66 copper, Since the Frisian house described by Saxo Grammaticus was divided into 12 bays, representing the 12 ounces into which a pound of silver, or in older times a pound of was divided, we may be led to suspect that the word "ounce" means bay." The Latin uncia, Old Frisian enze, may be related to aykov, a bend, bay, and to dykos, a bend or hollow, a word which, according to Liddell and Scott, is akin to the Latin uncus. We have seen that the English bay, used as an architectural term, was otherwise known as a "goulfe." In Old Norse, too, this division of a building is called gólf. Evidently the comparison of this section of a building to a gulf, bay, or recess was widely spread, and had taken deep root in the mind. There must have been some reason for the division of the as, libra, or pound into 12 ounces; and if a certain number of bays, such as 12 or 20, were taken as the principal unit of value, the name of this regular and well-defined architectural division would naturally become the name of a lower unit of value. This equation of ounce and bay is supported in another quarter. According to the 'H.E.D.' the A.-S. gafol means interest on money, as well as tribute. The 'Epinal Glossary of A.D. 700 has "cere alieno, gabuli." And then we have gaveller, a usurer, and gavelling, usury. Amongst the Romans the law of the Twelve Tables in B.C. 451 established unciarum fenus, i.e., a twelfth part of the principal or 8 per cent., payable yearly, as the normal rate of interest.t If the Roman bay had a fixed size, and if the Romans, like ourselves, sold hay or corn by the bay, it would be easy to pay interest in hay, and by the "gavel," or by the bay. And we know that they often paid interest It is remarkable that fenum means hay, and fenus interest. Cotgrave gives a French proverb, "De mauvais payeurs foin, ou paille "-from a bad payer take hay or straw, ie, get what you can. So English lawyers speak of a poor inan as a man of straw. These sayings are reminiscences of a time when debts were paid in cattle and the produce of the field. I hope to deal with the penny in a subsequent article. in corn. S. O. ADDY. "Up, GUARDS, AND AT THEM!" (9th S. iv. 497, 543.)-There are not many people alive still who heard what passed from a witness of the scene. I am one who questioned General Alava himself, now more than fifty years ago, as to what ground there was for the story. The general told me that he never knew the Duke show excitement but twice. The first time was at Vittoria, when he drew his sword and waved on the line; the second time was at Waterloo, on the occasion in question, when he took off his cocked hat and signalled to the line to stand up and advance, saying to Alava, "Now or H. R. GRENFELL. never. WALTER W. SKEAT. ARTISTS' MISTAKES (9th S. iv. 164, 237, 293). The admirable Border Edition" of the Waverley novels is disfigured by some remarkable instances of the failure of artists to make sure that their drawings are not merely pretty, but illustrative of the text. We read: There was among the ranks of the Disinherited Knight a champion in black armour, mounted on a black horse." The illustration, 'The Knight at the Hermitage' ('Ivanhoe'), represents the horse as being white; besides, the knight had dismounted when he "assailed the door of the hermitage with the butt of his lance." few pages further on Cruikshank, in his "interior view of the hermitage, gives us the black horse of the story. In the illustration Edie ('Antiquary') is barefooted, notwithstanding that he tells us a moment before he appears at the window of Knock winnock Castle that he wears hobnailed shoes; also see Edie in prison. In 'Roland and Catherine' ('Abbot') Roland should be seated on & The word is usually rendered as floor," "room," " apartment." But it clearly means a bay of building. Thor's hall in the Edda is said to have consisted of 540 gólfa and to have been the biggest house that had ever been made. Compare My Father's house are many mansions" (povai), John xiv. 2. 