Chapter V: T. Sternberg (1)

[Woodfall's interview with Dr. Dodd at the Old Bailey, is given in Cooke's _Memoirs of Samuel Foote_, vol. i. p. 195., and is quoted in Baker's _Biographia Dramatica_, vol. iii. p. 278., edit. 1812. It appears that Dodd's comedy was commenced in his earlier days, and finished during his confinement in Newgate; but was neither acted nor printed. In a pamphlet, entitled _Historical Memoirs of the Life and Writings of the late Rev. William Dodd_, published anonymously in 1777, but attributed to Mr. Reed, it is stated at p. 4., that "_Sir Roger de Coverley_ is now in the hands of Mr. Harris of Covent Garden Theatre."]

_Trosachs._--Can I learn through "N. & Q." the derivation and meaning of the name _Trosachs_, as {246} applied to the mountain pass bordering on Loch Katrine?

J. G. T.

Trosachs Hotel.

[The name Trosachs signifies in Gaelic the _rough_ or _bristled territory_; a signification perfectly applicable to the confused mass of abrupt crags which, in some convulsion of nature, has been separated from the neighbouring mountains of Ben Vennu and Ben An. This glen was first rendered an object of popular attention by Sir Walter Scott, in his poem of _The Lady of the Lake_.]

_Quarter._--Whence comes the use of the word _Quarter_, as applied to sparing of life in battle?

J. G. T.

Trosachs Hotel.

[A correspondent of the _Gent. Mag._, vol. lxvi. p. 920., suggests, that it may be traced to the reverence for the sacred symbol of our faith, which the early Christian warriors wore depicted on their military habiliments. Orlando, who bore this emblem on his shield, was called 'Il Cavaliere del Quartiero;' though it is something singular that he won the device from Almonte, a _Saracen_ chief.]

* * * * *

Replies.

JACOB BÖHME, OR BEHMEN.

(Vol. viii., p. 13.)

Some farther particulars respecting the writings of that remarkable character, who, according to your correspondent, "led astray William Law, and through him tinctured the religious philosophy of Coleridge, and from whom Schelling stole the corner-stones of his _Philosophy of Nature_," may perhaps interest the readers of "N. & Q."

Who Böhme, or Behmen, was, may be seen by a reference to Francis Okely's _Memoir_ of him, and to the article in the _Penny Cyclopædia_ (vol. v. p. 61.) written by Dr. Bialloblotzky; which, with the exception of a few trifling errors, is carefully compiled. The true character of his philosophy has been ably and fully described in the later writings of William Law, especially in his _Animadversions on Dr. Trapp_ (at the end of _An Appeal to all that Doubt or Disbelieve the Truths of Revelation_); in _The Way to Divine Knowledge_; _The Spirit of Love_; his _Letters_; and in the fragment of a _Dialogue_, prefixed to the first of the four volumes in 4to. of Behmen's _Works_.

Behmen's writings first became generally known in this country by translations of the most important of them by a gentleman of the name of Ellistone, and of minor ones by Mr. Humphrey Blunden and others. Ellistone dying before he had completed the translation of the great work upon _Genesis_, it was continued by his cousin, John Sparrow, a barrister in the Temple; who also translated and published the remainder of Behmen's writings in the English language. Respecting these individuals, William Law, in a letter written in reply to one received from a Mr. Stephen Penny, speaks in the following terms:

"The translators of Jacob Behmen, Ellistone and Sparrow, are
much to be honoured for their work; they had great piety and
great abilities, and well apprehended their author, especially
Ellistone: but the translation is _too much loaded with words_,
and in many places _the sense is mistaken_.[2]

"A new translator of Jacob Behmen is not to have it in
intention to make his author more intelligible by softening
or refining his language. His style is what it is, strange
and uncommon; not because he wanted learning and skill in
words, but because what he saw and conceived was quite new and
strange, never seen or spoken of before; and therefore if he
was to put it down in writing, words must be used to signify
that which they had never done before.

"If it shall please God that I undertake this work, I shall
only endeavour to make Jacob Behmen speak as he would have
spoken, had he wrote in English. Secondly, to guard the reader
at certain places from wrong apprehensions of his meaning, by
adding here and there a note, as occasion requires. Thirdly,
and chiefly, by Prefaces or Introductions to prepare and direct
the reader in the true use of these writings. This last is most
of all necessary, and yet would be entirely needless, if the
reader would but observe Jacob Behmen's own directions. For
there is not an error, defect, or wrong turn, which the reader
can fall into, in the use of these books, but is most plainly
set before him by Jacob Behmen.

"Many persons of learning in the last century read Jacob Behmen
with great earnestness; but it was only, as it were, to steal
from him certain mysteries of Nature, and to run away with the
philosopher's stone; and yet nowhere could they see the folly
and impossibility of their attempt so fully shown them, as by
Jacob Behmen himself."

A well-engraved portrait of John Sparrow may occasionally be met with in some of the small quarto English treatises of Behmen.

The four-volume edition of Jacob Behmen's _Works_, in large 4to., 1764-81, is an unsatisfactory performance; having, in fact, nothing in common with the projected edition by William Law, as expressed in the above letter. Nevertheless, it has been useful in many respects; especially as being instrumental in making the productions of Dion. Andreas Freher more generally known. This edition, moreover, is incomplete; as several important treatises, besides his Letters, are entirely omitted. The order, too, in which the pieces are inserted from the _Book of the Incarnation_ is altogether wrong.

