Project Gutenberg's Willis's Current Notes, No. XVI., April 1852, by Various

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Willis's Current Notes, No. XVI., April 1852

Author: Various

Editor: George Willis

Release Date: September 13, 2013 [EBook #43710]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK WILLIS'S CURRENT NOTES, APRIL 1852 ***




Produced by Barbara Tozier, Bill Tozier, Emmy and the
Online Distributed Proofreading Team at http://www.pgdp.net






The cover image was created by the transcriber and is placed in the public domain.

[25]

WILLIS'S CURRENT NOTES
FOR THE MONTH.


No. XVI.]               "I will make a prief of it in my Note-Book."—Shakspere.               [April, 1852.

NOTICE TO SUBSCRIBERS

To the "Price Current of Literature."

G. Willis gratefully acknowledges the various interesting documents and letters he has received. He is anxious that it should be perfectly understood that he is not the author of any statement, representation, or opinion, that may appear in his "Current Notes," which are merely selections from communications made to him in the course of his business, and which appear to him to merit attention. Every statement therefore is open to correction or discussion, and the writers of the several paragraphs should be considered as alone responsible for their assertions. Although many notes have hitherto appeared anonymously, or with initial letters, yet wherever a serious contradiction is involved, G. Willis trusts that his Correspondents will feel the necessity of allowing him to make use of their names when properly required.


The Ancient Hebrew Harp.

coin

Sir,—In Kitto's Biblical Cyclopædia, vol. 2. p. 373, we find the following coin, on which is engraved an ancient harp surrounded by the letters, Fllth Chtr Phl, which may be construed thus:—

'The Felatah Cithara of Pul.'

After referring the readers of "Current Notes" to the "London Encyclopædia," word Falasha, and Prichard's Physical History of Mankind, vol. 1, "On the Races of People in the Interior of Africa," let us have recourse to Etymology for a further elucidation of this singular coin, and the Semi-Jewish tribe whose name it bears.

Felatah.—Hebrew פלט phalat, which by comparison with its cognates signifies, to separate from, retire into, (another country); and with its affix פלטה phalatah, or Felatah, signifying evasio, liberatio, residuum, &c.

Cithara.—Greek κιθαρα. Hebrew and Chaldee חטר chatar, a stick, (plectrum), to beat with a stick; therefore the instrument cannot be the עשׂוֹר asor, decachordon; but properly, I think, the harp or lyre that was beaten with the plectrum.

Pul.—Hebrew פול phul, or Pul, (Isaiah lxvi. 19.) "Africa, ea pars quæ apud Fesam."

Such is the value of rightly interpreting the ancient coins of various nations.

Yours truly,
T. R. Brown.

Southwick, Oundle, March 27th, 1852.


ARCHÆOLOGICAL PUBLICATIONS.

In compliance with the wish very generally expressed by G. W.'s Subscribers and Correspondents, particularly by S. E. ("Current Notes" for March, p. 22,) G. W. has collected the titles of the chief Archæological publications in England, and in France and Germany. The former he believes to be nearly correct, but the latter is necessarily very imperfect, with the exception of the North of France. Very few foreign Antiquarian publications find their way to this country, as reference to the libraries of the British Museum and the Society of Antiquaries will prove.

Publications of Antiquarian Societies, etc. in England and in France.

"Archæologia" of the Society of Antiquaries of London. Part I. Vol. XXXIV. 4to. 1851. Half a volume published yearly.
"Vetusta Monumenta" of the same Society; suspended for some five or six years, folio.
"Proceedings of," in 8vo. published for the Fellows, quarterly, Vol. II. No. 29, 1852.
Catalogue of the Kerrich Collection of Roman Coins, 8vo. 1852.
"Archæologia Æliana" of the Society of Antiquaries of Newcastle-upon-Tyne, Vol. IV. Part 1, 4to. 1846.
This work has been suspended since 1846.
Archæologia Scotica of the Society of Antiquaries of Scotland, suspended for many years, or, it may be said, defunct; it extends only to Part II. Vol. IV. 1833.
Journal of the British Archæological Association, Vol. VII. 8vo. complete, 1852.
Archæological Journal of the Archæological Institute, Vol. VIII. 8vo. complete, 1852.
(Vol. 1 of this work was compiled chiefly by Members of the Association, and records the Proceedings of the original institution before the secession and formation of the Institute.)
Sussex Archæological Collections, published by the Sussex Archæological Society, Vol. IV. 8vo. 1851.
Original Papers, published by the Norfolk and Norwich Archæological Society, Vol. III. Part 3. 8vo. 1852.
Proceedings of the Bury and West Suffolk Archæological Institute, established 1848, Vol. I. Part 5. 8vo. 1851.
Proceedings and Papers of the Historic Society of Lancashire and Cheshire, Vol. II. Part 1. 8vo. 1851.
"Archæologia Cambriensis," and Journal of the Cambrian Archæological Association, Vol. III. (new series) Part 2. 1852.
Journal of the Chester and Cheshire Architectural Archæological Society, Vol. I. Part 1. 8vo. 1850.

