a fragment torn from a copy of 'Poor Robin's Almanac,' but of what year it is impossible to tell except by collation with a perfect copy. The edition of 1688 contains a parody of the Church of England calendar, in which the names of regicides and other persons occur who were obnoxious to the popular sentiment of the time. The " Ransborough" in the present fragment is, there cannot be a doubt, a misspelling of the surname of Col. Thomas Rainborowe, a noteworthy officer both on sea and land, and a man prominent among the independent section of the army, who was killed at Doncaster, by a body of desperate men from the Royalist garrison in Pontefract Castle, on 29 October, 1648. Whether the deed was done in revenge for the execution of Lucas and Lisle on the surrender of Colchester, or whether it arose out of a desire to make Rainborowe a prisoner for the purpose of exchanging him for the Royalist leader Sir Marmaduke Langdale, who was a captive at the time in Nottingham Castle, will probably ever remain a matter of doubt. It was regarded by the Parliamentarians not as legitimate warfare, but as murder. EDWARD PEACOCK.

Kirton-in-Lindsey.

The Library, Guildhall, E.C. ARCHBISHOP KEMPE (10th S. iv. 348, 434).-— COL. PRIDEAUX refers to a paper on the memorials of persons buried in the church of All Hallows, Barking, by Messrs. Corner and Nichols, in the Transactions of the London and Middlesex Archæological Society (1862), ii. 245. As I am not able to see those Transactions, will COL. PRIDEAUX kindly inform me if Archbishop Kempe had any special connexion-and if so, what-with All Hallows, Barking? G. LAYCOCK BROWN. Edinbro Cottage, Heworth, York.

J. PITTS, PRINTER (10th S. iv. 469).-This may be the "Mr. Pitts" whose character is given by Dunton in his 'Life and Errors.' See Nichols's edition, 1818, vol. i. p. 233.

WM. H. PEET.

CHURCH SPOONS (10th S. iv. 468).-In Lee's 'Directorium Anglicanum' directions are given that a perforated spoon should always be kept on the credence in order to remove a fly or spider which might fall into the

chalice after consecration. In such a contingency the insect should be "warily taken," then, "washed between the fingers, and should then be burnt, and the ablution, together with the burnt ashes, must be put in the piscina." I know the spoons wellthere were several in a lot of old family plate which was divided amongst us many years ago-and always heard them described as mulberry spoons," being intended, as I was told, to sprinkle each fruit with a little sugar, and then take it up on the spiked end. E. E. STREET.

Chichester.

I possess a spoon like the one described. The bowl is pierced, and it ends in a spike. It is about five and a half inches in length. There is a half-obliterated "lion" mark, but no date-letter. I have heard this called a mulberry spoon. You sift the sugar on the mulberry by the bowl, impale it on the spike, and lift it to the mouth. I do not think there was ever anything ecclesiastical about it: an engraved crest precludes this idea. Are such spoons common in churches? If it was to catch flies, why is the bowl pierced? To kill a fly with the spike would be no easy task. G. F. BLANDFORD.

48, Wimpole Street.

The spoons as described are, according to a housewife who showed me a valued specimen, mulberry spoons. How they came to form part of church plate I cannot say.

H. P. L. "SMITH" IN LATIN (10th S. iv. 409, 457).— "Smith in Latin" is not uncommon in a modern English its original form as name. There are two well-known actors on the London stage who bear it, Miss Beryl Faber and Mrs. Leslie Faber, while in the Post Office London Directory' it occurs seven times. RUDOLPH DE CORDOVA.