It is a common, but erroneous supposition, that William Law was the editor of this edition. From his work, _The Way to Divine Knowledge_, printed some years after the date of the letter quoted {247} above, it appears that he intended to publish a new and correct translation of Behmen's _Works_; but did not survive to accomplish it. He died in 1761, before the first of the four volumes was published; and if he were in any way identified with it, it could only be by some one or two of his corrections (found in his own copy of the _Works_ after his decease) being incorporated therein; but of this there is some uncertainty. The Symbols, or Emblems, which are stated in the title-page of this edition to have been "left by Mr. Law," were not his production, but merely copies of the originals themselves. These were all designed by the above Dionysius Andreas Freher, a learned German, who had resided in this country from about the year 1695 till his death in 1728, in illustration of his own systematic elucidations of the ground and principles of the central philosophy of Deity and Nature, opened as a new original, and _final_ revelation from God, in "his chosen instrument, Behmen." It was, I believe, from Freher, that Francis Lee (see "N. & Q." Vol. ii., p. 355.) became so deeply versed in the scope and design of high supersensual and mystical truth. From the year 1740, Freher, by his writings, demonstrations and diagrams, may be considered the _closet-tutor_ of William Law at his philosophical retreat at King's Cliffe, in respect to the great mysteries of Truth and Nature, the origin and constitution of things, glanced at in what are popularly called Law's later or mystical writings.

Next to Behmen's _Works_, and coupled with those of Law, Freher's writings and illustrations must, in regard to theosophical science, be considered the most valuable and important in existence. Freher also was personally acquainted with Gichtel, who was deeply imbued with the philosophy of Jacob Behmen, viz. "_the fundamental opening of all the powers that work both in Nature and Grace_;" and who, perhaps more than any other individual, experimentally lived and _fathomed_ it.

Freher's original manuscripts and copies of others (besides those formerly in the possession of William Law), as well as the manuscripts of Law and of Francis Lee, and some original documents relating to the Philadelphian mystic author, Mrs. Jane Lead (Lee's mother-in-law) are now in the possession of Mr. Christopher Walton, of Ludgate Street; who, I understand, is on the eve of completing, for private circulation, a voluminous account of these celebrated individuals. It will also contain, if I am correctly informed, a representation of the whole nature and scope of mystical divinity and theosophical science, as apprehensible from an _orthodox_ evangelical--or, in a word, a _standard_ point of view; as likewise of the nature and relations of the modern experimental transcendentalism of Animal Magnetism, with its inductions of the trance and _clairvoyance_, in respect to the _astral_ as well as _Divine_ magic; with other similar recondite, but now lost, philosophy. But to return to Behmen.

The publication of the large edition of his _Works_ in question was undertaken at the sole expense of Mrs. Hutcheson, one of the two ladies who were Mr. Law's companions and friends in his retirement at King's Cliffe, out of respect to his memory; and who furnished the books Mr. Law left behind him relating to this object. The chief editor was a Mr. George Ward, assisted by a Mr. Thomas Langcake, two former friends and admirers of Law; who occasionally superintended his pieces through the press, being then resident in London. And the reason of this edition not being completed was, that both Mrs. Hutcheson and Mr. Ward died about the time of the publication of the fourth volume; Mrs. Gibbon[3], the aunt of the historian, it appears, not being willing to continue the publication. All that these parties did as editors was, to take the original translations, change the phraseology here and there without reference to the German original (which language it is supposed they did not understand), omit certain portions of the translator's Prefaces, alter the capital letters of a few words, and conduct the treatises through the press.

The literary productions which have commanded the admiration and approbation of such deep thinkers as Sir Isaac Newton[4], William Law, Schelling, Hegel, and Coleridge, may perhaps, before long, be thought worthy of republication. What is required is a well-edited and correct translation of Behmen's entire _Works_, coupled with {248} those of Freher, his great illustrator, (including also the Emblems, &c. of Gichtel's German edition), and preceded by those of Law, which treat upon the same subject, namely:--1. Answer to Hoadley on the Sacrament of the Lord's Supper. 2. Christian Regeneration. 3. Animadversions on Dr. Trapp. 4. The Appeal. 5. The Way to Divine Knowledge. 6. The Spirit of Love. 7. Confutation of Warburton. 8. Letters.

To conclude. The following are the terms in which William Law speaks of Behmen's writings in one of his letters:

"Therein is opened the true ground of the unchangeable
_distinction between God and Nature_, making all nature,
whether temporal or eternal, its own proof that it is not,
cannot be, God, but purely and solely the _want_ of God; and
can be nothing else in itself but a restless painful want, till
a supernatural God manifests himself in it. This is a doctrine
which the learned of all ages have known nothing of; not a
book, ancient or modern, in all our libraries, has so much as
attempted to open the _ground_ of nature to show its _birth_
and _state_, and its essential unalterable distinction from
the one _abyssal supernatural_ God; and how all the glories,
powers, and perfections of the hidden, unapproachable God, have
their wonderful manifestation in nature and creature."

And on another occasion:

"In the Revelation made to this wonderful man, the first
_beginning_ of _all_ things in eternity is opened; the whole
state, the _rise_, _workings_, and _progress_ of all Nature
is revealed; and every doctrine, mystery, and precept of the
Gospel is found, not to have sprung from any _arbitrary_
appointment, but to have its _eternal_, _unalterable_ ground
and reason in Nature. And God appears to save us by the methods
of the Gospel, because there was no other possible way to save
us in all the possibility of Nature."

And again:

"Now, though the difference between God and Nature has always
been supposed and believed, yet the true ground of such
distinction, or the _why_, the _how_, and in _what_ they are
essentially different, and must be so to all eternity, was to
be found in no books, till the goodness of God, in a way not
less than that of _miracle_, made a poor illiterate man, in the
simplicity of a child, to open and relate the deep mysterious
_ground of all things_."

Thus much upon the "reveries" of our "poor possessed cobbler." It may be well to add, that Freher's writings (in sequence to those of Law above named) are all but essential for the proper understanding of Behmen, especially of his descriptions of the _generation of Nature_, as to its _seven_ properties, _two_ co-eternal principles, and _three_ constituent parts: which is the deepest and most difficult point of all others to apprehend rightly (that is, with intellectual clearness, as well as sensitively in our own spiritual regeneration), and indeed the key to every mystery of truth and life.

J. YEOWELL.

Hoxton.

