50 



NOTES AND QUERIES. 



[July 21. 1855. 



was resident at Ibstock, within a few miles of 

 Shackerstone, Snareston, and Appleby, in the reign 

 of Henry VI., I conjecture they held under the 

 same baron as the families resident in that district, 

 whose arms were once recorded in the stained 

 glass of the neighbouring church windows. In the 

 window of Shackerstone was formerly blazoned a 

 coat (unassigned), differing only from the Paget 

 ensigns in the engrailment of the cross. As lb- 

 stock and Shackerstone are not much more than 

 four miles apart, it is probable the former is a 

 relic of the family last named ; for I apprehend 

 the engrailing of the cross is too trifling a distinc- 

 tion to imply a difference in a sculptured armorial 

 bearing. 



I may also mention, that the arms of fami- 

 lies seated in the counties bordering on western 

 Leicestershire, also present the cross as their prin- 

 cipal feature. May not all these have held under 

 the Knights Hospitallers, whose arms were — 

 Gules, a plain cross argent ? Jaytee. 



MICHAEL ANGELO. 



(Vol. xi., p. 343.) 



I have always understood that Agnolo and 

 Angelo are merely interchangeable forms of the 

 same word ; Agnolo being in fact the Tuscan 

 variation, which, in accordance with the custom 

 of the period, was written as spelt. To this day 

 the same variation is used in Florence, not to 

 mention other varieties in different parts of Italy. 

 Angelo was and is the correct and Roman form — 

 Agnolo, Angiolo, &c. provincialisms. All these 

 are found in use promiscuously during his life and 

 immediately after his death, and not only in ap- 

 plication to Buonarotti, but other artists also who 

 had the same Christian name. The following 

 Notes will tend to prove the correctness of the 

 above. 



The word " Agnolo " is to be found in many 

 Italian dictionaries still, being therein translated 

 " Angel " (in reference to the mediaeval coin of 

 that name). 



In Vasaris Life (wherein throughout it is spelt 

 Agnolo) it is particularly stated that — 



" The name he received was Michael Agnolo, because, 

 without further consideration, and inspired by some in- 

 fluence from above, the father thought he perceived some- 

 thing celestial and divine in him beyond what is usual in 

 mortals." 



This passage renders the name Michael Angelo, 

 after the archangel, perfectly intelligible ; but if 

 Agnolo be a different name, the intention of the 

 father would appear to have blurfdered sadly. In 

 the same life, the following artists are mentioned 

 constantly. Fra Giovanni Angelo Montorsoli, 

 and Angelo Bronzino, both also under the form of 

 No. 299.] 



Agnolo ; and it is hardly likely that Ariosto's 

 flattering lines had aught to do with the change- 

 here. 



There are several portraits of Buonarotti en- 

 graved during his lifetime by one Bonasone, pub- 

 lished in 1546, another by Giorgio Mantriano, 

 undated, and two others dated 1545, on all of 

 which the name is spelt (in Latin) Angelus. 



On an engraving of the celebrated Pieta in St. 

 Peter's (on which Vasari narrates that Michael 

 Angelo himself inscribed his name) is the follow- 

 ing inscription, " michel ang. b. pinxit Bomae." As 

 the group differs slightly from the existing marble^ 

 it is probably an engraving from an earlier design 

 of the artist's, done some time previous to the ex- 

 ecution of the sculpture. The statue itself was ex- 

 ecuted for Cardinal Rovano in 1496-98, previous to 

 the publication of Ariosto's poem. On an engrav- 

 ing also by Agortino Veneziano, dated 1 524, from 

 the cartoon of Pisa, the name is given Michael An- 

 gelas. And lastly, in the libretto, describing the 

 ceremonies performed at his obsequies in 1564 

 (published by the Giunti), the title runs thus : 

 " Esequie del divin Michael Angelo Buonarotti," 

 &c. 



I have merely addressed these facts to show 

 that, by Agnolo, Angelo was evidently understood 

 by Italians of that period, as Eeic, upon inquiry 

 of any native of the Peninsula, may readily satisfy 

 himself is understood at the present day. 



J. M. L- 



Kensington. 



PHOTOGEAPHIC COERESPONDENCE. 



Mr. Lyte's Process (continued from p. 34.). — Havings 

 then, produced a good negative on glass, it now remains 

 to reproduce it on paper. Two objects are to be here ar- 

 rived at : first and most essential is the fixitj', that the 

 impression once produced may never fade ; and second,, 

 fine tone of colouring, by which the artistic eflfect is 

 heightened. I always use either " Papier de Saxe, grand 

 format," or the positive paper of Canson frferes, which, 

 though perhaps not quite so good in quality, it being fre- 

 quently necessary to reject some of the sheets, has the 

 recommendation of being much cheaper. Cut the paper 

 into squares about half an inch larger than the glass 

 negative each way ; lay these squares together, so that the 

 face of the paper'is always turned one way ; and make a 

 mark on each sheet by which you may know which is the 

 back and which the front of the paper. To know which, 

 is the right side is rather difficult at first, but after a 

 little practice the operator will be able to tell at the first 

 glance. The mark of the wrong side of the paper is the 

 impression of the metallic cloth on which it is dried, and 

 which is generally the less distinguishable the finer the 

 quality of the paper. 



The first preparation is the salting, as it is called : 

 make a solution of either 5 per cent, of chloride of am - 

 monium, or 10 per cent, of chloride of barium (the 

 latter gives perhaps more of a sepia tint than the for- 

 mer), and put it in one of the square dishes sold for 

 the purpose at all photographic chemists. Take the sheet 

 of paper in both hands by opposite corners, and with 



