(2 vols. 1796) refers to a paper on the age of trees, by Mr. Marsham, in the first volume of the Transactions of the Bath Agriculture Society, in which the Tortworth Chestnut is calculated to be not less than 1100 years old. Marshall, who appears to have examined this tree with great care, corrects the account given by Mr. Marsham, and states that it is not one, but two trees. Sir Robert Atkins, in his History of Gloucestershire, says: "By tradition this tree was growing in King John's reign." Evelyn, however, as we have already seen, speaks of a record that it served as a manor boundary in the reign of Stephen. Query, on what authority do these statements rest? Marshall thinks that a duration of nearly a thousand years may be fairly assigned to the Tortworth tree; and he adds:

"If we consider the quick growth of the chestnut, compared with that of the oak, and at the same time the inferior bulk of the Tortworth Chestnut to the Cowthorp, the Bentley, and the Boddington oaks, may we not venture to infer that the existence of these truly venerable trees commenced some centuries prior to the era of Christianity?"

The oaks here alluded to by Marshall are of immense size. The Cowthorp Oak is near Wetherby; the Bentley Oak, in Holt Forest, near Bentley; the Boddington Oak, between Cheltenham and Tewksbury (vol. ii. pp. 127. 298.).

Perhaps some of your correspondents may be able to point out authentic evidence respecting the true dates of ancient trees. A large tree is a subject of interest to the entire neighbourhood: it receives an individual name, like a river, a mountain, or a building; and by its permanence it affords a fixed point for a faithful local tradition to rest upon. On the other hand, the infidelity of oral tradition is well known; and the mere interest which attaches to a tree of unusual size is likely to give birth to a romantic legend, when its true history has been forgotten. The antiquary and the botanist may assist one another in determining the age of trees. By the authentic evidence of their duration which the former is able to furnish, the latter may establish tests by which their longevity may be calculated.

L.

LINES ATTRIBUTED TO ADMIRAL BYNG.

The following lines are copied, verbatim et literatim, from a window pane in an upstairs room of the Talbot Inn, Ripley. The tradition is that they were written by Admiral Byng, who was confined in the room as a prisoner when on his way to Portsmouth; that sentinels were placed on the staircase outside; that during the night the admiral walked past the sleeping guard, gathered some flowers from the inn garden, and returned to his room; and that on leaving the following morning, he told the Inn Lady he should see her on his way back to London, when he was acquitted.

Is there any reason to doubt the truth of this tradition, or that the verses were written by the unfortunate admiral?

A. C. G.

Ripley, Nov. 10, 1851.

A CHAPTER ON EMBLEMS.

"An history of emblems in all languages, with specimens of the poetry and engravings, accompanied by some account of the authors, would be a very interesting contribution to our literature." Thus speaks the author of a work remarkable for interest, information, and elegance of taste, viz., Lives of Sacred Poets, by Robert Willmott, Esq.; and truly such a work would be a great desideratum were the idea here suggested efficiently carried out.

In our own, and in other languages, many beautiful poems—some of them very gems—exist, attached to, and written on some of "the most ridiculous prints that ever excited merriment." A tasteful collection of the more beautiful poems, with some spirited woodcuts, or engravings to accompany them, would form a beautiful volume. This, however, is a suggestion different from, and secondary to, Mr. Willmott's.

Emblems, figures, symbols, &c., constitute a vast ocean of associations which all enter on, all understand, all sympathise with more or less. They enrich our language, enter into our commonest thoughts and conversation, as well as our compositions in poetry and prose.

Often the clearest ideas we have on abstruse points are derived from them, e.g. the shamrock or trefoil is an emblem of the Blessed Trinity. Nothing perhaps helps us to comprehend the resurrection of the body, and in a glorified state through preserving its identity, as the apostle's illustration and emblem of the growth of corn.

In a work on the subject it would be desirable to keep the classical, artistic, political, and other emblems apart from the sacred and moral, &c.

I must now say a few words on a book of emblems, entitled Schola Cordis, sive Aversi a Deo Cordis, ad eumdem reductio et instructio, Authore Benedicto Haefteno, Antv. 1635. (This Benedict Haeften was also the author of Regia Via Crucis, published at Antwerp the same year as the above, in 2 vols. 8vo., I think, and afterwards translated into French.) This work suggested Schola Cordis, or the Heart of itself gone away from God, brought back again to Him and instructed by Him, in XLVII emblems: London, printed for M. Blunder at the Castle in Cornhill, 1647, 12mo. pp. 196. The authorship of this English Schola Cordis is generally attributed to Christopher Harvie, the author of The Synagogue. (Vide Lowndes, and a note in Pickering's edition of George Herbert.) The second edition was printed in 1674, third in 1675, fourth in 1676.

Now, Mr. Tegg in 1845 printed an edition of this Schola Cordis as the production of Francis Quarles; what was his authority I know not, he certainly did not attempt to give any.

The last three books of Quarles's Emblems contain forty-five prints, all from Herman Hugo's Pia Desideria, which has that number of emblems. Quarles sometimes translates, sometimes paraphrases Hugo, and has a good deal of original matter. His first two books are not in Hugo's work, and I do not know whence they are derived; nearly all the cuts contain a globe and cross.

Herman Hugo had the talents and versatility which characterise his order (the Order of Jesus), "he was a philosopher, a linguist, a theologian, a poet, and a soldier, and under the command of Spinola is said to have performed prodigies of valour." He was the author of De prima Scribendi Origine et Universa Rei Literariæ Antiquitate, an excellent work; and of De Militia Equestri antiqua et nova amongst others. His Book of Emblems was first published at Antwerp, 1624. It is divided into three books, viz.,