Latin rhyme :

Si sol fuit splendescat Maria purificante, Major erit glacias post festum quam ante.

every word considered of ill-omen :

Nunc dicenda bono sunt bona uerba die.
Lite uacent aures, insanaque protinus absint
Jurgia.*

Not only were ill-omened words avoided, but ill-omened deeds. Thus in Banffshire among children it was a matter of serious resolution, even in my own recollection, not to cry, greet, as such an act brought in its train greetin the whole year. If one under pain or vexation began to give way to tears, he was reminded what day it was, and the rising tears were checked.

It would have brought misfortune on misfortune if anything had been given out of the house till something had been taken in. If one's fire had been unfortunately allowed to go out, no one would give a live-coal to kindle it again. The Lincolnshire rhyme is :

---

Take out, and then take in,
Bad luck will begin ;
Take in, then take out,

Good luck comes about.

In Banff and Aberdeenshires water along with a little grass or moss was first carried into the house. The grass or moss was laid on the hearth. Peats were next brought in, the ashes carried out, and the fire put on. In some, drawing water at midnight was a mode of securing luck. The water then drawn was called the cream of the well (Scoticé, "the reem o' the wall"). In one village in the parish of Rathen, the first stroke of the clock at midnight was the signal for a general rush to the wells. The water then drawn was carried home, poured into a tub and a little grass cast amongst it. On farms part of this cream of the well was used to wash the dairy utensils, and the remainder was given to the cows to drink. This act of creaming the well was at times done secretly, as it was supposed to take good fortune from others who drew water from the well. It is

proached the well and began to "reem." The watchers suddenly made their appearance, and the woman made her way home with all speed.

To secure a good crop it was the custom not forty years ago in many parts of Buchan to yoke a cart, fill it with dung, drive over the farm and leave a little of it (Scoticé, guidin, Dan. godning) on each field. Along the sea-coast, on the farms on which seaweed (waar) was used as manure, it was made a matter of much moment to be the first to get seaweed from the shore. Many a one used to start at a very early hour to anticipate all his neighbours. A small quantity of the much-coveted weed was laid down at each door of the farm-buildings as well as on each field.

In Russia there is a pretty ceremony. A pile of sheaves is heaped up over a large pie, and the father, after seating himself behind the pile, asks his children if they see him through the sheaves. On their answering that they do not, he expresses the hope that the coming crop may be so rank as to hide him when walking through it. A similar custom prevailed about the twelfth century among the Baltic Slavonians, with this difference, that it was a priest who seated himself behind the pile of sheaves instead of the father.

Another Russian custom to secure a good crop is the preparation of the dish Kasha. This word is a general term for grain, which is looked upon as a great lady, coming attended by "Honourable Oats" and "Golden Barley," and met by boyars and princes. In some districts of Russia, on the Feast of the Epiphany, a number of sheaves of different kinds of grain is piled in a heap, and the cattle are driven up to them, when sheaves and cattle are sprinkled with holy water.

On Twelfth-day in some of the counties of England in which apples form such an important crop, the apple-trees were blessed,

Songs of the Russian People, by W. R. S. Ralston,

p. 205.

Quisque suas artes ob idem delibat agendo Nec plus quam solitum testificatur opus." The fishermen on the north-east of Scotland had their mode of securing luck for the coming year. It was the endeavour of each crew to reach the fishing-ground first, cast and haul the lines first, and thus draw the first blood, which ensured prosperity. If the weather prevented the boats from going to sea, those who could handle the gun were out by the earliest dawn to draw blood from the first wild animal or bird they could strike.

So with kindly greetings, with feasting and mirth, with gifts as tokens of good-will and prosperity, and with many a ceremony to read the future and to secure success, men have begun, and do now begin, and likely ever will begin, each New Year; and so, without being a heathen, good reader, I bid you adieu, and wish you and your dear ones many a happy NEW YEAR.

The Bolkbam Bust of Thucydides.

