Page:Notes and Queries - Series 9 - Volume 6.djvu/166

136 NOTES AND QUERIES. [9th s. vi. AUG. is, woo. Broke, describing the house as lately inhabited by John Onley and a piece of land of seven feet to the same tenement adjacent, demised to Henry Leigh or his assigns by indenture dated 8 April in 25 Henry VIII. for forty years. It was this Henry Leigh who first named his premises the Marygold. When the old house was demolished in 1879, the vaulted cellars, part of the thir- teenth-century building, were exposed, and unfortunately shared the same fate. About the same time a large quantity of human bones was discovered in Child's Place, all carefully laid in one grave; they were probably the bodies of some of the poorer brethren of the Carmelite Friars. I may add that I read a short paper on this subject to the Royal Archaeological Institute in June, 1898. F. G. HILTON PRICE. 1, Fleet Street. BRIGHAM TOWN AND FAMILY (9th S. vi. 8, 94).—1 have made many notes relating to this family, chiefly in Yorkshire, but also in Newcastle-on-Tyne and Cambridge. These would be much too long to be put into your pages, but if your correspondent cares to communicate with me direct I shall be pleased to be of service to him. B. W. HARPLEY. 19, Sidney Road, St. Margaret's, Twickenham. VIRTUES AND VICES (9th S. v. 289, 443). — Of the instances that have been given of representations of the cardinal virtues and the deadly sins only one, I think, was pictorial. It is stated in the Revue Celtique that in some of the churches of Brittany pictures are exposed on the walls on suitable occasions, and the priest, wand in hand, stands by and gives explanatory lectures. The pictures form a series, and the first of them represents the heart of a sinner, in the centre of which the devil may be seen, seated in state amid the seven deadly sins, each of them in the form of an animal. A frog stands for avarice, a serpent for envy, a goat for incontinence, a pig for gluttony, a lion for anger, a peacock for pride,and a tortoise for sloth. Fortunately, before the end of the series the sinner is con- verted, so his appalling condition internally is not of permanent duration. T. P. ARMSTRONG. Timperley. Lambeaux's ' Les Passions Huraaines (see 9th S. v. 444)j or rather casts of this work, are now exhibited in Paris, near the top of the Avenue du Trocadero. They consist of an immense plaster bas-relief filling up the whole side of a large courtyard. The panels are very crudely modelled, and represent murderous and fighting groups, a mother and little one, amorous lovers, ike., and a barrier placed in the foreground prevents the visitor making too close an examination of them. This is perhaps fortunate, for the work can scarcely oe called clever. HARRY HEMS. Fair Park, Exeter. SHAKESPEARE AND THE SEA (9th S. i. 504 ; ii. 113, 189, 455 ; iii. 36, 173 ; v. 462 ; vi. 56).—To convict Shakespeare of ignorance requires a profounder knowledge and a truer insight than MR. YARDLEY'S hasty generalizations exhibit. Ignore contexts, ignore experts, and it is possible to prove anything. Three quotations, amounting to nine lines in all, make up his case, and even these admit of explanation. But his methods of weighing evidence render discussion difficult. "That one of Shakespeare's hyperboles corresponds with one by Lucan does not seem to me very significant. Nor to me either—nor, I should hope, to any son of Adam. The citation from Lucan would be futile if it stood alone. But I expressly stated it was "typical" of such writing. MR. YARDLEY has done me the honour to apply to my comment the treat- ment which he has applied to Shakespeare. I add for further illustration, Ovid, ' Tristia," I. ii. 19 :— Me miaeruni, quanti monies volvuntur aquarum ! lam jam tacturos aider* sunima putes. Quanta,' diducto subsidunt lequore valles ! lam iam tacturas Tartara nigra putes. And Juvenal's gibe (xii. 22) :•— Omnia limit talia, tarn graviter, si quando poetica surgit tempesta*. The counter - reference to Virgil would be effective if I had applied MR. YARDLEY'S sweeping methods to Latin poetry, and as- serted that all Roman poets were incapable of describing storms. Fine though some of Virgil's lines are, one weak point— "una Eurusque Notusque ruunt," &c.—brings the description dangerously near to the paper tempests jeered at by Juvenal. Most people, discussing Shakespeare and the sea, would lay stress on the technical knowledge of seamanship displayed, for in- stance, in the opening scene of ' The Tempest." An admirable article in the Sjmtatof of 19 May approaches the subject from this point of view, and would carry conviction to most readers. So far back as 1821 Lord Mulgrave in Boswell's "Variorum Edition," discussing 'The Tempest,' marked out the five successive positions of Alonso's storm-tossed ship, and showed how scientifically she was