from Pliny, who says if the wine be mixed with water, the wine sokes through the wood, but the water remains.

8. To make a pretious water that Doctor Steuens did greate cures with, and kepte it secret tyll a little before his death, then taughte it to the Archbishop of Canterburye.-Take a gallon of white Gascoigne wine, ginger, gallingall, cynamon, nutmegs, graynes, cloves, annis seeds, fennell seedes, carraway seedes, of every of them like much, viz. a dram of each; then take sage, red mintes, red roses, time, pellitory of the wall, rosemarye, wilde time, and gromell, lavender (the flowers if you can get them), of every of them an handfull; then beate the spices small, and the hearbes allso; then put them all in ye wine, and let it stand therein twelve houres, stirringe it divers times; then still it in a lymbecke; and the first water being greene, put it by itselfe, for it is the best; the second water being white, is good, but not so good as the first; put that by itselfe; it is good for all manner of diseases, to drinke it fastinge, and at nighte laste, at every time a spoonefull; it is a presious and noble water, for a spoonefull is a preservative.

This, no doubt, was a precious cordial for the days it was in use.

But we question whether water made of wine and spices, however skilfully combined, or slowly or coldly drawn, was half so exhilarating as ratafia or golden cordial, or eau-de-Cologne, or Geneva's famous water of juniper. We have never yet discovered the recipe for making the water of the gods, or seen a diagram of the "lymbecke" in which it was distilled; but we are certain that the Moors did no good to the beverage of Western Europe, when they brought with them into Spain the Egyptian art of distillation. Henry Earl of Cumberland, who was borne in 1517, and died in 1564, was, according to the Pembroke Memoirs, "much addicted to alchemy and chemistry, and a great distiller of waters." Pindar was very right

when he said "Water is the best."

13. To make an akeing tooth fall out.-Take wheate meale, and mixe therewith the milke of the hearbe called spurge, and make thereof past or doughe, with which ye shall fill the hollowe of the tooth, and let it be there a certayne time, and the tooth GENT. MAG. VOL. IV.

will fall out of it selfe. Allso, if you washe your mouth and teethe once a month with wine wherein the roote of this hearbe hath bene sodden, you shall never have payne in your teethe.

There can be no doubt but the caustic quality of the juice of almost every species of spurge, especially of Euphorbia peplus, applied to the human teeth, will corrode them rapidly. From its likeness to cream, and its severely acrid nature, the Irish call the plant that produces it, the "devil's churn." In England, from its being used to destroy warts, it is called wart-wort. Turner, the father of English botany, uses the name under peplis, and speaks of the burning taste of the seawart-wort which he saw growing in an island near Venice. Gerard also, who built his Herbal on foundations laid by Turner, tells of the horribly acrid quality of sea-spurge, which he experienced in company with Turner's ancient friend, Master Rich, in a walk along the seacoast, near Lee, in Essex.

15. For him that hath naturally a red face. Take foure ownces of the kyrnells of peaches, and three ownces of gorde seedes, and make thereof an oyle, wherewith you shall anoynte his face morninge and eveninge; this will kill and destroye all redness. A thinge founde true by experience.

This recipe, if it was intended for the benefit of the fair sex, as well as of the gentlemen, might be found to furnish a very acceptable cosmetic for the toilettes of the blooming beauties of the country, who long to exchange the rosy hues of Hebe for the wan enchantments that lighten in the smiles of loveliness in fashionable life. We doubt its efficacy in removing the roseate hues that the liquor of cogniac suffuses over the face, much less in dimming the splendour of the crops of jewels that brandy produces on certain promontories, and, as their name implies, ""shine in the dark, like a lighted

coal."

19. To make the face fayre.-Take the blossomes of beanes, and distill them, and wash the face in that water, and it will be fair.

'The blossoms of beans!' Who that is enamoured of the fields and nature, has not inhaled their delicious Persian perfume; and has not been struck with the blackness of the beauty-spot on their corolle? We certainly recommend a place on the toilette of the fair for this delicious water, as the perfumer, on distillation, will really find that it retains the fragrance

F

of the flower; which we, however, do not suspect of yielding an essential oil, and consequently are not sanguine in our hopes of seeing the water of bean-flowers rivaling the ottar of roses.

21. To take away wartes.-When you kill a pigge, take the hot bloude, and washe the wartes, and let it drye on them; then presentlye after wash them, and they shall be whole.

Whoever practised this receipt with success, mixed the pig's blood with some matter, which he kept a secret; for, though we never tried the experiment, we are sure that blood, as it flows warm and unadulterated from an animal, can have no manner of effect in removing warts, or any other schirrhus tumour; but warm blood is a convenient vehicle for a quack to use in working medical

miracles.

