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"Cabinet," 7.

QUERIES: Lushington Crabbe's MSS. - Mottoes

"Nightrail"—Marat in London, 7-Maclean--Dumas on

CONTENTS. - No. 288.

NOTES:-The United States and St. Margaret's, West
minster, 1-Notes on Burton's Anatomy,' 2-Epitaph on
Queen Elizabeth, 3-President Loubet, 4-"To mug"
"Out of rodex"-Hammersmith-Orange Blossoms, 5-
"Bracelet "— Hôtel Lauzun, 6-Shakespeare's Books-queens at home, come here, and as our con-
querors" reign and remain queens in the old
country. Our Churchmen go and visit the
great Republic, notably Deans Stanley of
Westminster, Hole of Rochester, and Farrar

minster, and rector of St. Margaret's); and

of Canterbury (when Archdeacon of West-

in return there have been sent to us Bishops

Whipple of Minnesota, Phillips Brooks of

Massachusetts, and many more. Thus we

may clearly see that peaceful efforts have

brought about a state of things that would

most likely never have been accomplished by

wars and bloodshed.

Ostend, 9.

Cats and Dogs-"That power that kindly spread the
clouds - Quarterings - Graham Appelbey-"Lime-
ricks" or "Learicks"? 8-"Tory"— English Grave at


:—“ Unram," 9—Jews and Eternal Punishment,

10—Byron Quotation—' Passing By,' 12—Panton Family

-Keys to Thackeray's Novels - Inns of Chancery

"Temple Shakespeare"-Tragedy at Heptonstall, 13-De

Bathe Family-Sheffield Family-Author and Avenger of

Evil-Boadicea's Daughters - Deputy-Mayor-Grotto at

St. Margaret's Church possesses most di-
verse memories, but none are so completely
happy as those found in the fact that it con-
tains several memorials intimately associated
with the United States, and to them it is
now my pleasing privilege to direct attention.
They are to be found in the windows erected
by the pious forethought of lovers of the old
country generally, and of this church par-
ticularly, which has been a great feature of
the religious life of London for many cen-
turies. The first is a window over the door
leading from the south aisle of the church
into the vestry. The tracery is much older
than that of any other window in the build-
ing, and of more graceful design, and was
filled in 1882, by an American lady, to the
memory of that unfortunate princess the
Lady Arabella Stuart, who lies in the closely
adjacent Abbey. She was wife of Charles
Lennox and cousin of James I., and her body,
as stated by Dean Stanley, was
"after her troubled life brought at midnight by
the dark river from the Tower, and laid with no
solemnity under the coffin of Mary Stuart — her
own coffin so frail that through its shattered frame
the skull and bones were seen by the last visitors
who penetrated into that crowded chamber."
This is accounted for by Keepe, who says
that "to have had a great funeral for one
dying out of the king's favour would have
reflected on the king's honour." She was of
the blood royal, being a descendant of Mar-
garet, the elder daughter of Henry VII., by
her second marriage with the Earl of Angus.
Her life story is so well known that it is
unnecessary to repeat it here. In the upper
lights of her memorial window are four
shields: Nos. 1 and 4 bear the quarterings


of the house of Stuart, Or, a fess chequy, azure and argent; No. 2 has the arms of the Province of Canterbury, Azure, an episcopal staff in pale or, and ensigned with a cross patée argent, surmounted by a pall of the last charged with four crosses formée-fitchée sable, edged and fringed or; while on No. 3 will be found the arins of the See of London, Gules, two swords in saltire argent, pommels In the three lights are represented three saints in the centre St. Barbara, and on either side SS. Dorothea and Perpetua, all holding the palm, typical of martyrdom, in their hands. The whole of the design is exquisitely beautiful, and exceedingly well carried out by the designers, Messrs. Clayton & Bell. The anonymity of the giver, so far as I know, has never been penetrated, but it is believed that the "American lady' thought herself to be a descendant of the unhappy princess; but this I give with all reserve, and not as being a fact for which I can vouch.



Upon the lower or bricked-up portion of the next window has been placed a memorial in opus sectile" work to the memory of Phillips Brooks, D.D., sometime Bishop of Massachusetts, who was well known and greatly respected in this country. The process used for this memorial has been happily described as the "revival of an ancient Roman process, differing in one respect from mosaic, inasmuch as the material used is opaque glass, cut to shape to resemble stained glass.' The cost was mainly borne by English people, but some few American citizens, mainly resident here, assisted by their contributions. The bishop was a unique personality, and Dean Farrar, who knew him as well as, perhaps better than, most people on this side of the Atlantic, said that he was "of all modern ecclesiastics the most famous." Of him it has been justly written :

Great bishop, greater preacher, greatest man,

Thy manhood far out-tower'd all church, all creed, And made thee servant of all human need, Beyond one thought of blessing or of ban, Save of thy Master, whose great lesson ran "The great are they who serve.' So now, indeed, All churches are one church in loving heed Of thy great life wrought on thy Master's plan. As we stand in the shadow of thy death


