wife appeared at the gate, and said, 'My husband 1s been out since morning.' After being astounded with this New Year's lie, they went back home

roaring with laughter."

Evidently the same romancist adapted this story in an episode in his reputed 'Kochô Monogatari,' 1810, a Japanese 'Gulliver's Travels.' There, in the narrative of the Land of Lies, the hero Musôbyôe has been promised by Yajirô, the great master of lies, that he shall hear the first example of his mendacity on New Year's Day-when he calls on him, but is told by his wife he is absent. Thinking that conscience has suddenly made the liar ashamed of his own habit and fly from his presence, he determines to go home; but after taking a few steps round the corner of the house, he discovers through the window the liar quietly enjoying a pipe of tobacco. Much irritated with the meanness of the liar's conduct, he rushes into the room and censures him for his cowardly way of putting off his guest. Perfectly contrary to his expectation, the liar, in composure, gives him this reply:

"I invited you to come and hear my first lie to-day. And whatever dexterous falsehood I could tell at our meeting, would it not have been anything but a lie to have kept my promise, had I seen you according to our compact? Now you were about going home, firmly believing as a truth what I caused my wife artfully to tell you, when you happened to discover that was another lie. So, you see, I have just displayed my unique art in doubly deceiving you on one occasion."

Perhaps some correspondents can inform me of other instances of such adroit mendacity. KUMAGUSU MINAKATA.

"Queen," and followed by a score of girls, who executed morris dances in good style. The "King's" garland was afterwards hoisted and there left to wither. The parish register with ropes to a pinnacle of the church tower, rod to hang ye ringer's garland in, 8d." contains an entry of 1749,"paid for an iron W. B. H.

"NEWSPAPER." (See 8th S. vi. 508; vii. 112, 237, 432; ix. 294; 9th S. v. 34.)-I would add to my previous illustrations of the earliest recorded use of the word "newspaper" one of 1679, which comes between the two dates already given. In this case it is employed by so distinguished an authority as Sir William Temple, who, writing to the Earl of Danby from the Hague, 23 January, 1679, refers to the part that politician's name "had in the last newspapers and journals from England" (Historical MSS. Commission, Fourteenth Report, Appendix, part ix. p.399), that being the period of his threatened impeachment because of his conduct as Lord Treasurer. But the Earl of Lindsey, writing to the same peer two years later (14 May, 1681), uses the older form in the sentence, "The news books informed me this morning of Fitz Harris his trial" (ibid., p. 433).

ALFRED F. ROBBINS.

"OFFICER": "OFFICIAL."-In the American railroad world these two words are used almost interchangeably as substantives. When there former implies a higher rank than the latter. is any distinction made between them the

Chicago, U.S.

E. F. McPIKE.

shore," in the volume of Campbell's 'Poems ' "OONALASKA."-Annotating "Oonalaska's which he has just edited for the Golden Treasury" series, Prof. Lewis Campbell writes as follows:

an island in the Aleutian group off the Alaskan "The name Unalaska is given in recent maps to promontory; and General Sir C. Wilson, K.C.B., remembers hearing of it when he served on a boundary commission in 1862."

Mount Nachi, Kii, Japan. GREENWICH PALACE.-I had been wondering what excuse I might have for making this note, when I came across the title 'Vanishing London' in 'N. & Q.' of 4 June, on which day I went to Greenwich by boat, not having seen the palace from the river for several years. To my horror I found the palace vanishing. Two enormous shafts have been allowed to be built almost at the side of the palace as it appears as you arrive This vague and tentative statement sugby boat. The effect is to dwarf these mag-gests that Prof. Campbell is not sure of his nificent buildings so much that they will ground, and, indeed, provokes the inference never again impress the foreigner with their that he would not be surprised to hear that size. It is a shameful piece of vandalism. the island is a mere nominis umbra, and that the poet drew from his own unaided fancy

RALPH THOMAS.

