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All words are fully explained, and their various uses and significance are illustrated by ample citations from old ballads, legends, and classic authors, from Allan Ramsay to Burns and Scott. London: WHITTAKER & CO. 2, White Hart-street, Paternoster-square. Just published, Vol. IV., containing Additional Notes and References, and completing the Work, TEUTONIC MYTHOLOGY. By JACOB GRIMM. Translated from the Fourth Edition, with Notes and Appendix, by JAMES STEPHEN STALLYBRASS. Demy 8vo. 4 vols. 31. 3s. ; or separately, Vols. I.-III. 15s. each. Vol. IV. 188. "The best extant introduction to the studies of mythology and folk-lore. A handbook for travellers abroad and observers at home."-MR. F. YORK POWELL in the Academy. "These three volumes are a store of curious learning."-Spectator. Used as the standard of Orthography in the Postal Telegraph Department. In Leather Bindings, viz.: Half-Calf, 30s.; Whole Calf or Half-Russia, 31s. 6d. ; Whole Russia, 21. With several valuable Literary Appendices, and 70 extra pages of Illustrations, grouped and In Leather bindings, viz.: Half-Calf, 21.; Whole Calf or Half-Russia, 27. 28.; Whole Russia, 21. 10s. "Certainly the best practical English dictionary extant.”—Quarterly Review, 1873. Prospectuses, with Specimen Pages, sent post free on application. London: GEORGE BELL & SONS, 4, York-street, Covent-garden. LONDON, SATURDAY, DECEMBER 15, 1888. CONTENTS.-N° 155. NOTES:-Pastels, 461-Dogs mentioned by Scott, 462-Protestant and Papist, 463- Gospel of Barnabas,' 464-Gallicized English, 465-Folk-lore - Bed-rock-Missal-Spellbinders Inscriptions on Houses Relics - Omniboats: Electrolier, 466. QUERIES:-Children-Latin Motto-Dress of London Apprentice-Lord Lisle's Assassination-Highering-Thomas Lucas-Anagram on Voltaire-John, Earl of WertheimYeomanry Medal-Buonaparte's Habeas Corpus, 467- Book Mayor's Title-Burial of Horse with Owner-Monkey Island of Jasher-William Parry-English Poets-Hugh Fraser Collingwood - Eppingen - Saloop - Dominican RulePoetic References to Lincoln, 468-Burlingbrook-Anonymous Poem-Joseph Forsyth-"Crito "-Authors Wanted, 469. REPLIES:-Shakspeare, 469 - Great Cryptogram, 470-A Curious Dance round a Curious Tree-Anne HathawayCaptain of the Achilles-Wooden Walls-Heraldic-Author of Work Wanted-Rowlandson, 471-Vaseline for BooksLeather Coins-Ice-The Waterloo Ball-Don Saltero's Elsibeth Players-Boswell - Friar's Lanthorn-"To join giblets," 473-"Our Father"-Isaac D'Israeli-Death Warrant The Star Chamber'-Ball of Stonehouse-Drinking enses, 475-Prototypes of Robinson Crusoe-Faroe Isles Burial-place of George I.-Vine in England-Abbey of Fesle, 476-Marriage Presents-Poison, 477-Mistakes in Dickens -R. Wyer-Indian Pale Ale Lord Bateman'- Lord Chancellor Harcourt - Academic Heraldry, 478-Harleian Society-Authors Wanted, 479. Coffee House, 472- Jack Drum's Entertainment'-Riddle Health in Blood, 474- Russia-'Alumni Westmonasteri The autumn exhibition (1888) of the Grosvenor Gallery has been the "first exhibition of pastels in England; and the exhibition to be opened Jan. 1, 1889, is to be "supplemented by an exhibition of English pastels by Russell and others." I would ask, What is meant by pastels? This is a query that has not yet been propounded in the pages of 'N. & Q.'; perhaps because every one knows. And I would further ask, Should not pastels be more properly written pastils? According to Dr. Johnson, pastel is " an herb." Then he gives " Pastil, n.s. (pastillus, Lat. ; pastille, Fr.), a roll of paste. To draw with dry colours, make long pastils, by grinding red lead with strong wort, and so roll them up like pencils, drying them in the sun'-Peacham on Drawing." In N. Bailey's English Dictionary' (fourteenth ed., 1751) I find "Pastel, a plant called woad"; and then, "Pastil (pastille, F. of pastillus, L.), a Crayon for painting." And he defines "Crayon, a Pencil of any sort of colouring Stuff, made into Paste and dried, for drawing in dry Colours on Paper, &c. F." And Dr. Johnson says, "Crayon, n.s. (crayon, Fr.), 1. A kind of pencil; a roll of paste to draw lines with. Let no day pass over you without drawing a line; that is to say, without working, without giving some strokes of the pencil or the crayon '-Dryden's Dufresnoy. 