"E gli diro che il verde, il rosso, il bianco Gli stanno ben con una spada al fianco. E gli diro che il bianco, il verde, il rosso, Vuol dir che Italia il duro giogo ha scosso. E gli diro che il rosso, il bianco, il verde E un terno che si giuoca e non si perde." Of which the following rough version may serve to give a sufficiently-accurate idea of the meaning, for the benefit of your "country gentlemen" readers: "And I'll tell him the green, and the red, and the white Would look well by his side as a sword-knot so bright. And I'll tell him the white, and the green, and the red Mean, our country has flung the vile yoke from her head. And I'll tell him the red, and the white, and the green Is the prize that we play for, a prize that we'll win." "Un terno che si giuoca" is a phrase which refers to the system of the public lotteries, {300} established (so much to their shame) by the Italian governments; and a page of explanation of that system would be needful, to make any literal translation of it intelligible to an English reader. In conclusion I may say, in reply to the Query of HENRY H. BREEN, that the Popes alluded to in the epigram cited by him as above referred to (Vol. vi., p. 603.), seem evidently to have been Julius II. (Rovere), Leo X. (Medici), Clement VII. (Medici), and Paul III. (Farnese). And the epigram in question says no more than the truth, in asserting that they all four occasioned infinite mischief to France. T. A. T. Florence. * * * * * Minor Notes. _Perspective._--There is a very common error in drawing walls, the plane of which is parallel to the plane of the picture. An instance of it occurs in the facade of Sennacherib's Palace, Layard's 2nd book on Nineveh, frontispiece. All the horizontal lines in the plane of the picture are drawn parallel. The fact is, that every line above or below the line of the horizon, though _really_ parallel to it, _apparently_ approaches it, as it is produced to the right or left. The reason is obvious. One point in the wall, viz. that on which you let fall a perpendicular from your eye, is nearest to your eye. The perpendicular height of the wall, as drawn through this point, must therefore appear greater than as drawn through any other point more to the right or left. The lines which are really parallel do therefore apparently converge on some point more or less distant, according to the distance of the wall from your eye. Every drawing in which this principle is not considered must, I think, appear out of perspective. G. T. HOARE. Tandridge. "_That._"--I lately met with the following grammatical puzzle among some old papers. I forget from what book I copied it many years ago. Perhaps it may be new to some of your readers.