ROYAL OAK DAY.-The Sheffield Daily Telegraph states that this celebration has just taken place at Castleton, in the Peak of Derbyshire, and that in the procession the character of King was sustained by a performer who has ridden the part for thirty years, he being accompanied by a male

The wolf's long howl from Oonalaska's shore. Geographers, however, state that the place is one of the Fox Islands in the Aleutian group, and that it is so substantial and definite as to be known to include within its borders "the parish church, the customhouse, and important trading establishments."

1

The first poem, 66 ascribed to Sir Edward allowed to share his rooms.
Dyer," as it is still, begins with the striking

verse:

My mind to me a kingdom is;
Such perfect joy therein I find,
As far exceeds all earthly bliss,

That God or nature hath assign'd.

I have always assumed this to be a genuine verse of Dyer, and used it lately as the best description I knew of the intellectual contentment of Herbert Spencer in his last days.

Since I have been reminded that in the 'Golden Treasury,' compiled by one of the Palgraves, the verse is differently given, I find Henry Morley, in Cassell's "Library of English Literature," Shorter English Poems,' no date given (why do publishers of repute issue books without any date?), follows Palgrave-or Palgrave follows him-in lishing the verse in the following way :My mind to me a kingdom is, Such present joys therein I find, That it excels all other bliss

Is there any record of a member giving up his rooms when he married? or did he still live there, and keep a separate establishment for his wife? Q. R.

DESECRATED FONTS.-I shall be glad to be supplied with instances of desecrated fonts. The following examples have lately come under my notice :

When visiting the church of St. James, Thrapston, in 1903, the Northamptonshire Architectural Society reported: "The ancient fourteenth-century font is in a garden in the town. A modern one has taken its place in the church."

The Rev. Thos. Jones, recently appointed vicar of Amblestone Church, Pembrokeshire, discovered the ancient font "fulfilling a pub-sphere of innocent usefulness in a house belonging to one of the oldest parishioners. It had been ingeniously adapted as a cheese press, and was still in an excellent state of preservation." It is interesting to learn that it has again been restored to the church.

That earth affords, or grows by kind. Here are several words changed, and the last line needs an interpreter to explain it. It looks as though Dyer (who died 1607) had been reading Darwin or Spencer without improving the quality or boldness of his first thought. The question I want answered is, Did Dyer write as I quoted him in 1847? And if so, who has altered it since? Has poor Dyer been bowdlerized, or annotated, or improved, or explained away, as is the fate of so many authors when they fall into the hands of modern editors?

Brighton.

G. J. HOLYOAKE.

BYRONIANA.-Who was the author of 'A Sequel to "Don Juan,' published by Paget & Co., 2, Bury Street, St. James's, without date? It is a book of 239 large octavo pages, containing nearly 700 eight-line stanzas, in five cantos. This question was a good many years since discussed in 'N. & Q., but never definitely answered.

Was Byron the author of (any of) Accepted Addresses,' published about the time of James and Horace Smith's Rejected Addresses' The bibliography of the latter is well known, but I have failed to find any clue to Accepted Addresses,' though it not long since appeared as a scarce item in a bookseller's catalogue. W. B. H.

INNS OF COURT.-It seems clear that during the Middle Ages the members of each Inn lived in chambers in the Inn. It seems also clear that the wife of a member was not

The font of Tideswell Church, Derbyshire, แ was rescued by the late vicar from a rubbish heap, where it had been placed by the Goths of the eighteenth century, who used it as a parish paint-pot when they beautified' the church with blue and mahogany paint."

I have myself seen several instances of ancient fonts relegated to a position amongst the monuments in the churchyard in order to make room for modern erections. This is only the first step towards desecration, or more often total destruction. I maintain that a font should never under any circumstances be cast out of a church. Even if a new one is absolutely necessary, the ancient receptacle should be fondly cherished and within the walls of the sacred edifice. reverently placed in some quiet corner

JOHN T. PAGE.

Beylics.

THE NAME JESUS.

(10th S. i. 428.)

