Page:Notes and Queries - Series 12 - Volume 7.djvu/179

12 s. vii. AUG. 21, i92o.] NOTES AND QUERIES. p d for y e workmans bourde makynge y same for ix dayes & half . . . . iiii 8 ix d Item to John Fales a last of Spratts at xv 8 Item more to hym for Lii Fote of Waynskott for the makynge of the womens stoles in ye churche . . . . . . . . v 1568 pd to Robt pyrfis wyfe y e young for makyn cleane y e towne house . . . . . . i d pd for timber for weggs for the gonnes . . x d p d for a pece to make a forme w* hin ye chirche . . . . . . . . . . viii d p d to m r nelson for nayles for ye spongs fo r y e small and great pecs . . . . . . iiii d pd to pson ye shomaker for lether for y e townes harnes . . . . . . . . . . x d pd to Symond Bitches for one ptint of Ayle . . iiiid p d at my lord byshopes comynge he then for ye* Injountion boke . . . . . . . . yjd pd for ye takynge of our othe . . . . iiiid p d for ye wrytynge of owr verdet . . . . xii fl p d at y e puttynde in of our verdit . . . . iiiid p d to John Robinson for mendynge of the butt . . yi d p d for ye byere mendynge . . . . . . iiii d pd to thomas Spson for whippynge y e doggs out of churche yd pd to thomas Ingram for his horse to berie . . ii 3 Aldeburgh, Suffolk. ARTHUR T. WESTN. (To be continued.) ITALIAN STAGE-SCENERY IN THE EIGHTEENTH CENTURY. PIER JACOPO MARTELLO. (See ante p. 121.) AN examination of the remaining volumes of Pier Jacopo Martello's works reveals matter of even greater interest than that which is traced in my note at the above reference. It raises three questions : (1) that of a possibility of Italian influence on Swift in his 'Gulliver's Travels' ; (2) that of a possible connexion between Blake's illustra- tions to * Paradise Lost ' and the engravings attached to ' Gli Occhi di Gesu,' and (3) that of the science of aeronautics as understood in the eighteenth century. I give as before, notes of the more re- markable plates. I Taimingi (vol. iii.)- On the left squats a naked figure on a richly-ornamented pedestal of great force and beauty in modelling. The crossed legs and the hands bent back on the hips are very much aliye. The face with its stern bitter look has dis- tinction of a rare kind a Chinese god without mercy. At his feet lie a dead mother and two children with blood trickling from them and to the left a Chinese servant supports Zunchinio, the Emperor, pros- trated by the sight of his dead daughter. The background represents a wooden house with a porch of slim square pillars. It would be difficult to find an illustration which conveys so poignantly the tragedy unfolded in the play. Frontispiece (vol. iv.). Figures dance with lifted masks across the stage against a background of trees ; the attitudes are very graceful, not abandoned especially the figure to the right with head bent back and flute raised in his hand. The orchestra of five musicians plays beneath. Arianna. Bacchus presents a glittering circlet to Ariadne who is seated on a rock beside a great tree where drapery has been entwined in the branches. A Satyr standing beside Bacchus who carries a staff of vine- tendrils pours out wine on the ground in sheer wantonness. The background comes forward to shade Silenus and behind him are small groups of Satyrs in a rocky land- scape. Che Bei Pazzi. The engraving shows a lively group of figures seated on a marble bench beneath great fluted pillars, heavily draped lovers (charming fools, according to the title). A female attendant rushes up the steps with a message. The back- ground holds a circular temple in Corinthian style with wreaths suspended ; inside a recumbent marble figure. Behind that wave trees. Oedipo Tiranno. A blindfolded figure kneels in the foreground with arms out- stretched while a soldier keeps guard above him leaning on a spear. Creonte, a roughly drawn figure, stands beside the latter while on the left a woman is being led away. The background shows smooth Boric pillars. (Of poorer artistic value than the rest.) La Morte (vol. v.). Cain slaying Abel with a club : Abel lies on the ground with a finely-modelled arm bent up with the hand supporting a flaccid head. Cain supports himself with a right leg bent on a grass-covered rock and the left stretched out taut while he swings the club over his head. Delightfully drawn trees close in the picture. Piato deWH. Cadmus on the leTt,^a stately but rather shapeless soldier, speaks to a Satyr while Charon, a vividly drawn-