Notes and Queries, Number 34, June 22, 1850 | Page 6

and quick jestes, Why Gesta
Romanorum were nothing to them." Sir Gyles Goosecappe, a Com., Sig.
G. 2. 4to. 1606.
Crank is used in a different sense by Drayton:--
"Like Chanticleare he crowed crank, And piped full merily." Vol. iv. p.
1402. ed. 1753.
On l. 31. (M.):--
"There dainty Joys laugh at white-headed Caring." Fletcher's Purple
Island, C. vi. St. 35.
On l. 42. (G.):--
"The cheerful lark, mounting from early bed, With sweet salutes
awakes the drowsy Light; The earth shee left, and up to Heaven is fled:
There chants her Maker's praises out of sight." Purple Island, C. ix. St.
2.
"From heaven high to chase the cheareless darke, With mery note her
lowd salutes the morning larke." Faery Queene, B. i. c. 11.
On l. 45. (G.):--
"The chearful birds, chirping him sweet good-morrow, With nature's

music do beguile his sorrow." Sylvester's Du Bartas.
On l. 67. (G.) See note already inserted in "NOTES AND QUERIES,"
p. 316.
On l. 75. (G.):--
"In May the meads are not so pied with flowers." Sylvester's Du Bartas.
On l. 78. (G.) So in Comus:--
"And casts a gleam over the tufted grove." v. 225.
On l. 80. (G.):--
"Loadstar of Love and Loadstone of all hearts." Drummond.
On l. 117. (Anon.) See extracts from the Diary of a Lover of Literature.
To me this line seems to allude to the imagination in sleep:--
"Such sights as youthful poets dream."
On l. 121. (G.):--
"Yet served I, gentles, seeing store Of dainty girls beside." Albion's
England, p. 218. 4to. 1602.
On l. 125. (G.):--
"In saffron robes and all his solemn rites, Thrice sacred Hymen."
Sylvester's Du Bartas.
and in Spanish Tragedy:--
"The two first the nuptial torches bore, As brightly burning as the
mid-day's sun: But after them doth Hymen hie as fast, Clothed in sable
and a saffron robe."
On l. 187. (G.):--

"Marrying their sweet tunes to the angels' lays." Sylvester's Du Bartas.
On l. 144. (D.):--
"Those precious mysteries that dwell In Music's ravished soul."
Crashaw's Music's Duet.
J. F. M.
* * * * *
COLVIL'S WHIGG'S SUPPLICATION.
Heber possessed a curious MS. volume entitled A Poetical Miscellany,
selected from the Works of the Men of Genius of the XVIIth Century. In
Part XI. of the Bibliotheca Heberiana it is
thus described:--
"The first part of this volume was obviously collected by a Scotchman,
and it includes pieces by Ben Jonson, Wither, Dr. Donne, &c. It must
have been made in the latter part of the reign of Charles I. The second
portion of the volume is a later production; a humourous poem, called a
Whig's Supplication, by {54} S. C., in which there is a remarkable
notice of Cleveland, Donne, and 'Bass Divine.' The latter name
somebody has ignorantly altered, not knowing, probably, who 'Bass
Divine' was. The poem is in imitation of Hudibras, both in style and
metre."
It is somewhat singular that the writer of this notice never suspected
that the author of the second part, and the collector of the first part of
the volume, was Samuel Colvil, whose celebrated poem, The Whigg's
Supplication, or the Scotch Hudibras, went through so many editions,
from 1667 to 1796. This "mock poem", as the author terms it, turns
upon the insurrection of the Covenanters in Scotland in the reign of
Charles the Second. An interesting notice of it, and other imitations of
Hudibras, will be found in the Retrospective Review, vol. iii. pp.

317-335.
EDWARD F. RIMBAULT.
* * * * *
Queries.
HUBERT LE SOEUR'S SIX BRASS STATUES.
In a curious MS. Diary of the early part of the seventeenth century,
lately come into my possession, I find the following entry concerning
the sculptor, Hubert le Soeur:--
"March 7. 1628. Had an interview with y^e famous and justly
renowned artiste H. le Sueur, who, being late come to this countrie, I
had never seene before. He showed me several famous statues in
brasse."
This is probably the earliest notice of the celebrated pupil of John of
Bologna after his settlement in England. Dallaway, in his Anecdotes of
the Arts in England (p. 395.), after stating that Hubert le Soeur arrived
here about the year 1630, says,--
"If he was associated with Pierre Tacca, who finished the horse in the
equestrian statue of Henry IV. in 1610, left incomplete on the death of
his master, John of Bologna, two years preceding, he must have been
far advanced in life. Three only of his works in bronze are now known
with certainty to exist: the equestrian statue of Charles I. [at Charing
Cross], a bust of the same monarch with a casque in the Roman style
[now at Stourhead], and a statue in armour of William Herbert, Earl of
Pembroke, Lord High Chamberlain and Chancellor of