58
NOTES AND QUERIES. p* B. XL JAK. 17, iwa.
ing this anthology, and now seek the
Eublicity of the pages of ' N. & Q.,' in the ope that some reader may be able to furnish information concerning the book. I assume that such a volume would include the " Lone shieling " poem, though it might be too much to expect fresh light as to its authorship or history. Mr. A. Bignold, M.P. for the Wick Burghs, replying to the bestowment of the freedom of Dingwall on 30 December, 1902, quoted, or rather misquoted, the stanza which Mr. Chamberlain recited in a speech at Inverness in 1885. The member for the Northern Burghs, impressed by the fine character of the lines as well as their appropriateness for recital before a gathering or Highlanders, wrote to the Colonia] Secretary inquiring where the poem could be found, and the name of its author. Readers of ' N. & Q.' will hardly be surprised to learn that Mr. Chamberlain, who is seldom non- plussed, could supply neither the source of the poem nor its author. JOHN GRIGOR. 105, Choumert Road, Peckham.
PURCELL FAMILY (9 th S. x. 386 ; xi. 14). I cannot understand Neale's statement, as quoted by G. F. R. B., that the arms mentioned are "painted on the Purcell tablet." This tablet is placed on the central column on the south side of the north choir aisle in Westminster Abbey, and is sur- mounted by a mask and sacred lamp. There are, I feel sure, no arms upon it. Are not the Purcell arms carved on the inscribed slab which marks his grave in the floor near by? This slab, with its Latin inscription, is not even mentioned in five guides to Westminster Abbey which lie close to my hand, but each and all refer to the tablet as apparently his only memorial. I am sorry I have no copy of the arms taken from the memorial slab, but I may mention that a photo-litho of an old engraving of Purcell at theageof twenty-four was given in Church Bells of 15 November, 1895. It contains a shield of arms at foot which is only partly readable, as follows : Barry wavy of six argent and (?), on a bend sable three boars' heads couped (?). Perhaps some one will kindly visit Purcell's grave, and record both arms and inscription therefrom. JOHN T. PAGE.
West Haddon, Northamptonshire.
GROAT : BITS (9 th S. ix. 84 ; x. 454, 491). Besides the use of bits in the West Indies, as described by MR. UDAL, it is of interest to note that in Portuguese, at all events as spoken in Madeira, "bit" is the well - acclimatized and usual name for the 100-reis silver coin current there, and I believe
it to be so called throughout Portugal. The
coin is known also as a testad, but " bit" is
by far the commoner name, even among the
native population.
There is a silver 50-reis piece called " half bit," but it is less in evidence than the " bit." Small change is mostly copper, 10 and 5 reis pieces. ' H.E.D.' treats of "bit" in this sense only in connexion with Spanish money in English-speaking colonies, whereas it is to-day adopted into the Portuguese language.
The word " groat " still survives in our provincial speech as a measure of value, though not as the name of a coin. One of our commonest West - Country sayings to express exactitude is " 'Tis so near as four- pence is to a groat." F. T. ELWORTHY.
Wellington, Somerset.
" GOOD AFTERNOON " (9 th S. x. 467). Among country people of the middle class it was very generally thought a sign of " uppishness " to say " good morning " after about one o'clock in the day. The idea was that you wanted to convey the impression that you dined late, " afternoon " being taken as equivalent to "after dinner." I speak of a time between thirty and forty years ago. C. C. B.
NOTES ON BOOKS, &c.
French Engravers and Draughtsmen of the Eigh- teenth Century. ByLadyDilke. (Bell & Sons.) WITH this account of French engravers and draughtsmen Lady Dilke completes her admirable and delightful history of French art in the eigh- teenth century. Four volumes in all, dealing re- spectively with painters, architects and sculptors, decorators and designers of furniture, and engravers, constitute a work which is a notable product of taste and erudition, and makes irresistible appeal to the lover of art. Of these works the last has been, we gather, the most difficult. It is also, we make bold to say, the most general in appeal. By the majority a knowledge of eighteenth-century paint- ings, sculpture, furniture, architecture, and decora- tions is only to be obtained by long residence in Paris, frequent visits to the French provinces, constant study in museums, and admission into the galleries of collectors. At no very extravagant outlay say that of a good Kelmscott reprint however, a man may secure for his private delectation and gloat over at leisure the ' Contes de La Fontaine ' of 1762, the 'Metamorphoses d'Ovide' of 1767-71, the Decamerone ' of 1757, the Moliere of 1734, the Tel6maque ' of 1731, the ' Amours Pastorales ' of 1718, and ' Les Baisers, precedes du Mois de Mai,' 770, or ' Les Fables,' 1773, of Dorat ; while if he is ontent with exquisite designs to Ariosto or Tasso jhe price will not approach that of a modern Edition ie luxe. He may even come across Gravelot plates ,o an English Shakespeare of no great repute or a Dry den's Plays' to be purchased for a dozen shillings.