HEN, in the middle of last century, the Earl of Leicester was arranging the antique treasures he had brought from Italy and elsewhere, the grand portrait-bust that fills the place of honour in the sculpture gallery at Holkham was selected by him out of his store, in ignorance of its highest qualification for that position. The massive grandeur of its features, the grave elevation of its expression, the extraordinary fineness of the marble and excellence of the workmanship, justified a choice made, in all probability, quite irrespective of the name it bore. There, where it was placed a century and a half ago, it has stood ever since, and not one of its * Fasti, i. ll. 168, 169.

many admirers guessed, till quite lately, its real claim to distinction. The foot, or pedestal on which this fine bust stands, is modern, and bears the name of "Metrodorus," an inscription that no one ever thought of questioning till the Holkham gallery was visited, a few years ago, by Professor Bernouilli, of Basle, and some other learned archaeologists, who pointed out the impossibility of this bust being really a Metrodorus. It was, however, reserved for the observant eye and patient research of Professor Michaelis, of Strasburg, to demonstrate that we have 'here, not an Epicurean philosopher, but the great historian Thucydides.

In the National Museum at Naples there is a double Herme, composed of the busts of Herodotus and Thucydides. Its history can be traced back to the middle of the sixteenth century, when it was one of the famous collection of portraits, busts, and coins formed by Fulvius Ursinus, and in 1570 it was engraved and published by him. Of Herodotus there is another portrait-bust in the same Museum, as well as a coin representing him; but hitherto no other portrait of Thucydides has been known but that on this double Herme at Naples. Now the bust at Holkham, miscalled Metrodorus, corresponds as exactly with the Naples Thucydides as a very fine work can with a very inferior one.

This double Herme, now at Naples, can be traced back with its inscriptions, "Herodotus" and "Thucydides" to the middle of the fif teenth century. It was brought to Naples in 1787, with the other antiques of the Farnese family, previous to which it was seen by Winckelmann in the entrance hall of the Farnesina at Rome. There, too, Visconti saw the heads of Herodotus and Thucydides, the double Herme having been no doubt sawn in veniently for wall decoration, the traces of two to enable them to be used more con

which mutilation are still visible in the marble now pieced together again. It came into the Farnese family from Fulvio Orsini, who at his death bequeathed to them his fine iconography published (Rome, 1569) by collection of antiques. In the first antique the French engraver, Ant. Lafrérie, it is mentioned as being in the Museum Cesi, so

statue representing action with the right arm. These hints, together with the style of the sculpture, reminded Professor Michaelis that just such a statue of Thucydides is described by Christodorus in the beginning of the sixth century as one of those which adorned the Zeuxippos at Constantinople, and he is of opinion that the statue described by Christodorus and the busts at Holkham and Naples were all copies of a still older statue-in fact, of one contemporary with the great historian himself, or made so shortly after his death as to preserve faithfully the characteristics of his appearance. Indeed the whole character and style of the Holkham bust betokens the best period of Greek portrait sculpture, and takes us back to the fifth century B.C., and we may well suppose that we have here, if not the work of Phidias himself, at least that of one of his disciples, or perhaps of his great rival Kresilas, of whom it was said that by his art illustrious men became more illustrious.

When Thucydides was phitted to return to Athens, after an exile of twenty years, he is supposed to have been about fifty years of age, and his death probably occurred not many years afterwards. This is about the age represented in the Holkham bust; the grave and reflective expression of which shows the pressure of mental effort and anxiety.

The bust is wonderfully well-preserved, being quite perfect, but for a few chips on the chest, two slight injuries on the left cheek and eye, and a very small piece broken off the edge of the left ear. The extreme point of the nose, having been slightly injured, has been cleverly restored. The height of the bust without the modern foot is two feet; the length of the face, from forehead to chin, from nine to ten inches. The head is therefore nine to ten inches. The head is therefore somewhat more than life size; the marble exceedingly fine. Minute portions of the soil in which the bust had lain are still to be found between the locks of hair at the back

of the head. The features are by no means

* Professor Michaelis has given an exhaustive account of this bust in a brochure (German), which has been translated for private circulation in England. It contains two beautiful photographs of the bust, of which also casts may be obtained from D. Brucciani, Great Russell Street, London.

faultlessly handsome, but we feel that it is a life-like portrait of the great historian. The broad heavy brow, the massive nose, the protruding lip remind us that Thracian mingled with Attic blood in the veins of Thucydides, while the force and energy of the whole expression is most characteristic.