2. A drawing or design done with a pencil or crayon." It would appear, then (to answer my own query), that crayons are the same as pastels-or pastilsrolls of coloured paste, so soft and friable that they may be blended by means of a leather stump or the delicate touch of the finger. The vehicle used specially adapts itself to the representation of portraits, with silks, laces, jewels, satins, furs, &c. The great English crayon-painter, John Russell, R.A., in his work Elements of Painting with Crayons' (Dublin, 1773), throughout speaks of crayons," and not of "pastels" or "pastils," except once, in section vi., "Of Rolling the Crayons, and Disposing them for Painting," when he says, The different composition of colours must be cut into a proper magnitude, after they are prepared, in order to be rolled into Pastils for the convenience of using them." He says that the best crayons for brilliant greens were made in Lausanne, in Switzerland, and were imported by Mr. Bonhote, Hay's Court, Soho. In Newman's 'Catalogue,' 24, Soho Square, not many years since, among the chalks and crayons are "Soft Swiss Crayons," "Finest Pastel Crayons," and "Wolff's Creta Lævis Pencils." These were crayons enclosed in cedar, similar to lead pencils. They enabled the sketcher to depict the landscape before him, with deft rapidity, in the greens, blues, reds, browns, and other colours that were presented to the eye. I think that cases of these pencils of assorted tints first appeared about the year 1845. At any rate, in 1847 and the two following years I took up the new fashion with avidity; and I still possess several sketches that I made at Kenilworth Castle and other places, drawn with these coloured pencils known as "Creta Lævis." Once, at the London Aquarium, I saw the performance of a peculiar artist, who was called "the Lightning Cartoonist "; and the startling landscapes and seascapes that he most rapidly produced in coloured chalks very much reminded me of the glaring effects in yellows, greens, reds, and blues that I was wont to bring forth by the aid of “Creta Lævis." My friend the Rev. J. G. Wood is perhaps the only artist who, in his popular "sketch lectures," knows how to use brilliant crayons for the instruction as well as the amusement of the crowded audiences who gaze on his huge black canvas, and wonder what he is going to draw upon it. I think that the "Creta Lævis" pencils must have gone out of fashion, together with those cardboard "scrapetints," from which the amateur artist, by aid of his penknife, could produce his high lights-and they certainly were very high lights-and thrilling effects of snow and moonlight. In the large entrance hall of my present home, among other paintings, hang eleven crayon portraits, life-size and half-length, of various members The For several of the names I am indebted to the Waverley Dictionary,' by May Rogers (Chicago, 1879), a very useful and, so far as the information contained in it is concerned, a very trustworthy book, but disfigured by very numerous misspellings of names. It is a pity that the authoress, who has otherwise taken great pains, and who seems to know the Waverley Novels almost by heart, did not revise her proofs more carefully. Perhaps in later editions these errors have been corrected. My own copy is, I believe, the first edition. As I do not suppose my list is complete, your correspondents can supply any omissions they may notice. of my father's family in the last century. largest and best is one of which I have had occasion to speak in these pages, and therefore I