72 



NOTES AND QUEEIES. 



[No. 91. 



without measure, made use of in the services of 

 the Roman Catholic Church. The invention of 

 these proses is attributed to Nolker, a monk of 

 the Convent of St. Gall, who wrote about the year 

 880 ; and who says in his work that he had seen 

 them in a book belono;in<i to the Convent of St. 

 Juniicges, which was destroyed by the Normans 

 in 841. Of the many proses which were com- 

 posed, the Roman Catholic Church has retained 

 but four, of which the above is one. Wiio the au- 

 thor really was, is very uncertain; tlie majority of 

 writers on the subject appear to concur in the 

 opinion that Cardinal Frangipani, a Dominican, 

 otherwise called Malabrancia, a Doctor of Paris, 

 and who died at Perouse in 1294, was the com- 

 poser; b\it it has also been assigned to St. Gregory 

 and St. Bernard. Bzovius, an. 1294, states the 

 author to have been either Cardinal Orsino or 

 Cardinal Frangipani, and other writers maintain 

 it to have been the production of Agostino Biella, 

 who died 1491 ; or of Humbertus, General of the 

 Dominicans. The original consists of fifty-six 

 lines, and may be found in almost every book of 

 Catholic devotion. R. R. M. 



In No. 84, for June 9th, the Roman Catholic 

 hymn "Dies Iraj" is referred to, and works cited 

 as to its author. To these may be added the 

 39th No. of the Dublin Review, where it will be 

 found that Latino Frangipani, nephew of Pope 

 Nicholas III., and known luider the name of the 

 Cardinal Malabrancia, was more generally con- 

 sidered the writer. The account there given of 

 it is not uninteresting, and is preceded by a cur- 

 sory advertence to the other hj'mns of the Middle 

 Ages, including a Greek version of some of the 

 stanzas of Thomas Aquinas, the " Angelic Doc- 

 tor's," imjjressive " Lauda Sion." J. R. 



Equestrian Statues (Vol. iii., p. 494.). — I should 

 inform Fm. that there is an equestrian statue of 

 the Earl of Ilopetown in front of the Royal Bank, 

 St. Andrew's Square, Edinburgh. The earl, how- 

 ever, is not mounted; he stands beside the horse. 



S. "Wmson. 



Monumental Symiolism (Vol. iii., p. 449.). — 

 I have seen no answer to Reader's inquiry. I 

 have always understood that the kneeling figures 

 were the children who died in the lifetime of their 

 parents (sometimes they are even represented in 

 the swaddling-bands of Chrysoni children), while 

 those represented standing survived them. Tliis 

 of course is only when some are represented kneel- 

 ing and others standing, as in some instances all 

 are kneeling. I believe my sujjposition is grounded 

 on some better authority than my own fancy, but I 

 cannot refer to any at present. H. N. E. 



Bilton, July 3. Iti51. 



07-<fa7is in Chwclies (Vol. iii., p. 518.). — R. W.B. 

 will find some information on the subject o^ organs 



in Staveley's History of Churches in England, 

 pp. 203. 207., a work rej)letewith much interesting 

 matter connected with churches. 



E. C. Harington. 

 Exeter, July 1. 1851. 



Tennyson : " The Princess" (Vol. iii., p. 493.). — 

 Does not the passage — 

 " Dare we dream of that, I asked, i 



Which wrought us, as the workman and his work 

 That practice betters" — 



simply mean, " Dare we di'cam of" the God who 

 made us as of a finite creature, who requires 

 " practice" ere His work can be perfect, and whose 

 skill shall be progressive ? In short, " dare we" 

 think of Him as such an one as ourselves ? 



Seleucus. 



Information on this subject will be found in 

 Hawkins's History of Music, vol. i. p. 398. et seq.; 

 Burney's History of Music, vol. ii. p. 131. ; Busby's 

 Dictionary of Music ; John Gregory's Works 

 (" Discourse declaring what Time the Nicene 

 Creed began to be Sung in the Church"); and in 

 Siaveley's History of Churches in England. 



T.J. 



" Perhaps it teas right to dissemble your love " 

 (Vol. iv., p. 24.).— 



"AN EXPOSTULATION. 



" When late I attempted your pity to move. 

 Why seem'd you so deaf to my prayers? 

 Perhaps it was right to dissemble your love, 

 But — Why did you kick me down stairs?" 



From An Asylum for Fugitive Pieces, in 

 Prose and Verse, not in any otiier Col- 

 lection, vol. i. p. 1 5. London : Debrett, 

 1785. 

 The above has been inquired for : of the author 

 I know nothing. S. H. 



St. John's Wood. 



Sardonic Smiles (Vol. iv., p. 18.). — It is very 

 difficult to strike out the verse in Homer's Odyssey 

 (T, 302.). To suppose that in him the word is 

 derived from Sardinia, is exceedingly improbable, 

 if not, as Payne Knight says, quite absurd ; because, 

 not only is Sardinia not mentioned in Homer, but 

 his geography, even where half- fabulous, and with 

 other names than the modern ones, does not extend 

 so far west. Payne Knight says the word is de- 

 rived from crapSaiuca, but where such a word is 

 found I cannot learn. There is crapid^w in Suidas, 

 "to laugh bitterly;" but unluckily the very same 

 words are given as the interpretation of a-apKa^oi, 

 and a-apicd'^a} is a perfectly established word. Sar- 

 casm, sarcastic, are derived from it; and its own 

 derivation from aani, "llesh," seems certain. This 

 makes it highly probable that the first word in 

 Suidas is a mistake for the other. All Gi-eek 

 writers borrowed so much from Homer that the 

 occurrence of the word in them, where obviously 