[26]

Proceedings of the Kilkenny Archæological Society?
Museum of Classical Antiquities, Part I. Vol. II. 8vo. 1852.
Collectanea Antiqua (by C. Roach Smith,) Part IX. Vol. II. 8vo. 1852.
Reliquiæ Antiquæ Eboracenses, (by W. Bowman,) Part II. 4to. Leeds, 1852.
Numismatic Chronicle and Journal of the Numismatic Society, Vol. XV. No. 1, 1852.

There are numerous other local Societies in England, but as they have never printed any proceedings they can scarcely be regarded as more than nominally Archæological Societies.

Foreign Societies, etc.

Society of Antiquaries of France, Proceedings, (Bulletin Monumental), 8vo. annually to 1851.
Society of Antiquaries of Normandy (Caen) Mémoires, 2e Série, 9e Vol. 4to. (Vol. XIX of the Collection,) 1852.
Society of Antiquaries of Picardy (Amiens,) Vol. XI. 8vo. 1851.
Society of Antiquaries of the West (Poitiers), Vol. XVIII. 8vo. 1848.
Society of Antiquaries of the Morini (St. Omer), Vol. VIII. 8vo. 1850.
Society of Emulation of Abbeville, Vol. VI. 8vo. 1851.
Société E'duenne des Lettres, Sciences et Arts, (Autun), Vol. II. 8vo. 1849.
Society for Historical Researches, etc. of the Grand-Duchy of Luxembourg, Vol. III. 4to. 1847.
Revue Numismatique (quarterly), commenced in 1836, 8vo. This work is very valuable, not only for the excellent papers it contains, but also for the numerous illustrations. Edited by MM. E. Cartier and de la Saussaye.
Revue Archéologique (quarterly), commenced in 1844. 8vo. Leleux, Paris—Curt, London. Also a valuable periodical.
Annalen des Vereins für Nassauische Alterthumskunde und Geschichtsforschung (Wiesbaden), 8 vols. 8vo. to 1850.
Zeitschrift des Vereins zur Erforschung der Rheinischen Geschichte u. Alterthümer in Mainz, (Mayence), in 8vo. and 4to. 1850.
Jahrbücher des Vereins von Alterthumsfreunden im Rheinlande, No. XVI. 8vo. 1851. Bonn.
Geschichte der vormaligen freien adeligen Benedictiner-Abtei Sunnesheim von Karl Wilhelmi, from 1831 to 1851, in 8vo. Sinsheim.

Most of these German publications are in thin yearly volumes without indices.

The Learned Societies and Printing Clubs of the United Kingdom, as existing in 1847, have been classified in an 8vo. volume of 307 pages, by the Rev. Dr. Hume, to which those who require information respecting their Origin, History, Objects, and Constitution, are referred. It contains full details as to Membership, Fees, their published Works, Notices of their Periods and Places of Meeting, with a General Introduction, and a good Index. As a book of reference, it is absolutely necessary for all public libraries.


The Origin of Yankee Doodle.—The "Transcript," (American paper), of 28th February last, contains the following pungent verses respecting

The Origin of Yankee Doodle,
AFTER THE MANNER OF THE OLD CONTINENTAL BALLAD
WRITERS, BY GEORGE P. MORRIS, ESQ.


Once on a time old Johnny Bull,
Flew in a raging fury,
And swore that Jonathan should have
No trials, sir, by jury:
That no elections should be held,
Across the briny waters:
"And now," says he, "I'll tax the tea
Of all his sons and daughters,"
Then down he sat in burly state,
And blustered like a grandee,
And in derision made a tune
Called "Yankee Doodle dandy."
"Yankee Doodle"—these are facts—
"Yankee doodle dandy:
"My son of wax, your tea I'll tax—
"Yankee doodle dandy."

John sent the tea from o'er the sea
With heavy duties rated;
But whether hyson or bohea,
I never heard it stated.
Then Jonathan to pout began—
He laid a strong embargo—
"I'll drink no tea, by Jove!" so he
Threw overboard the cargo.
Then Johnny sent a regiment,
Big words and looks to bandy,
Whose martial band, when near the land,
Play'd "Yankee doodle dandy."
"Yankee doodle—keep it up!
"Yankee doodle dandy!
"I'll poison with a tax your cup,
"Yankee doodle dandy."

A long war then they had, in which
John was at last defeated—
And "Yankee doodle" was the march
To which his troops retreated.
Cute Jonathan, to see them fly,
Could not restrain his laughter:
"That tune," says he, "suits to a T,
I'll sing it ever after."
Old Johnny's face, to his disgrace,
Was flushed with beer and brandy,
E'en while he swore to sing no more,
This "Yankee doodle dandy."
"Yankee doodle—ho! ha! he!
"Yankee doodle dandy—
"We kept the tune, but not the tea,
"Yankee doodle dandy."