How petty all the poor distinctions seem,

That would fence off the human and divine! Large was the utterance of thy living breath; Large as God's love thy human hope and dream; And now humanity's hushed love is thine! Mrs. Sinclair, in her little History and Description of Windows of the Parish Church of the House of Commons,' thus describes the tribute placed thereon :

"Above is the text Comfort ye My people, saith your God'; below are the words 'Jesus said unto Lord is represented as the Good Shepherd, holding him, Feed My sheep.' In the centre panel our

a crook. Dean Farrar considers the Good Shepherd represents to us the joyful, cheerful side of Christianity, Luke xv. 1 to 7, John x. 1 to 18. St. Peter is represented kneeling at his Master's feet on the right two other apostles, St. John and sheep and a shepherd-boy. In the background is a St. Thomas, are depicted; while on the left are small ship with sails. Underneath are the words In memory of Phillips Brooks, D.D., Bishop of Massachusetts, honoured and beloved, A.D. 1894'; in Latin elegiacs, written by the late Dr. Benson, and again below this has been placed a quatrain, formerly Archbishop of Canterbury, to the following effect:

Fervidus eloquio, sacra fortissimus arte, Suadendi gravibus vera Deumque Viris, Quæreris ad sedem populari voce regendam, Quæreris--ad sedem rapte Domumque Dei. This touching tribute has been most happily englished by the son of the writer:True priest of God, whose glowing utterance stayed The failing feet, the heart that was afraid, Pastor and Friend, beloved, most desired Thy people called thee, but thy God required." W. E. HARLAND-OXLEY.



33 66


BURTON'S ANATOMY OF MELANCHOLY.' (See ante, pp. 181, 222, 263, 322, 441.) As regards quotations from Juvenal, it should be added that although on p. 396 of vol. i. Shilleto's note to "Crambe bis cocta is "Juv. vii. 154, quoted memoriter," while on p. 436 he calls "crambem bis coctam apponere' 'an adaptation of Juv. vii. 154," yet on p. 19 in his note on "cramben bis coctam apponere he rightly refers to Erasmus's Adagia.' (The absence of any thorough system of cross-references is one of the serious faults in this edition.) Compare "Quid, si apponeret cicutam aut cramben recoctam?" Erasmus, Colloquia,' 'Synodus Grammaticorum' (p. 562 in the Variorum edition of 1729). Perhaps in “ a Poet? esurit, an hungry Jack," vol. i. p. 322, 1. 12 (Part. I. sect. ii. mem. iii. subs. xi.), esurit may be regarded as a quotation from Juvenal vii. 87. On the latter line of the couplet which occurs near the end of the 'Argument of the Frontispiece,'

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For surely as thou dost by him, He will do the same again,

Shilleto comments, "Probably this line should be He'll do to thee the same again.' For it halts both in sense and rhythm." Unfortunately I possess no copy at present of the third edition, in which I understand that the engraved title page first appeared; but in the fourth these two lines occur in the same

form as in the sixth. I venture to think that the sense is perfectly clear, and that the deviation in the second line from the normal type (its "initial truncation") has nothing surprising in it. Indeed, the variety in the line helps to emphasize the meaning.

Vol. i. p. 415, I. 8 from foot (Part. I. sect. ii. mem. iv. subs. vii., p. 163 in the sixth edition): Concussis cecidere animis, ceu frondibus ingens Silva dolet lapsis.

Burton's marginal note is "Maph.," to which Shilleto adds, "Possibly Maphæus, who, according to Hallam, added a thirteenth book to Virgil's Æneid."" Presumably. See Julius Cæsar Scaliger's Poetice,' bk. vi. chap. iv. (pp. 785-6 in edition of 1586), where five and a half lines (ending at "concussis cecidere animis") are quoted from Maphæus Vegius's addition to the 'Eneid,' and highly praised.


A propos of the 'Poetice' a curious error in Shilleto's edition may here be mentioned. Vol. iii. p. 305, 1. 6, Scaliger, Poet. lib. cap. 13, concludes against women. Besides their inconstancy, treachery, suspicion, dissimulation......," &c. Shilleto gives Burton's marginal note to this as follows: "Ideo: mulieres præterquam quod sunt infidæ, suspicaces...," &c. To those acquainted with the Poetice' a moment's consideration will show that 'Ideo' should probably be 'Idea,' the title of Book III. of that work; and an examination of the sixth edition of the 'Anatomy' (p. 597, Part. III. sect. iii. mem. i. subs. ii.), of which Shilleto's edition is professedly a reprint, with some alterations in spelling (see publishers' note on p. v), will show that Idea is clearly printed." The number of the chapter, however, which Burton gives as 13, ought to be 14. See 'Poetices, Liber iii. chap. 14, headed A Sexu.' (Did Burton misread xiiii. as xiii. ?)


Vol. i. p. 439, l. 15, "nescis quid serus secum vesper ferat" (Part. I. sect. ii. mem. v. subs. v., p. 178 in ed. six). Shilleto calls this a reminiscence of Virg. Georg. i. 461." Surely the "nescis" points to the title of Varro's 'Satira Menippea' "Nescis quid vesper serus vehat" (see Aulus Gellius, xiii., xi. 1, and p. 196 of Varronis Menippeæ,' printed at the end of the third edition of Bücheler's 'Petronius').