66 In One ounce in twenty, or one bay of hay in twenty, would have been 5 per cent. A chair, which he tries to move closer to Catherine's. Roland Dismissed' is dramatic, but incorrect. When the lady became angry Roland fell at her feet, and when he finally took his leave she was in an almost fainting condition. In the frontispiece of vol. 1. ('Woodstock') the lady is without a veil, although we are told on p. 264 there should be represented a lady completely veiled; the story tells why this is necessary. Also in describing the Burial of Tomkins' ( Woodstock') mention is made of the body of a man wrapped in a deer's hide. In The Monastery' the Sub-Prior should be shown with a beard. The Cruikshank illustrations are correct in this respect, but in the other illustrations the beard is omitted. In Count Robert of Paris the Countess Brenhilda appears to be a knight brilliantly equipped when she and her husband meet Agelastes in their stroll to the city; the artist gives us the costume probably worn later on at court. The combat between the Crusader and the Saracen (Talisman') shows Kenneth not with the barred, flat-topped helmet of the tale. An artist cannot hope to meet the conception of each reader, but he should at least follow his text in matters of detail. E. M. DEY. Apropos of authors', or rather artists', mistakes, permit me to call attention to a print which was reproduced in the Sunday at Home for 1888, p. 665, entitled The Entry of the Prince of Orange into London,' where Old St. Paul's, destroyed in the Great Fire of 1666, figures conspicuously in the background. It is described as a 46 reduced facsimile of a portion of a print, bearing date 1689, by Romein de Hooge." It would look as if the artist inserted the structure for purposes of effect, notwithstanding that it had been non-existent for twenty-three years. ALEXANDER PATERSON, F.J.I. drawing a crocodile with a tongue. But this must not be deemed an artist's, but a correspondent's mistake, according to the following extract from a work on natural history: Crocodile......the tongue fleshy, flat, and so much attached to the sides of the under jaw, that the ancients supposed it to be wanting." May I recommend MR. HEMS to purchase a modern work on the subject? T. N. BRUSHFIELD, M.D., F.S.A. Your correspondent W. C. B. may be inter- years. Here lies she who has his wife, A tender mother and a virtuous wife ; BLACK JEWS (9th S. iv. 68, 174, 234, 312).—My father, who was the son of a Portuguese of the Malabar coast, used to tell me that the Portuguese of India were blacker than the natives. V. Heber's 'Journal,' i. 67-9. THOMAS J. JEAKES. Cheshire Notes and Queries for September, THE POET PARNELL (9th S. iv. 495).-In the 1896, is a pedigree of the Parnell family by an amateur hand. It is obviously tentative as no doubt its compiler, Mr. Thomas Cooper, would be the first to allow; neither does it settle the exact date of the poet's death; the A picture entitled 'Eve Tempted' in the editorial foot-note appears to do that if any permanent collection of the Manchester Cor-reliance at all is to be given to parish register poration Art Gallery encloses the garden of Eden with a brick wall that would do credit to any suburban back garden. CASHIER. Barnsley. Several mistakes of neglecting to reverse lettering appear in the engravings by the author appended to Lockinge's Historical Gleanings on the Memorable Field of Naseby' (London, 1830). JOHN T. PAGE. West Haddon, Northamptonshire. Under this heading your correspondent MR. HEMS accuses Tenniel of making a blunder in one of the Punch cartoons, for The extracts. Mr. Cooper gives the year as 1718, object of this note is attained in calling the but no month or day is mentioned. attention of any interested in Parnell to the attempt at a pedigree which some might make conclusive. Urmston. R. L. ST. MILDRED'S, POULTRY (9th S. iv. 478, 528). -Your correspondent G. S. P. will find copies of the monumental inscriptions and notes from the registers of the above church in Mr. Milburn's History of St. Mildred_the Virgin, Poultry.' If, however, G. S. P. is unable to see this book, I shall be pleased to send him all the information relating to the family he is interested in on receipt of a postcard. I may add that when the parish of St. Mildred, Poultry, was united with that of St. Olave, Old Jewry, the bodies contained in the church and churchyard were reinterred in the City of London Cemetery, Ilford. CHARLES H. CROUCH. Nightingale Lane, Wanstead. ALDGATE AND WHITECHAPEL (9th S. iv. 168, 269, 385, 441).