IN acknowledging your attention in noticing my inquiries as to the Archery of Ulysses, allow me to trouble you with a few remarks in explanation of my interpretation of the word σreiλein. The French annotator to Dacier gave it "le trou ou s'insere le manche de la cognée ou de la hache," which is that of Schrevelius, "foramen securis in quod oreλeral, id est, immittitur, lignum." And I find that Hesychius gives it the same signification; as does also Scapula, quoting the opinion of Eustathius, o diñs σtéλλetai tò éμBalλóμevov úλov. Nay, Stephens, though he cites manubrium securis as the sole meaning of σreiλelov, Tò, &c. expressly says, 'sed σreileìa, n, magis proprie securis foramen in quod immittitur lignum." And in the same manner Constantine, in giving "manubrium "as the sole meaning of oreletov or στείλειος, adds, legitur et στειλεὶα, quod quidam volunt magis propriè significare securis foramen in quod immittitur lignum.

"

With such authorities in its favour, I submit that the feminine noun had a distinct meaning from the masculine and neuter one, and that that meaning is at variance with the supposition that the handles of the axes, as pieces of wood, formed the identical objects at and through the substance of which Ulysses shot his arrow. I ought to have stated that Constantine also defines the expression Spovóxous, to which the marks are compared, as "aliquando foramen securis in quod manubrium inseritur." This is a singular correspondence in the terms. The hypothesis which I ventured to hint at the close of my communication was, that the axes might possibly have been of that kind which have the head inserted in the handle, the hole or Oreiein at the top of the handle forming the orifice or ring through which the arrow would pass. And this I concluded by assuming the " in quod σréneral" as the condition of the word's signification-the key, in short, to its meaning-as the something thrust through.

Whether I am justified in such construction I do not pretend to decide; but I hazard it under correction, as seeming to afford a feasible solution of the shooting, which, with deference,

I doubt if the solid handles as marks can supply. Indeed J. M. himself has charged his supposition with a doubt as to its possibility in practice. If every pole had been two inches is diameter, the aggregate of two feet would have presented a fearful obstacle to the arrow. I rather suspect the twelve iron blades would not have been more difficult to have pierced than such a mass of hard wood, and that the arrow would have diverged after splitting the first one or two poles. The illustration, however, I admit to be excellent, so far as showing the power of the hero Ulysses.

If, indeed, we are to consider the feat described by Homer as a mere poetic fiction, an invented story, intentionally extravagant, to exhibit the strength of men in the generations preceding the poet, it would matter little what particular interpretation was put upon the passage. But I cannot help being persuaded that in this, as in his other descriptions of sports, manners, and customs, the great painter drew his details from actual observation, or at least well authenticated facts, and, therefore, would fain seek for a rational solution of the problem if possible.

One observation allow me to make as to the distance at which Ulysses shot. It is true Penelope's words mean literally "afar off," and, perhaps, in her woman's wonderment she thought the distance such: but it could not have been far in point of fact, for several reasons; first, because the exploit was performed within doors, in the very apartment where the suitors were assembled; and, secondly, because from the nature of the performance, which required level shooting, it must have been within pointblanc distance, giving 50 yards, or 60, as the range of the bow, the distance at which the hero was stationed was not, probably, one half that length, from the necessarily restricted space of the chamber. The words, therefore, "afar off" I render "at a distance," as coming within the more proper interpretation.

I am inclined, indeed, to conceive that point-blanc shooting was the only kind practised by either Greeks or Trojans in the heroic ages. Ulysses boasted before the Phoenicians that he

could cast a lance or spear with his hand as far as other men could shoot an arrow. This he could not certainly have done had long shooting been practised. And when Teucer was upon the point of sending a shaft at Hector's heart, the latter hit him with a heavy stone, shewing how near the archer stood. Straight or short shooting is still the only kind practised by some Indian tribes. The North American Indians, (the Ojibbeways, I believe,) who were in England recently, could not handle a long bow at a hundred yards even, until shown the art of elevation.

The posture in which Ulysses placed himself is somewhat peculiar; perhaps he sat, because the marks were lowered by insertion in the trench. The only other similar instance in Homer is the attitude of the Plague

Apollo, Il. I. Travellers say the Turks sit shooting at butts,-either from indolence or expediency. They were the conquerors, and, perhaps, also in their customs the successors, of the Greeks.

One more word as to the marks: In Iliad 13, v. 612, I find weλeккô used for the handle of Pisander's poleaxe (ağívn); and in Odyssy 7, v. 236, στειλειον is used as the handle of the hatchet (Teλékus) of Calypso, both handles being described as of olive wood. Would not Homer have probably used one or other of these words in the shooting of Ulysses, and not green, had he meant the poles or handles to have been the objects to be hit and split?

