poses " in that suit. Any other player able to make three tricks in the same suit answers him, and if nothing higher is declared, the game proceeds, the two being bound to make eight tricks, and the play being as at whist, except that the partners are not necessarily opposite each other. A proposal in a higher suit puts out a previous "ask and answer" in a lower. Honours and extra tricks are counted after a prescribed scale. If there is no answerer, the proposer is bound to play alone against the three others, and to make his five tricks.

66

If a player sees that he can make six tricks playing alone, he declares a "little independence in any suit, or a great independence" if he can make eight. A "little independence" puts out an "ask and answer," and is put out itself by a "great independence." In these cases also one plays alone against the other three, the suit named being trumps. Of course a player playing alone receives or pays the stake three times over to the other players, the stake being arranged on a graduated scale according to the value of the suits. But the most interesting variety of the game is the "misère." A player may challenge the other three to make him win a trick, in which case he declares a "misère." A declared "misère" puts out any independence whatever, and in playing for the "misère" there are no trumps, the suit declared in merely determining the amount of the stake. A misère can only be put out by declaring a slem, i. e. that a certain suit being trumps, the declarer will win thirteen tricks. As the game is sometimes played, a petite misère" may be declared, in which case the player declares that he will make one trick and no more. A little misère puts out a little independence, but not a great one.

The origin of the name "Boston" may be interesting to Z. Z. The Comte de Ségur, in his Mémoires, ou Souvenirs et Anecdotes, i. 77 (3rd edit.), speaking of the interest taken among the company assembled at Spa in the success of the Americans in the early days of the war of independence, writes:

"L'insurrection américaine prit partout comme une mode: le savant jeu anglais, le wisk, se vit tout-à-coup remplacé dans tous les salons par un jeu non moins grave qu'on nomma le boston. Ce mouvement, quoiqu'il semble bien léger, était un notable présage des grandes convulsions auxquelles le monde entier ne devait pas tarder à être livré, et j'étais bien loin d'être le seul dont le cœur alors palpitât au bruit du réveil naissant de la liberté, cherchant à secouer le joug du pouvoir arbitraire."

I do not wish to impugn this heroic origin for the game, but if less savant than whist, boston is also, me teste, moins grave. The various combinations I have endeavoured to describe make the game a very lively, not to say a noisy, one. C. A. L.

The following description of the game of ombre is drawn from the eighth edition of the Compleat Gamester (which devotes no less than eighty-eight pages to the game), and is confirmed and supplemented by information from other sources:

Ombre is an improvement on the Spanish game of "Primero," and derives its name from the Spanish El Hombre-The Man-in allusion to the thought and attention required, or perhaps referring to him who undertakes to play the game against the rest of the gamesters. Ombre may be played by two, by three, by four, or by five. Ombre by three (the favourite game) was played with forty cards, the eights, nines, and tens being thrown out. Ombre packs were sold for the purpose. The cards counted in their natural sequence in spades and clubs, the two black aces being always trumps. In hearts and diamonds king, queen, and knave kept their natural rank, but of the ordinary cards the lowest in number counted highest.

To find the dealer, give one card round, and one to bank. Whoever has the highest card of bank suit deals. The dealer deals from right to left, instead of from left to right, as in all other games, and the players play in like manner. Nine cards are dealt to each player, three and three round, the remaining thirteen from the bank. After dealing, if none thinks himself strong enough to attempt for the stake, all pass, and contribute to the former stake, then deal again. Whoever finally attempts is called the "ombre," and plays against the other two; the winner must take five tricks, or four when the other five are divided.

Ombre chooses which suit shall be trumps, but it must be borne in mind the ace of spades is always first trump, or Spadille; the ace of clubs always third trump, and is called Basto; the second trump is always the worst card of trump suit in its natural order-that is, the seven in red and the deuce in black suits, and is called Manille. If either of the red suits is trumps, the ace of that suit is fourth trump, and called Punto.