I've told you now the origin
Of this most lively ditty,
Which Johnny Bull dislikes as "dull
[27]And stupid!"—what a pity!
With "Hail Columbia!" it is sung,
In chorus full and hearty—
On land and main, we breathe the strain,
John made for his tea-party.
No matter how we rhyme the words,
The music speaks them handy,
And where's the fair can't sing the air,
Of "Yankee doodle dandy!"
"Yankee doodle—firm and true—
"Yankee doodle dandy—
"Yankee doodle, doodle doo!
"Yankee doodle dandy."

Lord Mahon and General Greene and La Fayette.—C. F. D. presents his compliments to Mr. Willis, and with reference to the fifth paragraph headed "Scraps from the United States," which appeared in "Current Notes" for February last, p. 13, forwards him the following communication, which from the initials he presumes is from the pen of Mr. Hildreth, the historian:—

"The fifth and sixth volumes of Lord Mahon's History of England from the peace of Utrecht, have for a leading subject the early years of the American Revolutionary War. Writing from the English point of view, the proceedings of Parliament and the English side of the story naturally form the foreground of the picture, while the affairs of the colonies themselves—certainly the most interesting as well as the most important, not for Americans only, but for all historical students—fall into a distant perspective. The American part of Lord Mahon's book is very slight in its execution, made up mostly of anecdotes and extracts of letters, good as illustrations, but hardly as substance; indicating often but a superficial knowledge on the part of the writer, and conveying to the reader no distinct or connected idea of the American side of the story. With a great show of candour, 'My Lord' also evinces throughout a somewhat anxious desire to depreciate the 'rebels.' Thus Franklin is pursued with pitiful but persevering rancour, charged with falsehood and duplicity, because he, like most of the other Americans of that day, arrived at the point of separation and independence only by gradual steps; because his opinions and views of 1769 and 1775 did not correspond altogether with those of 1795; and because he appears to have spoken—as what was more natural?—with somewhat more of freedom and with greater dislike of the British connexion among his intimate associates than when addressing himself to the British ministry or to British statesmen.

A curious instance of this sort of spitefulness, which constantly exhibits itself throughout the book, occurs in the case of Gen. Greene, of whom Lord Mahon writes: "The command of this important post (Brooklyn) was entrusted by Washington to Gen. Greene, an officer of bravery and enterprise, 'but of intemperate habits;' and he adds, in a note, 'Greene, un général souvent ivre.' These are the words of La Fayette; Mém. et Corresp. Vol. I. p. 21, ed. 1837." The edition in the original French here quoted is not at hand, but in that published the same year at New York and London, in England, and like the French edition under authority of La Fayette's representatives, the entire passage above referred to, reads as follows: After an account of the appearance of the American army as first seen by La Fayette in the summer of 1777—about 11,000 men, ill armed, and still worse clothed, and very deficient in tactics, La Fayette adds: 'Lord Stirling, more courageous than judicious, another General who was often intoxicated, and Greene, whose talents were only then known to his intimate friends, commanded as Major Generals.' The other General here referred to was Stephen, who was cashiered not long after on that very ground, for his misbehaviour at the Battle of Germantown. And as there can scarcely be a doubt that this version gives the correct sense of the French original, there is room for apprehension that Lord Mahon is not only incorrect in giving only a part of a sentence, thus putting into La Fayette's mouth what he never said, but that even the order of the words has been changed, the name of Greene being removed from the end to the beginning of the quotation. Upon this point I will add something further, so soon as I can obtain the French original."

H. H.

The Sale of Antiquities, &c. which took place at Messrs. Sotheby and Wilkinson's rooms, on the 5th of this month, and two following days, although one made up by the dealers in such articles, attracted considerable attention, and many things, if not bought in, realised considerable prices; the total produce of the sale being, it is said, upwards of twelve hundred pounds.

pitcher
fig. 1.
pitcher
fig. 2.

In the first and third day's sale several lots of articles, well known to Archæologists as Celts, and of which the usual appearance may be recognised from figures 1 and 2, sold on the average for about half-a-crown each. A large quantity of antique gems—none of any extraordinary merit—in modern setting of gold, ranged from about ten shillings to two guineas each. There were some specimens of Irish ring money, which sold or were bought in at very high prices; and some appeared to have been tampered with, if not manufactured for the market.

The second day's sale contained many good Etruscan and Roman bronzes. A Winged Victory (Lot 222) was knocked down at £5. A Lamp with the original chain for suspension (Lot 238) at £5. 8s. An Etruscan stew-pan (Lot 256) at £5. 10s. And the Leg of a Roman Warrior, the foot sandalled (Lot 234) at £7. 7s. But the great object of the day was (Lot 266) a bronze figure of an Archer, which was stated to have been discovered[28] in July, 1842, while excavating for making a sewer in Queen Street, Cheapside, London, and which, if standing erect, would have been fifteen inches, but in its stooping posture the perpendicular height was about eleven inches. It has been described and figured in the Archæologia, vol. xxx. plate xxii. p. 544.