--The passage from Hermann that COL. PRIDEAUX asks me to print is somewhat too long for these columns. It is an account of the wanderings of Egelwine, a monk of Bury, with the relics of St. Edmund, in consequence of the raid of Thurkill into East Anglia in the time of King Ethelred (c. 1010). After a stay in Essex the monk comes to London, where he proceeds a via, quæ Anglice dicitur Ealsegate," to St. Gregory's Church (near St. Paul's). Although there is no clear evidence as to the identity of this with Aldgate, the probabilities are very strongly in favour of such identification, since Aldgate was the natural entrance into London from Essex, whereas Aldersgate is an unlikely one. 66 With regard to the form Algata in 1125, I do not think much weight can be laid upon it. The later forms show clearly that there was a vowel between the and the g, and it is impossible to set aside their evidence. Fortunately there is contemporary evidence that at the time of the grant referred to by COL. PRIDEAUX the form was Alegata, not Algata. The former is the spelling in the confirmation by Henry I. of this very grant. It is printed, with a facsimile of the original charter, in the new Foedera, i. 12. Mr. Coote, I presume, must have quoted this Algata from a later copy, not from the original grant. W. H. STEVENSON. AN UNCLAIMED POEM OF BEN JONSON (9th S. iv. 491). This claim is not new; it was made by W. R. Chetwood in 'Memoirs of the Life and Writings of Ben. Jonson, Esq.,' Dublin, 1756. The poem is there quoted on pp. 40, 41, with the prefatory comment: There were innumerable Poems on the Death of this much lamented Prince; but we shall only give the Reader the following one by our Author, not printed in his Works." Gifford, in his edition of Jonson, rejected this ascription, and did not even quote the poem; in a note on 'Underwoods,' xxxiii., he says: "Chetwood has an Epitaph on prince Henry, which he ascribes to Jonson, and which the reader may perhaps expect to find in a collection of his works. I have little confidence in this writer, who seldom mentions his authorities; and, to say the in the composition itself, which appears to be truth, can discover nothing of our author's manner patched up from different poems, and is therefore omitted; though I have thought it right to mention the circumstance." On the question of authorship MR. CURRY thinks there "cannot be the least doubt." There is considerable doubt. The two points in favour of its being the work of Jonson are that Camden quotes it and that it recalls some of the poet's epitaphs. I do not think that these considerations outweigh the silence of the 1616 folio, and I utterly fail to grasp MR. CURRY'S argument that Jonson may have omitted it because Camden printed it. It is certainly strange that amid the flood of poetic tears showered on Prince Henry's grave we have no tribute from Jonson; but it is far stranger that, if he did write such a poem, he suppressed it, considering the prince's rank and character and his patronage of the poet, and considering the compliment paid by Camden. Jonson was not apt to hide his light under a bushel; I can imagine him saying, as Browning did to his would-be reviser F. T. Palgrave, "Leave out anything! Certainly not: quod scripsi, scripsi It is news to me as a serious student of Jonson to read that his fame is not founded on his comedies. Milton thought otherwise, as he took care to indicate in a graceful tribute to "Jonson's learned sock"; Coleridge ranked 'The Alchemist,' for perfection of plot, with the Edipus Tyrannus Dickens admired 'Every Man in his Humour, and even got it acted. And it sadly overshoots the mark to give even to a selection of Jonson's lyrics the sounding epithets "unapproached and almost unapproachable." That might be said of "Full fathom five thy father lies," or Take, oh take those lips away," but the bird-like melody of the perfect lyric was beyond Jonson's reach, however exquisite detached passages and a few brief pieces may be. As a purely minor point, I may note that MR. CURRY is not well advised in supporting a theory of Jonsonian authorship by an appeal to the epitaph on the Countess of Pembroke. There are reasons--not perhaps convincing, but serious reasons-for ascribing that poem to William Browne; and it is uncritical, in solving a question of authorship, to lay any stress upon a disputed poem. PERCY SIMPSON. "NEWSPAPER" (8th S. vi. 508; vii. 112, 237, 432; ix. 294).-In my continued search for the earliest use of this word, which at the first reference I traced to 1680, I have been able to put it back ten years. In the Domestic State Papers of Charles II.' in the Record Office (vol. cclxxviii., No. 148) is a letter dated from Chester, 10 Sept., 1670, from "Ma. Anderton" to Charles Perrott, clerk to Williamson, Arlington's secretary, in which he says: "I wanted y newes paper for Monday last past & I assure you I had rather been wthout it 3 moneths before than mist of it in y° Assize time." The fashion in which the term is here employed would seem to indicate familiar use. ALFRED F. ROBBINS. RUBENS'S PORTRAIT OF THE MARCHESA GRIMALDI (9th S. iv. 438).