"Perhaps the most curious things about the chapel [of Winchester College] are the ancient stall-seats now affixed to the wall of the ante-chapel. These have their seats so fixed upon hinges that those who sit in them can only maintain their position by balancing themselves with care, and resting their elbows on the seat-arms; so that if the monks who used them dropped asleep during divine service, the seats came forward and pitched them headlong upon the floor; nay, if they only dozed and nodded the least in the world, the hard oaken seat clapped against the hard oaken back, and made a noise loud enough to attract the attention of the whole audience. Nothing was ever more cleverly contrived to keep people awake at church or chapel; and, no doubt, most of us know where they would be especially useful now." On the latter point there is little room for doubt; but allow me to ask whether this account of the use of the _miserere_ can be supported by adequate authority, and is anything more than a joke? Mediæval monks were, doubtless, sometimes caught napping; since Dr. Maitland (_Dark Ages_, 2nd edit. pp. 336. and 337. n.) mentions an amusing expedient employed in the monastery of Clugni for the detection of drowsy brethren. What I doubt is, whether the _miserere_ was intended for that useful purpose. In the _Glossary of Architecture_ (4th edit. p. 242.) its use is thus described:-- "They [_misereres_] were allowed in the Roman Catholic church as a relief to the infirm during the long services that were required to be performed by the ecclesiastics in a standing posture." In such matters, I should imagine Mr. Parker to be a better authority than his versatile contemporary; but if they were intended and permitted only for the _infirm_, it seems rather remarkable that they are so general in most cathedral or monastic churches that retain their ancient fittings. I would also ask when were they first introduced, and by whose authority? QUIDAM. JOCELINE'S LEGACY. _The Mother's Legacy to her unborn Child_, by Elizabeth Joceline. This is the title to a thin octave volume printed at "Oxford at the Theater for the satisfaction of the person of quality herein concerned, 1684." This, the first edition, is of rare occurrence; that in the British Museum being a dirty duodecimo chap book. "The Approbation" of the volume bears the signature of "Thos. Goad." It is addressed as a legacy "to her truly and most dearly-loved husband, Tourell Joceline." The letter to her husband, and _The Mother's Legacy_, are two of as beautiful, pious, and feeling compositions, as were ever penned by woman. The latter is so full of religious instruction and exhortation to faith in the mercies of a Redeemer, under the apprehension that she might not survive the birth of a child, that it is surprising this valuable little tract has not become a standard book for distribution by the Society for Promoting Christian Knowledge.