This really fine work of art was put up at 30 guineas, and, after a slight struggle, knocked down to Purnell B. Purnell, Esq., of Stancombe Park, Dursley, Gloucestershire for 125. The Etruscan fictile vases sold for about as many shillings as forty years ago they would have brought pounds, but the miscellaneous articles brought extraordinarily high prices. Two Necklaces of common Venetian beads (Lots 351 and 357) worth about half-a-crown each, were eagerly contended for, and the hammer fell at £2. 6s. The second day's sale closed with a struggle for various gold Etruscan fibulæ and ornaments, which went at high prices, and it was understood in the room that an Etruscan gold necklace, with a head of Medusa attached, was bought in at no less a sum than £50.

The third day's sale was less attractive. An exceedingly curious Lamp in bronze (Lot 470), of oval form, with four burners issuing from the sides, the handle formed of figures of grotesque animals, and stated to have been found near London Bridge, produced four guineas. There were a few (eight) illuminated Manuscripts, but none sold for extravagant prices. An Etruscan gold wreath, composed of masks and foliage worn round the helmet, from the Canino Collection (Lot 529) was secured by T. Crofton Croker, Esq., for £19. 10s. With the disposal of some Shaksperian relics this very miscellaneous sale closed, but they did not appear to be much coveted.

There were some fine and many desirable specimens, with a few of very doubtful character, and some unquestionable forgeries. The Earl Cadogan, Sir Gardiner Wilkinson, Dr. Henderson, and other amateurs of Art and Archæology, seemed to watch the progress of the sale with considerable interest.

N.

fireplace

The Golden Lion, Fulham, "should not," writes G.W.'s Correspondent, T. C. C. "be confounded with the Golden Lion, Brompton, the exterior decoration of which was figured in 'Current Notes,' No. III. for March, 1851, p. 22, with a facetious reference to Sir Charles Eastlake's speech at the Macready dinner." And it appears to G. W.'s Correspondent that T. M. in "Current Notes" for March last, No. XV. p. 19, and the Rev. Dr. Hume, of Liverpool, February, No. XIV. p. 10, are both in an unnecessary "fume" about what easily admits of explanation; if, indeed, the history of an old tobacco pipe required one. "Suppose," says T. M. "that I was in a hoaxing humour, and that no such Inn ever existed at Fulham as the Golden Lion?" "Now," continues our Correspondent, "I may as well suppose that no such person ever existed as T. M., but to prove that such an Inn existed at Fulham as the Golden Lion, I send you a series of twelve sketches which were presented to me by Mr. Henry Warren, the President of the New Society of Watercolour Painters, and which were made of and in it in April, 1836, previous to the old hostelrie being pulled down and replaced by a modern public house bearing the same name. You have my permission to engrave any one or two of these studies, and I have been assured that the oak panneling of some of the principal rooms was purchased by a dealer, and re-sold to the Earl of Ellenborough for the fitting of his Lordship's residence, Southam House, Cheltenham."

fireplace

Availing himself of this permission, G. W. has caused first to be engraved the Chimney Piece of the back room, ground floor, South side, and opposite the Chimney Piece, back room, first floor, as characteristic specimens of this curious old house.


Formation of the Union Jack.

Esplanade, Sidmouth, March 27th, 1852.

Sir,—The annexed may possibly be of use to H. M. in your "Current Notes" for March, but I am not able to refer to the work from which it is taken.

Yours obediently,
W. G. Clarke.

Mr. Willis.


St. George's red cross on a white ground, and St. Andrew's white cross (diagonally) on a blue ground. In 1800, St. Patrick's red cross, on a white ground, was added.

The flag should be constructed to shew the three crosses distinctly.


The Union Jack.

Yarmo, March 29th. 1852.

Sir,—"H. M." of the March "Current Notes," p. 20, enquires "the formation of our British Union Jack." To describe it in heraldic terms is as follows:[29] Az. a cross saltire argent encalved gules; over all a common cross, the same as first. I believe there are no given rules as to its proportion. This appears to be the best, viz. the breadth three-fourths of the length. But the inclosed, forwarded to H. M., will suffice for all.[A]

W.

The Union Jack and Monumental Brasses.

11, Montpelier Square, Brompton,
March 28th, 1852.

Sir,—Your Correspondent, H. M. will find a very curious history of the origin and formation of the Union Jack in Brayley's "Graphic Illustrator:" it is written by the late Sir Harris Nicolas, and the "absurd arrangement" of the National Flag elucidated by nine heraldic woodcuts.