R. N.

Monumental Brasses.

HE following corrections and additions to the list given by the late Rev. Herbert Haines, in his Manual of Monumental Brasses, have been obtained by personal inspection and rubbings taken during comparatively the last few months; and are submitted in the hope that others will place upon record the result of their researches. Although the church restoration mania of the past thirty years has, it is much to be feared, swept away many important and highly interesting memorials, it has also undoubtedly brought to light many long-hidden and forgotten brasses. The recording of such, and a statement of the present condition of those which may have suffered since the publication of Mr. Haines's Manual twenty years ago, can but enhance the value of his great work.

Eastwick.-One shield and part of inscription only remaining.

Hitchin.-No. 1. Merchant's mark now lost. No. 8 has one heart-shaped shield, bearing "the five wounds." Nos. 1o and are apparently lost. Add: (a.) English 13 inscription to John Parker, 1578. (b.) Two groups of children, four sons and four daughters, the latter in butterfly head-dresses. (c.) A much-worn full-length female figure, circa 1470. (d.) The full-length figures of a civilian and his three wives. He wears the usual fur-trimmed gown. The wives are dressed alike, excepting that the first has a girdle with buckle, while the second and third wear sashes tied round their waists. All three have hats similar in shape to the modern "Tam o'Shanter." (e.) Full-length figures of a civilian and his wife, circa 1480. He wears the fur-trimmed gown; she has the short-waisted dress with full sleeves.

Sawbridgeworth.-No. 1. To this brass are four shields, bearing the royal arms of England. No. 2. The name of the second wife is spelt Johanna. No. 7 is apparently lost. Add: (a.) A shield of arms, with two groups of children, twelve sons and six daughters. (b.) A square plate, with nearly obliterated Latin inscription.

KENT.

Margate.-No. 2 is a palimpsest with inscription to John Dalton, and Alicia, his wife, who died in 1430. Add: (a.) Latin inscription to William Norwood, who died in 1605;

to it is attached a shield of arms. (b.) Two English inscriptions and shield of arms to Henry Pettit and Deonis, "his widdowe," 1583-1605. (c) English inscription to Rachael Blowfield, 1600. (d.) Latin inscription to Thomas Cleeve, 1613. (e.) English inscription to Joan Parker, 16-. The lower portion of a female figure, with restored English inscription to John and Lavinia Sefowl, 1475. (f) English inscription to Thomas Flüt and Elizabeth (Twaytts) his wife; it is a most curious palimpsest, being portion of the border of a large Flemish brass, representing, perhaps, the Seven Ages of Life. It is now placed in a frame, and hung so that rubbings of both sides can be obtained.

Northfleet.-No. 3. Inscription all lost. Southfleet.-No. 5 should read " 4 sons and 2 daughters."

Swanscombe.-No brass was found during its recent restoration.

Westerham.-No. 1. Wife and children lost (?). No. 4 is one civilian only. No. II lost. The brasses described as "loose at the Vicarage" are now placed upon the walls of the Church.

LONDON.

St. Dunstan-in-the-West.—No. 2 lost.

St. Mary Outwich.-This Church is now pulled down, and Nos. 1 and 2 are now placed in Great St. Helen's, Bishopsgate.

St. Olave, Hart Street.-Add: two ladies kneeling at desks, on which lie their rosaries. Between the desks is a group of two sons, beneath them a scroll, bearing the names William and John. Behind the right-hand lady is a group of three daughters.

St. Mary Magdalene, Old Fish Street.Add: Five shields of arms; one, large and foliated, bears a leg (mailed) as a crest.

NORFOLK.

Aylsham.-Add: (a.) A much worn English inscription to that "painefull preacher," John Furmary, B.D., Vicar, Archdeacon of Stowe, Prebend of Walton. No date visible. (b.) A shield bearing a merchant's mark.

Blickling.-Add: (a.) Four shields to No. 2. (b.) Latin inscription to Anna, daughter of William Boleyn, 1496. (c.) A very much worn Latin inscription.

Cressingham, Great.-The inscription to