Spadille, Manille, and Basto are called matadores or murderers, as they never give quarter: it is their privilege never to be obliged to follow inferior trumps-as, suppose I hold Basto and no not follow with Basto, but may renounce trumps other trump, and king of trumps is led, I need and play from another suit; but it must pay deference to its superiors, and come out if Spadille or Manille are led.

his hand he chooses in exchange for an equal Ombre may, if he will, discard any number of number from the bank, as also may the other two, or he may trust to his own hand, which is called Sans Prendre. If ombre fails he is bested, and if one of the defenders of the stake wins more tricks than he, he is said to win Codille, and takes up the stake the ombre played for.

Quadrille, or ombre by four, was invented by the

French, and differs from the former game in having all the forty cards dealt out-to each person ten, twice three and once four.

In Quintille, or ombre by five, each person has eight cards dealt him. There is no marking at ombre. Every deal decides the game.

JOHN W. FORD.

MOURNING, OR BLACK-EDGED WRITING PAPER.

(4th S. vii. 209.)

W. H. S. is not quite correct in his conjectures as to the time when black-edged quarto-sized paper came into use. He is not aware that there was any before 1840. But I have a distinct recollection of quarto letter paper with black edges many years before 1840, though I cannot state the exact time of its introduction. I can, however, produce letters written on sheets of quarto size, with black-edged borders, in 1836 and 1837. The maker of that paper in 1836 was C. Penny, London. There is no date in the watermark; but we may fairly conclude that the paper had been made a year or two earlier than 1836. The water-mark on the paper of 1837 is "Rich Turner, Chafford Mills.' It might perhaps be ascertained on inquiry, how soon either or both of these makers had begun to supply black-edged paper; but it appears, at least, that the manufacture was not confined to any particular places. Indeed I am persuaded that the use of such paper had become common many years earlier.

Nor do I consider that the use of note paper was so connected as W. H. S. supposes, with the establishment of the penny postage, or rather the substitution of weight for quantity of paper, as the regulating principle of charge. The first relaxation of the postage took place on December 5, 1839, when a uniform rate of fourpence was fixed for weight under half an ounce: then on January 10, 1840, the rate was made a penny for the same weight, which has continued ever since. Before these changes, letters were most unequally charged. If a letter was on a single sheet or piece of paper, no matter how large, it was charged only with single postage; but if it contained any enclosure, however small, it was charged double. But in those days Members of Parliament had the privilege of franking ten letters of any weight under an ounce, and of receiving fifteen letters also free under that weight. So the custom prevailed of tearing down a sheet of letter paper, folding one half of it to note size, to write upon, and enclosing it in the other half, which served

"Who," says the Compleat Gamester, "ever fond of novelty and equally fickle in their dress and diversions, have inoculated several scyons (sic) upon the Spanish

root."

for the envelope. This was the real origin of note paper and envelopes, which I remember many years before the penny postage.

The French are doubtless inventive and ingenious, and an instance in the matter of envelopes deserves a record in " N. & Q." Who has not been annoyed again and again at the difficulty of opening letters with envelopes gummed up all along the top, as if they never were to be opened? I received about a year ago from France some packets of enveloppes perles, as they are called, ingeniously contrived to obviate the above inconvenience. A thread passes along the inside of the lower part of the envelope, with a small bead (perle) projecting out of each end. The following direction appears just over the sealing place of the envelope: "Baissez une perle. Un fil coupe le bas de l'enveloppe." The enclosed letter is thereby at once set free. I enclose this communication in one of these ingenious contrivances, which I think well deserving of the attention of our stationers. F. C. H.

To assist your correspondent W. H. S. in his inquiry I have looked over a great mass of correspondence now in my possession, from May 10, 1794.

The first letter I found sealed with black wax was one from the Prince de Condé to my grandfather, the Right Hon. William Wickham, dated June 17, 1795.

The first letter I found written on black-bordered paper was one from the Avoyer de Steiguer of Berne to my grandfather, dated March 31, 1795. The paper is a small quarto, the black border rather deeper than that which stationers call "Italian border," carried round both sides but not down the division.

