2ud s. No 73., May 23. '57.] 



NOTES AND QUERIES. 



415 



and which so often occurs in the early printed 

 Horce B. Virg., was a modern innovation, and so 

 far from being used in this book as a holy symbol, 

 that it is made to represent Antichrist. This is a 

 mistake, and I fancy never before contradicted. 

 The fact is that as Antichrist has always been ex- 

 pected to be a person who is to have a form of 

 godliness, who is to be a counterfeit of the truth, 

 so this ancient painter represented him with 

 three heads in one ; but this was only done as an 

 imitation, for in page 125. in the Apocalypse, we 

 find the Holy Trinity thus represented with a 

 threefold single crown surrounding the united 

 heads. This is the earliest example I know. I 

 should be obliged to any one who would point 

 out an earlier one. 



There are two other pictures of this subject 

 worth noting: both are in the Royal Library, 2 B. 

 15., fifteenth century. 



1. The three persons are joined in one, but 

 with three distinct heads, our Lord being painted 

 as man, the first and third persons being in gold. 

 In some instances we find scarlet. 



2. The three persons coloured as in the preced- 

 ing are without any dresses, but are covered with 

 rays or plumes, at the end of which is a cherub ; 

 all the three heads, though distinct, are surrounded 

 by one crown. J. C. J. 



Ludolph de Suchen (2""^ S. iii. 330.) — In reply 

 to DuNELMENsxs I beg to say that I also have a 

 copy of Ludolph de Suchen s work, commencing 

 on the first leaf with the " registrum ; " whether 

 it ever had a title I know not. It has rubricated 

 initials throughout, and Is beautifully printed. In 

 one of Lilly's interesting Catalogues a copy is 

 described which exj^ctly answers to mine, and 

 which is said by him t6 be printed at Antsverp by 

 Gerard de Leeu, circa 1484. I should be obliged, 

 as well as Dunelmensis, for farther information. 



Lethrediensis. 



Singular Imprints (2°'* S. iii. 1.) — As an addi- 

 tion to the curious list furnished by Dr. Rim- 

 hault may be quoted the third part of Clement 

 Walker's History of Independency, the title of 

 which runs thus : 



" The High Court of Justice, or Cromwell's New 

 Slaughter House in England, with the Authority that 

 Constituted and ordained it, arraigned, convicted and con- 

 demned for Usurpation, Treason, T\'ranny, Theft and 

 i[urther. Being the third part of the History of Inde- 

 pendency written by the same author. 



'■^ Pr'mied Anno Domini 1651. In the Second year of 

 the States' Liberty, and the Peoples' Slavery." 



Lethrediensis. 



Fuchseder (2"'" S. iii. 370.) — Nagler, in his 

 Kunstler Lexicon, gives — 



" Fuchseder, draftsman and painter at Vienna, in the 

 second half of the last century — he bore the title of Im- 

 perial Royal Cabinet painter. 



"The Vignettes in the description of the Imperial 



Royal Cabinet of Natural History are engraved after bis 

 drawings." 



This ^ill no doubt be of assistance to Julian, 

 who spells the name with a g instead of d, 



S. T. Winstanley. 

 Liverpool. 



Portrait of Ascham (2°'^ S. iii. 307.) —There is, 

 I believe, no original portrait of Ascham e.\tant. 

 There is the whole-length print of Burghers re- 

 presenting Ascham reading a manuscript to Queen 

 Elizabeth, who lends apparently a somewhat re- 

 luctant attention ; but even this is marked dovbt- 

 ful in Bromley's Catalogue, and as Burghers' first 

 specimen of engraving bears date 1676, the portrait 

 of Ascham can have no contemporary authority. 

 What did Burghers copy it from ? A modernised 

 impression of this engraving, published by Smith, 

 can be obtained without much difficulty, but the 

 original is scarce. Lethrediensis. 



Pasquinades (2"^ S. iii. 349.) — There were two 

 very celebrated statues, this of Pasquin, with the 

 inscription, " Noscens omnia, sed notus nemini," 

 on which used to be pasted placards of any scur- 

 rilous wit, and the other of Marforlo, for the re- 

 plies. Thus In 1815 the one on Pasquin was 

 " Tutti i' Francesi sono LadronI;" next day Mar- 

 forlo, " No tutti, ma JBuona parte." 



Wm. Collyns. 



Dawlish. 



" Tally ho!" (2"'i S. iii. 368.)— The etymology 

 of this word can hardly be said to be found in the 

 verses quoted by your accomplished correspon- 

 dent CuTHBERT Bede. I have always understood 

 them as being the French hunting cry "^m 

 Taillis !" which, being rapidly repeated, lapses 

 into the sound of Tally ho! and has the same 

 meaning, — directing attention to the cover from 

 which the animal in sight is breaking, or to which 

 he is making. J. Doran. 



Italian Opera (2"-^ S. iii. 230.)— The trans- 

 lated opera of Arsinoe was first performed^ at 

 Drury Lane, January 16, 1705, entirely in English, 

 the celebrated Mrs. Tofts being the principal 

 singer. The second date, quoted from Baker's 

 Biographia Dramatica (1707), refers, I appre- 

 hend, to a revival of the piece, when It was sup- 

 ported by several Italians who sang their parts in 

 the original language, while the English singers, 

 as before, made use of a translation. 



It is the interval between 1707 and 1710, when 

 Almahide, the first opera entirely in Italian was 

 performed, that is alluded to as "about three 

 years " in the extract given from the Spectator. 

 The whole of that paper, No. 18. is very humor- 

 ous, but it may fairly be supposed that Addison 

 was not a little influenced in his opposition to the 

 Italian opera by the III success his I^'air Rosamond 

 had met with in ;706. , Charles Wylie. 



