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CONTENTS.- No. 187. NOTES:-Dibdin Bibliography, 77-Shakespeare Books, 78 - Church of St. Sophia, 79-Burnt Sacrifice: Mound Burial-" Anaconda "Humph"-Mahomet's Coffin,

80-Charles Dartiquenave - Pseudodoxia Epidemica'"Halsh"-Transfer of Land by "Church Gift "-Wearing Hats in Church "Stinger," 81-Vails-Mummy

44

Wheat, 82. QUERIES:-Lamb Questions-Royal Borough of Kensington-The Moss Rose-Coventry Corpus Christi Guild, 82-Manx Words-Barbican Watch Tower-" Rumping

Alehouse Lettice": "Admire" - Chaplain to William III.-Portraits in Dulwich Gallery-Calcraft Family -Capt. Kirkus Sanderson-Wm. Alexander, Earl of Stirling, 83-Pass-tickets in Shakespeare's Time-Printing in China-Ringdoves - Quotation in Jonson-Agnes Musgrave-Lordship of Crawford, 84-Authors Wanted, 85. REPLIES:-"Toucan "-Charles Lamb, 85- Shakespeare Queries St. Clement Danes - "Chevaux orynges

Stow's Portrait, 86-Suffolk Name for Ladybird Anglo

Hebrew Slang-Defender of the Faith-West-Countrymen's Tails, 87-Arbuthnot-Music Publishers' SignsOrientation in Interments-"The Old Curiosity Shop," 88 Motto on Sundial Source of Quotation - Pews annexed to Houses-Animals in People's Insides, 89Crosier and Pastoral Staff, 90-Ugo Foscolo in LondonJames II., 91-Towns which have changed their SitesCivil War: Storming of Lincoln, 93-A Ladle-"Custice" -Taverns in Seven Dials, 94.

NOTES ON BOOKS :-Lang's 'Magic and Religion '-Fea's 'Secret Chambers and Hiding Places.' Notices to Correspondents.

Hotes.

A BIBLIOGRAPHICAL ACCOUNT OF THE WORKS OF CHARLES DIBDIN. (Continued from p. 40.)

1769. Shakespear's Garland, or the Warwickshire Jubilee. Being a Collection of Ballads, &c., as perform'd in the Great Booth at Stratford upon Avon, composed by Mr. Dibdin. London: John Johnston, n.d. Upright folio, two parts, each of 5 leaves; 7 and 8 pp. of music.

There are several states of this. The earliest I have seen has no title (perhaps lost), but there is "London: Printed by John Johnston, at No. 11, York Street, Covent Garden," at foot of p. 1. The next has "Prise 1 sh" (sic) on title, and the note on p. 1 is erased, J. J. being substituted. A third has on the title "as perform'd at the Theatre-Royal, Drury Lane......Publish'd according to act of Parliament, August 30th, 1769."

Separate sheet song:

Sweet Willy O! Dublin: Rhames, n.d. The advertisement on title of the 'Garland' mentions 'Queen Mab' and "Jubilee Minuets, Cotillions, and Country Dances; also the airs in the Jubilee and Pageant for the

German Flute."

1769. Queen Mab, or the Fairies' Jubilee, a cantata, composed for "the Jubilee," the words and

musick by the author and composer of 'The Padlock.' London: J. Johnston, upright folio, n.d.

1769. XII. Minuets; compos'd for Shakespear's Jubilee, by Charles Dibdin. London: John Johnston, price 6d., n.d.

This was in the Birmingham Library (since burnt). I omitted to note the size and shape.

The following is a later collected edition : The Overture, Songs, Airs, and Chorusses in the Jubilee, or Shakespear's Garland, as performed at Stratford upon Avon, and the Theatre - Royal, Drury Lane. To which is added a Cantata called Queen Mab, or the Fairies' Jubilee, composed by Charles Dibdin. Price 6s. n.d. London: John Johnston and Longman, Lukey & Broderip. Ornamental title, oblong folio, pp. 39.

