Notes and Queries, Number 206, October 8, 1853. Various

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СКАЧАТЬ It forms the motto on the title-page of the Christian Year; it has been very conspicuous in the writings of many eminent defenders of the same school of theology, and it is thus alluded to by Dr. Pusey in the preface to that celebrated sermon on the Eucharist, for which he received the University censure:

      "Since I can now speak in no other manner, I may in this way utter one word to the young, to whom I have heretofore spoken from a more solemn place; I would remind them how almost prophetically, sixteen years ago, in the volume which was the unknown dawn and harbinger of the re-awakening of deeper truth, this was given as the watchword to those who should love the truth, 'In quietness and confidence shall be your strength.' There have been manifold tokens that patience is the one great grace which God is now calling forth in our church," &c.

      I will not here inquire which of the two great religious revolutions I have mentioned has been more truly characterised by the spirit of this beautiful and striking text, but perhaps some of your readers will agree with me in thinking that the coincidence is at least a note-worthy one; and not the less so, because it was probably undesigned.

Joshua G. Fitch.

      BINDERS OF THE VOLUMES IN THE HARLEIAN LIBRARY

      In Dr. Dibdin's Bibliographical Decameron, 1817, vol. ii. p. 503., he thus introduces the subject:

      "The commencement of the eighteenth century saw the rise and progress of the rival libraries of Harley and Sunderland. What a field, therefore, was here for the display of the bibliopegistic art! Harley usually preferred red morocco, with a broad border of gold, and the fore-edges of the leaves without colour or gilt. Generally speaking, the Harleian volumes are most respectably bound; but they have little variety, and the style of art which they generally exhibit rather belongs to works of devotion."

      In a note on the above passage, Dibdin adds:

      "I have often consulted my bibliomaniacal friends respecting the name of the binder or binders of the Harleian Library. Had Bagford or Wanley the chief direction? I suspect the latter."

      If Dr. Dibdin and his "bibliomaniacal friends" had not preferred the easy labour of looking at printed title-pages to the rather more laborious task of examining manuscripts, they might readily have solved the Query thus raised by referring to Wanley's Autograph Diary, preserved in the Lansdowne Collection, Nos. 771, 772, which proves that the binders employed by Lord Oxford were Christopher Chapman of Duck Lane, and Thomas Elliot. Very many entries occur between January 1719-20 and May 1726, relative to the binding both of manuscripts and books in morocco and calf; and it appears, in regard to the former material, that it was supplied by Lord Oxford himself. Some of these entries will show the jealous care exercised by honest Humphrey Wanley over the charge committed to him.

      "25th January, 1719-20. This day having inspected Mr. Elliot's bill, I found him exceedingly dear in all the work of Morocco, Turkey, and Russia leather, besides that of velvet.

      "28th January, –. Mr. Elliot the bookbinder came, to whom I produced the observations I made upon his last bill, showing him that (without catching at every little matter) my Lord might have had the same work done as well and cheaper, by above 31l. He said that he could have saved above eight pounds in the fine books, and yet they should have looked well. That he now cannot do them so cheap as he rated them at; that no man can do so well as himself, or near the rates I set against his. But, upon the whole, said he would write to my Lord upon the subject.

      "13th July, 1721. Mr. Elliot having clothed the CODEX AVREVS in my Lord's Morocco leather, took the same from hence this day, in order to work upon it with his best tools; which, he says, he can do with much more convenience at his house than here.

      "19th January, 1721-22. Mr. Chapman came, and received three books for present binding. And upon his request I delivered (by order) six Morocco skins to be used in my Lord's service. He desires to have them at a cheap price, and to bind as before. I say that my Lord will not turn leather-seller, and therefore he must bring hither his proposals for binding with my Lord's Morocco skins; otherwise his Lordship will appoint some other binder to do so.

      "17th September, 1725. Mr. Elliot brought the parcel I last delivered unto him, but took one back to amend a blunder in the lettering. He said that he has used my Lord's doe-skin upon six books, and that they may serve instead of calf; only the grain is coarser, like that of sheep, and this skin was tanned too much.

      "23rd December, 1725. Mr. Chapman came, but I gave him no work; chiding him for being so slow in my Lord's former business, which he had frequently postponed, that he might serve the booksellers the sooner."

μ.

      FRENCH VERSE

      In the Diary of T. Moore I lately read, with some surprise, the following passages:

      "Attended watchfully to her [Mdlle Duchesnois] recitative, and find that in nine verses out of ten 'A cobbler there was, and he lived in a stall' is the tune of the French heroics."—April 24, 1821.

      "Two lines I met in Athalie; how else than according to the 'Cobbler there was,' &c., can they be repeated?

      'N'a pour servir sa cause et venger ses injures,

      Ni le cœur assez droit, ni les mains assez pures.'"

—May 30, 1821.

      Now, if this be the mode of reading these lines, I confess all my ideas are erroneous with respect to French poetry. I have always considered that though hemistichs and occasionally whole lines occur in it, which bear a resemblance to the Spanish Versos de Arte Mayor, the anapæstic measure of "A Cobbler" is quite foreign to it. I may, however, be mistaken; and it is in the hope of eliciting information on the subject that I send these few remarks to "N. & Q." Should it appear that I am not wrong, I will on a future occasion endeavour to develop my ideas of the French rhythm; a subject that I cannot recollect to have seen treated in a satisfactory manner in any French work.

      Bishop Tegnér, the poet of Sweden, seems also to have differed in opinion with Moore respecting the rhythm of French poetry, for he compares it to the dancing of a deaf man, who forms his steps accurate, but who does not keep time. Both are alike mistaken, in my opinion; and their error arises from their judging French poetry by rules that are foreign to it. The rhythm of French verse is peculiar, and differs from that of any other language.

Thos. Keightley.

      A SPANISH PLAY-BILL

      Though not much a frequenter of theatres of late, I was recently induced, by the flourishing public announcements, to go to Drury Lane Theatre; with the chance, but scarcely in the hope, of seeing what I never yet have seen, a perfect Othello. Alas! echo still answers never yet. But yours are not the pages for dramatic criticism.

      As my bill lay before me, I could not help thinking what an execrably bad taste our modern managers show in the extravagant and ridiculous announcement of the splendour of the star you come to contemplate! If Mr. Brooke have great merit, he needs not all this sound of trumpets; if he have it not, he is only rendered the more contemptible by it. I have some of the play-bills of John Kemble's last performances before me, and there is none of this fustian: the fact, the performance, and the name are simply announced. If our taste improves in some respects, it does not in this; it is a retrogression—a royal theatre sinking back into the booth of a fair. Shakspeare's and Byron's texts have been converted into the showman's explanations of panoramas: to what vile uses they may be next applied, there is no guessing. Poor Shakspeare! how I have pitied him, and you too, Mr. Editor, as I have seen him for so many months undergoing the operation of the teazle in "N. & Q.!" I hope there will be soon an end of this "skimble stuff," "signifying nothing."

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