184 



NOTES AND QUERIES. 



[2nd s. No 114., Mar, 6. '58, 



Lintot, 1736, which was " printed for R. Dodsley, 

 and sold by T. Cooper, 1739," This has bound 

 up with it a copy of " Satires and Epistles " with 

 a bastard title-page only. It has a separate pagi- 

 nation. This copy of " Satires and Epistles " is 

 apparently imperfect. It does not contain the 

 " Epistles," and there is a break in the pagination 

 from pp. 28, to 79. But it is proved by the Table 

 of Contents to the four volumes, of which it forms 

 one, that the volume contains all that it was in- 

 tended to contain — all that was announced in the 

 Table of Contents, So that this seemingly imper- 

 fect copy is perfect according to intention, 



I have three copies of " Vol. III.," all alike, and 

 all "printed for B. Lintot, 1736." 



Of " Vol. IV." I have two copies, both contain- 

 ing The Dundad (N. of " N. & Q."), and " printed 

 for L. Gilliver and J. Clarke, 1736." 



We get a little light as to this strange publica- 

 tion of collected Works by referring to those 

 curious papers long since published in " N. & Q." 

 (1'* S, xi. 377.), the extracts from Woodfall's 

 Account Book; where we find, Dec. 15, 1735, 

 "Mr. Bernard Lintot" charged for " printing the 

 first volume of Mr. Pope's Works" &c., " title in 

 red and black," which correctly describes the first 

 volume of The Works of Alexander Pope. There 

 is no charge in WoodfalVs account for printing, 

 neither any reference whatever to a second volume. 

 The next entry is " Mr. Henry Lintot, April 30, 

 1736." "Printing the third volume of Pope's 

 Works" &c., "title red and black," which as 

 exactly describes Vol. III. of The Works of Alex- 

 ander Pope, and marks the very difference in the 

 title-page : Vol. I. being printed for B. Lintot, 

 and Vol. Ill, for H. Lintot, — Bernard Lintot 

 having died on Feb, 3. 1736. 



It farther appears frojn Woodfall's Account 

 Book, that, from 1735 to 1741, he was employed 

 in printing one or other of Pope's Works for B." 

 Lintot, H. Lintot, R. Dodsley, L, Gilliver ^ Co., 

 and " Alexander Pope, Esq." 



So far as relates to what Woodfall calls Epistles 

 of Horace, the account runs thus : — On May 12, 

 1737, R. Dodsley is charged for "printing the 

 First Epistle of the Second Book of Horace, imi- 

 tated, folio," — that is the first edition of the Epistle 

 to Augustus, to which Dodsley thought it politic to 

 affix the name of Cooper as publisher. On June 

 15, 1737, " Lawton Gilliver Sf Co." are charged 

 for printing Epistles of Horace, but it is noted in 

 margin that the account charged to Gilliver Sf Co. 

 was "paid by Mr, Pope." On Feb. 10, 173|, 

 Alexander Pope is himself charged for " printing 

 Epistles of Horace." 



I cannot doubt that these separate publications, 

 which made up The Works of A. Pope, in 1735 and 

 1736, originated in the several copyright interests 

 of the publishers ; and though these volumes are 

 now usually considered and sold as "odd volumes," 



they together make up the only collected edition 

 of Pope's Works in 8vo,, 1735 or 1736. 



Can any of your readers produce a copy of 

 Vols. I. or III. printed for any booksellers but 

 the Lintots ? or of Vols. II. or IV. printed for 

 the Lintots ? I should even then examine it very 

 carefully before I could be convinced that it dif- 

 fered in anything beyond the title-page. P. E, 



MUSICAL NOTES, NO. II. — HANDEL AS A 

 CONVEYANCER. 



" My contemporaries steal too openly. Mr. Smith has 

 inserted in Brambletye House whole pages from Defoe's' 

 Fire and Plague of London. 



' Steal ! foh I a fico for the phrase — 

 Convey the wise it call I ' 



When I convey an incident or so, I am at as much pains 

 to avoid detection as if the offence could be indicted at 

 the Old Bailey,"— Walter ^coifs Diary, Oct. 18, 1826. 



The great attention now paid to the MSS. of 

 the old Italian composers has opened the door to 

 a curious inquiry, and that is, the mode in which 

 Handel made his music. He took eighty-four days 

 to make the Saul, twenty-four to make the Israel. 

 As far as the knowledge of the public extended, 

 he had only written one alia cappella chorus be- 

 fore the production of the Israel. That alia cap- 

 pella chorus is now known not to be his own 

 writing. Further, he is known to have disliked 

 the school: for of Palestrina, and his contempo- 

 raries, he was accustomed to say, " their music is 

 too stiff; " an expression very likely to come from 

 the lips of an opera composer of twenty-five years' 

 standing. A great part of the Israel is alia cap- 

 pella writing. The question is, " Did Handel com- 

 pose it or not ? " 



On Feb. 17, 1813, Mr. White sold a Serenata, 

 by Stradella, for three voices. The book belonged 

 to the Rev, John Parker, rector of St, George, 

 Botolph Lane. Mr. Bartleman bought this book 

 for 5s. 6d. At Bartleman's sale, on Feb. 24, 1822, 

 a Mr. Booth bought this book for one shilling. It 

 came into the hands of Mr. Lonsdale, who sold it 

 to M. Schoelcher. The whole of this book Handel 

 has used up in the first Act of the Israel in Egypt. 

 At Bartleman's sale was also sold Padre Una's Te 

 Deum, bought by Mr. Greatorex, and sold again 

 at his sale to Mr. V. Novello for five shillings. 

 The whole of this book Handel has used up in his 

 Dettingen Te Deum, his Saul, and the Israel. Let 

 the reader turn to the chorus " O fatal conse- 

 quence of rage," in the Saul, and he will see the 

 work of two minds : one which could master the 

 alia cappella, and the other which could not. The 

 masterly counterpoint in that chorus is by Uria. 



At Mr. George Gwilt's sale was sold a Magni- 

 ficat for eight voices aJla cappella, which is inscribed 

 " Magnificat del R"^ Dy " (or, as some think, SigO 