Adaptations for guitar and German flute are lished by Longman & Broderip. advertised on the title. A later edition pub

1769. The Songs, Airs, and Dances in the Jubilee and Pageant as perform'd at the Theatre Royal, Drury Lane, for the Guittar. Price 28. London: John Johnston. Oblong 8vo, 28 pp. and title.

1770. *The_Ballads sung by Mr. Dibdin this evening at Ranelagh, and a conclusion Piece. Composed by Mr. Dibdin. 4to.

1770. Six favourite Songs and a Cantata, sung at Ranelagh House, the words by Shenstone and other celebrated authors. The music composed by Charles Dibdin. Published, according to Act of Parliament, July the 17th, 1770. Price 3 sh. Upright folio. Title and pp. 2 to 21. London: John Johnston.

1771. He wou'd if he cou'd; or, an Old Fool worse than Any. A burletta, as it is performed at the Theatre-Royal in Drury Lane. The music by Mr. Dibdin. London: Printed for W. Griffin, in Catherine Street, Strand, 1771. 8vo. Price 18. [By Isaac Bickerstaff.] In two acts. I know nothing about the music.

1771. *The Overture, Songs, Duets, Trios, Choruses, Marches, &c., with the additional Songs in 'The Institution of the Garter, or Arthur's Round Table Restored.' London. Oblong folio. Price 4s. 6d.

Marches, &c., with the additional Songs in The 1771. The Overture, Songs, Duets. Trios, Choruses, Institution of the Garter, or Arthur's Round Table Restored,' as performed at the Theatre Royal in Drury Lane, adapted with the words for the Guitar; composed by C. Dibdin. Price 18. 6d. London, printed for Longman, Lukey & Co., No. 26, Cheapthe Garter, with the Overture adapted for the side, where may be had, the whole Institution of Harpsichord, &c. Price 4s. 6d. Overture to ditto in all its parts, 2s. 6d., &c. Oblong 8vo, pp. ii, 24.

1772. The Palace of Mirth, a musical Introduction to the Entertainment at Sadler's Wells, 1772; composed by C. Dibdin. Adapted for the Harpsichord, Voice, Violin, German Flute and Guittar. 28. London: Printed and sold by John Johnston, York Street, Covent Garden. Upright folio, 10 leaves; 16 pp. of music.

Pantomime of 'The Pigmy Revels,' as perform'd at

1772. The Comic Tunes, Songs and Dances in the

the Theatre-Royal, Drury Lane, composed by C. Dibden [sic]. Price 2s. 6d. London: Printed and sold by Longman, Lukey & Co., No. 26, Cheapside;

and by J. Johnston, near Exeter Change in the Strand. Upright folio, 20 pp.

Piece produced 26 December, 1772, but music probably published 1773.

1772. A Collection of Catches and Glees for two, three, or four voices, with accompanyments for guittars and flutes. London. Oblong folio.

1772 (?) [British Museum date]. Six Lessons for the Harpsichord, or Pianoforte. Composed by Charles Dibdin. London: Longman, Lukey & Co., No. 26, Cheapside. Oblong folio, 21 leaves; 37 pp. of music. Price 78. 6d. Dedicated to Miss Louisa Chauvet. N.d.

1773. The Wedding Ring, a comic opera, in two acts, as it is performed at the Theatre Royal in Drury-Lane. London: Printed for T. Becket, in the Strand. Price one shilling. Svo, preface and 51 pp. (Written and composed by Dibdin.)

1773. The Songs, &c., in The Wedding Ring,' a new comic opera, perform'd at the Theatre Royal in Drury Lane: compos'd by Charles Dibdin. London: Printed for J. Johnston in the Strand, and Messrs. Longman, Lukey & Co., No. 26 in Cheapside. Ornamental border to title, dedicated to the Rt. Honble. the Countess of Berkeley. Oblong folio, 58 pp.