22. To remedye baldnes of the heade. Take a quantitye of Suthernwoode, and put it upon kindled coales to burne; and being made into powder, mix it with the oyle of radishes and anoynte the balde place, and you shall see great experiences.

What is here meant by experiences?' Changes? A new growth of hair, or a natural wig? Johnson is not quite right when he says that whey is one of the meanings of whig. He should have said sour whey; for till within the last forty years we remember a very agreeable summer beverage called whey-whig, being used by the people of Westmoreland, and made of whey with savoury herbs, such as mint, balm, and time, steeped in it, till it became slightly sour, and impregnated with the essential oil of the herbs. Of milk and whey they also said that it was gone, wented, whigged, or changed when it had turned sour. The word wig, as applied to an artificial covering of hair, has also that application, from a wig being a substitute or change for natural hair. And wig and wigh, in composition in the names of towns, means new or changed, and in some instances, as in its application to the Godmundingaham of Bede, Wighton means the idol's town, because idols were substitutes. If ointment of the oil of radishes, and the ashes of southern, should be found still to possess the virtue of covering bald heads with a crop of natural hair, how many elderly gentlemen, dear Mr. Urban, will be congratulating themselves with its delightful experiences,' after you kindly communicate to them this charming prescription!

30. A good drinke for them that are bewitched or forespoken.-Take rosemary three braunches, two leaves of comfrye, halfe a handfull of succorye, half a handfull of tyme, three braunches of hearbegrace, a quarte of running water, and seeth it tyll it be half consumed, and then strayne it. And then take one nutmegge, and one race of ginger, one pennyworth of mace, and two pennyworth of suger, and put them into the water, and drinke thereof first and laste a quantity at a time, warme; and eate five almondes everye time after you have drunke of the

water.

Fasting, they say, makes men acquainted with the unseen world; and no necromancer can have communication with the spirit of the dead, or do his unearthly works of witchery, without both he and the persons who employ him have spent a long time in fasting. We cannot tell how the wizzards do, but many believe that no man will see ghost or spirit, or think himself bewitched or forespoken, who is in health to eat and drink as he ought; and as the stomachic here recommended may have the effect of producing a healthy digestion and sound sleep, it is possible that it may be good for persons who think themselves possessed and bound in the spells of witchery. The accounts we hear of the command that the magicians of Egypt have over the spirits of the dead, and the communion that the fasting seers of Thebes enjoy with good spirits, will, we hope, be soon given to the world through the press. We will, however, briefly tell some few particulars, which we have heard respecting a magician at Cairo, and he and many others in that ancient country are now well known to many travellers both from England and from France. He came to any place he was sent for, and performed his feats in a private room, or in the open air, as he might be requested. He had no machinery or apparatus of any kind with him, except a fire and incense. His first request was that you would bring him a boy of twelve or thirteen years old-any that you chose; and he poured upon the palm of the boy's hand a blotch of common black writing ink. He then muttered certain prayers, and threw perfumes into the fire; and said to the boy "Call the seven flags," which being done, he asked, "Now how many do you see?" Perhaps "None," was the answer. Look again. "Oh, I see one, two, three, four." "What is their colour?" "Red, blue, &c." "Now I see one, two, three more."

obtain ashes of swallows to cure them of the malady of drinking.

102. To cause hair to growe.Take the water of flower-de-leuce, and washe thy heade therewith, and it shall cause hayre to growe. Also the water of rosemary hath the same vertue. If thou wash thy head with the same water, and let it drye on agayne by itselfe, it causeth hayre to growe if thou be balde.

This may prove a desirable cosmetic to elderly dandies. We can, however, safely aver that the fairies communicated no piece of idle superstition to the Vicar of Warlingham, when they affirmed that water of rosemary was good for the hair, for it nourishes and refreshes it much.

(To be continued.)

A STRIKING feature in this newly erected church is the altar window, a finely executed composition in stained glass, which for richness of colouring and propriety of design, is entitled to rank with many of the works of ancient days, whilst, at the same time that the ancient style of design has been preserved, the superiority of modern drawing has not been forgotten.

The window which contains the glass is a simple design frequently met with in buildings of the latter part of the fifteenth century; it is divided by mullions into four lights, the mouldings of the central mullion, which is larger than the others, diverging at the upper part of the design, and forming two subarches, which, as well as the spandrils above them, are in their turn subdivided into smaller lights. The artist, in filling up the voids of this window, has very judiciously introduced the representations of the four Evangelists in the larger lights, and filled the smaller divisions with religious emblems, instead of forming, as is often the case, an historical pic ture, the effect of which must be decidedly injured, and its unity destroyed, by the interposition of the stone work.

