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of the flower; which we, however, do not suspect of yielding an essential oil, and consequently are not sanguine in our hopes of seeing the water of bean-flowers rivaling the ottar of roses.
21. To take away wartes.-When you kill a pigge, take the hot bloude, and washe the wartes, and let it drye on them; then presentlye after wash them, and they shall be whole.
Whoever practised this receipt with success, mixed the pig's blood with some matter, which he kept a secret; for, though we never tried the experiment, we are sure that blood, as it flows warm and unadulterated from an animal, can have no manner of effect in removing warts, or any other schirrhus tumour; but warm blood is a convenient vehicle for a quack to use in working medical
What is here meant by experiences?' Changes? A new growth of hair, or a natural wig? Johnson is not quite right when he says that whey is one of the meanings of whig. He should have said sour whey; for till within the last forty years we remember a very agreeable summer beverage called whey-whig, being used by the people of Westmoreland, and made of whey with savoury herbs, such as mint, balm, and time, steeped in it, till it became slightly sour, and impregnated with the essential oil of the herbs. Of milk and whey they also said that it was gone, wented, whigged, or changed when it had turned sour. The word wig, as applied to an artificial covering of hair, has also that application, from a wig being a substitute or change for natural hair. And wig and wigh, in composition in the names of towns, means new or changed, and in some instances, as in its application to the Godmundingaham of Bede, Wighton means the idol's town, because
Fasting, they say,
idols were substitutes. If ointment of
22. To remedye baldnes of the heade. Take a quantitye of Suthernwoode, and put it upon kindled coales to burne; and being made into powder, mix it with the oyle of radishes and anoynte the balde place, and you shall see great experiences.
experiences,' after you kindly communicate to them this charming prescription!
30. A good drinke for are bewitched or foresp rosemary three braunches comfrye, halfe a handful half a handfull of tyme, th of hearbegrace, a quar water, and seeth it tyll sumed, and then strayn take one nutmegge, al ginger, one pennywort them into the water, a two pennyworth of first and laste a qu warme; and eate five time after you hav water.
of the Saint represented above. The canopies over the head of each figure are uniform, hexagonal in plan, and surmounted by a filiated cupola between two pinnacles. The canopies are relieved with a background of a cerulean blue, and each of the effigies with a richly diapered curtain, or hanging, of cloth of gold. So far the general features of the whole resemble each other. The particular description of each statue is as follows: S. Matheus.
An aged man with grey beard and bald forehead, clothed in a tunic or surcoat of scarlet with blue sleeves, a white cope or mantle lined with yellow, fastened at the throat; he holds his Gospel on his left hand, a richly bound and clasped volume in the antique style; on the shield below, the emblem of the Trinity, which may be thus blazoned heraldically:- Gules, an orle and a pali conjoined Argent, thereon four bezants, two in chief, one on the fesse point, and one in base, the two in chief inscribed: the dexter with the word Pater," and the sinister with "Filius, the one on fesse "Deus," and the one on base, "S'c't's Sp's" on each of the three parts of the orle the words "non est," and on each of the parts of the pall the word "est." S. Marcus.
In a long green robe with red sleeves, surmounted by a white chasuble; he holds his Gospel in his right hand. The shield is Azure, on the fesse point the Star of Bethlem within the crown of thorns, between three Rails all Proper-a shield of the Passion.
Attired in a blue robe with a white mantle, his Gospel in his right hand; the shield, Gules, a spear in bend, surmounted with a staff, with the sponge in bend sinister Proper; over all a cross Argent, having a scroll on the fesse point, charged with the letters
I. P. R. J. Also a shield of the Passion.
banner Argent ensigned with a cross Gules.
The youthful appearance of this Saint is preserved; his robe is grey, surmounted by a white cope, his Gospel in his right hand. The shield Azure, on a mount Or, the Agnus Dei Argent, the head regardant and encircled with a nimbus Or, bearing a
Above the principal figures, and occupying the minor compartments of the subarches, are the well-known symbols of the Evangelists, deduced from the prophecies of Ezekiel and the Visions of St. John; they are so arranged as to be placed nearly over the figures of the Saints to whom they relate. It is almost needless to add, that these emblems are an Angel, a Lion, a Calf or Bull, and an Eagle. They are here represented white on a red ground. In the spandrils are the sacred monograms, A 2 and T. H. D. Above is the descending Dove.
The donors of this splendid window have caused a very simple memorial of their beneficence to appear in the design. At the bottom of the window, on a ribbon, is the following inscription. Deo et Ecclesiæ Fratres Hoare dicaverunt, A'o D'ni ‚M.DCCC.XXX.III; and this, almost hidden by the ornaments of the altar, is the whole record of the donation of this splendid window.
In consequence of this modest retiring feeling, the artist was left to form his own design, and he shows throughout a close resemblance to ancient examples, on which sacred emblems alone formed the ornamental detail. No vain display of family pride, no pomp of heraldry is visible. The only record of the donors is a simple inscription, set up not for the gratification of vanity, but for the information of the historian.
Will the day never arrive when so pleasing, so appropriate, so innocent an embellishment to our churches, as stained glass, shall be universally introduced? Let us hope that it will -that one day we shall see a little of the surplus wealth of the times dedicated to the decent and appropriate embellishment of the house of God. When that period arrives, it is to be hoped that windows like the present will be constructed, instead of those vain displays of corporate and individual heraldry which we too often meet with on the altar windows of our ancient churches, in situations where those ornaments alone should be introduced, which may harmonize with the sacred character of the place, and accord with the feelings which ought solely to predominate.
