374 



NOTES AND QUERIES. 



[2na^S. N« 97., Nov. 7. '57. 



to anythinpf that he might have known, it could 

 only be the Pseudo-Virgilius. Hardouin con- 

 stantly maintained that St. Peter never went to 

 Home, although, as a Jesuit, he affirmed that ec- 

 clesiastical fact in one of his works. Others bo- 

 sides Gibbon have repeated the same error. 

 ' F. C. H. also states (without giving his authority) 

 that, according to Hardouin, it was Frederick II. 

 who formed the design to destroy the Christian 

 religion, and engaged the Benedictines to forge 

 the books in question. I believe I have read 

 every passage in the works of Hardouin bearing 

 on this subject, and have consulted every notice 

 of the man in all the biographies. I have not seen 

 this assertion before, nor anything like it : — but 

 I can explain the source of the error, wherever 

 F. C. H. may have found the statement. It was 

 La Croze, who, in his Vindicice Veterum Scripto- 

 rum contra J. Harduinnvi, in 1708, ingeniously 

 contrived to interpret Hardouin's Severus Ar- 

 cJiontius into Frederick II. (See p. 21., " Frede- 



ricum II non obscure designavit ...."; 



and p. 20., " sub Severi Archontii nomine Prin- 

 cipem illustrissimum et longe celeberrimum, ut 

 latere svspicer, ipse me Harduinus impellit.) 

 Surely Hardouin was justified in telling La Croze 

 to admit " qu'il n'attaque pas ce qu'il a vu dans 

 mes livres, mais ce qu'il a cru y voir." Hardouin 

 was evidently joking when he invented the name 

 of his ogre. In his Antiq. Numism. Regum Fran- 

 corum {Op. Varia, p. 549.) he says that "the im- 

 pious faction [of forgers] acquired new energy 

 during the reign of Fhilip the Fair, and waged 

 fierce war against God and his holy religion with 

 their other fictitious productions," and elsewhere 

 he supposes that the courtiers of kings had a hand 

 in the forgeries : but nowhere does he give the 

 initiation of his theory to Frederick II., Philip the 

 Fair, or Philip VI., — although all these potentates 

 "were proper historical heroes for an enterprise 

 against the Popedom, — as champions of royalty 

 against the exorbitant pretensions of Rome.* 



Andrew Steinmetz. 



* The best notices of Hardouin are in the Did. Hist. 

 by Chaudon and Delandine; Chalmers, Biog. Diet, and 

 the Biog. Univers. (Michaud). See also 3Iefn. de Trevovx, 

 Jan. and Fev. 1734, and for racy and authentic anecdotes, 

 Lacombe, Diet, des Portraits Hist. ii. p. 178. In the Bi- 

 bliotheque des Eerivains de la Camp, de Jesus, there is a 

 complete list of Hardouin's works (more than a hundred), 

 with notices, liere Serie. This admirable compilation, 

 now in the course of publication, will ultimately comprise 

 every Jesuit author — to the number of ten thousand and 

 upwards. Three large volumes are published, and the 

 compilers, Augustin and Alois De Backer of the same 

 •Society, deserve great praise for the scrupulous diligence 

 and accuracy with which they have performed their gi- 

 gantic task — worthy of the palmy days of the great 

 Order. 



"macanum: maqanum. 



' (2"'i S. iv. 246.) 



These two very antiquated and almost for- 

 gotten terms, macanum (Latinized- Spanish) and 

 maqanum (Latinized-Portuguese), have a kindred 

 meaning, but are distinct, although Ducange ap- 

 pears to have considered them convertible. Both 

 refer, though with a shade of diiference, to inlaid 

 work, marquetry, or mosaic. (Mosaic in mediae- 

 val Latin is entitled mosaicum or musivum opus, 

 musa, musceum opus, museum, Sfc. : " Musivum 

 opus, quod tessellatum est lapillis variorum co- 

 lorum, \f/i)<plSaii' AeTTTcDj'.") Ducange gives no ex- 

 planation of either macanum or maganum. 



1. Macanum is a Latinized word from the old 

 Spanish maca, a spot or speck, itself origfnally 

 Latin (macula). From maca came the verb ma- 

 car, to spot, "quasi macular" (Cobarruvias). 

 Macar, again, is equivalent to the more modern 

 Spanish manchar, used artistically as a term of 

 painting, for putting in the lights and shades of a 

 picture (Terreros), — as we should say, putting 

 them in by stippling ; which, however, includes 

 not only lights and shades, but tints. With man- 

 char and macar, in the sense of dotting in or stip- 

 pling, compare the Ital. macchiare, which, still 

 speaking artistically, corresponds with the Fr. mar- 

 queter : " Marquer de plusieurs taches ; Ital. mac- 

 chiar di varj colori, faire un ouvrage de pieces de 

 rapport." Hence marqueterie, chequered or in- 

 laid work. The word macanum, therefore, stands 

 for all that we call marquetry, whether made with 

 shells, ivory, fine wood, or any other equally 

 available materials. 



2. But while the term macanum expresses thus 

 the variety of shades or colours put in by means of 

 the woods, ivory, shells, &c., employed in the 

 marquetry, maqanum must rather be referred to 

 the cement, which is employed in fixing these mate- 

 rials. The Portuguese word maqa (Lat. massa) 

 signifies I. dough, 2. paste ; for instance, such as 

 is used In book-binding ("mafu de livreiros" 

 Bluteau). With maqa compare the correspond- 

 ing Span, masa, sometimes used in the sense of 

 mortar. Compare also massa, which, in mediaeval 

 Latin, signified the cement employed in fixing the 

 minute stones or blocks used for mosaic (" in cine 

 feuchte und von zerstossenen Kalck zugericlitete 

 massam ordentlich einzusetzen," Zedler). In 

 Spanish, from masa, we have maqacotc or maza- 

 cote, cement (" es una pasta 6 mezela de cal, arena, 

 y casquijo, con que se cimientan^^ Aldrete) ; and 

 from the Portuguese maqa comes maqame, the 

 pavement of a tank ; stones closely joined, and set 

 in a kind of pitch or bitumen, in order that, being 

 thus tesselated and cemented, they may hold 

 water. So maqanum, mosaic or tesselated work of 

 small stones and similar materials, artistically set 