I have found a letter from the Duchess of Wurtemberg (Princess Royal of England) to my grandmother, Mrs. Wickham, dated May 27, 1801, on a sheet of letter paper with a black border a trifle wider than the Italian border, but rather less deep than the letter of the Avoyer de Steiguer; it is put on the paper in the same manner as in that letter, and in both the black border is rough and irregular. It will be noticed that all these letters are foreign. The first English letter with a black border which I have come upon is one from the Marchioness of Downshire to Mr. Wickham, dated February 22, 1802: in that letter the border, about the Italian width, goes round the first page only of a sheet of letter paper.

It would seem from what has gone before, that the black border is older than a mere black edge, and was used at first very sparingly. It is certain that whilst mournings and all trappings of woe have gradually grown less severe, the depth of black borders on writing paper has increased: we now often see paper for widows so deep, that

Adam de Orleton has in turns been styled "an Achitophel," "an artful and unprincipled churchman," ," "a pitiless traitor," "a master fiend," and other hard names; but despite these appellations, when judged by the standard of truth, and considered in reference to the eventful and troubled times in which he lived, it will be found that he merely proved himself to immeasurably surpass all his compeers, not only as a man of consummate ability, but as one absolutely superior to all the influences by which he was surrounded. Endowed by nature with the keenest powers of perception, tact, and prudence-indomitable in his purpose, and self-reliant to the last degree Adam de Orleton was enabled to turn every phase of public and political existence to his own advantage, and, notwithstanding he lived in that momentous period of England's history when

"every man's life hung at his girdle,” he nevertheless contrived to hold his own without reference to whichever party was for the moment in the ascendant; and despite the power and malice of his numerous enemies, he ended a long and active existence as the occupant of one of the most coveted sees in the kingdom.

It has been alleged that he wrote to Sir John Maltravers and Sir Thomas Gurney, at Berkeley Castle, urging them to increase the miseries of their royal prisoner; and to his pen is incorrectly ascribed the repetition of those well-known Latin lines referred to by MR. TEw, but which are declared to have been written at a long anterior date by an archbishop of Strimonium, with reference to Gertrude Queen of Hungary.

Bearing in mind this character of Orleton, and his policy at this period of his life, it seems to me to be incredible, even to the extent of being impossible, that he could have written either the supposed letter or the Latin double entendre. To have done so would have been to have placed himself irrevocably and hopelessly in the power of the king's murderers and of those who directed the foul deed, and to have subjected himself, at any moment, to certain and condign punishment: about the most improbable course so subtle a diplomatist as Orleton undoubtedly was would have adopted. Contrast that charge with the fact that, at the very moment of Edward's murder at Berkeley Castle (Sept. 22, 1327), Adam de Orleton was at Valenciennes at the court of the Count of Hainault, selecting a bride for the murdered king's son. Add to that undeniable truth that Orleton, then Bishop of Hereford, was, in the course of the same month of September, consecrated by the pope "Lord Bishop of Worcester"; that he continued to hold that office in spite of the opposition of the queen-mother and her unworthy favourite; that he stood high in the favour of Edward III., and in April, 1329, was appointed one of his ambassadors to France for the purpose of demanding the crown of that country in Edward's behalf; that, by a continuation of the royal favour, he was in 1333 translated from Worcester to Winchester, with Farnham Castle as his princely residence, and that he died there in July, 1345;—and I believe that from such facts it may be "readily deduced, or ascertained," that the memory of Adam Orleton ought to be altogether free from any stain or blame in connection with the death of Edward II.; and that the course of conduct adopted towards Orleton by Edward III. is equally void of even one suspicion that he rewarded, or even intended to do so, a man privy to, still less directly recommending in writing, the murder of his royal father.

King's Road, Clapham Park.

HENRY F. HOLT.

MARRIAGES OF PRINCESSES (4th S. vii. 203.)TEWARS says he can only find three instances of daughters or sisters of the reigning sovereign marrying British subjects. Is not the case of Margaret, youngest daughter of Edward III., a fourth? She married John Hastings, Earl of Pembroke. Then also Joan, daughter of Edward I., whose marriage with Gilbert de Clare is recorded, married secondly Ralph de Monthermer. This would appear to be another case. Have all the descendants of a royal prince or princess the right to quarter royal arms? P.