LOOPING THE LOOP: FLYING OR CENTRIFUGAL RAILWAY: WHIRL OF DEATH (10th S. iv. 65, 176, 333, 416, 474).-I have a copy of the original handbill of the Centrifugal Railway, which is identical with that given by MR. ALECK ABRAHAMS at 9th S. xi. 337, ex

cept that the show is stated, with greater precision, to be held "at Dubourg's Exhibition of Wax-Work, Great Windmill Street, Haymarket." At the top of the bill is a cut of the railway, showing a car containing a passenger commencing the descent at one end, another head downwards at the top of the "Vertical Circle," and a third at the other end having just finished the ascent. I think MR. THOMAS WHITE has hit on the usual pronunciation - Centrifugal. In the early

"forties" there was a song very much in
vogue, which described the sights of London,
and one stanza, I recollect, ended with "Cen-
trifugal Railway." The only others I remem-
ber (very imperfectly) are the following:-
Did you ever go to Madame Tussaud?
Your portrait in wax-work she's anxious to show:
There's the King of the French, and Fieschi the
traitor,

Commissioner Lin, and the Great Agitator,
Oh, oh, oh, oh! Oh, oh, oh, oh!

:

Another stanza, referring to the Chinese Exhibition, was something like this:

Ching, a-ring, a-ring, ching, Feast of Lanterns, Such a crop of chopsticks, hongs, and gongs, Hundred thousand Chinese, crinkums crankums, All among the Pekin pots and tongs.

I fancy the song came from one of Planche's extravaganzas. If any correspondent knows the whole of the words, and will communicate them to me, I shall feel greatly obliged, as I remember the tunes perfectly. Each stanza, I may add, had a different tune.

W. F. PRIDEAUX.

1, West Cliff Terrace, Ramsgate.

THOMAS POUNDE, S.J. (10th S. iv. 184, 268, 472).-At the first reference MR. WAINEWRIGHT pointed out that "in various places it is asserted that our Thomas Pounde's mother's sister married a Mr. Britten." This assertion seems to be confirmed by the will of Thomas Pounde's uncle, Thomas Wriothesley, Earl of Southampton, who died at the end of July, 1550. For in the will, which he made shortly before his death (P.C.C. 13 Bucke), the earl mentions his "sister Breten," as well as his "sister Pounde" and his "sister Laurence." The will is printed in the 'Trevelyan Papers' (Camden Soc., 1857), p. 206. "" Sister Breten does not appear, at any rate by that surname, in the pedigree as kindly furnished at the last reference by ROUGE DRAGON.

According to Berry's Hampshire Genealogies, 320, Thomas Knight, of How, Northants, married the earl's sister "Anne." I suppose that he was the "Mr. Knyght" who, in a letter to Wriothesley, dated 12 April, 1538, was wished "a better turn if he marry your sister" (L. and P., temp. Henry VIII.,' vol. xiii. pt. i. No. 749); and also that he was the Thomas Knight who was then in Wriothesley's employ (ibid., Nos. 20, 324), who accompanied him on his embassy abroad in the autumn of 1538 (ibid., pt. ii. Nos. 542, 1140, &c.), and who in April, 1540, became a clerk to the signet in succession to Wriothesley, upon his appointment as a principal Secretary of State (ibid., vol. xv. No. 611, 17). This clerk of the signet is identified (ibid., vol. xviii., index) with Thomas Knight, clerk

of the Parliaments (1543), who had been a Winchester scholar (1521), and afterwards a fellow of New College (Oxford Univ. Reg.,' O.H.S., i. 331). ROUGE DRAGON (loc. cit.) does not mention his marriage with any sister of the earl.

In L. and P.,' vol. xiii. pt. i. No. 748, there is an interesting account of Thomas Pounde's mother, "Mistress Elyne," her virtues, and her popularity as a godmother, White, of Southwick, shortly after she and in a letter of 12 April, 1538, written by John her husband had settled in White's neighbourhood in Hampshire. The supposition that her maiden name was Wriothesley has prevailed so long that perhaps ROUGE DRAGON may be induced to give us his reasons and authorities, presumably good ones, for making her only a uterine sister of the earl, with the maiden name of Beverley.