Excuse this prolonged explanation from your obliged correspondent,

T.

MR. J. G. NICHOLS has published the Fourth and concluding Part of "EXAMPLES OF DECORATIVE TILES, sometimes termed Encaustic," the earlier portions of which series we noticed on their publication. The whole comprises 101 examples, engraved in fac-simile, and in their original size (with one or two exceptions), besides several on a reduced scale which illustrate the introductory observations.

Most of the latter have already appeared in our pages, accompanying the articles on the Tiles in Great Malvern Church, contributed by Mr. Way to our magazines for May and July 1844; to which Mr. J. G. Nichols acknowledges his material obligations.

He has also given some account of the polychromatic and geometrical pavements at Fountains and Ely; of the embossed varieties found in Norfolk, in Ireland, and occasionally else where; both which kinds are also accompanied with sunken outlines scored or impressed ;t followed by remarks on the usual designs of the inlaid tiles,

which are the most frequent variety; and lastly, a description of the inlaid pavements of sculptured stone, of which the only known examples in this country occur in Canterbury Cathedral.

Whilst the collection, as a whole, is well calculated to direct the taste of those who are now engaged, in various directions, in promoting the revival of this very appropriate species of architectural decoration, the contents of Mr. Nichols's Preface may also be made the starting-post for the acquisition of some historical and antiquarian information, which may even yet be found to lurk in the scattered and mutilated relics of these long neglected pavements.

There is one caution, it appears, very necessary to be observed. It is this,-that tiles bearing personal and individual emblems, and which must have been originally designed for some particular edifice, are frequently found in other neighbouring places; and thus great care is requisite before any

individual appropriation of them can be positively pronounced.

This is the case with some of the tiles found at Malvern; and, though we know there was a kiln at that place in which such tiles were manufactured, still other tiles may have been brought from distant places, or tiles may have been made and used at Malvern which were originally destined for other places.

The same tile which, when found at Malvern, was thought to have been a memorial of Richard de Estone, who died prior there in 1300; when found at Malmesbury, was assigned to Robert, abbat of that monastery from 1424 to 1428; and when found at Offenham, co. Worc. was supposed to allude to Richard, abbat of Evesham, to whose house the estate at Offenham belonged.

The tile in question is that numbered XII. in our Magazine for July 1844, and which is reprinted in the plate which accompanies our present remarks. Though there must certainly have been one other if not three others to complete the design, it is strange that, while this tile has occurred at various places, no companion has yet been discovered. Possibly some of our readers may be induced to search for it.

The initials interlaced on the shield are R. E.; and the E. occurs also at the

corner. Evidently connected with the same series of designs, is a circle of four tiles now placed over the door of Stone Church in Worcestershire; but probably disarranged, in the manner shown in the Gentleman's Magazine for 1819, ii. 577. These were made probably at the same time, for the same person, as in this set (represented in the centre of the accompanying plate) the same initials occur at the corners both above and below, accompanied by the same two roses. The general design of the pattern consists of two shields of real arms alternated with two shields of devices. Of the former one is the coat of Berkeley, a chevron between ten crosslets. The

other, a chief charged with two mullets, appears to be the well-known coat of St. John. But possibly this

Gent. Mag. July 1844, p. 29. + Ibid. Dec. 1837, p. 572.

shield may have borne a fess, now defaced; and then we should have the same coat which is represented on a Malvern tile, with an impalement (see the Plate), and which was there intended for Braci; but which same charges, a fess and in chief two mullets, were also used by another Gloucestershire family, named Yate.

The device of R. E. is a saltire between two mullets in chief and base points, and the letters re in fess. Mr. Nichols has suggested that this appears to have been formed by taking parts of the two coats of arms: the two mullets from one, and from the other one of the Berkeley crosslets turned and converted into the saltire.

The other device is a bleeding heart pierced by three nails, between the initials 3.2. Now, this same device occurs also in a tile at Malvern, which is one of an imperfect set of four (see the Plate), and which has in its corner an initial I. placed in a similar manner to the R. E.

Also on another tile at Malvern, whose design is complete in itself (as in the Plate), are the initials of the same person interlaced, surrounded by the motto, Fiat misericordia tua, domine, super nos. This is closed by an ornamental stop resembling the letter S. which also occurs in the perfect set, the motto of which is, Adjuva nos, deus salutaris noster, et propter gloriam nominis tui, domine, libera nos, from the 78th Psalm (in the Vulgate),