LADY GRIMSTON'S GRAVE IN TEWIN CHURCHYARD (4th S. vii. 76, 128, 172, 273.)-It seems strange that, in two accounts of this tomb, one should state that there was a single ash tree "growing out of the tomb," and another that "seven elm trees have sprung up through the solid tomb." We seem to want the accurate fact of present appearance, for the seven elms within the enclosure of a single tomb would be a curiosity independent of any legend. If the common elm (Ulmus campestris, or suberosa) be intended, there must have been elm trees formerly planted in the churchyard-scions from which must have penetrated underground beneath the tomb, as this tree never springs from seed naturally in England; while the keys or seed-vessels of the ash, blown about by winds, settle and vegetate wherever they can; and I have seen ash trees growing within neglected tombs in several country churchyards. A few years since I noticed an altar tomb in the churchyard of Perivale, Middlesex, within the iron rails surrounding which had sprung up two hawthorns, a tall ash tree, and a scrubby elm, with a fringe of brambles all round the railing, and ivy twining about the trunks of the trees. With difficulty I made out the date of the tomb, 1721, and that it commemorated Elizabeth Colleton, daughter of Sir Peter Colleton, Bart., " and by her own appointment buried here." The appearance of this vegetation was so remarkable that I made a sketch of it, and a few more years I should think would entirely hide all but the bulging iron railing about the tomb. May I ask if anything is known about this baronet's daughter, and why she made the "appointment" to be buried at Perivale? Curiously enough, there is no record of the maiden's age, which it would thus appear she wished to be concealed.

While on this subject of vegetation spontaneously or self-sown rising on or over tombs, I may mention that in the chancel of Kempsey church, near Worcester, is the monument with recumbent figure placed against the north wall of Sir Edmund Wylde, Knt., who died when high sheriff of Worcestershire in 1620, "solemnly interred with great lamentation," and by some means a seedling horse-chestnut has forced its

way through the wall from the churchyard, and its digitated leaves now canopy the effigy of the knight in a very elegant manner, and have a curious appearance within the church. EDWIN LEES.

Green Hill Summit, Worcester.

[The case of Perivale churchyard has been already mentioned, see p. 172; and the three elm-trees springing from Kyrle's pew in Ross church are well known to all tourists.-ED.]

THE WHITE TOWER (4th S. vii. 211.)-In reply to ROMAN I would remark, 1. The Roman camps were merely earthworks, strengthened sometimes by palisades; and the site of the Tower being a decided mound or eminence, amounting probably to a hill originally, there seems no reason why the Romans should not have regarded it as a hold or citadel, quite sufficient to contain a garrison competent to overawe ancient London.

2. The White Tower never could have been built under two or three years' time, at the least. 3. The supply of water from the Thames must always have been available for the inhabitants of the Tower, without any need of a well; since the river had free influx into the old ditch, and came also under the arch at Traitors' Gate until some thirty-five years ago.

St. John's Chapel, on the second floor of the White Tower, is one of the finest and simplest specimens existing of Norman architecture, and from its massive proportions must have been an integral portion of the original structure, in the style and form of which nothing Roman can be traced. The exterior having been unfortunately disfigured by Sir Christopher Wren, affords no criterion, but there is nothing Roman in the character of the Tower.

4. Whether or no the Textus Roffensis contains evidence of Gundulph's hand in the White Tower, it seems admitted that he built Rochester Castle, and that he was the great military builder of his day. Tradition has always ascribed the White Tower to him, and there seems no cause for doubting it.

5. The composition of Roman mortar depended probably on the materials at hand, but no doubt they used great care and skill in preparing it. Blood would be a very bad and temporary ingredient for tempering mortar. It may be doubted whether the "preparation" of the Tower for the Conqueror's habitation did not mean interior arrangements, hangings, bedding, kitchens, and domestic objects, rather than any sudden improvement of the defences.