H. C.

AUSIAS MARCH (10th S. iv. 469).—The highly praised 'Canzones' or love poems of "Ausias or Augustin March, the great Catalan Troubadour, and a follower of Petrarch, who flourished c. 1450, have never been translated into English, although they deserve a translation, according to the opinion of Señor Arteaga, himself a Catalan by birth. The late Lecturer on Spanish in the University of Oxford, H. B. Clarke, in his excellent handbook of Spanish literature (1893), ascribes to Ausias March the glory of being the greatest master of his native tongue. As I find in Tickner's History of Spanish Literature,' "his works passed through four editions in the sixteenth century, and were translated into Latin and Italian. In the proud Castilian they were versified by a poet of no less consequence than Montemayor (cf. Ticknor, l.c., vol. i.). A recently reprinted edition which I have before me bears the title: Les Obres del valeros Cavaller y elegantissim poeta Ausias March,' pp. 255, sm. 8vo, Barcelona, 1888.

H. KREBS.

NICHOLAS NICKLEBY' (10th S. i. 166, 217, 274; iv. 455).—I have had the palpable slip referred to at the first and last of the above references marked in my copy ever since I first read the book. I have also noted the statement that, notwithstanding the frost was hard enough to freeze the pump, a boy had yet been told off to clean the back parlour window.

JOHN T. PAGE.

Long Itchington, Warwickshire.

WELSH POEM (10th S. iv. 208, 392, 516).— W. B.'s communication is another instance of the wisdom of "verifying one's references."

The anecdote quoted as from Dean Ramsay's 'Reminiscences of Scottish Life and Character' is given in the original as follows:"Oo? (Wool?)

Ay, oo (Yes, wool). "Aoo? (All wool?)

"Ay, a' oo (Yes, all wool).

66

Aae oo? (All same wool?)

"Ay, a' ae oo (Yes, all same wool)." See twentieth edition, chap. iv. p. 109 (Edinburgh, Edmonston & Douglas, 1871). T. F. D.

ANTHONY RICH (10th S. iv. 461).—I can add to the interesting note by MR. W. P. COURTNEY. To have got all those facts together with so much accuracy must have entailed a good deal of labour, though the skill of the writer prevents it from being apparent. What always strikes me as curious in cases like this is that those who benefit so considerably in an unexpected manner seldom, if ever, do anything to the honour of the person whose benevolence they enjoy.

In 1873 a friend sent me the following note -as I have never seen the book I cannot vouch for the title :

"The handbook of taste: or how to observe works of art, especially cartoons, pictures, and statues. By Fabius Pictor. London, Longmans, 1843; second edition, 1844, small 8vo, pp. 119, price 38.

"N.B.-The author was Anthony Rich, son of A. Rich, one of the six clerks in Chancery."

My friend added: "I fear this book was before its time, and was not a pecuniary

success."

Under Pictor' Allibone gives the title. Under Rich' he says that the 'Dictionary' had nearly 2,000 woodcuts. The expense of these must have been enormous. In the present day all of them could be done by a reproducing process without losing the artist's style, as they mostly did, with woodcuts (see my 'Swimming,' pp. 30, 245).

In 1st S. iii. 256 is an advertisement, "This day [29 March, 1851] is published The Legend of St. Peter's Chair,'" &c., and at p. 228 of the same volume is a reply on the picture of the head of the Saviour, signed A. R., jun.

RALPH THOMAS.

WOODEN WATER-PIPES IN LONDON (10th S. iv. 465). Since the excavations in the Theobalds Road were commenced I have seen a considerable number of wooden waterpipes brought to the surface. They were found in an almost continuous length between Red Lion Street and Gray's Inn Road; and their direction was invariably east and west. No doubt they formed part of the line seen by MR. MORLEY DAVIES north of Kingsgate

Street. A feature of the excavations behind Gray's Inn Gardens was the number of bones of horses and dogs dug up; the large worn cobble stones were also common.