Perhaps you will permit me to embrace this opportunity of saying a few words on the abstraction of Monumental Brasses from churches, which has attracted the attention of some of your Correspondents lately; one of whom throws the blame almost wholly on "the sectarian soldiers of Cromwell's time."[B] I am not desirous of defending these men, but I am desirous that modern Churchwardens should not screen their neglect by such an excuse. A slight research among our topographical works will prove, that a very large abstraction and destruction of such memorials has taken place in comparatively recent times. In the introduction to Cotman's "Brasses of Norfolk and Suffolk," he notes that "in 1800 the chancel of Ingham was completely swept of all its beautiful memorials of the Stapleton family. They were sold as old metal, and it was commonly reported by whom they were bought and sold; but nobody sought to recover them; neither minister nor churchwarden cared for any of these things." The beautiful brass (engraved in this same work) of Robert Attelath, Mayor of Lynn in 1374, was about forty years ago "given out of the church by the Churchwardens to a person who sold it for five shillings to a brass founder." The collection of rubbings from Brasses made about the same time and bequeathed to the British Museum by the late Francis Douce, present several since destroyed. The Journal of the Archæological Association narrates the fact of several removed from a country church because their rivets became loose, and "tripped up the old women who came to the fore seats in the aisle." I remember several instances of Brasses thus loosened, taken up and thrown in vestries or belfries, until they were sufficiently forgotten to be carried out and sold to the metal-founder. Some few Antiquaries have argued that they are better taken care of in their museums than thus exposed to destruction; and churchwardens being willing "to get rid of the ugly old things," many have disappeared this way. Let me, however, record one instance of honourable restitution. The effigy of an armed knight, of the Bacon family, (temp. Edw. I.) in Gorleston Church, Suffolk, engraved by Cotman, "in 1810 was gone, and supposed to be irretrievably lost; but at the sale of Mr. Craven Ord's curiosities, it was purchased by John Gage, Esq., who, with correct feeling and good taste, gave it back to the church, and Dawson Turner, Esq., at his expense, had it replaced in its original position." Surely, the soldiers of Cromwell have sins enough to answer for, without heaping those of modern Churchwardens on their heads.

I am, Sir, yours very truly,
F. W. Fairholt.

Mr. G. Willis.


Monumental Brasses of Lincolnshire.

The Lincolnshire Architectural Society propose to superintend the publication of the most interesting Monumental Brasses of that County. The work to be comprised in 12 parts, containing about five plates each; and published at intervals of two months: with a small volume of descriptive letter-press at the close of the series.

Brasses from the following churches (among others) will be included in this series:—Barton, Boston, Buslingthorpe, Great Coates, Croft, Covenham, Grainthorpe, Gunby, Hainton, Irnham, South Kelsey, Linwood, South Ormsby, Spilsby, Tattershall, Wrangle, &c.

The Rev. F. P. Lowe, Saltfleetby, Louth, is the Hon. Sec. of the Lincolnshire Architectural Society. But the work will not be issued till a sufficient number of subscribers, at £1 4s, or at about 6d per plate, has been obtained to ensure the Society against any loss.


Archæological Societies, and their Works.

Northampton, March 14th, 1852.

Sir,—I am rather amused (see p. 12 "Current Notes" for February last) at the apparent strength of Architectural Science in the Midland Counties. There are, it seems, four Societies, and in one year they publish almost one volume! If four Societies can only produce one "handsome octavo volume" in so long a period, I should suggest their dissolving themselves, and let some one active and competent member do the work. The truth is, half of these Societies are merely architectural Mrs. Harrises—talked about, but seldom or never seen. One liberal man, who would give a couple of hundred of pounds towards a work published by some creditable architect, would beat them all.

I am, Sir, yours truly,
Anti-Socialist.

Mr. Willis.


Wierx, the Engraver.

April 2nd, 1852.

Sir,—I shall be obliged by any reference you can give me, through your interesting columns, to the works and date of an old engraver, "H. Wierx," and oblige

Yours,
W. W. C.

Mr. Willis.

[30]


The Pillar Print of Oliver Cromwell.

Brompton, April 10th, 1852.

Dear Sir,—-As this famous Portrait seems to be an object of interest to several of your subscribers, I take the liberty of adding my mite of information concerning it. In the March Number of "Current Notes," p. 21, it is stated that Caulfield valued a good impression of it at £36, but your Correspondent remarks, that "this was all very well for a dealer's valuation," adding, that the one sold at the Strawberry Hill sale was bought by a printseller for £7. 15s. That Caulfield was nearly right in his appreciation, I find confirmed by reference to the Catalogue of the 'extensive and choice collection of Prints' formed by my uncle, the late Robert Morse, Esq. of Clarges Street, Piccadilly, which was sold by auction by the well-known Dodd, May 15th, 1816, and 27 following days. This portrait (Lot 1335), described as "an excellent impression and of the utmost rarity," sold for £30 19s 6d. This, it is true, was in the high and palmy time of print-collecting, as the prices of a few others will testify. James I. by W. Pas, sold for £14 3s 6d. Edward Somerset, Earl of Worcester, by Simon Pas, for £9 9s. Edmond Baron Sheffield, for £10. Sir Julius Cæsar, by Elstracke, for £10 10s. Frances Bridges, Countess of Exeter, by Faithorne, for £10. Lot 3602, Strutt's Dictionary of Engravers, illustrated by 2820 prints, exhibiting specimens of the works of 1680 different engravers, bound in 18 vols. sold for £288 15s. Lot 3600, Vandyck's Works, a magnificent collection of engravings after his paintings, for £198; and others in the same proportion.

