to have it handsomely printed, and they generously contributed by large subscriptions to secure its being a correct edition. In comparison with all that had preceded it, this shone forth an elegant octavo volume, fit at that period to ornament any library or drawing-room. The engravings are from the old designs, and well executed. It was frequently reprinted. Beside the original 1728, I have one called the twenty-ninth, in 1757. Offor mentions two in 1775, and others. Unfortunately, there is no list of the subscribers to the 1728 edition. It would be interesting to know who those “persons of distinction and piety” were.
W. E. Buckley.
The edition of 1728 was the first in which these illustrations appeared. They were reproduced in a great number of octavo editions, and printed, four on a page, in the folio editions of 1736–7 and 1767, printed in London, and in a folio edition of 1771, printed in Edinburgh. There is a bibliography of ‘The Pilgrim’s Progress,’ and also of the general works of Bunyan, in Brown’s ‘Life and Times of Bunyan,’ 1887.
J. B.
Toie: Duos le Cross-clothes (7th S. v. 27).—“Cross-clouts,” kerchiefs or cloths to wrap round the head or bosom. They were also termed “ powting-cloths.” The duos seems to mean two.
Julius Steggall.
Poets’ Corner (7th S. iv. 487; v. 29).—Since writing my note on this topic, I have met with an article on Poets’ Corner in the Antiquary for October, 1881, written by Mr. Henry Poole, the Master Mason of Westminster Abbey, than whom there is probably no one living better acquainted with the details of this beautiful building. Mr. Poole shows conclusively that the “poetical quarter,” till the erection of Prior’s monument, under the direction of James Gibbs, about 1740, was in reality a “corner,” being circumscribed by the screen on the eastern side of the chapel of St. Blaize, destroyed by Gibbs. This is shown by a copy of one of the vignette initials to the chapters in Dart’s ‘Westmonasterium,’ published in 1723. By the removal of the east, or altar, wall of the chapel of St. Blaize and the erection of additional monuments, Poets’ Corner was extended to embrace nearly all the eastern and southern part of the south transept. In Hatton’s ‘New View of London,’ 1708, vol. ii, p. 527, Chaucer’s tomb is described as “by the east side,” and Spenser’s as by “the south end of the cross aisle.” Neither in this nor in J. Crull’s ‘Antiquities of Westminster,’ first published in 1711, nor in Dart’s volume, already mentioned, published in 1723, is there any reference by name to Poets’ Corner. It appears, as I have shown, for the first time in Goldsmith, and at length in the great work of Neale, ‘History and Antiquities of Westminster Abbey,’ with letterpress by E. W. Brayley, published in 1823, it is applied as a general name to the whole of the south transept.
J. Maskell.
P.S.—It has been hinted to me that the first known application of the term Poets’ Corner is coeval with the erection of the cenotaph to Shakespeare, which was placed there in 1762.
Though Davies speaks of “the place of [Garrick’s] interment, immediately under the monument of Shakespeare in Poets’ Corner,” this name is not recognized in the entry in the Westminster Abbey register, where it is stated that Garrick was buried in “the South Cross.” The references to “Poets’ Corner,” except that under Mr. Ward’s name, seem to have dropped out of the index to the fourth volume of ‘N. & Q.’
G. F. R. B.
Mountjoy (7th S. v. 48).—See Sir John Maundeville, quoted by Conder, ‘Tent Work in Palestine,’ 1880, p. 258.
W. C. B.
“Ordinem equestrem Montis Gaudii in regno Jerosolymitano originem sumpsisse tradit Hieronymus Romanus, eadem ipsa tempestate, qua principes Christiani in Syria rerum potiti sunt, a loci extra urbem Jerosolymorum siti (ubi militia illa inchoata) etymo assumpta appellatione” (L. Beyerlinck, ‘Magn. Theatr. Vit. Humanæ,’ tom. iii, p. 380, C. Venet, 1707).
Ed. Marshall.
Montjoy (the mount of joy), a name given to all kind of stone-heaps thrown on roads or on hills in sign of victory or holy triumph; but it is most certain that the name was not originally given to the Judean height on ascending which the pilgrims first caught sight of Jerusalem. Robert Wace, in ‘Rou,’ v. 4666, opposes the French cry “Monjoie” to the Norman cry “Dex aie”:—
Franceiz crient: Monjoie, et Normanz: Dex aïe;
and Rou (or Rollen), the first Duke of Normandy, lived about 912, a century before the first Crusade. The cry being undoubtedly of French origin, French pilgrims, coming in sight of Jerusalem, can most probably have given the name to the hill from which they threw a first glance on Sion; but the name had been previously attributed to hundreds of stone-heaps and hills.
Joseph Reinach.
Paris.
‘Biographical Dictionary of the Stage’ (7th S. iv. 324, 416; v. 33).—I had a personal acquaintance with Miss Cushman, and at her death published some reminiscences of her in an article that appeared in the Belgravia magazine. I have now before me the woodcut drawn by Sir John Gilbert, in the Illustrated London News, of ‘Miss Cushman as Romeo, and Miss Susan Cushman as Juliet, at the Haymarket Theatre’; but I had cut out this woodcut for a theatrical scrap-book without noting the date. The figures are not good portraits. Somewhat better ones are to be found in another