-This portrait is the property of Mr. Bankes, of Kingston Lacy, near Wimborne, where it now hangs. GERALD PONSONBY. INSTRUMENTAL CHOIR (7th S. xii. 347, 416, 469; 8th S. i. 195, 336, 498; ii. 15; 9th S. ii. 513; iii. 178; iv. 12, 74, 445).-Has the fine specimen of a barrel-organ (used in a church) belonging to Salt, near Stafford, been chronicled in N. & Q.'? It was in situ and in excellent order in 1879, and is probably there still. It was supplanted in regular use by a modern organ, but was carefully preserved by the then vicar, the Rev. W. Vincent. W. H. QUARRELL. CARDINAL NEWMAN AND 'N. & Q.' (9th S. iv. 498). Cardinal Newman's letter was originally addressed to the Guardian, and appeared in that publication 25 Feb., 1880, but was reproduced in 'N. & Q.,' 6th S. i. 232. MR. MARSHALL'S previous query, of more than nine years ago, will be found in 7th S. x. 174. EVERARD HOME COLEMAN. "MARY HAD A LITTLE LAMB " (9th S. iv. 499). -Curiously, this question is almost simultaneous with the publication of the answer in the Pittsburgh Dispatch, a paper from which I obtain many items of curious literary information. The Dispatch says that the "Mary" in question was Mary Elizabeth Sawyer, a Massachusetts girl. The lamb was one of two deserted by their mother. One of the lambs "followed her to school one day," and on "that morning a young student named Rawlston was a visitor to the school......a few days later he handed Mary the first three verses of the poem. He died soon after, ignorant of the immortality of his verses. The lamb lived for many years, and was finally killed by a cow. Mary's mother made its wool into stockings, which eventually became "yellow with age." Finally, Mary ravelled the stockings, stuck pieces of the yarn on cards, with attestations of their history, and "sold them to secure money to help to save the Old South Church of Boston." This does not give the date of publication, nor does the Dispatch give its authority for any part of the statement. H. SNOWDEN WARD. The Atheneum of 31 May, 1879, reported the death of Mrs. Hale, once a voluminous writer, author of a volume of verse, 'The Genius of Oblivion, and other Original Poems,' so long ago as 1823. According to an extract from an American paper made shortly after her death, Mrs. Sarah Josepha Hale, the editor of 'Godey's Lady's Book,' resided at Boston in 1830, when and where the poem in question was first published. EVERARD HOME COLEMAN. 71, Brecknock Road. "HOODOCK" (9th S. iv. 517).-This word is undoubtedly difficult, and the suggestion offered in the supplement to Jamieson seems to meet the difficulty fairly well. There is no doubt that "hoody " signifies carrion-crow, but it remains to be proved that "hoodock is the same word or a word akin to it. All that can be said is that, till something better is offered as an explanation, "hoodock," in the line The harpy, hoodock, purse-proud race, may signify "like a 'hoody,' or carrion-crow, foul and greedy." Robert Chambers, who was not without experience in such things, glosses the word as miserly" in his 'Works of Burns,' 1851, repeating this in the library edition of 1857. Scott Douglas follows Chambers, 'Works of Burns,' ii. 29. แ THOMAS BAYNE. THE FUTURE OF BOOKS AND BOOKMEN (9th S. iv. 476).-In one of his 'Roundabout Papers,' viz., 'The Last Sketch,' Thackeray, it will be remembered, cheers his heart with similar hopeful speculations : "Some day our spirits may be permitted to walk in galleries of fancies more wondrous and beautiful than any achieved works which at present we see, and our minds to behold and delight in masterpieces which poets' and artists' minds have fathered and conceived only." St. Petersburg. 66 H. E. M. THAMES TUNNEL (9th S. iv. 419, 467). As an old native of the port of London," Gravesend, I have been awaiting difference of opinion as to MR. GEORGE MARSHALL'S summing up of Ralph Dodd, civil engineer, as man of ideas only, which came to nothing." 