There are no ideas more common and less compounded than the measures of time, extension, and weight; and the Latin names, HORA, PES, LIBRA, are without difficulty rendered by the English names, HOUR, FOOT, and POUND:

and it is never stille ne in pes, in no maner cesoun.

no man otherwise than wee desiren that man don to us; so that rightwisnesse ne vengeance han nought to don amonges us; so that no thing thou may take fro us, but oure god pes, that alle weys hath dured amonge us.

Ad hæc, in illa terra quilibet homo habet ante domum suam vnum pedem fasciculorum, ita magnum sicut esset vna columna, et pes ille non desiccatur, dummodò adhibeatur sibi aqua.

Omnes autem mulieres nuptæ portant supra caput suum vnum pedem hominis, longitudinis vnius brachij cum dimidio; et subter illum pedem sunt pennæ gruis, et totus ille pes ornatur maximis margaritis.

[Footnote 1: The name lends itself to the interpretation, "son of a dog (pes).

Pes. 'Tis night, and good faith I am out of my way.

"The banks of the Pe-ke-sa-we-see, which we ascended, are elevated and pretty uniform.

Whereas with the Strangers, it was a pe

The Souls of the city of Pe, [Footnote: Part of the city of Buto (Per-Uatchit).

We might cite a large number of analogous examples, but shall be content to give the following: Figs. 13 and 15 represent radial and tangential sections of the bark of Syringodendron pes-capræ.

13.Syringodendron pes-capræ; from Saarbruck; radial vertical section, X200.]

15.Syringodendron pes-capræ; tangential vertical section in the corky part of the bark, X200.]

13, Syringodendron pes-capræ; from Saarbruck; radial vertical section, X200.

Syringodendron pes-capræ; tangential vertical section in the corky part of the bark, X200.

(Pes mirabilis)

(Pes mirabilis)

Figendus hic pes; certa sunt hæc hactenus: Si quod gubernet Numen Humanum genus, (At, quod gubernet, esse clamant omnia) Virtute non gaudere certè non potest: Nec esse non Beata, quâ gaudet, potest.

And the crow's-foot,pes anserinus, rather.

If the first part of the stanza was thus divisible, the parts were called pedes, and the musical theme or oda of the first pes was repeated for the second; the rest of the stanza was known as the syrma or coda, and had a musical theme of its own.

Or, lastly, a stanza might consist of pedes and versus, one theme being used for the first pes and repeated for the second and similarly with the versus.

Thus the general principle upon which the stanza was constructed was that of tripartition in the following three forms: I 1st line } 2nd " } Pes 3rd " etc. } 1st line } 2nd " } Pes 3rd " etc. } Diesis or Volta 1st line } Syrma 2nd " } or Coda 3rd " etc. } II 1st line } 2nd " } Frons 3rd " etc.

Thus the general principle upon which the stanza was constructed was that of tripartition in the following three forms: I 1st line } 2nd " } Pes 3rd " etc. } 1st line } 2nd " } Pes 3rd " etc. } Diesis or Volta 1st line } Syrma 2nd " } or Coda 3rd " etc. } II 1st line } 2nd " } Frons 3rd " etc.

" } Versus 3rd " etc. } III 1st line } 2nd " } Pes 3rd " etc.

} 1st line } 2nd " } Pes 3rd " etc.