2°d S. No 80., July 11. '57.] 



NOTES AND QUERIES. 



35 



dSitj?litS to Minav ^utritg. 



Antiquity of the Family of Bishop Butts. — I 

 have just been reading G. H. D. (2"'* S. iii. 75.) 

 on the family of Butts, and as he seems to doubt 

 "Mrs. Sherwood's tale of Poictiers," I must inform 

 him that Sir William Butts, stated by Camden to 

 have been one of the knights slain at Poictiers 

 1356, when fighting in the van of the army with 

 Lord Audeley, was not the Sir William Butts who 

 fought 191 years afterwards at Musselburgh or 

 Pinkey, 1547, and there gained an honourable 

 augmentation to the family arms. And further, 

 that this Sir AVilliam Butts was not killed at 

 Musselburgh, but lived many years afterwards, 

 and was high sheriff for the counties of Norfolk 

 and Suffolk in the year 1563, His tomb is in the 

 parish church of Thomage, which the sexton told 

 E. D. B., and probably still tells strangers, is 

 the tomb of Lord But, " whose heart is in the 

 tomb, but the body was left in Scotland." Such 

 traditions often mislead the antiquary. E. D. B. 



Patois (2"'* S. iv. 7.) — This word means sermo 

 patrius, in contradistinction to the language of 

 polite society. See Menage, Diet. Etymologique, 

 tome i. p. 296. : 



" Dans certains lieux du Languedoc, JStes-vous Patois 

 ou Patoise ? signifie : etes-vous de notre Province, ou du 

 canton ou I'on parle le meme patois que chez-nous. De 

 Pater noster nous avona de meme fait pate-notre." 



It is a pity that this dictionary is not found in 

 more libraries, for it is as cheap as it is useful. 



E. C. H. 



Was Dancing denounced by the Ancients? The 

 Worship Dance (2"'^ S. iii. 511.) —The short 

 forms of the Gregorian Chants which I think are 

 oriental, and a portion of " The Lord's Song " al- 

 luded to in the 137th Psalm, are all dance-tunes, 



and of this rhythm, ] - ^ u | || - w w | ||. 



The allegretto movement in A minor in the sin- 

 fonia No. 7. of Beethoven is a perfect illustration 

 of this rhythm, and I presume intended by the 

 composer to illustrate the Psalw. Dance of the 

 Israelites. The English Cathedral Chant is a 

 march rhythm — the Processional Psalm tune, and 



of this measure, |-^w|-||-luwv^v-.| ||; 



a simple melody of four bars in alia Cappella time. 

 To describe a chant of seven bars is sheer non- 

 sense — the folly of modern organists, who have 

 forgotten the laws of rythmic action and the 

 stately measure peculiar to the Church. There 

 has been a very curious and amusing correspond- 

 ence for these many months past in The English 

 Churchman upon the right way of chanting the 

 Venite exultemus. Had the writers known that 

 the rhythm of the Cathedral Chant was the same 

 as that of the March chorus in Handel's Judas, 

 or the March in Mendelssohn's Athalie, much 

 printer's ink and editorial space might have 



been spared. The Church Dance still exists in 

 Spain, and may be seen on certain festival days 

 in the cathedral at Seville. It was stopped in 

 France about the eleventh century. For the He- 

 brew dances consult Zeltner de Choreis vetei'ibus 

 Judeorum Dissert. 4to., Altorf, 1726. I think 

 there is also a work by Renz, entitled De Reli- 

 giosis Saltationibus Judeorum, and Herder quotes 

 from the book De Saltationibus Ecclesice. 



H. J. Gauntlktt. 



Oil of Egeseles (2°'^ S. iii. 289. 519.) —Is not 

 this the " magistery of egg shells," a calx obtained 

 by their precipitation ? See The Marrow of 

 Chyndcal Physick, London, 1669. A. A. 



Colophony (2°* S. iii. 289. 519.) —A superior 

 sort of resin, being the residuum, or caput mortuum, 

 of the gum of the fir trees after the turpentine 

 has been drawn over. (See Bailey, Universal Dic- 

 tionary, vol. ii. 1731.) It is so called from Colo- 

 phon in Asia Minor, whence the finest resins 

 came. (See Pliny, Hist. Nat., 14. 20.) A. A. 



Dr. Moor and Gray's Elegy (2"'^ S. iii. 506.)— 

 Your correspondent, Y. B. N. J., is, I am afraid, 

 much mistaken in ascribing to Prof. Moor the 

 authorship of the critique on Gray's Elegy. It 

 was the production of Prof . John Young, of Glas- 

 gow, who died in 1820, in the forty-sixth year of 

 his Greek professorship. It was published in 

 1783, and reprinted in 1810, under the title of ^ 

 Criticism on the Elegy written in a Country Church- 

 yard ; being a Continuation of Dr. Johnson's Criti- 

 cism on the Poems of Gray. No doubt it was, 

 and is still, considered to be one of the happiest 

 attempts at the style of Johnson. T. G. S. 



Edinburgh. 



Burial Place of Robert Bloomfeld (2'"* S. iii. 

 503.) — The author of The Farmer's Boy was 

 buried in the chancel of Campton church, Bedford- 

 shire. The epitaph has been published in The 

 Topographer and Genealogist, vol. iii. p. 133. 

 (1836), as follows : 



" Here lie the remains of Robert Bloomfield. He 

 was born at Honington, in Suffolk, December 3, 1766 ; 

 and died at Shefford, August 19, 1823. 



" Let his wild native wood-notes tell the rest." 

 The gravestone was inscribed with these lines 

 at the expense of the Ven. Henry Kaye Bonney, 

 Archdeacon of Bedford. J. G. N. 



Old Prayer-Boohs (2"'^ S. iii. 353.)— The Notes 

 and Queries inserted under this head have led me 

 to search my library for editions of the Book of 

 Common Prayer published previously to 1662. 

 Of these I have discovered the following copies. 



(1.) 1615. Small 12mo. No title-page (with 

 N. T. by Barker, 1613). It contains prayers in 

 the Litany for Queen Anne, Prince Charles, 