Your obedient servant and collaborateur,
Charles Edmonds.

Mr. Willis.


Tokens of the Seventeenth Century.

The notice of Tradesmen's tokens, inserted in the "Current Notes" of Feb. 25th, has attracted more attention than I expected, as besides the letters published in the Notes of March 25th, I have had direct communications from Andover and Downpatrick. In reply to the obliging letter of "K. L." Dublin, I beg to say, that I had seen the engraving of the Cork farthing in Mr. Lindsay's work, but as I did not sufficiently express my meaning, I will now explain what I meant by "the Commonwealth Arms," viz. that the two shields of Arms of England and Ireland were side by side, as shewn on the Token engraved in the "Notes," and precisely in the form they appear on the Coins of the Commonwealth, not separate as on the Cork farthing, one shield on the obverse, the other on the reverse side. They are all scarce: I do not know a single example of these Arms on an English token. Dr. Smith's Catalogue of Irish Tokens was unknown to me; I shall take the first opportunity to procure a copy.

My chief object in writing the notice was to get any information concerning the Tokens of Scotland, whether there are any besides the Royal tokens. The Scotch tokens of the 18th Century, mentioned by your correspondent "M. A. M." are well known, and engraved in the excellent work by Charles Pye, on the "Provincial Coins and Tokens issued from the year 1787 to 1801, Birmingham, 1801."

The following passage from Thoresby, the Leeds historian, who was a celebrated Numismatist in his day, gives the best information I can find on the subject: he says:—

"When private persons first obtained liberty of having their own names inscribed on the Tokens, I cannot learn. Sir William Dick had that favour in Charles I.'s time, but that was in Scotland. It seems to have been otherwise in England. I have by me a copy of an order in Council, whereby it appears that only the King's farthing tokens should be current here,[C] and the privilege of coining them was granted to the Duke of Lennox, and the Marquis of Hamilton, under the Great Seal."

The passage is obscure, and does not sufficiently give the information wanted, as the great bulk of these tokens were issued during the time of the Commonwealth and the reign of Charles II.

The study of Tradesmen's tokens has met with such unmerited contempt from some of our ablest antiquaries, that it seems rash to attempt an apology for them; but any one who is well acquainted with them knows the fund of amusement and instruction that may be derived from them, and if they continue to be slighted as they have been, many specimens will be irretrievably lost to future antiquaries. A few further remarks on them may be interesting to your general readers.

After a careful calculation, I cannot estimate the number of these tokens at less than 40,000, and I think that number less than the real quantity; from various correspondence with collectors, I always find that they have a large number different to mine. Mr. Akerman has described 2461 in his list of London Tokens only. The great loss to the public compelled the Government to put them down under the severest penalties: very large numbers may be picked out of a collection, which would require a dozen to weigh a modern halfpenny; their paltry intrinsic value, no doubt, prompted many unprincipled shopkeepers to issue them, from the profit they derived from the quantity which would be lost, owing to their small size. There is scarcely a village that had not its local currency. I possess tokens of 684 cities, towns, and villages.

Amongst the different trades and professions which appear on the tokens, that of a Musician is seldom met with: the following is an interesting example, and furnishes an early example of Punch—

two coins

[31]

Henry Laude, Newark, says, "Noe want where these are." The cruel sport of cock fighting is on the token of William Docker, of Leeds, drawer. Gateshead has a punning coat of arms—a goat's head: to the lovers of Heraldry there is a fund of amusement; besides the Arms of the Trading Companies of London, we have the Arms of Corporations, and families. Many of the Corporations issued their tokens: Wotton-under-Edge has, "This farthing token will be owned by the Mayor and Aldermen." The Bristol Corporation farthing is of good size and execution: many different dies were used. It is an exceedingly common token, and remarkable, as being the only one issued in that important commercial town. Many names of towns appear on these tokens, which would puzzle a gazetteer to find out: two names occur to me at this moment, Ozed and Fairefax.

To those who are interested in Tokens, I would recommend the "Reliquiæ Antiquæ Eboracenses, or Remains of Antiquities in Yorkshire," which can be supplied by you: two numbers are published, each containing a plate of Yorkshire Tokens.

William Boyne.

Leeds, April 1852.


The Percy Society have resolved "that considering the present circumstances of the Society, it is expedient that the Society be dissolved at the close of the current year, (30th April next); and that the Books which remain in hand be divided amongst those Members, then not in arrear of their subscriptions, so far as the stock will allow, and with advantage of priority in proportion to the period of subscription."


Monument to the Poet Blair.—"The Glasgow literati propose to erect a monument at Athelstaneford, to the memory of Blair, the author of "The Grave," and other poetical works. Blair was long the parish Minister of Athelstaneford, and is buried in the grave-yard there."—Sunday Times, 11th April.