[Footnote 2: This remark especially applies to the _Answer_ to the fourth of the _Theosophic Questions_.]

[Footnote 3: Among the papers of this lady were found, after her decease, several letters to her from her nephew, Edward Gibbon, the historian, and his friend Lord Sheffield, from which it would appear that the religious views of the former had, at least from the year 1788, undergone considerable change. From one of these interesting letters, shortly to be published, I have been kindly permitted to make the following extract:--"Whatever you may have been told of my opinions, I can assure you with truth, that I consider religion as the best guide of youth, and the best support of old age; that I firmly believe there is less real happiness in the business and pleasures of the world, than in the life which you have chosen of devotion and retirement."]

[Footnote 4: William Law, in the _Appendix_ to the second edition of his _Appeal to all that Doubt or Disbelieve the Truths of the Gospel_, p. 314., 1756, mentions that among the papers of Newton (now in Trinity College, Cambridge) were found many autograph extracts from the _Works_ of Behmen. This is also confirmed in an unpublished letter, now before me, from Law to Dr. Cheyne in answer to his inquiries on this points. Law affirms that Newton derived his system of fundamental powers from Behmen; and that he avoided mentioning Behmen as the originator of his system, lest it should come into disrepute.]

* * * * *

INSCRIPTIONS ON BELLS.

(Vol. vi., p. 554.; Vol. vii., pp. 454. 633.; Vol. viii., p. 108.)

Himbleton, Worcestershire:

1. "Jesus be our GOD-speed. 1675."

2. "All prayse and glory be to GOD for ever. 1675."

3. "John Martin of Worcester, he made wee;
Be it known to all that do wee see. 1675."

4. "All you that hear my roaring sound,
Repent before you lie in ground. 1675."

Hanley Castle, Worcestershire:

1. "Ring vs trve,
We praise you. A.R. 1699."

2. "God prosper all our benefactors. A.R. 1699."

3. "God save yᵉ King.
Abrᵃ Rudhall cast vs all. 1699."

4. "God save yᵉ King and yᵉ Chvrch. 1699."

5. "Abrᵃ Rudhall cast vs all. 1699."

6. "Jas. Badger, minister. Rd. Ross, Gorle Chetle, C. W. 1699."

From the ten bells of St. Thomas's Church, Dudley (rebuilt 1816), the following are the most remarkable:

5. "William, Viscount Dudley and Ward;
To doomsday may the name descend--
Dudley, and the poor man's friend."[5]

6. "Ring and bid thee cry Georgius Rex III., England, thy
Sovereign's name. GOD save the King. T. Mean of London, 1818."

Of the eight bells in St. Mary's Church, Kidderminster, the following are the inscriptions on the first five:

1. "When you us ring
We'll sweetly sing. 1754."

2. "The gift of the Rt. Hon. Lord Foley. 1754."

3. "Fear GOD and honour the King. 1754."

4. "Peace and good neighbourhood. 1754."

5. "Prosperity to this parish and trade. 1754."

There is a small bell (dated 1780) which is commonly called the "Ting-tang," and is rung for the last five minutes before each service, which bears the appropriate inscription:

"Come away,
Make no delay."

{249}

On one of the bells of Burford Church, near Tenbury, is the following inscription:

"At service-time I sound,
And at the death of men;
To serve your GOD, and well to die,
Remember then."

The inscriptions on the bells of St. Helen's Church, Worcester, are very singular; the names they bear tell their date:

1. "_Blenheim._

First is my note, and Blenheim is my name;
For Blenheim's story will be first in fame."

2. "_Barcelona._

Let me relate how Louis did bemoan
His grandson Philip's flight from Barcelon."

3. "_Ramilies._

Deluged in blood, I, Ramilies, advance
Britannia's glory in the fall of France."

4. "_Menin._

Let Menin on my sides engraven be,
And Flanders freed from Gallic slavery."

5. "_Turin._

When in harmonious peal I roundly go,
Think on Turin, and triumph of the Po."

6. "_Eugene._

With joy I bear illustrious Eugene's name,
Fav'rite of Fortune, and the boast of fame."

7. "_Marlborough._

But I, with pride, the greater Marlborough bear.
Terror of tyrants, and the soul of war."

8. "_Queen Ann._

Th' immortal praises of Queen Ann I sound;
With union blest, and all those glories crown'd."

In Clifton-on-Teme Church (dedicated to St. Kenelm) are the two following bell-inscriptions, the second of which appears to contain a date:

"Per Kenelmi merita sit nobis cœlica vita."

"HenrICVs Ieffreyes KeneLMo DeVoVIt."

The following are from the six bells of Kinver Church, Worcestershire:

1. "In Christo solo spem meam repono. A.R. 1746."

2. "Cui Deus pater ecclesia est mater. A.R. 1746."

3. "In suo templo numen adoro. A.R. 1746."

4. "We were all cast at Gloucester by Abel Rudhall, 1746. Fac
manus puras cœlo attollas."

5. "Jos. Lye and John Lowe, churchwardens, A.R. 1746. Opem
petentibus subvenit Deus."

6. "Wᵐ Gosnell and Sam. Brown, churchwardens. John Rudhall
_fect._ 1790."

CUTHBERT BEDE, B.A.

[Footnote 5: The worthy nobleman's _sobriquet_ must not be confounded with a popular ointment.]

* * * * *

PASSAGE IN MILTON.

"And every shepherd tells his tale
Under the hawthorn, in the dale."

I have read with interest the "Notes" (Vol. i., pp. 286. 316.) on these lines of the Allegro; because, in spite of early prepossession in favour of the idea commonly attached to them, I was converted some years ago, by the late Mr. Constable, R.A., whose close observation of rural scenery and employments no one can question.

