Homère et Virgile, Victor Hugo, a été parodié par tout le monde."

In 1870 the late M. Octave Delepierre published a work entitled 'Essai sur la Parodie chez les Grecs, chez les Romains, et chez les Modernes,' to which MR. BOUCHIER should turn for information on parodies in the other continental tongues.

In 1869, when M. Delepierre was collecting materials for this work, he wrote to 'N. & Q.' soliciting information as to some English parodies with the originals of which he was not then acquainted. This led to my placing my collection at his disposal, from which he selected the examples and notes for his chapter on English parody. His letters to me on this pleasant little literary acquaintance admirably illustrate the utility of our dear old friend N. & Q.' WALTER HAMILTON. Elms Road, Clapham Common.

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"ZOLAESQUE" (8th S. ii. 468; iii. 54, 115).— When a man delivers himself oracularly and in a partisan manner on a matter still sub judice it has the effect on some of making them "set their backs up." I confess to some such feeling on reading DR. BREWER's note under above heading at the last reference. No doubt the author of the 'Dictionary of Phrase and Fable' has met in the course of his long and useful career the logical axiom "Qui nimis probat, nihil probat." Now his diatribe against the admission of the above word into our language in particular, and his attack on M. Zola in general, seem to cation of that apophthegm. For, first, why be admitted into the should the word not 'N. E. D.' as descriptive of Zola's style, which his own countrymen acknowledge to be sui juris? Secondly, Zola's realism is no more offensive than that of Sterne, Swift, and dozens of other English writers. Thirdly, Zola has not grossly caricatured his countrymen"; on the contrary, the whole of his "Rougon Macquart" series is a too faithful transcript of their manners and morals under the Second Empire. I, too, have lived in France, and can vouch for its painful accuracy. Fourthly, Zola has not (in his Débâcle")" wholly failed to fathom the secret philosophy of the breakdown of the French system and fall of Napoleon." Doctor, the hidden cause of Napoleon's downfall is grasped and exposed with a masterly hand in the work referred to. I happened to be in the neighbourhood of the belligerents in 1870-1, and know, from observation and hearsay, that the

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Pace the

collapse of France was due both to national
demoralization and military incapacity. Finally,
it passeth my understanding how those who rail
most at Zola's works never fail to read them. Sir
Edwin Arnold read 'La Bête Humaine,' pro-
nounced it to be the greatest prose epic of the age,
and then pitched it into the Atlantic in disgust;
likewise DR. BREWER Cons the vivid pages of 'La
Débâcle, and indulges in a plaintive jeremiad
over it! O the contradictoriness of mortals!
Has DR. BREWER read 'Le Rêve'? If not, I
would counsel him to peruse it.
J. B. S.

Manchester.

MR. HOLCOMBE INGLEBY has on more than one occasion stated in 'N. & Q.' that in his opinion theN. E. D.' contains too much. His idea of a dictionary showing the history of the language is peculiar. He considers certain words unnecessary, and therefore would have them excluded from a dictionary; but the fact remains that the words have been used, and if the 'N. E. D.' is to give the true history of the language it must include them. The use of a dictionary is to give information to those who need it; and why should any one who finds it stated that a book has been bowdlerized or grangerized, that a man has been boycotted, that a church has been grimthorped, or that a writer shows a Zolaizing tendency, be denied the explanation of these words because they have been formed from personal names?

JOHN RANDALL.

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SEDAN-CHAIR (8th S. ii. 142, 511; iii. 54).—I would supplement MR. WALLER's note at the last reference by a quotation from the Menagiana' (Paris, 1695, ii. 188). Relating an affaire d'honneur between a certain M. de V. and M. de Monbrun Souscarriere, Menage informs us:—

"Ce Monbrun Souscarriere étoit bâtard de M. de Bellegarde, que l'on appelloit M. le Grand, parce qu'il étoit Grand Ecuyer du temps d'Henry IV. C'est lui qui apporta d'Angleterre en France l'usage des chaises à porteurs.'

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dently the Monbrun Souscarriere of Ménage, and Maigne says that he obtained the patent for himself and a "dame de Cavoie," the grant to Mlle. d'Etampes being later. I may note also that the year 1639, given by Larousse as the date of the "Sieur de Montbrun's" patent, was the year in which the Duc de Bellegarde was deposed from his office of grand écuyer. Larousse makes two persons of Montbrun and Souscarrières.

LADY RUSSELL will see, on reference to 'N. & Q." 3rd S. ix. 138, that Sir Sanders Duncombe's patent, dated Sept. 27, 1634, is preserved in the British Museum. F. ADAMS.

GLADSTONE BIBLIOGRAPHY (8th S. ii. 461, 501; iii. 1, 41, 135).—In the Quarterly Review for June, 1847, there is an article on the book entitled From Oxford to Rome.' In a memorandumbook of private reading which I kept as an undergraduate, I added to my entry of this article the note, "The review said to be by Gladstone." Whether the then current report was correct or not I cannot say. Of the book itself (which was said to be by a Miss Harris) I bought a copy fortyone years afterwards. W. D. MACRAY.

[See also p. 207.]

WILD HORSES (8th S. ii. 46, 113; iii. 172).I can only add, in corroboration of my former note, that Cuvier, in his Règne Animal,' speaks of the horse as existing wild in South America and in Tartary; and in the article" Horse" in the 'Penny the horse is said to be found wild in South America Cyclopædia,' written, I believe, by Richard Owen, and in Tartary. When these eminent men used the word "wild," they must have meant "having no owners. No doubt they are the progeny of tame horses, which have become wild.

"

J. CARRICK MOORE.

CHESNEY FAMILY (8th S. ii. 387, 478; iii. 58, 135).-At the last reference, I find the spellings De Cayneto, De Kaisneto, De Chaisneto, &c. It seems just worth notice that such spellings give the etymology. Keynes is the Anglo-French form of F. chênes, pl., signifying "oaks "; and Diez and Scheler refer chêne to a Lat. adj. quercinus, from quercus. Hence Chesney answers to F. chênaie, oak-grove; as if for *quercinetum; cf. Lat. quernetum. Scheler notes the form le Quesnoy as a place-name. So also in E. spinney, the -ey again represents Lat. -etum. WALTER W. SKEAT.

"JAGG" (8th S. ii. 407, 476; iii. 95).-Little things attest prevailing kinship. A hospitable old friend of mine-now, alas! no more-used to press his departing guest to have a little more refreshment before facing the night air. And when the

Maigne, in his 'Dict. des Origines, Inventions et Découvertes,' says that the "chaises à bras ou chaises à porteurs" for which a patent was granted in 1617 were "découvertes," and that the “chaises couvertes" were introduced from London in 1619 by "le marquis de Montbrun, bâtard du duc de Bellegarde, qui se faisait appeler seigneur de Sous-visitor would protest his strict temperance in all carrière et qui, au dire de Tallemand des Réaux, était allé en Angleterre ' pour se remplumer de quelque perte au jeu.'" This gentleman is evi

things-indulgence in the country's wine being no exception to the rule-he solved the difficulty by simply presenting a minute quantity, and adding,

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