Boccaccio's Decamerone.

Your Correspondent W. B. M. ("Current Notes" for March last, p. 20), will find a curious account of the auction sale of the Boccaccio, in the third volume of Dibdin's Bibliographical Decameron, and a minute description of the precious volume itself in the Bibliotheca Spenceriana, Vol. iv. It is not however "unique." There was a copy in the Blenheim Collection, and another somewhat defective and "cruelly washt and cropt," in the Royal Library at Paris,

Yours truly,
A Bookworm.

Mr. Willis.


William Denham.—Who was a Member of the Goldsmith's Company in the reign of Elizabeth. F. R. S. enquires, "Can any of G. W.'s Correspondents give me any particulars respecting him? If so, I should feel much obliged."


Shakespeare's Characters.

Gainsborough, March 15, 1852.

Sir,—There has gone the round of the papers a paragraph, stating that though individuals of almost every nation appear as characters in one or other of Shakespeare's Plays, yet there never occurs an Irishman. I do not know whether this has been contradicted or not; but it is capable of contradiction, as a distinguished Prelate proved to me by taking down his volume of Shakespeare, containing the Play of Henry V. There in the 3rd Act, Scene 2nd, Fluellen, the Welchman, holds an animated and very characteristic conversation with Capt. Macmorris, an Irishman. The original can be consulted. The Irish peculiarities are well hit off. So much for the charge of omission which has been brought against our great Bard,

I am, Sir, yours, faithfully,
C. S. B.

Mr. Willis.


Queries.

Sir,—I shall be greatly obliged if you will permit me to propound the following queries in your "Current Notes:"

1. Is any endeavour being made to complete that vast work, the "Acta Sanctorum," the last volume of which was published at Brussels in 1845?

2. Where can I see a list of the persons on whom it was proposed by Charles the Second to confer the Order of the Royal Oak?

3. Is there any English translation of the "Aurea Legenda" besides the one by Caxton, and has that translation ever been reprinted?

E. P.

Autographic Biography.

March 6, 1852.

Sir,—I have taken some little pains to find out S. S.'s quere ("Current Notes," Feb. p. 15), without further success than to presume (in the absence of a facsimile) that the "Orford" must be the Earl created 1742, there being a "Kendal" title then in existence: extinct 1743. Your correspondent can, without great difficulty, compare it with those mutilated documents, I should say, that have been so frequently dispersed at the various sales from the stock of Messrs. Upcott, Cole & Co., originally in the Exchequer State Paper Office, from whence no doubt it came.

Yours,
"Magog."

Mr. Willis.


Mrs. Boddington.

29th March, 1852.

Sir—Perhaps some of your readers will kindly afford me some information relative to Mrs. Boddington, authoress of The Gossip's Week, Reminiscences of the Rhine, Sketches of the Pyrenees, and a volume of Poems, published by Longman & Co. in 1839?

Yours obediently,
W.

[32]

The Arctic searching Expedition.—No less than twenty Flags have been presented to Captain Sir Edward Belcher, designed and embroidered by the fair fingers of his relatives and friends. Previous to the sailing of the "Assistance," they were displayed on the quarter-deck of that ship, for the inspection of the distinguished visitors who repaired on board to take leave of this distinguished, gallant, and enterprising officer. The following list of their devices and mottoes may not be an uninteresting record:—

1. Black pouncing eagle, white ground, scarlet border. Motto, on scarlet ground,

"SPEED TO THE RESCUE." C. B.

2. Golden lion, blue ground, scarlet border. Garter enclosing, with motto in black,

"WHILST I BREATHE, I HOPE." M. R.

3. Gold anchor, blue ground. Motto,

"HOPE ON—HOPE EVER." E. M.

4. White bear, blue ground. Motto,

"BEAR AND FORBEAR." C. M.

5. Spade, ice-saw, pickaxe, bright green ground. Motto, on black scroll,

"PERSEVERE AND PROSPER." S. C. M.

6. Gold star, crimson ground,

"LEAD THOU US ON." S. A. W.

7. White dove, blue ground. Motto, on scarlet,

"GO FORTH IN FAITH." M. L.

8. Gold star, blue ground. Motto,

"FAITHFUL AND TRUE." E. B.

9. Green wreath, crimson ground. Motto,

"NONE BUT THE BRAVE DESERVE THE CROWN." I. W.

10. Gold lion, scarlet. Motto, on blue garter,

"DANGERS DO NOT DAUNT ME." F. E. P.

11. Fleet greyhound, blue ground. Motto,

"SWIFT ON MY COURSE." C. G. P.

12. Family crest, blue ground. Family motto, on garter,

"LOYAL AU MORT." H. B.

13. Purple, crimson ornament, blue ground. Motto,

"SUCCESS TO THE BRAVE." M. B.

14. Orange silk. Motto, in purple,

"BE OF GOOD COURAGE." M. L. B.