Except that it extended to Holborn Bridge from the north end of Lamb's Conduit Street, I cannot find any indication of the direction of the pipes feeding Lambe's Conduit. The William Lambe,' &c., by Abraham Fleming, following extract is from 'Some Account of 1580 (reprint, 1875, p. 23):

"For let us begin with the conduite, which he of his owne costs, not requiring either collection or contribution, founded of late in Holborne, not sparing expences so it might be substantiall, not plentifull, as they can testifie which sawe the seekpinching for charges so it might be durable and ing of the springs, the.maner of making the trenches, the ordering of the pipes, being in length from the head, to the saide conduite, more than two thousande yardes: and finally, the framing of euerie necessarie appurtenance therevnto belonging.” See also Old and New London,' iv. 550. ALECK ABRAHAMS.

39, Hillmarton Road, N.

MULBERRY AND QUINCE (10th S. iv. 386, 438).-During all the days of my boyhood there stood a fine quince tree by the road leading to my father's orchard at West Haddon, Northamptonshire. It was, I believe, planted by my grandfather, and although now shorn of much of its beauty, it was still in position the last time I was on the premises. Many people came to admire it when it was in blossom, or to beg some of its fruit, but I never once heard any one allude to the superstition that a mulberry must always be planted near a quince to avert ill luck.

JOHN T. PAGE.

Long Itchington, Warwickshire.

JOHN PENHALLOW (10th S. iv. 507).-He was the son of Thomas Penhallow, and was descended from John Penhallow, who lived in the time of King Henry VII., and was married to Mary, daughter and coheiress of Vivian Penwarne, of Penwarne. John Penhallow, of Clifford's Inn, was married to Mary, daughter of Thomas Glyn, of Helston, by whom he had one daughter, Elizabeth, the wife of John Peters. His will was dated 17

May, 1716, and proved 13 July following. He was a distant cousin of Samuel Penhallow, who emigrated to America, and became Chief Vivian's Visitations of Cornwall,' pp. 360. Justice at Portsmouth, New Hampshire. See W. F. PRIDEAUX.

362.

"JAN KEES" (10th S. iv. 509).-" Kees" is a contraction of Cornelius, and "Jan Kees' merely means John Cornelius. The popularity of Cornelius in the Low Countries is

they form an indispensable portion of the equipment of the student. The notes which Dr. Birkbeck Hill supplies may be read with constant delight and edification, mixed with what is more than a little bewildering. We rise from their perusal with as much doubt of the value of criticism and the sanity of critics as we do from that of the separate items in the great Variorum Shakespeare, in which there is " but one halfpennyworth of bread to this intolerable deal of sack." It is not easy, however, to overestimate the value of this edition as a contribution to literature.

L'Homme et son Image. Par Ch Moreau Vauthier. (Hachette et Cie.)

ONE more of the sumptuous annuals issued by the great publishing firm of Hachette reaches us, and in some respects of luxury and beauty goes beyond its predecessors. In shape and design it belongs to the same order as 'L'Image de la Femme' of M. Armand Dayot, Inspecteur des Beaux-Arts (see 9th S. iv. 549), and the anonymous Portraits de l'Enfant' (see 9th S. viii. 515). It may claim, however, to be more interesting than either, and goes far to establish the opinion or heresy that in man, as in other species, the masculine figure is worthier than the feminine. No serious attempt is made to prove this by drawings from the nude, or by repro ductions of the masterpieces of ancient sculpture. One or two such appear. A wooden statue of Ramké or the Cheik el Beled, from the museum at Cairo, serves as a frontispiece; the famous marble Hermes' of Praxiteles and the Vatican' Hercules,' with busts of Roman emperors and the like, being also supplied. As a rule, pictorial rather than plastic art has been called into request; the likenesses are draped, or in ancient or modern costume, and are in nine cases out of ten those of known or recognizable individuals. The letterpress, moreover, is able, thoughtful, judicious, and the work may on its own merits be read with interest and advantage. Incidentally the book, like others of its predecessors, is a guide to pictorial art, and furnishes illustrations of the principal schools of portraiture in Italy, Spain, France, the Netherlands, England, and elsewhere. It is an apotheosis of the portrait painter's art, quoting the opinion of Baudelaire that the artist must see all that shows itself and divine all that lets itself be hid, depicting for us Ingres weeping with nervousness over his powerlessness to seize what he felt to be essential, and Delacroix suffering beneath his sense of incapacity. The work of M. Moreau Vauthier is arranged under four heads, answering to as many periods: first, that of the athlete, which covers the whole of antiquity; next, that of the swordsman ("l'homme d'épée), which treats of the Middle Ages; then that of the courtier, corresponding to the Renaissance; and, lastly, "l'homme d'affaires," who dominates the period from the French Revolution until to-day. These divisions are necessarily more or less arbitrary, but answer sufficiently well their purpose. They run into one another much as do the seasons, and the courtier of the time of Louis XIV. was pre-eminently also the man of the sword. The origin of the athlete is taken as found in Egypt, and the earliest designs are those of the Sphinx of Gizeh and the likeness of Rameses II., otherwise Sesostris, Pharaohs, and others. Assyrian and Greek art come next, and busts of Apollo and Jupiter follow those of Demosthenes and Socrates, and are in turn fol