1773. The Mischance, a musical dialogue perform'd at Sadler's Wells, composed by Charles Dibdin. Price 28. London: Printed and sold by John Johnston, near Exeter Change, Strand; and Longman, Lukey & Co., No. 26, Cheapside, of whom may be had the following Interludes performed at Sadler's Wells, viz.-The Brickdustman, The Country Courtship, The Palace of Mirth, The Grenadier, The Ladle, and the Pantomime of The Vineyard Revels. Also the operas of The Christmas Tale, Golden Pippin, Elfrida, and Deserter. Upright folio, 18 pp.

1773. The Brickdustman. Sadler's Wells. 1773. *Vineyard Revels; or, Harlequin Bacchanal. Music by Dibdin. Sadler's Wells.

1773. *The Whim-wham; or, Harlequin Captive, an entertainment of music and dancing, the music by Mr. Dibdin.

Produced 26 July, 1773. I do not know who wrote it or if it was published.

1773. *The Pilgrim, musical piece by Dibdin and others, produced at Sadler's Wells, 23 August, 1773. I know nothing more about it.

1773. The Grenadier, set to music by Mr. Dibdin. The second edition. London: Price twopence. Svo, 8 pp. Sadler's Wells, 1773.

I have not seen the first edition.

1773. *The Grenadier, a musical dialogue. London. Folio.

I know nothing of 'The Country Courtship,' mentioned under The Mischance'; it may or may not have been by Dibdin.

1773 (?). The Widow of Abingdon. Sadler's Wells.

1773. The Ladle, a musical dialogue, perform'd at Sadler's Wells, compos'd by Charles Dibdin. Price 28. London: Printed for Longman, Lukey & Co., No. 26, Cheapside, and John Johnston, near Exeter Change, Strand. Upright folio, 14 pp. and

title.

1773. *England against Italy. Sadler's Wells. Hogarth places this in 1773. See 1787. 1773. None so blind as those who won't see. Sadler's Wells.

Hogarth dates this 1773.

1773. Vauxhall Songs for 1773, sung by Mr. Vernon and Miss Wewitzer. Composed by Charles Dibdin. Price 3s. London: Printed and sold by John Johnston, near Exeter Change, and Longman, Lukey & Co., No. 26, Cheapside. Upright folio, 11 leaves; 18 pp. of music.

1773. The Trip to Portsmouth, a comic sketch of one act, with songs. London: Printed for T. Waller, in Fleet Street; T. Becket, in the Strand; and G. Robinson, in Pater-noster Row. Price one shilling. 8vo, n.d.

Probably written by G. A. Stevens. C. Dibdin wrote the music, of which I have seen no complete publication. Hogarth and Kitchener give the music of several of the songs. The former attributes the words to Dibdin.

1773. The Trip to Portsmouth. Songs by C. Dibdin. Oblong folio.

1773. The Deserter, a new musical drama, as it is performed at the Theatre Royal in Drury Lane. A new edition. London: Printed for T. Becket, the corner of the Adelphi, in the Strand. 1774. Price one shilling. 8vo, pp. viii-36. Adapted by Dibdin from the French. I have not seen the first edition. Another edition, 1776.

1773. The Songs, &c., in The Deserter,' a musical drama, as perform'd with universal applause, at the Theatre Royal in Drury Lane, composed by Messrs. Monsigny, Philidor, and C. Dibdin. Price 68. London: Printed for John Johnston, near Exeter Change, Strand; and Longman, Lukey & Co., No. 26, Cheapside. Oblong folio, title, 1 p. blank, and pp. 1 to 42, but p. 6 is blank. A second edition has this addition on the title: "With the Additional Songs of 'The Miller's Daughter,"" price 7s.; and the address is altered to "London: Printed by Longman & Broderip, No. 26, Cheapside, and No. 13, Haymarket." The plates of the overture are new. The additional songs (two) are paged 2 to 7. Another issue from the same plates has "London: Printed by Broderip & Wilkinson, No. 13, Haymarket." The additional songs are mentioned on title, but not included in the copy I have seen.