His account of the matter was this:

"It is usual in Suffolk, and I have seen it often myself, for
the shepherd, assisted by another man or boy, to make the whole
flock pass through a gap, in order to facilitate the _tale_.
One fellow drives them through the opening, by moving about,
shouting, and clapping his hands, while his comrade, on the
other side of the hedge, and under cover of a thorn or other
thick bush, counts them as they leap through. I have not only
seen but assisted, when a boy, at the shepherd's tale; and I
do believe Milton had no other idea in his mind. For, indeed,
the early morning is not the time the poets choose for lovers
to woo, or maids to listen; and Milton has described a scene
where all were up and stirring. Neither is the word 'every'
appropriate, according to the common interpretation of the
passage; _every_ shepherd would not woo on the same spot; but
that spot might be particularly favourable for making the tale
of his sheep."

Your correspondent J. M. M. adduces an argument in favour of the romantic _versus_ the pastoral, which seems to me entirely devoid of weight. He thinks that Handel's "'Let no wander' breathes the shepherd's tale of love." Surely there is more imagination than truth in this. There is a _series_ of images in the words of that song: it was necessary, unless the music varied unreasonably to suit them all, to choose a pleasing, but not very significant, melody, and, above all, to make the close of it a fit introduction for the "merry bells," and "jocund Rebecs," which burst in immediately after. I confess I find nothing of the amatory style in Handel's setting of the two disputed lines. He chose the Pastorale or 6/8 time, as for "He shall feed his flock," "O lovely Peace," &c. But were it so, I could not admit Handel as an authority, because, as a foreigner, and an inhabitant of towns, he could not possibly be conversant with the rural customs of England.

S. R.

* * * * *

DESIGNED FALSE ENGLISH RHYMES.

(Vol. vii., p. 483.)

I was much surprised to see in your paper such a lengthened defence of Irish rhymes by a reference to those of English poets, and particularly to Pope. I thought it was well known that he, at last, became sensible of the cloying effect of his never-varying melody, and sought to relieve it by deviations {250} from propriety. This is particularly remarkable in his Homer, where he has numerous Irish rhymes like "peace" and "race:" besides "war" and "car;" "far," "dare;" with many other still more barbarous metres. But all those were by regular design for, if ever poet "lisped in numbers," it was he; and "the numbers came" at his command. He introduced those uncouth rhymes to somewhat _roughen_ his too long continued melody, just as certain discords are allowed in great musical compositions. It showed good judgment, for they are an agreeable change by variation. Other English poets too have false rhymes; for even Gray, in his celebrated Elegy, has "toil" and "smile;" "abode" and "God."

But, with respect to Irish poets, Swift should not have been mentioned at all because, with perhaps the exception of his "Cadenus and Vanessa," his poetry was of the doggerel kind; and he purposely used Irish rhymes and debased English. Thus, in the "Lady's Dressing-room:"

"Five hours, and who could do it less in?
By haughty Celia spent in dressing."

Will any one say it was through ignorance that he did not sound the _g_ in dressing? Pope, in his "Eloisa to Abelard," which is sweetness to excess, concludes with:

"He best can paint 'em who has felt 'em most."

Why this is a downright vulgarism compared to Swift's open and undisguised doggerel:

"_Libertas et natale solum_:
Fine words! I wonder where you stole 'em."

Leaving Swift out of the question, Irish poets are much more careful about their rhymes than the English; because they know that what would be excused or overlooked in them, would be deemed ignorance on their own parts. I venture to assert, that there are more false rhymes in Pope's _Iliad_ alone than in all the poems of Goldsmith and Moore together; though I must again observe that those of Pope were all intentional.

A. B. C.

* * * * *

ATTAINMENT OF MAJORITY.

(Vol. viii., p. 198.)

A. E. B. has not quoted quite correctly. He has put two phrases of mine into Italics, which makes them appear to have special relation to one another, while the word which _I_ put in Italics, "_ninth_," he has made to be "9th." Farther, he has left out some words. The latter part should run thus, the words left out being in brackets:

"... though he were born [a minute before midnight] on the
10th, he is of age to execute a settlement at a minute after
midnight on the morning of the 9th, forty-eight hours all
but two minutes before he has drawn breath for the space of
twenty-one years."

Had the quotation been correct, it would have been better seen that I no more make the day of majority begin a minute after midnight, than I make the day of birth end a minute before midnight. A second, or even the tenth of a second, would have done as well.

The _old reckoning_, of which I was speaking, was the reckoning which rejects fractions; and the matter in question was the _day_. For my illustration, any beginning of the day would have done as well as any other; on this I must refer to the paper itself. Nevertheless, I was correct in implying that the day by which age is reckoned begins at midnight and I believe it began at midnight in the time of Ben Jonson. The law recognised two kinds of days;--the natural day of twenty-four hours, the artificial day from sunrise to sunset. The birthday, and with it the day of majority, would needs be the natural day; for otherwise a child not born by daylight would have no birthday at all. I cannot make out that the law ever recognised a day of twenty-four hours beginning at any hour except midnight. For payment of rent, the artificial day was recognised, and the tenant was required to tender at such time before sunset as would leave the landlord time to count the money by daylight; a reasonable provision, when we think upon the vast number of different coins which were legal tender. But even here it seems to have been held that though the landlord might enter at sunset, the forfeiture could not be enforced if the rent were paid before midnight. A legal friend suggested to me that perhaps Ben Jonson had more experience of the terminus of the day as between landlord and tenant, than of that which emancipates a minor. This would not have struck me: but a lawyer views man simply as the agent or patient in distress, ejectment, _quo warranto_, &c.

A. E. B. twice makes the question refer to _usage_, whereas I was describing _law_. If I were as well up in the drama as I should like to be, I might perhaps find a modern plot which turns upon a minor coming of age, in which the first day of majority is what is commonly called the _birthday_, instead of, as it ought to be, the day before. Writers of fiction have in all times had fictitious law. If we took decisions from the novelists of our own day, we should learn, among other things, that married women can in all circumstances make valid wills, and that the destruction of the parchment and ink which compose the material of a deed is also the destruction of all power to claim under it.

