Notes and Queries, Number 73, March 22, 1851, page 30 by Various Authors
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ciety, vol. iv.; and the German scholars Boeckh (in the Hallische Litteratur-Zeitung for 1848) and Sauppe have also written critical notices on the fragments; but whether their notices include the old and new fragments, I am unable to say, having only met with a scanty reference to their learned labours.
J. M.
Oxford.
Borrow's Danish Ballads (Vol. iii., p. 168).--The following is the title of Mr. Borrow's book, referred to by BRUNO:--
"Targum; or, Metrical Translations from Thirty Languages and Dialects. By George Borrow. 'The Raven ascended to the Nest of the Nightingale.'--Persian Poem. St. Petersburgh. Printed by Schulz and Beneze. 1835."
R. W. F.
Borrow's Danish Ballads.--The title of the work is--
"Romantic Ballads, translated from the Danish, and Miscellaneous Pieces; by George Borrow. 8vo. Printed by S. Wilkin, Norwich; and published at London by John Taylor, 1826."
In the preface it is stated that the ballads are translated from Oehlenslöger, and from the Kiæmpé Viser, the old Norse book referred to in Lavengro.
[mu].
Head of the Saviour (Vol. iii., p. 168.).--The correspondent who inquires about the "true likeness" of the Saviour exposed in some of the London print-shops, is not perhaps aware that there is preserved in the church of St. Peter's at Rome a much more precious and genuine portrait than the one to which he alludes--a likeness described by its possessors as "far more sublime and venerable than any other, since it was neither painted by the hands of men nor angels, but by the divinity himself who makes both men and angels." It is not delineated upon wood or canvass, ivory, glass, or stucco, but upon "a pocket handkerchief lent him by a holy woman named Veronica, to wipe his face upon at the crucifixion" (Aringhi, Roma Subterran., vol. ii. p. 543.). When the handkerchief was returned it had this genuine portrait imprinted on its sur