E. RIMBAULT DIBDIN. Morningside, Sudworth Road, New Brighton. (To be continued.)

SHAKESPEARE'S BOOKS. (Continued from 9th S. vii. 424.) Helena. Is all the counsel that we two have shared, The sisters' vows, the hours that we have spent, When we have chid the hasty-footed time For parting us,-O, is it all forgot? All schooldays' friendship, childhood innocence ? We, Hermia, like two artificial gods,

Have with our neelds created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key;
As if our hands, our sides, voices, and minds,
Had been incorporate. So we grew together,
Like to a double cherry, seeming parted,
But yet an union in partition;

Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart
Two of the first, like coats in heraldry,
Due but to one, and crowned with one crest.
'Midsummer Night's Dream,' III. ii.
"I mistrusted least my tongue, impatient of a
case so important, should discover it to the very
walles of my private chamber, witnesse thereof is
Amese my nephewe, my chiefest friende and coun-
sellor at that time, and the faithful companion of
my travels, and some few besides him, whose faith-
full and froward assistance and diligence did us
good service in the execution of this action. For
albeit we lived together and familiarly (as it were)
in one and the same course of life: though we eate
at one and the same table, and though wee did in a
manner (as it were) breathe jointly with one and the
same soule: neverthelesse neither they nor any man
alive did ever heare me mindefull of my countrie,
but only in the warre of Hungarie: neither was
there ever anie man that heard me use any speech,
or to utter any one word at any time, which might
argue me to bee a Christian or free man, till such
time as I sawe, and perceived that I might freely
do it, and without all feare of danger."The Life
of Scanderbeg.'

Scanderbeg's account of the familiar manner in which he lived with his nephew Amese resembles Helena's description of her schoolday friendship with Hermia. They were all closely intimate. Helena and Hermia both created one flower, both on one sampler, sitting on one cushion, both warbling of one song in one key, as if their hands, sides, voices, and minds had been incorporate; and Scanderbeg and Amese lived together familiarly in one and the same course of life, did eat at one and the same table, and did breathe jointly with one and the same soul; and it is worthy of notice that the word one is used by Scanderbeg and Helena to describe the unity of close and familiar friendship. Moreover, Helena speaks of the counsel she had shared with Hermia, and Scanderbeg calls Amese his counsellor.

Chorus. O England! model to thy inward great

heart.

Pistol. He hears with ears.

Evans. The tevil and his tam! What phrase is this, "He hears with ear"? Why, it is affectations. 'Merry Wives,' I. i. Biron. Taffeta phrases, silken terms precise, Three-piled hyperboles, spruce affectation, Figures pedantical. 'Love's Labour Lost,' V. ii.

Hamlet. I remember, one said there were no sallets in the lines to make the matter savoury, nor no matter in the phrase that might indict the author of affectation." 'Hamlet,' II. ii.

66

I think that Shakespeare in these passages refers to cacozelia or fonde" affectation, thus described by Puttenham :

"Ye have another intollerable ill maner of speach,

which by the Greekes originall we may call fonde affectation, and is when we affect new words and phrases other than the good speakers and writers in any language hath allowed, and is the common fault of young schollers not halfe so well studied before they come from the Universitie or Schooles, and when they come to their friends, or happen to get some benefice or other promotion in their countreys, will seeme to coigne fine wordes out of the Latin, and to use new fangled speaches, thereby to shew themselves among the ignorant the better learned."-"The Arte of Poesie.'

Evans seems to think that Pistol affects a new phrase other than custom or the good speakers and writers in any language have allowed, and that he makes use of the ham calls fond affectation. In the speech intolerable manner of speech which Puttenwhich Hamlet heard the First Player speak once, there was in the phrase no matter that might indict the author of affectation. W. L. RUSHTON. (To be continued.)

THE CHURCH OF ST. SOPHIA, CONSTANTINOPLE.-M. Antoniadi, who has been for some years past chiefly engaged on astronomical work at the Flammarion Observatory, Juvisy, made whilst at Constantinople some interesting studies of Justinian's great church (now, as we all know, a mosque) there, the results of which he hopes to publish in an English archæological journal. But in the meantine he has called my attention to an error in the great work of Lethaby and Swainson (1894), entitled "The Church of Sancta Sophia, Constantinople: a Study of Byzantine Building.' The church was described shortly after its completion in