504
NOTES AND QUERIES. [i2s.vu.DBo.26 f 1920.
-p d to the man that came from yarmouth that x d
shall make the Jetes. p d to Birds wyfe for keapinge of Father
prophet . . . . . . . . . . iii*
p d to Durrants wyfe for watchinge of father
profet . . . . . . . . . .' . . iii (l
p d for Candell <fc other things for Father
prophet . . . . . . . . . . vi d
p d for father prophets sheeto . . ii 8 ii d
p d for victalls that decl watche him . . . . vi d
p d for paments for the Churche . . xxi d
p d for laieinge of the same paments . . . . vi d
p d to the widowe upsone for her Childs Sko-
linge iii s
(several entries " the like.")
p d to Francis Forman for an ell of Canvas to
make a shirte for wards boie . . xiiii d
p d for thre quarters of Canvas for two Mooth rK
upperbodies . . . . . . . . . . ix d
To Henry Jonson for his litor when the Marie
gould went forthe . . . . . . . . via*
p d for a matt for the marieinge stoole . . . . vii d
p d to the same man (Wright) for ridinge to
yarmouthe for the Jettie man . . v 8 x d
p d for aloode of Orford Stoxin . . iii 8 viii d
p d to the wedowe page for breade when we
went apambulacon . . . . . . x d
p d to the Quenes plaiers . . . . . . xl s
(a lot of work done about the " Jettie.")
Paid to hym that was the m r workman xx s
(Jetty work) p d more to him . . . . . . . . xxx*
p d to the same man for a monthe & a Daie
of his thre men and one fortnight for him
self . . . . . . . . . . v u vii 8 vi d
- p d to the same man for his wages . . . . x ]i
1591
The entry of xi s . paid to "pytt " for the surgeon's "boord " is rather perplexing. Does this mean the surgeon's "wurste '"' or keeping or does it refer to an operating table ?
To her Ma ts plaiers the xi th of October, 1 592 . . xx" To my Lorde Morlies men the same tyme X B To Cocker for worke done at the Churche x 8 viii d To Skrutton for worke done at the Churche
iiii 8 iiii d To Griffenne for brede and wine for the com-
unione . . . . . . . . xlix 8 iiii d
To the quenes plaiers.. .. .. .. xx"
(Lot of work by masons and others at the
Church). p d for makinge the clock to go upon the Steple
xxiii* iiii d
To a woman that healed Tailors wyfe . . . . xx 8
To a Surgeon for healinge of Tailors wife ii s viii d To pytt for the Surgions boord . . . . xi
To my Lorde Admyralls plaiers . . . . x 8
To the plumere for torninge of iiii Corsses of
leade in the Churche Roffe . . . . viii"
(lead bought at Halesworth for the Church
iii 11 xvii s ).
To the plumere for viii 11 of soldere v e iiii 4
p d for mendinge the Easte Churche windows ii d p d for pentessinge the Stalls and mendinge the
Railes in the market . . xi
To Thorns Grene for mendinge the town
Chilldrens shone . . . . . . v s iiii d
p d to Blowers for beryeinge of two men by the Sea drowned . . . . . . . . . . xii d
p d to him more for burieinge and Ringinge the bell for Margaret Foster . . . . . . viii d
paid wiilm Giildersleve for burieinge of her vi d
NOTE AT END OF BOOK.
m d that Francis Forman Deputed by m r Richard Browne gent ded tendere and paie the xix th Daie of October 1592 in the mar- kett Crosse of Aldeburghe vii 11 , into the hands of Frannicis Foxe to the use of John Hellwis
(two other entries).
Aldeburgh, Suffolk.
ARTHUR T. WINN.
AN ITALIAN LITERARY REPUBLIC
IN THE EIGHTEENTH CENTURY:
LUDOVICO ANTONIO MUBATORI.
IN previous articles attention has been drawn to the peculiar activity of the early Settecento in literary criticism and espe- cially in the theory of poetry. But the eighteenth-century critics were not content with mere enunciation of theory, they desired to see it actually realized if not in creative at least in instructive work. The consequence was that while poetry lan- guished through lack of a sympathetic atmosphere and through exhaustion of the old forms, old subjects, old impulses, the critics themselves, ever keen to notice such langour in creative literature, set out to create an atmosphere, an. ambiente. We might see in this one of the prime motives for the creation of the Arcadia. The salons of France were undoubtedly of importance in this gathering of brilliant churchmen at Rome under the patronage of Queen Chris- tina of Sweden. But one can find no trace of direct imitation, and in the early eigh- teenth century the power of the French salons had declined, before coming again into greater brilliancy at the end of the century. The creation of the Arcadia could only be termed at best a modification of existing academies, like the Accademia della Crusca, in a more generous, more definitely literary direction. As a school of poets or dramatists it had no value and, with the possible exception of Alessandro Guidi, produced no writer of original power.
To realize a more genuine literary academy Muratori outlined a scheme in a small book published in Naples in 1703, ' I Primi Disegni della Repubblica Letteraria '
