The flow'rs were won, but devious his course lay back again; To stem the waters in their tow'ring rage he strove in vain: Fondly he glanced to the yet distant shore, where in despair His betrothed stood with extended arms, mid shrieks and pray'r. Darker and darker gather'd on the tempest in its wrath, Th' eddying waters with vengeful ire beset the fatal path. With the wild energy of death he well nigh reach'd the spot, The azure flowers fell at her feet-IDA, FORGET ME NOT! The words yet borne upon his lips, the prize seem'd almost The words so lined through are not erasures, though that is the modern mode of erasing words or phrases which are objectionable. The earlier scribes by these lines implied that a particular emphasis should rest on these words, and that the reader should observe their import in particular, as we now underline them in writing, or print them in an italic type. TRANSLATIONS OF BISHOPS.-When did the practice commence? or is there any record of the first person who was thus preferred or translated to a see, other than the one to which he was first appointed? Carlisle, Dec. 8. F. M. In Atkins' History of Gloucester, it is said, Gilbert Foliot, Abbot of that Monastery in 1139, was consecrated bishop of Hereford, Sept. 5, 1148, and translated to the see of London, in 1163, being the first instance of the translation of a bishop in England. The assertion is very erroneous, as prior to that date, Gerard, bishop of Hereford, circa 1095, was translated to York, in 1100. Still earlier. Herman, bishop of Winton, in 1046, was translated as bishop of Shireburn, in 1050. He removed the latter see to Salisbury, and was deceased in 1078, or before. There may possibly have been even earlier translations among the Anglo-Saxon bishops. ST. BERNARD'S SAUCE.-Reading recently of some viands served up with St. Bernard's sauce, the meaning appeared to me to be obscure. I have looked into Halliwell's Dictionary and other authorities, but fail to find any solution of this delicacy, if such it be. Can any reader of Current Notes render any elucidation of this phrase? Liverpool, Dec. 4. S. T. St. Bernard's sauce is an ironical term for hunger. PICTORIAL NIMBUS, OR GLORY. work, the Legends of the Madonna,' does not as I am sorry to observe that Mrs. Jameson's beautiful stated in a note appended to my inquiry in your October number, furnish any exact information on the subject referred to. Whether Didron's Christian Iconography is more to the purpose I am not able to judge, as the work is not in my possession. In Mrs. Jameson's volume some of the few examples from Dutch artists represent the Nimbus in the form of rays proceeding from the head of the Virgin and the Child; and I have an old picture on which are the painter's initials I. A. V.; where both of these figures are represented with this head of glory-the latter with the rays very marked and very striking. The head of the Virgin has a thin circle of light, and a small point or two of condensed rays issuing beneath from the back part of the corner of the head. The subject is the Adoration of the Shepherds, one of whom presents a lamb. The infant Child is ! lying on a white cloth, and the Virgin Mother in a kneeling posture, is looking upon him, with her hands closed in the attitude of prayer. The artist, I think, must have been Flemish or Dutch, and probably the Nimbus referred to, may be characteristic of the painter. Query whom? Your correspondent F. R. N. H. in his interesting communication seems to corroborate my views, that the rayed or flame like Nimbus is a characteristic of Dutch Art. Our correspondent E. B. has only to refer to Didron, a volume which the publishers of Current Notes could readily supply; to correct his erroneous supposition that the the Dutch School. It is found in Hindoo representations luminous fluid or flame-like Nimbus was a characteristic of executed in far distant ages, and Didron adverts to the adoption of certain anachronisms and erroneous applications by artists of more recent times, while his historical inquiries are supported by unquestionable objects of Archaeology The subject of the glory or Nimbus occupies in Didron, pp. 129-200; and his Christian Iconography is one of those works of authentic information that should find shelf room in every library in the world, either public or private. M. Christ in 1750, noticed the Monogram I. A. V., but most erroneously ascribes it to Josse Ammon of Zurich. 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