66 Had Dodd only lived long enough he would have seen all he had propounded coming literally to pass, for even now I have before me the draft of a Bill to come shortly before Parliament, for a Purfleet and Gravesend Rail ilway, reviving again the old idea of that tunnel. MR. MARSHALL would scarcely dare to dub Brunel, the engineer of that once famous Thames Tunnel between Wapping and Rotherhithe, as a man of ideas only, though we all know what a failure it proved as completed. Water was constantly pumped out, only to keep the tunnel open as a curiosity, or as a new wonder of the world, and the best use that could be found for it was to convert it into a bazaar for the sale of children's toys, giving it an appearance not unlike the present Burlington Arcade, except that in 1843, the anniversary of the opening, the directors varied the scene by the holding of a three days' fancy fair, the "Wizard of the North" performing, as did a troop of Ethiopian minstrels and bands of music, with "myriads of variegated lamps." It is to-day simply a part of a long dark tunnel of the East London Railway Company, and people have forgotten its very existence as the old Thames Tunnel. Then, in referring to the Thames and Medway Canal, MR. MARSHALL appears to be altogether unaware that Dodd's scheme of 1800 became an absolute fact accomplished in 1824. A part of that canal is the present tunnel, two miles long, under the chalk hills between Strood and Higham. In those days, before railways were, a tunnel of two miles long was rather a big affair. But the tide of time brought railways to the fore, and the iron horse laid its hoof upon the route, as it did on many a canal trust. It is not generally known now that one of the earliest iron roads for locomotives ever constructed was that between Strood and Gravesend, now swallowed up, like the Thames Tunnel at Wapping, in railway monopoly, by the present amalgamated SouthEastern and Chatham and Dover systems. Trains used to run then on a single line, laid upon the towing-path, side by side with barges in friendly commune. Happening to have been present at Darlington, at the great Railway Jubilee Exhibition in 1875, I could not but notice then, among relics of the past, a quaint old locomotive, lent by the South-Eastern Railway Company, which had apparently in its heyday run over this very line. It was exhibited in company with George Stephenson's "Locomotion," that magnificent piece of machinery, for this in front of Darlington Railway Station, and labelled "S. & D. R., No. 1," with the record as to how it had trailed its trains of coaches and waggons in 1825 at the unheard-of rate of twelve miles an hour. There are, I fear, folks in Gravesend to-day who would tell you that the present SouthEastern Railway has rather gone back than improved upon those promising times. Without daring to dispute such statement, I would be more inclined to blame the people of Gravesend, where the names of Dodd and such as he are ignored and forgotten. Gravesend ought to have given him a statue. Like the great Homer, he asked for bread, and they might at least have given him a stone. This port of London has had, in its time, chances of progress almost before any other place in the world, and even still has if its people would but awaken and see. But its pioneers are laughed at, and their theories dubbed as fairy tales. It is the regressionists only now who can find a way to the fore, and Gravesend sleeps, in the very gateway of the great market of the world, a very slightly disturbed sleep, and snores. CHARLES COBHAM, F.S.I. The Shrubbery, Gravesend. CHILD'S BOOK (9th S. iv. 499).-The lines "Mama, why mayn't I when I dine," will be found in Mrs. Turner's Cautionary Stories,' to be had at any bookseller's. GERALD PONSONBY. "NEFS" (9th S. iv. 457).-I have not seen any of the "nefs," or silver models of ships, mentioned by A. R. P., but such things must have been fairly common in countries where the feudal system held its own. In the Middle Ages, for instance, vessels of huge dimensions and shaped like a ship were placed before the feudal lord, containing wines, spices, sauces, spoons, and such-like appurtenances of the dinner-table. Similar articles appear to have been used by the kings of France, and Francis I. is said on one occasion to have been extremely vexed with the Protestants because they were in the habit of slipping a note into the "nef" in which the king's meal was served. These luxuries were sometimes of gold as well as of silver, and were mounted on tigers, or adorned at either end with angels or peacocks displaying their tails. A favourite ornament would be a number of escutcheons on which were shown the arms of France. T. P. ARMSTRONG. Timperley. "Petite machine en forme de navire où l'on occasion removed from its honoured pedestal enfermait le couvert du roi, et qui se servait sur un |