lowed by those of Augustus, Pompey, Vespasian, Marcus Aurelius, and Seneca. Men of the sword open out not too appropriately with Christ. We soon arrive, however, at portraits by Mabuse, Dürer, Van Eyck, Holbein, Cranach, and Botticelli, the portrait of Alva ly Antonio Moro being perhaps the deadliest as well as the most modern. A mere nomenclature of the heads of highest interest which we find in this section would require more space than we can afford. L'Homme de Cour' section begins with Varin's portrait of Louis XIV. Among other portraits are Jacopo Palma's Ariosto' from the National Gallery; Titian's 'Aretino' from the Pitti Gallery; Leonardo da Vinci, Rubens, Rembrandt, Velasquez, and Reynolds, all by the painters themselves. Les Hommes d'Affaires' lead off with Napoléon I. by Houdin, unless we can regard as belonging to that category M. Rodin, who appears in the Préface. Distinguished among the remaining designs are the Duc de Richelieu by Lawrence; Nanteuil by Pagnest; Balzac, a very striking picture by Boulanger; Bertin by Ingres; David, Gavarni, and Delacroix by themselves; a painter by Goya; Manet by Fantin-Latour; Carlyle by Whistler; Emile de Girardin by Carolus Duran; a young man by Millet; Gérôme by Morot; Pasteur by Edelfelt; and Tolstoi by Prince Troubetskoi. A work in its class of equal interest is not easily to be recalled. Incidental designs are no less noteworthy than the other features, and the whole is in an artistic binding of inlaid green calf. Such a gift-book would grace any collection, and delight the philosopher as well as the man of taste.

A Genealogical and Hera'dic Dictionary of the Peerage and Baronetage, &c. By Sir Bernard Burke and Ashworth P. Burke. (Harrison & Sons.)

RATHER later than usual, in consequence of the desire of the editor to include so far as possible the promotions necessitated by the change of Government, the eminent and authoritative peerage of Burke-the most important of existing works of genealogical reference-makes its appearance. A supplement prefixed, contrary to the wont of such things, to the volume affords all information possible as to the outgoing and the incoming ministry. In common with all annuals, Burke' is subjected to the inconvenience caused by the fact that the date of publication coincides precisely with that of a political crisis, by the results of which nearly every page of the contents is affected. Some thirty odd columns of preliminary matter serve to minimize, so far as the reader and student are concerned, the inconvenience thus caused, and place the peerage in its established position of supplying the latest and amplest information. What in the preface is said about the new edition serves equally well for announcement and comment." Words......seem hardly necessary," the work having been too long before the public, and [having] passed through too many editions, to need explanation of its plan and scope, which remain without change through an unbroken career unparalleled in length" (the present is the sixty-eighth edition). Without its recurrent aid, genealogy in its most interesting phases, and especially in its connexion with history and blazon, would be an unprofitable and comparatively unedi fying pursuit, while England would lose its privilege of possessing a record of hereditary honour and