It is evident that the designers of the majority of the ancient church windows were the architects of the

building. The figures displayed on the window were in fact only representations of the statuary of the time. They were coloured representations of painted statues. The niche, with its pedestal and canopy, were retained, and drawn in as good perspective as the age could afford; at the same time, in the execution it is observable that greater freedom is displayed in the drawing of the figures, showing that the painter had assumed a greater scope of his genius than the sculptor, for it must be remarked that the actual statue was generally far more stiff and formal than its representation on glass.

In the present subject the paintings of the four Evangelists are varied both in the style and colours of their dresses, and also in their positions, happily avoiding that appearance of tameness which some old designs pos

sess.

The saintly character of each of the figures is marked by the nimbus which encircles the head, the invariable accompaniment in old examples of a sainted personage. Each figure looks towards the centre of the design, and is elevated on a pedestal of an octangular form, with traceried compartments in the sides, and having an uniform cap and base. Each pedestal is fronted by a shield, over which is a ribbon containing the name

of the Saint represented above. The canopies over the head of each figure are uniform, hexagonal in plan, and surmounted by a filiated cupola between two pinnacles. The canopies are relieved with a background of a cerulean blue, and each of the effigies with a richly diapered curtain, or hanging, of cloth of gold. So far the general features of the whole resemble each other. The particular description of each statue is as follows:

S. Matheus.

An aged man with grey beard and bald forehead, clothed in a tunic or surcoat of scarlet with blue sleeves, a white cope or mantle lined with yellow, fastened at the throat; he holds his Gospel on his left hand, a richly bound and clasped volume in the antique style; on the shield below, the emblem of the Trinity, which may be thus blazoned heraldically:- Gules, an orle and a pall conjoined Argent, thereon four bezants, two in chief, one on the fesse point, and one in base, the two in chief inscribed: the dexter with the word " Pater," and the sinister with "Filius, the one on fesse " Deus," and the one on base," S'c't's Sp's ;" on each of the three parts of the orle the words " non est," and on each of the parts of the pall the word "est." S. Marcus.

In a long green robe with red sleeves, surmounted by a white chasuble; he holds his Gospel in his right hand. The shield is Azure, on the fesse point the Star of Bethlem within the crown of thorns, between three Rails all Proper-a shield of the Passion.

S. Lucas.

Attired in a blue robe with a white mantle, his Gospel in his right hand; the shield, Gules, a spear in bend, surmounted with a staff, with the sponge in bend sinister Proper; over all a cross Argent, having a scroll on the fesse point, charged with the letters J. N. R. I. Also a shield of the Passion.

3. Johannes.

The youthful appearance of this Saint is preserved; his robe is grey, surmounted by a white cope, his Gospel in his right hand. The shield Azure, on a mount Or, the Agnus Dei Argent, the head regardant and encircled with a nimbus Or, bearing a

banner Argent ensigned with a cross Gules.

Above the principal figures, and occupying the minor compartments of the subarches, are the well-known symbols of the Evangelists, deduced from the prophecies of Ezekiel and the Visions of St. John; they are so arranged as to be placed nearly over the figures of the Saints to whom they relate. It is almost needless to add, that these emblems are an Angel, a Lion, a Calf or Bull, and an Eagle. They are here represented white on a red ground. In the spandrils are the sacred monograms, A 2 and I. H. D. Above is the descending Dove.

The donors of this splendid window have caused a very simple memorial of their beneficence to appear in the design. At the bottom of the window, on a ribbon, is the following inscription. Deo et Ecclesiæ Fratres Hoare dicaverunt, A'o 'ni M.DCCC.XXX.III; and this, almost hidden by the ornaments of the altar, is the whole record of the donation of this splendid window.

In consequence of this modest retiring feeling, the artist was left to form his own design, and he shows throughout a close resemblance to ancient examples, on which sacred emblems alone formed the ornamental detail. No vain display of family pride, no pomp of heraldry is visible. The only record of the donors is a simple inscription, set up not for the gratification of vanity, but for the information of the historian.

Will the day never arrive when so pleasing, so appropriate, so innocent an embellishment to our churches, as stained glass, shall be universally introduced? Let us hope that it will —that one day we shall see a little of the surplus wealth of the times dedicated to the decent and appropriate embellishment of the house of God. When that period arrives, it is to be hoped that windows like the present will be constructed, instead of those vain displays of corporate and individual heraldry which we too often meet with on the altar windows of our ancient churches, in situations where those ornaments alone should be introduced, which may harmonize with the sacred character of the place, and accord with the feelings which ought solely to predominate.

E. I. C.