Singularly enough, this is the second case in which my paper on reckoning has been both misquoted and misapprehended in "N. & Q." My knowledge of the existence of this periodical began with a copy of No. 7. (containing p. 107., Vol. i.), forwarded to me by the courtesy of the Editor, on {251} account of a Query signed (not A. E. B. but) B., affirming that I had "discovered a flaw in the great Johnson!" Now it happened that the flaw was described, even in B.'s own quotation from me, as "certainly not Johnson's mistake, for he was a clear-headed arithmetician." B. gave me half a year to answer; and then, no answer appearing, privately forwarded the printed Query, with a request to know whether the readers of "N. & Q." were not of a class sufficiently intelligent to appreciate a defence from me. The fact was, that I thought them too intelligent to need it, after the correction (by B. himself, in p. 127.) of the misquotation. It is not in letters as in law, that Judgment must be signed for the plaintiff if the defendant do not appear. There is also an anonymous octavo tract, mostly directed, or at least (so far as I have read) much directed, against the arguments of the same article, and containing, misapprehensions of a similar kind. That my unfortunate article should be so misunderstood in three distinct quarters, is, I am afraid, sufficient presumption against its clearness; and shows me that _obscures fio_ is, as much as ever, the attendant of _brevis esse laboro_: but I am still fully persuaded of the truth of the conclusions.

A. DE MORGAN.

* * * * *

LADY PERCY, WIFE OF HOTSPUR (DAUGHTER OF EDMUND MORTIMER, EARL OF MARCH), AND JANE SEYMOUR'S ROYAL DESCENT.

(Vol. vii., p. 42. Vol. viii., pp. 104. 184)

The mischief that arises from apparently the most trifling inaccuracy in a statement of fact is scarcely to be estimated. A mistake is repeated, multiplied, and perpetuated often to an extent that no after rectification can thoroughly efface. Blunders even become sacred by antiquity; and the attempt to correct any misstatement, if it does not entirely fail through the subsequent destruction of evidence that would have contained the refutation, is frequently received with a coldness and suspicion, and can seldom, with every aid from undoubted sources, be brought to prevail against the more familiar and preconceived impression. An illustration of this may be seen in the reference made by your correspondent C. V. to the authority of Dugdale, as overriding the result of later investigations relative to the issue respectively of the fifth and seventh Lords Clifford of Westmoreland. The loose and ill-advised assertion of Miss Strickland, intended as it clearly was to insinuate a mean origin in Jane Seymour, and to lessen her pretension to an exalted birth, has fortunately received a most complete and signal disproof; but a question is now raised, which, if it can be supported, will suit Miss Strickland's view quite as well as her own inconclusive statement. I cannot but think that what she wished to say is, as hinted in the suggestion of C. V., that the claim contended for cannot be supported through the alleged marriage of a Wentworth with the descendant of Elizabeth Percy, because Elizabeth, Lady Percy's only daughter, Lady Elizabeth de Percy, who married John, Lord Clifford, is by _some_ ancient heralds stated to have left no daughter. This would have been an intelligible assertion, and not entirely inconsistent with what may be gathered from peerages, and other works compiled solely upon the authority of Dugdale; and it is indeed the very point of difficulty contemplated by your learned correspondent C.V., who if I do not mistake the signature, is himself an authority entitled to much respect.

Dugdale, Collins, and Nicolas make the intermarriage of Wentworth to have taken place with a daughter of Roger, fifth Lord Clifford; and Dugdale and Collins are silent as to any female issue of John, the seventh Lord. Edmondson (_Baronagium Genealogicum_, vol. iv. p. 364.) adopts the same conclusion; but no higher authority is cited by any one of the above writers, upon which to found this statement. On the other hand, both Collins and Edmondson, in the Wentworth pedigree, show the marriage of Sir Philip Wentworth, of Nettlested, to have taken place with a daughter of John, seventh Lord Clifford. Edmondson describes the daughter as _Elizabeth_; but Collins more accurately calls her _Mary_. Banks (_Baronage_, vol. ii. p. 90.) gives both statements with an asterisk, implying a doubt as to which of the two is to be accepted.

The Pembroke MS. contains a summary of the lives of the Veteriponts, Cliffords, and the Earls of Cumberland, compiled from original documents and family records for the celebrated Lady Anne Countess Dowager of Pembroke, daughter and sole heir of George Clifford, Earl of Cumberland, who died in 1605. This valuable collection gives the most minute particulars and anecdotes connected with the ancient family of the Lords Clifford and their descendants, and being a few years anterior in date to the publication of Dugdale's _Baronage_, the information contained there is entitled to the greatest possible weight as an original and independent authority.

In this MS. (a copy of which is in the British Museum, Harl. 6177.) the descendants of Roger, fifth Lord Clifford, are named, but there is no mention of any daughter who formed an alliance with a Wentworth. Afterwards come the issue of the marriage of John, seventh Lord Clifford, with Elizabeth Percy, the only daughter of Henry Lord Percy, surnamed Hotspur, son to Henry Earl of Northumberland.

"This Elizabeth Percy was one of the greatest women of her
time, both for her birth and her marriages, &c. Their eldest
son, Thomas de Clifford, succeeded his father both in his lands
and honours, &c. {252} Henry, their second son, died without
issue, but is mentioned in the articles of his brother's
marriage. Mary Clifford, married to Sir Philip Wentworth, Kt.,
of whom descended the Lords Wentworth that are now living, and
the Earl of Straffod, and the Earl of Cleveland."

To which of the above statements must we give credit? If Dugdale be right, there will appear a startling discrepance in the ages of the two persons who are presumed to have formed the alliance in question; whereas if the filiation given in the Pembroke MS. is relied upon, their ages will be quite consistent, and all the other circumstances perfectly in accordance.