will now only say that it is the portrait of a clergyman, in wig, gown, bands, and chaplain's scarf, and that it is the work of John Russell, R.A., and a very brilliant example of that once popular artist and pupil of Francis Cotes (1725-1770). Russell was born in 1744, and died in 1806, and the picture in my possession (undated) was probably drawn between 1780 and 1790. Russell obtained his R. A.ship in 1788, the year in which he made his crayon portrait of R. E. Sheridan, ætat. 37, now in the National Portrait Gallery. I have seen in the Louvre an exquisite specimen of Russell's crayons, representing, life size, a bright little girl, looking Maida, stag-hound, the prototype of Bevis in to the spectator and holding up cherries with her 'Woodstock'; Bran, Nimrod, stag-hounds; Hamright hand, while she carries a basket of cherries let, Douglas, Percy, greyhounds; Camp, bullwith her left hand. In the Surrey Art Loan terrier; Spicey, terrier; Finette, setter.-Sir Exhibition, held at Guildford (Russell's birth-Walter's own dogs. place), June, 1884, the Large or Western Hall, Room No. 2, was mainly devoted to an exhibition of the "Works by John Russell, R.A." It is said that he exhibited in London 337 pictures. The one in my keeping has been in the possession of the family from the time when it was painted, and has never been exhibited. Its dimensions are 22 in. by 17 in., and of course it is under glass,' as are the ten other crayon portraits that now hang in my hall. Seven of these (19 in. by 15 in.) are by "Saunders," dated 1750. Who Saunders was I do not know. He is said to have been residing at Stourbridge, Worcestershire, when these portraits were painted, and the father, mother, two sons, and three daughters whom the seven pictures represent were living within five miles of Stourbridge. The portraits are extremely good and pleasing, and as fresh as though they had just | come from the painter. Two other crayon portraits of old ladies (18 in. by 13 in.) may possibly be by Saunders, but are unsigned and have no date. The last crayon portrait (also 18 in. by 13 in.) has no name or date, and appears to be by a different artist and of an earlier period, as it represents a clergyman in wig, gown, and bands, who died early in 1730. These eleven portraits of members of one family afford a proof that in the last century no little popularity was given to crayons, pastels, or pastils. CUTHBERT BEDE. Pandour.-Mr. Skene's dog, mentioned with Camp in Marmion,' introduction to canto iv. Yarrow, sheep-dog.-' Marmion,' same reference as the last. Stumah (i. e., Faithful); Lufra.-'Lady of the Lake.' Ban, Buscar, deer-hounds; Bran, greyhound.Waverley.' Wasp, terrier; Mustard and Pepper, terriers ; Plato, spaniel; Yarrow, sheep-dog.-' Guy Mannering.' Juno, setter.-Antiquary.' Killbuck.-' Black Dwarf.' Elphin, spaniel ("Ye ken our dog's name, and it's no a common ane").—' Old Mortality.' Lucy, spaniel.-' Rob Roy.' Dustiefoot.-' Heart of Midlothian.' Balder, wolf-dog; Fangs, "a sort of lurcher, Talbot, Beaumont, boar-hounds. - 'Quentin Neptune; Thetis.- Redgauntlet.' Thryme, wolf-dog.-' Betrothed.' Charlot, spaniel.-' Fair Maid of Perth.' DOGS MENTIONED BY SIR WALTER SCOTT. Camp figures in three of Scott's portraits, the (See 'Names of Dogs,' 7th S. vi. 144, 269, 374.) best known of which is that painted by Raeburn I have compiled the following list of the dogs-in 1808, representing Scott sitting under a ruined limiting myself to those who are distinguished by wall, with Hermitage Castle in the background, a name-mentioned in the life and writings of Sir a book in his hand, and Camp-who I hope was Walter Scott, whose name is as proverbial as a not so fierce as he looks-at his feet. The frontisdog-lover as that of Victor Hugo is as a "child-piece to the sixth volume of the 1869 edition of lover," as Tennyson calls him in his fine sonnet. Lockhart's 'Life of Scott' is a full-length portrait |