Mae. 12. 1853.] 



NOTES AND QUERIES. 



255 



lorum et quadam quantitate de cawetrappis in j doleo. 

 Item, m' vj'^ et xxviij garroks* de majori forma. Item, 

 iiij" garroks de eadem forma, sine capitibus. Item, 

 m' vj" & xxiij garroks, de minori forma." 



Query, What were the " capellae de nervis de 

 Pampilon depictae?" Ducange cites the word, 

 but does not explain it. L. B. L. 



DEAN swift: autogkaphs in books. 



The biographer and the critic, down to the 

 pamphleteer and the lecturer, have united in 

 painting St. Patrick's immortal Dean in the 

 blackest colours. To their (for the most part) 

 •unmerited scandal and reproach thus heaped upon 

 bis memory (as little in accordance with truth as 

 with Christian charity), let me, Mt. Editor, oppose 

 the following brief but emphatic testimony on the 

 bright (and I firmly believe the right) side of the 

 question, of the virtuous, the accomplished Ad- 

 dison : 



" To Dr. Jonathan Swift, The most Agreeable 

 Companion, The Truest Friend, And the Greatest 

 Genius of his Age, This Book is presented by his most 

 Humble Servant the Authour." 



The above inscription, in the autograph of 

 Addison, is on the fly-leaf of his Remarks on se- 

 veral Parts of Italy, ^c, 8vo. 1705, the possession 

 of which I hold very dear. 



Permit me to add another beautiful example of 

 friendship between two generous rivals in a glo- 

 rious art. 



" My dear Hoppner, 

 " In return for your elegant volume, let me re- 

 quest you will accept this little work, as a testimony of 

 ardent esteem and friendship. 



" Wliile the two books remain they will prove, that 

 in a time of much professional jealousy, there were two 

 painters, at least, who could be emulous, without being 

 envious ; who could contend without enmity, and as- 

 sociate without suspicion. 



" That this cordiality may long subsist between us, 

 is the sincere desire of, dear Hoppner, 



Yours ever faithfully, 



Martin Archer Shee. 

 Cavendish Square, December 7, 1805." 



This letter is written on the fly-leaf of Rhymes 

 on Art, or the Remonstrance of a Painter, 2nd edit. 

 1805, also in my library. 



Need I offer an apology for introducing a third 

 inscription ? 



" To my perfect Friend, Mr. Francis Crane, I erect 

 this Altar of Friendship, And leave it as the Eternall 

 Witnesse of my Love. Ben Jonson." 



* " Conjicio ^rarrofo* esse spingardarum tela, quibus 

 pennae aereae aptabantur utpote grandioribus ; carrellis 

 vero pennae plumatiles tantum." (See Ducange, sub 

 voce Garrotus,') 



This is in the beautiful autograph of rare Ben, 

 on the fly-leaf of Sejanus his Fall, 4to. 1605, 

 large paper and unique, and bound in the original 

 vellum. It also contains the autograph of Francis 

 Mundy, brother of the dramatist Anthony Mundy, 

 to whom it once belonged. It is now mine. 



Geosge Daniel. 

 Canonbury. 



shakspeabe elucidations. 



In AWs Well that Ends Well (Act II. Sc. 1.) 

 the king, when dismissing the young French noble- 

 men who are going to the wars of Italy, says to 

 them: 



" Let higher Italy — 

 Those 'bated that inherit but the fall 

 Of the last monarchy — see, that you come 

 Not to woo honour, but to wed it." 



Mr. Collier calls this an " obscure passage," 

 and offers no explanation of it, merely giving a 

 note of Coleridge's, who, after Hanmer, proposes 

 to read bastards for ''bated, saying of the passage 

 itself: " As it stands, I can make little or nothing 

 of it. Why should the king except the then most 

 illustrious states, which, as being republics, were 

 the more truly inheritors of the Roman grandeur?" 

 Johnson, and the other preceding editors, seem to 

 have taken a similar view of the passage. 



I trust it will not be regarded as presumption 

 when I say, that to me the place offers no difficulty 

 whatever. In the first place, 'bate is not, as Cole- 

 ridge takes it, to except, but to overcome, put 

 an end to (from abattre) ; as when we say, " abate 

 a nuisance." In the next, we are to recollect that 

 the citizens of the Italian republics were divided 

 into two parties, — the Guelf, or Papal, and the 

 Ghibelline, or Imperial ; and that the French always 

 sided with the former. Florence, therefore, was 

 Guelf at that time, and Siena of course was Ghi- 

 belline. The meaning of the king therefore is : 

 By defeating the Ghibelline Sienese, let Italy see, 

 &c. As a Frenchman, he naturally affects a con- 

 tempt for the German empire, and represents it 

 as possessing (the meaning of inherit at the time) 

 only the limited and tottering dominion which the 

 empire of the west had at the time of its fall. By 

 " higher Italy," by the way, I would understand 

 not Upper Italy, but Tuscany, as more remote 

 from France; for when the war is ended, the 

 French envoy says : 



" What will Count Rousillon do then ? Will he 

 travel higher, or return again into France?" — Act IV. 

 Sc. 3. 



The meaning is plainly: Will he go farther on? 

 to Naples, for example. 



I must take this opportunity of retracting what 

 I have said about — 



" O thou dissembling cub, what wilt thou be 

 When time has sow'd a grizzle on thy case?" 

 Twelfth Night, Act V. Sc. 1; 