Vol. i. p. 446, 1. 16 from foot, "as Felix Plater notes of some young Physicians, that study to cure diseases, [that they] catch them themselves......" Shilleto would appear to be wrong in inserting "that they.". It is true that the text of the sixth edition (p. 183, Part. I. sect. iii. mem. i. subs. ii.) cannot well stand; but the right remedy is to be seen

from ed. four, which reads "that studying to cure diseases," &c.

Vol. ii. p. 14, 1. 10 from foot, "or that Golden Legend of Jacobus de Voragine." Shilleto's foot-note states that Jacobus de Voragine died in 1292. He died in 1298 (see, e.g., the introduction to La Légende Dorée traduite du Latin par Teodor de Wyzewa,' 1902). If 1292 is not a mere slip or a misprint, the curious might guess how Shilleto's error arose by examining the account of Jacobus de Voragine in the 'Encyclopædia Britannica.'


Vol. ii. p. 191, 1. 5 from foot (Part. II. sect. iii. mem. iii.):

Ipse deus simul atque volet me solvet, opinor. The reader of Shilleto's edition finds the following mysterious foot-note to this line: "Leonides." The line is, of course, with one slight change ("volet" for "volam "), from Horace (Epist. I. xvi. 78); but why "Leonides"? In the sixth edition, p. 334, the "reference" (at) which directs the reader to the note "Leonides" is prefixed to the line "Ipse deus......," while there is no "reference" before the next quotation in verse :—


Servus Epictetus, mutilati corporis, Irus Pauper: at hæc inter carus erat Superis, and the error has been repeated in the present edition. Shilleto has a note See the original Greek of these lines in Aulus Gellius, Noct. Att.,' ii. 18." Any one, however, consulting Hertz's critical edition of Gellius, or his text of the same author in Teubner's series, will fail to see the Greek lines. The short section containing this Greek couplet, which was printed by many editors at the end of Gellius, ii. 18, is taken from Macrobius, 'Saturnalia,' I. xi. 45, where it is immediately preceded by this chapter of Gellius which Macrobius has " conveyed." See also 'Anth. Pal.,' vii. 676. The lines are anonymous; their ascription to Leonidas is apparently due to an error in the 'Anthologia Planudea.' One cannot help noticing that Burton's English rendering of the Latin version is strangely incorrect.

EDWARD BENSLY. The University, Adelaide, South Australia. (To be continued.)

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She is, she was,-what can there more be said? On earth the first, in heaven the second maid." The writer furnishes no authority for her general statement, which seems to be devoid of any foundation. It would appear to have been suggested by a passage in Granger's Biographical History of England' (second edition, published in 1775, vol. i. p. 178), which runs thus:



was, shee is, what can there more be said, Shee In earth the first, in heaven the second maid. These lines, which are under the head, are the last verses of an inscription on a cenotaph of Queen Elizabeth which was in Bow Church (see the View of London, p. 371, 8vo, 1708). Theophilus Cibber tells us in his 'Lives of the Poets' (vol. v. p. 16) that they are an epigram of Budgel's upon the death of a very fine young lady, and that he did not remember to have seen them published."

It is no wonder that Granger was somewhat puzzled with the spelling of the word "shee," to which he appends in a foot-note the expression "Sic Orig.," and that he doubted the ascription of the lines to Eustace Budgel, who, born in 1685, died in 1736. This author, of course, could have had nothing to do with the composition of the piece, inasmuch as it was in existence at least three-quarters of a century before he appeared on this sublunary It therefore follows that, if he employed the two verses in an elegy on the untimely death of a fair young creature who would be better entitled to the compliment than the aged Tudor queen, he was plagiarist. The poem, if it deserves the name, was, however, actually written in memory of Elizabeth by H. Holland, as we learn from Camden, who quotes it in full in the second edition of his 'Remaines,' published in 1614. I subjoin an exact copy of it for future reference in these pages :-



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PRESIDENT LOUBET.-The Sun appears to have stated that the name of Loubet should rime with "may," and Mr. G. R. Sims seems to have come to the rescue of a correspondent who said that it did not. It is difficult indeed to say that any French word rimes with any English word, and Loubet certainly does not rime with may." But the Sun now seems to think that Loubet "is one of the few names in France which is pronounced as it is spelt," and its writer goes on to say that, while in Paris and the North the t is not sounded, this is wrong. There is, in fact, no right and wrong about French names. Suffren is an example. The avenue in Paris and the man-o'-war are both named after the same distinguished person, but they are differently pronounced. The practice of the extreme South, to which from his citizenship of Montélimar President Loubet belongs, is to sound the final letter. But in the case of the President this would lead to the unfortunate the silly result that his name would mean fool," lou being the substitute for le at Montélimar; and, except by his enemies when he was first in office, long before he became President, the name has never been so pronounced. The accentuation, however, being on the first syllable, the second syllable


is swallowed in such fashion that to make it rime to "may" is a cockney absurdity.

P. L.

Published in 1603. The author died in the following year. I quote from the reprint in 'The Harleian Miscellany,' vol. ii.

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