Roger, fifth Lord Clifford, was born and baptized at Brougham on the 20th of July, 7 Edw. III., 1333; his eldest son Thomas, sixth lord, was born circa 1363, being twenty-six years old at his father's death, which happened on 13th July, 1389, in the fifty-sixth year of his age. Thomas Lord Clifford died on 4th of October, 1392, leaving his son and heir John (seventh Lord Clifford) an infant of about three years old. This lord married the Lady Elizabeth de Percy circa 1413, and his eldest son was born on 20th of August, 1414: he died on 13th March, 1422.

The wife of Sir Philip Wentworth, were she a daughter of Roger, fifth Lord Clifford, must have been born between 1363 and 1389; if a daughter of John, seventh Lord Clifford, she must have been born between 1414 and 1422.

In my former note, it was shown that the father and mother of Sir Philip Wentworth were married before June, 1423; that Sir Philip was born circa 1424, and married in 1447; and that his eldest son, Henry Wentworth, being thirty years of age at his grandmother's death in 1478, must have been born circa 1448. It is therefore clear, that if his wife, Mary de Clifford, were a daughter of the fifth Lord Clifford, she could not have been less than thirty-five years older than her husband, and sixty years old when her eldest son was born. On the other supposition, she may have been about the same age with her husband, or perhaps two or three years only his senior.

Can there then be any longer a doubt that this is a mistake of Dugdale? The other eminent genealogists, cited by your correspondent, have adopted the statement without farther investigation and upon no better authority, and the error has thus become familiarised by constant repetition. Had the misrepresentation been set right in the first instance, your readers would have been spared the infliction of this lengthy confutation, Miss Strickland herself protected from the humiliation of a defeat, "in daring to dispute a pedigree with King Henry VIII.;" and some of the numerous living descendants of the Protector Somerset been saved from much concern at finding a pedigree demolished, through which they had been wont to cherish the harmless vanity of being allied to the honour of a royal lineage.

W. H.

* * * * *

PHOTOGRAPHIC CORRESPONDENCE.

_Three New Processes by Mr. Lyte._--Will you kindly allow me room in your pages for the insertion of the following three processes, which may not, perhaps, be uninteresting to some of your readers? The first is respecting a very excellent combination with which to excite collodion. The second is on the subject of a capital developing agent, and, I believe, a partially new one. The third, a certain improvement in the production of positives on albumen paper.

To make my collodion, I use the Swedish filtering paper, as recommended by the Count de Montizon, Mr. Crookes, &c., not so much on account of its superior properties, as the easier manipulation, and the greater certainty of obtaining a completely soluble substance. Having obtained a clear and tolerably thick collodion, take

Rectified spirits of wine 1 oz.
Iodide of ammonium 45 grs.
Bromide of ammonium 12 grs.
Chloride of ammonium 1 gr.

Iodide of silver, freshly precipitated from the ammoniated nitrate, as much as the solution thus produced will take up--a small excess, which will settle at the bottom, will not signify. Nearly the same compound, one which is equally good, is produced as follows. Take

Rectified spirits of wine 1 oz.
Iodide of ammonium 50 grs.
Bromide of ammonium 12 grs.
Chloride of silver 5 grs.

Whichever of these two sensitizers is used, take 1½ drachms, and add to every ounce of the collodion.

Collodion thus prepared is _most_ rapid in its action, giving a deep negative (with Ross's sixteen guinea lens, and the developing agent I shall hereafter describe) in ten seconds in clear weather, and instantaneous positive pictures, which may be afterwards darkened with the solution of terchloride of gold, in chloride of ammonium. It does not easily solarize, and, what is best of all, gives the most pleasing half-tones.

I find it preferable, in taking landscapes, to rather increase the quantity of the iodide of ammonium, in order to give complete opacity to the sky; but if the operator pleases, he may produce the most admirable effect with the above-named proportions, by painting in clouds at the back of the plate with Indian ink: and this latter plan is preferable, as the addition of more of the iodide lowers the half-tones.

{253}

If more of the chloride than above specified be added, it will cause the plate to blacken all over during development, before the extreme lights are fully brought up.

My developing agent is made as follows. Take

Distilled water 10 oz.
Pyrogallic acid 6 grs.
Formic acid 1 oz.

The latter is not to be the concentrated acid, but merely the commercial strength. These, when mixed, form so powerful a developing agent, that the picture is brought out in its full intensity, almost instantly, while at the same time all the deep shades are quite unaffected, and the half-tones come out with a brilliancy I have never seen before.

Another excellent developing agent is composed as follows. Take

Distilled water 10 oz.
Sulphuric acid 3 drops.
Protosulphate of iron ½ oz.
Formic acid 1 oz.

The formic acid is also a most capital addition to the protonitrate of iron, and either this or the former liquid produce most brilliant positives leaving a fine coating of white dead silver. I may also make mention of the improvement I have made in the albumen paper, which consists in the introduction of the chloride of barium into the albumen, in place of chloride of ammonium or chloride of sodium. Take

Water 6 oz.
Albumen 6 oz.
Chloride of barium 7¼ dr.

Whip these up, till they are converted entirely into a white froth; when this has settled into liquid, pour it into a tall jar, and allow the precipitate, which will then separate, to settle completely, and strain the supernatant liquid through fine muslin. The paper, being laid on the surface of this fluid for a space of from five to ten minutes, may be taken off and hung up by a crooked pin to dry, and then ironed. It is to be sensitized with nitrate of silver, 120 grains to the ounce of water. The setting liquid I use is prepared according to the formula given by me in Vol. vii., p. 534. of your journal, except that I prefer to use half to one grain of pyrogallic acid, and 120 grains of chloride of silver. This paper must be soaked for a few minutes or so in rain water, after being printed, before being placed in the hypo.; the presence in the water of any salt seems to destroy the tone of this paper.

Florian, Torquay.

