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INUJLJCiO A.nU l^UJliJK,lilii:5. 



LJNO. 252. 



by the Austrian minister of the country from 

 which he is coming. Thus, if a traveller wishes 

 to go from Switzerland into Austrian Lombardy, 

 he must have his passport countersigned not only 

 at the Austrian Embassy here, but also at the 

 Austrian minister's at Berne ; so that he is obliged 

 either to pass through Berne, which may be much 

 out of his way, or to send his passport there at the 

 risk of losing it. 



Is this rule still in existence, or where can I 

 obtain trustworthy information about it ? 



An Inquikee. 



Minor ^uexiti iaitb ^nStntvS, 



Winchelsea Monuments. — Can any of your cor- 

 respondents give me information regarding the 

 monuments of knights in old Winchelsea Church ? 

 Is an angel placed near the head of any peculiar 

 signification ? C. M. 



[There are five ancient monuments with sculptured ef- 

 figies in St. Thomas's Church ; two of cross-legged knights 

 are in the south aisle. One in a coat of mail, partly co- 

 vered with a mantle, and having in his hand a heart ; at 

 his head a mutilated angel ; at his feet a lion, the emblem 

 of his courage, is supposed by Cooper, in his History of 

 Winchelsea, where all the five monuments are very fully 

 described, to be that of Gervase Alard, Admiral of 

 the Cinque Ports. The back of the tomb is richly 

 adorned with quatrefoils, and the front with an elaborate 

 canopy. The other is in the attitude of prayer, but 

 covered with mail armour to his fingers' ends. On his 

 shield is a much-defaced lion rampant, with two tails. 

 From, the arms this is supposed to be a monument of 

 some member of the House of Oxenbridge, formerly of 

 some note in this county : but Mr. Cooper believes it to be 

 that of Stephen Alard. " If these cross-legged effigies are," 

 says Mr. Horsfield, History of Sussex, vol. i. p. 484., " as 

 their peculiar position is generally supposed to denote, 

 monuments of Knights Templars, they must have been 

 deposited here soon after the erection of the church, and 

 immediately before the suppression of that Order, as the 

 church could not have been built before the close of the 

 thirteenth century, and in 1312, by a decree of Clement V. 

 and the General Council of Vienna, this semi-sacred Order 

 of warriors was suppressed."] 



Bermondsey Abbey. — Are there any remains 

 of the once famous Abbey of Bermondsey worth 

 seeing ? Hazlewood. 



[Mr. Cunningham (^Handbook of London, p. 50.) in- 

 forms us that " the ancient gate of the monastery, with a 

 large arch and postern on one side, were standing within 

 the present century. No traces, however, remain." 

 Charles Knight too, in his London, remarks, " It is a 

 curious circumstance, and one in which the history of 

 many changes of opinion may be read, that within forty 

 years after what remained of the magnificent ecclesias- 

 tical foundation of the Abbey of Bermondsey had been 

 swept away, a new conventual establishment has risen up, 

 amidst the surrounding desecration of factories and ware- 

 houses, in a large and picturesque pile, with its stately 

 church, fitted in every way for the residence and accom- 

 modation of thirty, and forty, inmates — the Convent of 

 the Sisters of Mercy."] 



" Cultiver mon jardin." — We find this phrase 

 emphatically employed by Voltaire in the intro- 

 duction to one of his dramatic pieces. What we 

 wish to know is, whether there was at the time 

 Voltaire wrote, and for some time after, any far- 

 ther meaning attached to the saying than simply 

 denoting that the person to whom it was applied 

 had retired from the busy world to enjoy otinm 

 cum dignitate ; and to what classical authority the 

 Latin phrase can be traced. Timon. 



[To the former phrase there seems to be no farther 

 meaning than that which our correspondent attaches to 

 it : for the latter, otium cum dignitate, we cannot discover 

 any classical authority ; it was adopted as the motto of that 

 statesman and poet Charles Montague, Earl of Halifax.] 



33itiflit€» 



THE DUNCIAD. 



(Vol. X., pp. 65. 109. 129. 148.) 



I do not understand the statement of C. He has 

 a copy, he tells us, of 



" The quarto edition of 1729, with a copper-plate vig- 

 nette of an ass laden with the works of the Dunces, 

 which Pope afterwards stated was ' the first perfect edition.' 

 This seems to have also been printed in 8vo., but it is 

 doubtful whether in the same j'ear, as the date and 

 printer's name, ' A. Dod, 1729,' are engraved on the copper- 

 plate vignette, which, after being used for the 4to., ap- 

 pears to have been subsequently reproduced in the 8vo." 



Does not C. use the term vignette arbitrarily and 

 against all authority, sometimes for the engraving 

 in the title-page, although the engraving on the 

 title-page of The Dunciad is not properly a vig- 

 nette, and at others for the engraved title-page 

 itself? 



Farther, am I to infer that his copy of the quarto 

 of 1729 has neither date nor name of printer or 

 bookseller ? 



Why does he consider, as I understand him, 

 that because "A. Dod, 1729," is "engraved on the 

 copper-plate vignette " of the 8vo., it becomes or 

 is doubtful whether the 8vo. was printed in that 

 year ? 



Does he mean not published when he writes not 

 printed ? 



Is he certain that the printer's name engraved 

 on the vignette is " A. Dod, " or does he mean 

 simply that, as usual, it is announced on the title- 

 page that the work was "Printed /or A. Dod ? " 



Why does he write " A. Dodd " in one instance, 

 and " A. Dod " in the other ? 



If again, as he says, the copper-plate title, " after 

 being used for the quarto," was " reproduced in 

 the 8vo.," why was the name altered from Dodd 

 to Dod ? Can he suggest a reason ? 



Is he certain that it was altered to Dod, not to 

 Dob? 