E. I. C.
MANSION AT PUNCKNOWLE, DORSETHIRE. Mr. URBAN, Mere, May 18. I WONDER Hutchins, in describing the parish of Puncknowle, near Bridport, in Dorsetshire, said so little of the mansion-house. I had much gratification from inspecting it.
It stands on a knoll or eminence close to the church; and is a large building, of two distinct eras, somewhat in the form of the letter T: the more ancient part, or that which constituted the original house, forming the body of the letter; and a less ancient building, erected by the Napier family about the middle of the seventeenth century, and represented by my wood cut, making its head. These two parts are now separated; the former being inhabited by the occupier of the farm, and the latter being retained by Miss Frome, sister of the Rev. G. C. Frome, the present possessor of the manor. One of the upper rooms of this building is called the Painted Room, different subjects being painted in oil on the panels of the wainscoting; perhaps something like, though of a less ancient character, the fresco paintings at Grove house, Woodford, described by A. J. K. in the Gentleman's Magazine for Nov. 1833. The paintings are executed by
a masterly though hasty pencil, and landscapes, and other subjects of a represent castles, quays, sea-pieces, character which induces me to refer them to the hand of a Dutch artist. taken from the bulrushes; and that of The subject of one of them is Moses another, I think, is the Tor-hill at Glastonbury; but perhaps the eye of a traveller might recognise several objects of continental scenery in the others. The panels of the drawingroom (lighted by the upper window on the right hand in the wood-cut) are also painted; each bearing a head or mask, of which I have engraved a specimen :
The older part of the house now claims little attention from the antiquary, unless for its massy architecture, and its old hall wainscoted with oak. To the north side of the house, however, is attached a square projecting building, with an upper room, having a floor of square bricks, and once lighted by two round holes cut in square blocks of stone, which are worked into the side walls; and the
tradition of the place states that it was a place of defence in the Cromwellian wars, and that the round holes were embrasures for cannon. This, however, could not be the case, as a stone in the front wall bears the inscription N.-R.A. K.-1663, showing that it was not built till two or three years after Cromwell's death. The mansion, moreover, was evidently never fortified; and that this particular portion was not built for defence is clear from the character of its masonry. Wood was carefully excluded in its construction, and I consider it
to have been a malt kiln.
In the churchyard is a cross, of which I send you an engraving.
Sir C. Napier sold the Puncknowle estate to Wm. Clutterbuck, Esq. whose daughter Arundel married the Rer. Geo. Frome. He left two sons; George, the late Rector of Puncknowle, and Lord of the Manor, and Robert. Robert (not George, as stated by Hutchins) married Jane, sister to Mr. Butler; and had three children: George Clutterbuck, Arundel Mary, and Emilia (now deceased). George Clutterbuck Frome, now Rector of Puncknowle, and owner of the manor, married Mary Sophia, daughter of E. M. Pleydell, of Whatcombe House, Dorset, now deceased, by whom he has issue two daughters, Mary Sophia, and Elizabetha Arundel, now W. BARNES.
June 6. AN anonymous but friendly correspondent has communicated to me a correction which will not be deemed unimportant.
the subterfuge, and practised on me that art of Jesuitism in which he was not inexpert.
THE AUTHOR OF CURIOSITIES
In "Curiosities of Literature," (9th edit.) vol. V. p. 252, I have said, "The Protestant persists in falsely imputing to the Roman Catholic public formularies the systematic omission of the second Commandment." "Now what is the fact?" continues my correspondent. "The Roman Catholics have no authorised version of the Scriptures; and we know how averse they are to circulate them. In their Versions the second Commandment is either abridged or mutilated. In their Catechism Books it is often omitted, and the tenth divided to make up the number. This may be proved; and these are chiefly the books allowed to be circulated among the people. I have now on my table proofs of what I have asserted." Thus far my anonymous friend-and I entirely subscribe to his statement. Though several years have elapsed since I composed this article on "Political Forgeries and Fictions," I perfectly recollect the occasion of my positive assertion. In a conversation with the late Charles Butler, he assured me it was a calunny
inflicted on the Romanists; for, he added, and I think showed them to me, "We have the Ten Commandments as well as yourselves."
It is possible that that otherwise amiable Scholar might have concealed
MR. URBAN, Temple, May 1. IN Article IV. of No. 3 of the Philological Museum for May 1832, on "Sir William Jones's division of the day," the three verses well remembered by every lawyer, and given in Sir Edward Coke's First Institute, are not stated from what source they were originally taken have no doubt, however, that they were paraphrased from an old Greek Epigram.
The three lines are as follows:Sex horas somno, totidem des legibus æquis, Quatuor orabis, des epulisque duas; Quod superest ultrò sacris largire camonis.
They are quoted in Coke, I. Inst. 64 b; but it does not say whether that Great Oracle of the Law cited them from any other work, he merely callhe was himself the author of them. ing them "Ancient Verses," or that Although I am inclined to think the latter seems most probably to have been the case; as for example, in our day, Sir Walter Scott has given in which he has therein feigned to be many of his novels original verses, taken from an " Old Play."
thus rendered, The first and second lines may be
Six hours on sleep, bestow the like on law, Four hours to prayer, and two allot to meals.
The idea contained in which is most certainly derived from, or in other words, this couplet is a paraphrase of, a Greek epigram given in a work of Kircher, and likewise in the Anthologia.
Athanasius Kircher, in the Chapter "de Horologiis seu Sciathericis Veterum," observes-" notis literarum singularum Hore distinguebantur, ut testatum reliquit Athenæus sequenti epigrammato."
Εξ ὧραι μόχθους ἱκανώταται, ἁι τὲ μετ ̓
Πράγμασι δεικνύμεναι, ΖΗΘΙ λέγουσι
And which he goes on to explain in