_Muller's Processes--Sisson's Developing Solution._--I am glad to find that I have called the attention of your photographic correspondents to Mr. Muller's process, as detailed in _The Athenæum_ of Nov. 22, 1851, which seems to have been strangely overlooked and neglected. As your correspondents have induced you to reprint the article, perhaps you will also yield to my request, and reprint an article from the same journal of later date (Jan. 10, 1852) containing another process, more economical and more sensitive than the other, invented also by Mr. Muller, and the value of which I have proved. In that, as in the other, there is no developing agent required. To save time I have copied from my note-book the article itself, and append it to this communication.

A photographer of several years' standing informs me that my developing solution produces excellent negatives upon glass, and that he has been trying it as a bath with success. He writes me:--"I use your developing solution for negatives only; and by using a very small opening, say about 3/10ths of an inch diameter, single achromatic lens, I have produced negatives in one minute, which print most beautiful bright positives. The views I have taken and developed with your solution were without sunshine, the sky very cloudy, three o'clock p.m. The collodion was prepared by Messrs. Knight & Son."

Since I received his letter I have tried a negative so developed, with the best success; and I attribute the success to the fact that you may go on developing with that solution any length of time almost, without any fear of spoiling the negative, thus getting thickness of deposit; and that the deposit on pictures taking so long a time to develop has a very perceptible yellow tinge, which, like the gold in Professor Maconochie's method (detailed in _Photographic Journal_ for this month), stops the chemical rays.

J. LAWSON SISSON.

Edingthorpe Rectory.

"Patna, India, Nov. 9, 1851.

"Plain paper is floated on a bath of acetonitrate of silver, prepared of 25 grs. of nitrate of silver, 1 fluid oz. of water, 60 minims of strong acetic acid. When well moistened on one side, the paper is removed, and lightly dried with blotting-paper; it is then placed with the prepared side downwards on the surface of a bath of hydriodate of iron (8 grs. of the iodide in 1 oz. of silver). It is not allowed to remain on this solution, for if this were the case it would become almost insensitive. The silvered surface must be simply moistened with the hydriodate--the object being to get a minimum quantity of it diffused equally over the silvered surface. The photographer accustomed to delicacy of manipulation will find no difficulty in this. While still wet the paper is placed upon a glass (face downwards), and exposed in the {254} camera for periods varying from 10 to 60 seconds, according to circumstances. In sunshine, and when the object to be copied is bright, 5 seconds in this climate (India) is sufficient. Excellent portraits are obtained in shade in 30 seconds; 60 seconds is the maximum of exposure. The picture is removed from the camera and allowed to develop itself spontaneously in the dark, then soaked in water, and fixed in the usual manner with the hyposulphite of soda."--_Athenæum_, Jan. 10, 1852.

* * * * *

Replies to Minor Queries.

_Alterius Orbis Papa_ (Vol. iii., p. 497.)--It was Pope Urban II. who, at the Council of Bari, in Apulia, gave this title to St. Anselm, the cotemporary Archbishop of Canterbury, who was present, and, in a learned and eloquent discourse, confuted the Greeks. See Laud's _Works_ (Ang.-Cath. Lib.), vol. ii. p. 190.: note where the authorities William of Malmesbury and John Capgrave are cited.

E. H. A.

_"All my eye"_ (Vol. vii., p. 525.).--An _earlier use_ of this "cant phrase" than that given by MR. DANIEL may be found in Archbishop Bramhall's _Answer to the Epistle of M. de la Milletière_, which answer was first published in 1653:--

"Fifthly, suppose (all this notwithstanding) such a conference
should hold, what reason leave you to promise to yourself
such success, as to obtain so easy a victory? You have had
conferences and conferences again at Poissy and other places,
and gained by them just as much as you might _put in your eye
and see never the worse_."--Bramhall's _Works_, vol. i. pp.
68-9., edit. Ox. 1842.

The Archbishop elsewhere makes use of the same expression. Of its origin I can say nothing nor of "over the left."

R. BLAKISTON.

_"Clamour your tongues," &c._ (Vol. viii., p. 169.).--Surely, surely, the "_clame_ water," in H. C. K.'s extract from _The Castel of Helthe_, and which is set in an antithetical opposition to "a _rough_ water," is only _calme_ water; by that common metathesis which gives us _briddes_ for birds, _brunt_ for burnt, &c.

H. T. GRIFFITH.

_Spiked Maces represented in the Windows of the Abbey Church, Great Malvern._--There is an instrument of this nature described by some of the martyrologists under the name of "Scorpio," and figured by Hieronymus Magius (Jerome Maggi) in his treatise _De Equuleo_. It is there represented as a thick stick, set with iron points, and was used, together with rods, and the plumbetæ or loaded chain scourges, to torment the confessors.

I am inclined to think, however, that the weapons represented in the windows at Great Malvern are intended for morning stars, which were much employed in arming the watch in the cities of northern Europe in the Middle Ages, and at a later period as well. This weapon (a variety of which was called holy-water sprinkle, from the brush-like arrangement of its spikes) had a long shaft like a halbert, and is often introduced in paintings of the sixteenth and seventeenth centuries, as borne by the Jewish guard who appear in the various scenes of Our Lord's Passion.

Of course the artists represented their characters as wearing the dress and provided with arms of their own period; as we see the Roman soldiers at the foot of the cross in some German and Dutch pictures, mere portraits of the sworders and swashbucklers of the seventeenth century.

I may mention that a weapon of this coarse description is generally put into the hands of a ruffian, or at least of some very inferior character. In _La Mort D'Artur_, Sir Lancelot encounters on a bridge "a passing foul churl," who disputes his passage, and "lashes at him with a great club, full of iron pins."

I remember seeing a barbarous weapon taken from a piratical vessel, which consisted of a massive wooden club, heavily loaded with lead, furnished with a spike at the smaller end, and thickly studded with iron nails, tenter hooks, and the hammers of gun locks. This was something like the old Danish club.

W. J. BERNHARD SMITH.

Oxford.

