Page:Notes and Queries - Series 11 - Volume 10.djvu/464

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NOTES AND QUERIES.

[11 8. X. DEC. 5, 191*.

course, be preserved, but I am now dealing with an epitaph in a dead language the orthography of which has long been fixed. We must also remember that Dud Dudley was a scholar. What, therefore, would he have said to the phrase " Puluis et Vmbra fumus " which stands at the head of the tablet ? This is a puzzle, until we remember that " f " has been substituted for " f " ; the " smoke " then disappears, and the meaning becomes clear. Nash in his ' Wor- cestershire ' (vol. ii., Supplement, p. cxliv) prints the epitaph without these errors. There are other words in the inscription which appear open to doubt ; but I will mention only " hodieve " (reproduced by Nash), which I suggest should be " hodieque."

B. B. P.

EARLS OF DER WENT WATER : DESCEND- ANTS (11 S. x. 148, 218, 256, 271, 311, 373, 415). The pedigree of Cadman, as given in Foster's ' Yorkshire Pedigrees,' shows the following :

" Charles Cadman of Westbourne House, Sheffield, born 12 Jan., 1780, died 19 March, 1852, married on 3 Nov., 1806, the Hon. Mary Goodwin, daughter of George, sixth Earl of Newburgh, grandson of the unfortunate Charles Radcliffe of Dilston Castle and Charlotte Maria Livingstone, Countess of Newburgh in her own right. She represented the only surviving branch of the united families of Radcliffe and Livingstone, every other springing from the union thereof having become extinct, and thus was heiress-at- law to the dignities and estates of the families aforesaid. She was the last of the Goodwins. Born 25 Dec., 1785 ; died 12 Dec., 1862."

There are descendants of Charles Cadman and the Hon. Mary Goodwin living to-day. CHARLES DRURY.

CLOCKS AND CLOCKMAKERS (11 S. x. 310, 354). For " Act of Parliament " clocks see Britten's 'Clocks' (1904), pp. 511-17, and Cescinsky and Webster's ' English Domestic Clocks' (1913), pp. 340-44. It does not appear that these clocks were always made with black faces, for in the second work mentioned are illustrations of four with white dials and two with black, the numerals of the latter being in gilt. Would the black dial be chosen in order to throw up the gJt numeral ? BOLAND AUSTIN.

FRANCE AND ENGLAND QUARTERLY (US. x. 281, 336, 417). The monumental slab in champleve enamel of Geoffrey Plantagenet, Count of Anjou produced from ' L'Art Gothique,' by Loxiis Gonze is shown, un- coloured, in Mr. G. W. Eve's ' Decorative Heraldry ' (1897), p. 97. It is assigned to the twelfth centurj' ; and elsewhere I find

the lions given as golden upon a blue shield. As it is nearly thirty years since I saw this beautiful monument, I did not venture to- state the tinctures of the charges and the- field, at the second reference, from memory. A. R. BAYLEY.

0tt

The Piscatory Eclogues of Jacopo Sannazaro. Edited, with Introduction and Notes, by- Wilfred P. Mustard. (Baltimore, Johns- Hopkins Press.)

THIS is an excellent example of the newer Ame- rican scholarship, which busies itself about writers more than half-forgotten, and brings to the task. a care and thoroughness deserving well to be described by that word beloved of journalists, " meticulous." There may be some question whether the expenditure of time, energy, and acumen is justified by the sort of sheaves the harvester brings home ; there can be no question as to the high standard of the method of work, or of the excellent practice it must afford.

Sannazaro, however, rewards the student better than many academic poets do. In the first place, there is something to reflect on in the matter of his choosing fishermen rather than shepherds as the personages of his eclogues. One cannot but feel sure that lambs and flowers look prettier as presents to a mistress than oysters ; still, it is interesting to see what a clever man can make of oysters in this connexion, writing, too, not in some rough, hearty vernacular, but in the stately language which has been withdrawn from every- day speech to the sole service of the muses, and the commemoration, by careful and closely criticized imitators, of classical writing. Sannazaro- manages very well. He has, perhaps, no special merit in the invention of change or music in his> lines ; and his subjects rather block out origin- ality of thought. His fondness for names waxes- sometimes inordinate, and he has not that in- tuition into the presence or absence of magical value in a name which has lent a peculiar charm to the work of more than one great poet. On the other hand, he possesses a considerable felicity in the use of words, and in the coining of pretty, even original phrases ; he is elegant with an elegance of rather delicate, pleasing, and fluent Latinity ; and he can fit words to pictures in a manner by no means widely removed from the special manner of his two chief masters Theo- critus and Virgil. In fact, if one. did not know that the whole thing was artificial a poetical exercise, though this at its very best one might be inclined to treasure these poems among the works of the worthier minor poets as of intrinsic, permanent interest.

Sannazaro lived from 1458 to 1530, a Nea- politan who had some experience of Courts and of war, some also of exile, but was chiefly through- out his life a scholar and leader of scholars, lie- loved and admired. Prof. Mustard, in his careful Introduction, has collected the testimony to hi* merits and demerits furnished by many writer* in many countries, and through several genera. tions. He provoked numerous imit ator.s French- English, Italian, Portuguese, and writer.-* of Latin, English eighteenth-century critics (Dr. Johnsor