I conjecture that there is a spring at c, by means of which the limb b being struck at b, and being made to produce a sound by striking the limb a, immediately afterward rises again to b.

Mr. Dallaway mentions a second instance of the Scabellum, as attached to the foot, in the statue of a Bacchanal in the late Mr. Towneley's collection, and quotes Salmasius, in Plin. Exercit. p. 998.-Scabillum, quod ex uno pede sonare consueverunt, inde sonipes. Qui scabillum sonabaut (Oi wodo-↓o401) vocantur—and adds, that it was an instrument used in the orgic dances, to regulate the time; but, if it was used in these dances, it was probably used, at some period, and in some places, in all or most others. It may have produced a softer though less lively sound than that of the Castanet; or its invention may have had its birth in a country where the chesnut-tree is not met with.

*

I suppose the name Scabellum or Scabillum to be derived from that of the substance employed in its manufacture, as Castanetfrom Castana, (the chesnut,) the original substance of this latter instrument. Scabellum and Scabillum signify, not only the instrument in question, but a foot-stool, a little bench, &c. and I can no otherwise account for this, than by supposing all these things to have been made of the same material, which may, however, be understood to comprehend rushes, osiers, or any thing that, in loose terms, is called the stalk or stem of a plant. Varrus tells us, that a low pair of steps to go to a bed was called Scapella, and a higher pair Scamnum. Scamnum implies climbing, and Scapella may come from Scapus, the upright stem of a plant.

While on inquiries of this kind, permit me to offer a slight remark, on a subject which you lately agitated in some small degree; I mean the origin of the Eton Montem, Most of our popular customs are most truly ancient, and it is not by stopping at the ordinances of the Roman church that we can truly find their beginning The Roman church, with great wisdom (but probably that wisdom which is taught by necessity) adopted, as you have more than once intimated, the customs of paganism, and sanctified them by some new name or application. I will not say, that this is the case in the present instance; but I cannot help calling your attention to one remarkable co-incidence between the customs of the Grecian Aphrodisia and the Eton Montem. The Aphrodisia were festivals in honour of Venus, and all those who assisted at them gave a piece of money, and received a measure of salt and a phallus. If we except the phallus, which was easily omitted, here is an exact identity between the Aphrodisia and the Montem. In the Eton phrase, the visitors, in both cases, come to be salted

* Anecdotes of Art, p. 251.

This

This is all that I shall advance. I will neither attempt to prove that the Aphrodisia and the Montem are connected, nor will I attempt to account for the use of salt, in the one case or in the other. The money, say our classical authorities, was given to Venus as a harlot; salt was given in return, because Venus rose from the sea; and the phallus, because she is the goddess of licentiousDess. But I have very little respect for classical authorities upon the subject of ancient customs. Customs began before books were written. Money I suppose to have been given because public worship always required pecuniary support; the phallus was given to the worshipper because, like the Romanist with his crucifix, and the Egyptian with his beetle, his spiritual wants demanded some emblem of his faith, blest by the hands of the priest; and this particular emblem was used, because Venus (the female nature in the godhead) was the Universal Mother, or because Venus was sometimes understood to be male, and was the Universal Father. As to the salt, I have no conjecture that particularly satisfies me; and I beg, in conclusion, to be understood to dwell on nothing but the remarkable co-incidence in the two customs mentioned, of giving money, and being salted. I am, &c. July 10, 1811.

N. N.

GALLERY OF ANTIQUITIES

IN THE BRITISH MUSEUM.

Ancient Design, that lifts
A fairer front, and looks another soul.

(Continued from vol. ii, page 363.)

THOMSON.

THIRD ROOM. WEST SIDE.

1.A BAS-RELIEF, representing an aged Faun struggling,

with a Nymph.

2. A bas-relief, representing a Candelabrum, richly decorated. 3. A bas-relief, representing a religious composition. In the centre is a pilaster, from each side of the upper part of which spring a branch of the olive-tree, sacred to Minerva, and on the top of which is a vase, the handles of which are formed of Gryphons heads, symbols also sacred to Minerva. On the left hand is a rustic terminus, or idol, set into a heap of stones, at the foot of which are two birds, apparently designed for Geese. the right hand is a tree, the leaves of which are plucked by a bird, which from drawing, might be taken for an ostrich, but which is probably one of the large long-legged water-fowl; while a third goose is feeding at its root.

A 4

On

4. A bas

4. A bas-relief, representing the same subject as has before occurred in the description of the Terracottas. Critics not being agreed as to the personages intended to be represented in these subjects, it will be most eligible in this place to do no more than refer to what has been offered on the former occasion. See Generol Chronicle, Vol. ii, p. 134. Art. 47.

5. A bas-relief, which is supposed to have been a funeral monument of a Father and his two Sons, who stand on the left side of the composition, and are in Roman dresses. The other figures, of larger stature, (an humble resource of art, frequently resorted to, in Roman and other antiquities,) are representations of gods. An inscription in Greek, on this monument, is very nearly obliterated.

6. A bas-relief, representing Castor managing a Horse. The sculpture is in the flat, early style of Greece, but the drawing possesses a spirit which implies no backward state of the arts.

7. Bacchus securing the Stag, which, at the command of Eurystheus, he had pursued a whole year in the forests of Arcadia.

17.* Two terminal heads, joined back to back, the one of the Bearded Bacchus, the other of Libera.

18. A statue of the goddess Fortuna.

19. A terminal head of the Bearded Bacchus, of very early Greek work.

20. A bust of Heraclitus.

21. A Votive Statue of a man who is carrying round a leathern bucket on the left arm. The head is covered with a conical bonnet, and in his left hand is a stick.

22. A Statue of Janus

23. An unknown head, large as life, supposed to be the head of a Titan. It is looking upward, in great agitation. This is one of the most striking objects in the collection, and we regret that from the direction in which the face is turned, it is by no means seen to advantage in the view necessarily taken of it in the plate. The spectator should be placed in front of the face, (our view exhibits the front of the bust,) in which he then reads that expression of strong defiance, directed upward, which has led to the supposition that a Titan is intended. This head was found in 1771, by Mr. Gavin Hamilton, in that part of Hadrian's villa near Tivoli, now called the Pantanella, along with several pieces of the statue or groups to which it belonged.

24. A Statue of a Faun.