_Ampers and (& or &)_ [Transcriber's note: Two different typefaces.] (Vol. viii., p. 173.).--"N. & Q." has exhibited a forgetfulness, of which he is very seldom guilty. If he and his correspondent MR. MANSFIELD INGLEBY will refer to Vol. ii., p. 230., they will find the same question asked by MR. M. A. LOWER and if they will turn over the leaves to p. 284., they will find an answer by Φ., which he now begs to repeat. The word designated is _and-per-se-and_. Curiously enough, the first of the above printed symbols seeing to have been formed from Φ.'s explanation, that it was nothing more than a flourishing "et."

Φ.

_Its_ (Vol. viii., p. 12.).--In compliance with the request of your correspondent B. H. C., I have the pleasure to inform him that in Richard Burnfields _Poems_ (reprinted by James Boswell for the Roxburgh Club), "The Complaint of Poetrie for the death of Liberalitie," 1598, is one of the pieces, and on the first page of signature C. the word _its_ occurs, but as a contraction of _it is_:

"The maimed souldier comming from the warre;
The woefull wight, whose house was lately burnd;
The sillie soule; the woful traueylar;
And all, whom Fortune at her feet hath spurnd;
Lament the losse of Liberalitie;
_Its_ ease to haue in griefe some companie."

{255}

While on the opposite page we have "_it_ soule" for "_its_ soule," thus:

"But as a woefull mother doeth lament,
Her tender babe, with cruel death opprest;
Whose life was spotlesse, pure and innocent,
(And therefore sure _it_ soule is gone to rest):
So Bountie, which herselfe did upright keepe,
Yet for her losse, loue cannot chuse but weepe."

May not this lead to the conclusion that it was to avoid confusion with the ellipsis of _it is_, that the possessive case was thus written _it_?

S. W. SINGER.

_"Hip, hip, hurrah!"_ (Vol. viii., pp. 20. 185.).--No one, I think, who heard the cheering of the ships' companies at the late naval review can doubt that CHEVERELL'S explanation of "hip, hip," is the true one. They are not _words_, but interjectional _sounds_; with no other meaning than to prepare for and _time_ the coming "hurrah!" When the men are ready to cheer, the boatswain's mate gives the signal "hip, hip," and then follows the general "hurrah!" This practice is adopted in public assemblies for the same reason--to ensure concert and unity in the final cheer. "Hurrah!" also I take (_pace_ Sir F. Palgrave) to be a mere _sound_: a _natural_ exclamation of pleasure, with no more instrinsic meaning than "Oh!" or "Ah!" for pain, or "Bah!" for contempt. It surely can have no connexion with the phrase of old Norman law--"clameurs de haro:" for "haro" is an exclamation of dissent and opposition. "Crier _haro_ sur quelqu'un," is to excite mischief and scandal against him--the very reverse of _hurrah_!

C.

_Derivation of "Wellesley"_ (Vol. viii., p. 173.).--In reply to J. M., I think the following particulars I may not be uninteresting to him. There is good reason to believe that the name of Wellesley was derived from an ancient manor about one mile south of Wells, called Wellesleigh, which once, belonged to the Bishops of Bath and Wells. It is certain that a family called "De Wellsleigh" lived, and held considerable lands in this manor at a very remote period. In 1253, a Philip de Wellsleigh, and in 1349 another of the same name, are recorded as holding part of the manor of the Bishops of Bath and Wells. These lands, with the serjeanty and office of bailiff and "cryer of the hundred," passed into the family of the Hills of Spaxton, A.D. 1435. In 7 Henry VII., John Stourton held half a knight's fee in this manor: "formerly held by William de Wellsleigh." I have an original deed in my possession dated 26th Edward I., being a feoffment or grant of lands in Dinder (an adjoining parish) by William Le Fleming, "Dn̄s de Dynder," in which "Thomas de Welesleȝe" and "Robert de Welesleȝe" (so the name is spelt) are, among others, named as witnesses. This manor was held by the Bishops of Bath and Wells until the time of Ralph de Salopia (succeeded A.D. 1329, died A.D. 1363), who gave it to the vicars choral of the cathedral, by who it has been held down to the last year (1852), when they sold the fee of it to Robert Charles Tudway, Esq., M.P. for Wells.

INA.

Wells.

_Penny-come-quick_ (Vol. viii., pp. 8. 113. 184.).--Your correspondents on the subject of this name do not appear to be aware that there is a place also so called in Ireland: a small public-house, and one or two others, on the high road between Wicklow and Arklow, near the sea-shore, three miles north of the latter town. In Taylor and Skinners Road Maps of Ireland (1776), it is spelled "Penny-_con_-quick." I have been there, and do not think that the site countenances H. C. K.'s ingenious etymology.

C.

_Eugene Aram's Comparative Lexicon_ (Vol. vii., p. 597.).--MR. E. S. TAYLOR will perhaps be glad to know that specimens of the above _Lexicon_ were printed at the end of a small work published about twenty-five years since by Mr. Bell of Richmond (Yorkshire), entitled _The Trial and Life of Eugene Aram_.

NORRIS DECK.

Cambridge.

_Wooden Tombs and Effigies_ (Vol. vii., pp. 528. 607., &c.).--At Sparsholt, Berks, in the south transept are two female effigies of wood, under sepulchral arches, richly carved in stone: one of them is engraved in Hollis's _Monuments_. At Burghfield and Barkham, in the same county, are also wooden effigies of the fourteenth century.

At Hildersham Church, Cambridgeshire, within the altar rails, on the north side, is a wooden monument of a knight and his lady: the knight cross-legged, and drawing his sword. They are said to be the effigies of Sir Thomas Busteler and lady, temp. Edward II.

NORRIS DECK.

Cambridge.

_Queen Anne's Motto_ (Vol. viii., p. 174.).--By an order of the queen in council, 17th of April, 1707, consequent upon the union of Scotland with England, it was declared in what manner the ensigns armorial of the United Kingdom (called Great Britain) should thenceforth be borne; when it was also declared that her majesty's motto, "Semper eadem," should be _continued_.

G.