June 19. 1852.] 



NOTES AND QUERIES. 



583 



woi-k as the correction of the Dictionary of Musi- 

 cians, or the compilation of a more complete work. 

 My notes indeed are not of much importance, but 

 it is the kind of case in which every little helps. 

 In this concert bill, for instance, relating to a first- 

 rate performance, we have five names, Grano, Dieu- 

 part, Pippo,Vebar, and Baston, which are not in the 

 Dictionary. As to the first, I only know him by 

 a set of solos for a violin or flute, which I have ; 

 of the next three, I know nothing ; and of the last, 

 I did not know that he perfijrmed Woodcock's 

 music, or indeed that he performed at all, though 

 I knew him as a composer. And in a volume now 

 lying before me, " XII Concertos" by Woodcock 

 are Ibllowed by " Six Concertos in. Six Parts for 

 Violins and Flutes, viz. : a I'ifth, Sixth, and Con- 

 cert Flute : the proper Flute being nam'd to each 

 Concerto ; composed by Mr. John Baston," and 

 printed for Walsh. He is not, however, named 

 either as a composer or performer in the Dic- 

 tionary. It may be said that these are obscure 

 persons; but that is the very reason why some 

 slight, plain notice of them should exist some- 

 where ; for the history of an art is not well written, 

 or well understood, if there is not some easy way 

 of learning more or less about tlie obscure persons 

 who are every now and then coming on the stage. 

 To this note, may I be allowed to add a couple 

 of Queries which perhaps some musical reader 

 may be able and willing to answer. 



1. Who was ^^ Joseph Jackson, Batchelor in 

 Music, late of St. John's College, Oxford;" and 

 did he compose anything beside six sonatas for 

 two violins and a violoncello, which were " printed 

 for the widow by Thompson and Son in St. Paul's 

 Churchyard," I suppose (from some other "just 

 published" music advertised on the title-page) 

 about a century ago ? 



2. I have also — 



" Six Trio pour deux Vlolons et Alto Viola ou 

 Basse oblige. Composes par Mr. Bach ; mis au jour 

 par ]\Ir. Huberty de I'Academie Royale de Musique, 

 graves par M* son Epouse. ffiuvre II." 



Which Bach was the composer ? I do not pre- 

 tend to know by the style, being only — 



An Amateur. 



TREASURY OF ST. MARk's ; RECORD AT TIBERIUS. 



In Howell's Familiar Letters, edit. 1 726, p. 62., 

 lie says that he saw in the Treasury of St. Mark's, 

 Venice, a hugh iron chest as tall as himself — 



*' that hath no lock, but a crevice through which 

 they cast in the gold that's bequeathed to St. Mark in 

 legacies, whereon is engraven this proud motto : 

 • Quando quysto scriiiio S'apria, 

 Tutto '1 Mundo tremera.' 

 • When this chest is opened, the whole world shall 

 tremble.' " 



Is there any other account of this chest, or of 

 its having been opened, as it was evidently re- 

 served for some great necessity ? Did not the 

 exigencies of the state, during its decline, compel 

 the Venetians to resort to it ; if not, such a trea- 

 sure could hardly escape the lynx-eyed rapacity 

 of some one of the many spoilers to whom the un- 

 fortunate city has been subject. At p. 275. he 

 gives an account of having read in Suidas, that in 

 his time a record existed at Tiberius which was 

 found in the Temple at Jerusalem when it was 

 destroyed, which affirms that our Saviour was in 

 his lifetime upon earth chosen a priest of the Tem- 

 ple, and registered therein as " Jesus Christ, the 

 Son of God and of the Virgin Mary." Howell 

 requests the opinion of Dr. Usher, Lord Primate 

 of Ireland, on the subject. Is there any corrobo- 

 rative evidence that such a register existed ? 



E.N.W. 



South wark. 



Can any of your correspondents refer me to an 

 account of the supposed habits of this animal, 

 which in these matter-of-fact days we must, I 

 presume, be content to consider as fabulous ? I 

 am desirous to know from what source we derive 

 the stories of the animosity between the lion and 

 unicorn, and the curious way of catching the latter, 

 which are referred to in Spenser's Faerie Queeiiy 

 Act II. Sc. 5. 10. : 



" Like as a lyon, whose Imperiall powre, 

 A prowd rebellious unicorn defyes, 

 T'avoide the rash assault and wrathful stowre 

 Of his fiers foe, him a tree applyes. 

 And when him ronning in full course he spyes, 

 He slips aside ; the whiles that furious beast 

 Ills precious home, sought of his enemy es, 

 Strikes in the stocke, ne thence can be releast. 

 But to the miglity victor yields a bounteous feast." 

 Shakspeare also (Julius Caesar, Act 11. Sc. 1.) 

 speaks of the supposed mode of entrapping them : 

 " For he loves to hear, 

 That unicorns may be betrayed with trees, 

 And bears with glasses, elephants with holes, 

 Lions with toils, and men with flatterers." 



The ancients were most liberal with their de- 

 scriptions of fabulous animals, and the Monoceros 

 or Unicorn was a favourite subject with them ; 

 but I am not aware whether or no the account 

 which Spenser gives has so early an origin. 



The connexion of the unicorn with the lion in 

 the royal arms of this country naturally forces 

 itself upon the attention, and I find that the 

 present arms were settled at the accession of 

 George I. We owe the introduction of the uni- 

 corn, however, to James I. ; who, as King of Scotr 

 land, bore two unicorns, and coupled one with 

 the English lion when the two kinejdoms were 