The description of the Tower, as "washed by the Thames when the tide rose," need by no means apply to the actual base of the White Tower, which stands a long way back. When the ditch of a fortress is filled from a river flowing past it, nothing is more common than the expression,

I have heard it suggested that this alehouse sign at Lynn was the name of a character in some popular play. Hob was a nickname formed from Robert, and conveyed the idea of its owner being a country clown (Lower's Patronymica Britannica). In Larwood and Hotten's History of Signboards (third edition), the name of this sign is said to be borrowed from an old nursery fable. If this is right, can any reader of "N. & Q." give a version of the fable, or the name of any books where it is to be found? S. E. L. Lynn.

K. L., King's Lynn, is perhaps aware that

"Hob in the Well" is the name of an old balladopera, which was a popular favourite in the last century. In country inns we frequently find a set of comic pictures representing the various events of the piece. An amateur actor (Mr. Richard Garrs of Grassington), who many years ago emigrated to America, used to boast of his pertormance of Hob, and he would occasionally volunteer a "recitation" of some favourite passage.

STEPHEN JACKSON.

"Friends part,

'Tis the survivor dies."

SP.

To be found at the end of Night V. of Young's Night Thoughts. T. P. F.

A SPITTEN LAIRD (4th S. vii. 190.)-The anecdote related by S. L. is somewhat differently told by Dr. Robert Chambers (Picture of Scotland, i. 237). The duchess is there said to have "called out in her usual lusty way to the coachman to drive with all his might, 'else Tam o' Closeburn,' she exclaimed,' will get in before us and lick the butter off our bread."" The duke's observation being: "Why, my Lady Duchess,

let me tell you this gentleman's ancestor was Knight of Closeburn, while mine was only Gudeman of Drumlanrig!''

But I doubt the truth of either version.

The

first Douglas of Drumlanrig was a bastard son of the doughty earl who fell at Otterbourne, and he had obtained this important barony before his father's death for, on Dec. 5, 1389, he was guaranteed in its possession by a charter from his grandmother, the Countess of Douglas and Mar, and her second husband Sir John Swinton of Swinton (Drumlanrig Charters); and, as Sir" William Douglas of Drumlanrig, he obtained_a very remarkable charter from King James I., while this prince was a state prisoner in England. It is dated at Croydon last of November 1412, and holograph of the king, and confirms to Sir William all his lands in Scotland, viz. Drumlanrig, Hawick, and Selkirk (Queensberry Charters); and see art. "Hawick" in Orig. Par. Scotia (vol. i.), where there is a very interesting account of Sir William's successors and their tenure of that barony from the crown. As the term "gudeman" was never applied to the owner of a barony or holding under the sovereign, which these Douglasses were ab origine, the anecdote, like many similar traditions, must be incorrectly given. At the same time the Kirkpatricks were undoubtedly of much older standing in Dumfriesshire, dating from the twelfth or thirteenth century; and even a magnate like the Duke of Queensberry might, without detracting from his own importance, mildly rebuke the lady duchess by telling her that there were Knights of Closeburn long before there was a Laird of Drumlanrig.

I

ANGLO-SCOTUS.

"APRÈS MOI LE DÉLUGE" (4th S. vii. 188.)find in Ed. Fournier's L'Esprit dans l'Histoire:— grande prospérité, madame de Pompadour (Essai sur la

"Après nous le déluge! disait, même dans sa plus

marquise de Pompadour, en tête des Mémoires de madame du Hausset, 1824, in-8vo, p. xix), qui voyait poindre déjà tout au loin, à l'horizon de la royauté, le grain révolutionnaire. Cette parole de nonchalant cynisme dans la prophétie a été souvent répétée et chaque fois on l'a mise sur le compte de Louis XV. Elle était si bien le mot, l'expression de ce règne au jour le jour, qu'on pensait que le roi bien aimé pouvait seul l'avoir dite. Personne ne vit mieux que lui, qui était au sommet, venir de loin ce grand orage."

P. A. L.