15. Crown in centre. Swallow-tail shape. Gold and blue. Motto,

"SUCCESS TO THE BRAVE." A. S. B. T.

16. Enclosed in a garter, a setting sun; on the garter, a white daisy.

"I WATCH FOR YOUR RETURN." M. A. P.

17. White centre, scarlet border. Motto, in purple,

"BY FAITH AND COURAGE." C. T.

18. Star, white and silver, blue ground. Motto,

"NEVER DESPAIR. VICTORY FOLLOWS THE BRAVE." F. M. H.

19. Greek oak wreath, "BLANCHE" in centre, maize ground. Motto,

"BRIGHT EYES FOR BRAVE HEARTS." B. T.

20. An eagle on rock, breaking his chain, light blue; in the four corners, the initials H. D.—I. D.—S. D. and U. D., light blue ground. Motto,

"ADVERSA REPELLO VIRTUTE." L.

This flag was understood to have been the work of the Hon. Misses Denison, and to have been presented to Sir Edward Belcher by Lady Londesborough.

The flag, said to have been presented, with the motto, "GO IT, NED," was not among the number exhibited.

An Easter Monday Visitor to Woolwich.

To Correspondents.

Orientalis.—In type; must stand over.
The Dramatic Register for 1851, received.
Mr. Meadley.—Four communications, W. S. G., "Wm. Dodd," G., and "A Bookworm," in type, but must stand over.
Pilgrim's Badge, Venice, 26th February, 1852.—Ditto.
An Artist.—Doorway in Woking Church, Surrey, must, and will, be considered.
R. B., New York, 19th March.—Received, and will be attended to.

Literary and Scientific Obituary.

Anderson, Rev. Christopher. Gaelic Scholar, "Annals of the English Bible," &c. Edinburgh. 18th Feb. Aged 70.
Brown, Samuel, Captain Sir. Inventor of Chain Cables, Bridges and Piers of Suspension. Vanbrugh Lodge, Blackheath. 13th March. Aged 76.
Buchanan, Alexander of Govan. Lyric Writer in Glasgow periodicals. 15th February. Aged 38.
Cavé, M. Formerly Director of the Fine Arts in the Ministry of the Interior. Paris. Recently.
Drechsler, Joseph. Musical Composer and Writer. Vienna. Recently. Aged 70.
Gay, Madame Sophie. Journalist. Paris. 4th March.
Jones, Rev. Evan. Welsh Scholar. Editor of various Welsh periodicals. Cardiff. 23rd Feb. Aged 32.
Landseer, John, A.R.A. Engraver and Archæologist. March 29th. Aged 91.
Marchetti, Giovanni. Italian Poet. Bologna. Recently.
Marrast, Armand. Editor of the National before the Revolution of 1848. Paris. March.
Merle, M. Dramatic Critic. Paris. 27th February. Aged 67.
Raupach, Ernest. Dramatic Writer. Berlin. 18th March.
Saint-Edmé, M. Author of the "Dictionnaire des Peines et des Délits de l'Europe," and joint author with M. Sarrut of the "Biographie des Hommes du Jour." Paris. Recently (by his own hand).
Seddeler, M. Military Encyclopedia. St. Petersburgh. 3rd March.
Shoberl, Frederick, jun. Printer. 51, Rupert Street, Haymarket. 22nd March. Aged 48.
Taillefer, M. Ex-curator of the Lyceums of Versailles, and of Louis-le-Grand. Paris. Recently.
Tucker, John, Montmorency. (Colonel late 27th Enniskilleners and a Waterloo Officer.) "Biographies of Wellington and Nelson," &c. Huggens's Asylum, Northfleet, Kent. 22nd February. Aged 72.
Watts, W. Engraver. Cobham, Surrey. 7th December. Aged 99.
West, Jane, Mrs. Poetry and Novels. Little Bowden, Market Harborough. 25th March. Aged 93.
Winterfeldt, Rodolphe de. Musical Writer. Berlin. Recently. Aged 67.
Wright, Andrew Biggs. History of Hexham, &c. Bexley Heath, Kent. 3rd March.

FOOTNOTES:

[A] H. M. will find the drawing so kindly forwarded addressed to him at the Publisher's.

G. W.

[B] See communication from "One of the Executors" of the late Sir Samuel R. Meyrick, printed in "Current Notes" for January last, p. 2.

[C] The word "here" is ambiguous; I suppose "in Scotland" is intended.


Transcriber's Notes:

Obvious punctuation errors repaired.

Page 1, "עשׂוֹן" changed to "עשׂוֹר"






End of the Project Gutenberg EBook of Willis's Current Notes, No. XVI.,
April 1852, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK WILLIS'S CURRENT NOTES, APRIL 1852 ***

***** This file should be named 43710-h.htm or 43710-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/3/7/1/43710/

Produced by Barbara Tozier, Bill Tozier, Emmy and the
Online Distributed Proofreading Team at http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.gutenberg.org/license.


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.