H. B. Walters 716 writes: "An old monkish rhyme sums

up the ancient uses of bells as follows:

"Laudo Deum verum, plebem voco, congrego clerum;
Defunctos ploro, pestem fugo, festa decoro;
Funera plango, fulgura frango, sabbata pango;
Excito lentos, dissipo ventos, paco cruentos.'

A similar old monkish rhyme is quoted in Brand's Popular Antiquities (edition of 1849, vol. ii. p. 213, footnote), as follows:

"En ego campana, nunquam denuntio vana,

Laudo Deum verum, plebem voco, congrego clerum,
Defunctos plango, vivos voco, fulmina frango,
Vox mea, vox vitæ, voco vos ad sacra venite.
Sanctos collaudo, tonitrua fugo, funera claudo,
Funera plango, fulgura frango, Sabbatha pango;
Excito lentos, dissipo ventos, paco cruentos."

16 H. B. Walters, Church Bells, London, 1908.

ADDENDUM.

ANTIQUE PICTORIAL OR PLASTIC ANALOGUES TO LUCIAN'S 'DIALOGUES OF THE DEAD."

LUCIAN, who is supposed to have been born at Samosata, on the Euphrates, about 120 A.D., and to have died about 200 A.D., is justly celebrated for his brilliant fanciful and humorous "Dialogues of the Gods," "Dialogues of the Dead," "Auction of Philosophers," &c. With keen humour and epigrammatic satire he casts ridicule on the ancient orthodox religious beliefs of his time. Both his gods and dead are, of course, represented as quite anthropomorphic in their sentiments (even though the latter are pictured as skeletons), and the words Lucian puts into their mouths include much satire on the habits, manners, aims, ambitions and foibles of his fellow living human beings.

Amongst his " Dialogues of the Dead" let us turn to that of Nireus, Thersites and Menippus (Firmin Didot edition of Lucian's works, Paris, 1867, p. 113, No. 25). The scene is in Hades. There, before the shade (skeleton) of the Cynic philosopher, Menippus, two other male shades (likewise represented of course as skeletons) are contending for the palm of beauty. They are Nireus, who, next to Achilles, had been during life considered the handsomest amongst the Greeks at Troy, and Thersites, who on the contrary was, according to Homer's Iliad, "the ugliest man amongst the Greeks who came to Troy." The shade of Nireus quotes Homer's Iliad about himself: ὅς κάλλιστος ἀνὴρ ὑπὸ Ἴλιον ἦλθον. But Menippus cynically decides that in regard to beauty there is no

difference between two skulls, and that Hades is in that respect a democracy where each inhabitant is as good as any other.

A pictorial (or rather, plastic) analogue to this is the relief from a sepulchral "cippus" (probably of the third century A.D.) in the British Museum, to which I have already referre in Part II. viii. and Part IV. i. It represents a skeleton stretched out at full length, and the accompanying inscription (above it) asks the passer-by whether from the bare skeleton he can tell if the living person had been beautiful like Hylas or ugly like Thersites. Hylas, who here takes the place given to Nireus in Lucian's dialogue, was said to have been so beautiful that the Naiads loved him, and once, when he went to get some water, drew him down into the well, so that he was never seen by mortal eyes again.

Similarly, I believe, the skeleton-shades of the philosophers on the two famous silver wine-cups of the so-called Boscoreale treasure, in the Louvre Museum at Paris (see description in Part I. A. and Fig. 4), with the inscriptions accompanying them, really form a kiud of pictorial (plastic) counterpart to literary scenes similar in character to those in Lucian's "Dialogues of the Dead." These cups are supposed to date from the first century of the Christian era, and therefore are probably nearly contemporaneous with Lucian's Dialogues. I would even suggest that they possibly represent scenes from some, now lost, literary work similar in style to Lucian's. "Dialogues of the Dead."

In regard to portraits as memorials of the dead (addition to the end of Part II. xv.) :—

An examination of really good portraits, even of persons one has been familiar with, may sometimes eveal previously unobserved features, or new meanings of facial expression, just as a first-rate drawing from a microscopical preparation may call the attention to structural details previously overlooked.

INDEX.*

(Numerals in Roman type refer to the pages of the Preface.
German ö and i are arranged as o and u.)

* I am indebted to Mr. J. Henry Quinn not only for this index, but
likewise for several valuable corrections in the text.