THE full etymological history of this name may be seen in the New English Dictionary' under the word. Briefly, the full old Hebrew word Yehoshua', which was contracted in Old Heb. to Yoshua' (written in English Joshua), became in late Heb. or Aramaic Yeshua' (in English Bible Jeshua). In Greek, which did not possess the sound sh, but substituted s, and rejected the Semitic evanescent gutturals, Yeshu (ă') became Yesū' ('Inσov), in the nominative case Yesu'-s ('Inσous)." In Latin these were written in Roman letters IESU, nominative IESU-S. In Old French this became in the nominative case Jésus; in the regimen or oblique case Jésu. Middle English adopted the stem-form Jesu, the regular form of the name down to the time of the Renascence. It then became the fashion to restore the Latin -s of the nominative case, Jesu-s, and to use the nominative form also for the objective and oblique cases, just as we do in Charle-s, Jame-s, Juliu-s, and Thoma-s. Very generally, however, the vocative remained Jesu, as in Latin and in Middle English, and this is still usual in hymns. It is thus quite correct to say that Joshua and Jesu are forms of the same original name, though Jesu has not been "evolved" from the form Joshu (a), but from the sister form Jeshu(a), more phonetically Yeshua', the late Hebrew or Aramaic contracted form of the original Yehoshua' or Jehoshua. In the current form Jesus we have the combined influence of all the languages written on the cross. Hebrew gave the word itself, Greek the s for sh, Latin the current spelling with J and final J. A. H. M.

-us.

I did not know that there could be any doubt that Jesus is a form of Joshua. It is

applied to the successor of Moses in Acts vii. 45 and Heb. iv. 8. The English and Latin forms come to us through the Greek 'Inoous, in which the undoubted Hebrew original is not more disguised than in scores of other names. S for sh and a final consonant are common enough in Greek forms of Hebrew names; thus we have "Solomon " for Shelômô, "Esaias" for Yesha'ahû, &c. J. T. F.

Durham.

Ample information concerning this name is to be found in what PROF. SKEAT has termed the "Neglected" English Dictionary. On p. 573 of vol. v. Dr. Murray gives the

history of the word Jesus from its earliest
appearance as Jehoshua, later Jeshua, to
the final adoption in English of its Latin
nominative form.
J. DORMER.

[MR. T. BAYNE, MR. A. HALL, MR. HOLDEN MACMICHAEL, and MR. M. S. PAGE are thanked for replies.]

BAXTER'S OIL PAINTING (10th S. i. 427).— This is a print in oil colours, by George Baxter, which originally formed the frontispiece to The Child's Companion and Juvenile Instructor' (Religious Tract Society, 1851, 16mo). The signature in the left corner is incorrectly quoted by M.A.OXON., and should read "Baxter's Patent Oil Printing."

George Baxter, "the inventor and patentee" of this process, was the eldest son of John Baxter, of Lewes, in Sussex, who is known as the printer and publisher of Baxter's Bible,' The History of Sussex,' 'Baxter's Library of Agriculture,' &c. (see 'Dict. Nat. Biog.,' vol. iii. p. 427), and was born at Lewes in 1804. He served his apprenticeship to a wood engraver, and began life as such. He conceived the idea of painter's art mechanically by printing in oil reproducing the colours from blocks of various materials (wood, zinc, copper, steel, &c.), placing one shade upon the other as a painter would with his brush, even going so far as to print in the whites-a true chiaroscuro process. In this way he often printed in as many colours as twenty or more, each involving a separate printing, and all being executed upon the old form of hand press. He originally intended to print a mere skeleton dotted outline as a key, and place the colours on the top of this. Many prints (and to my mind some of his best) have been executed in this manner; very good examples are to be found in the Pictorial Album; or, the Cabinet of Paintings for the Year 1837' (4to, the process is given. Chapman & Hall), in which an account of He soon, however, by working on the top of a finished line introduced an improvement (?) in the process this to show through his colouring. He took engraving on copper or steel, and allowing out a patent for the process in 1835, and in 1849 obtained an extension of the same for a further period of five years. He retired from business in 1860, and died at Sydenham in

1867.

Subjects of every variety and size were produced by him, and for many by in. to 18 in. by 26 in., the size of "The purposes. In size they ranged from 1 in. Parting Look,' after E. M. Corbould. His largest print, however, was the 'Dogs of the St. Bernard Hospice,' after Landseer. His