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FROM 
 THE BOOKS OF 
 
 LAURENCE HUTTON 
 
 The dainties that are bred in a book 
 
 NEW YORK 
 
 HARPER AND BROTHERS 
 ecu 
 
Copyright, 1892, by HARPER & BROTHERS. 
 
 All rights reserved. 
 
TO 
 CHARLES B. FOOTE 
 
 AND 
 
 BEVERLY CHEW 
 
 BOOK LOVERS BOTH 
 THIS BOOK ABOUT BOOKS 
 
PREFACE 
 
 FROM THE BOOKS OF my own library, 
 comfortably rich in the literature of the sev 
 enteenth and the eighteenth centuries, I have 
 gathered these oddities and curiosities of Books. 
 
 The chapters upon "Some American Book 
 plates, "and upon " Grangerism and the Gran- 
 gerites," were published originally in the Book- 
 buyer ; the chapter upon " The Portraits of 
 Mary Queen of Scots " appeared in the Cen 
 tury Magazine ; the chapters upon " Portrait 
 Inscriptions," and upon "Poetical Inscrip 
 tions," were printed in Harper s Bazar; and the 
 chapter upon " Poetical Dedications" first saw 
 the light in the Princeton Review. They have, 
 all of them, been revised, and some of them 
 have been rewritten ; and they contain not a 
 little additional matter gathered from the desul 
 tory reading of later years. 
 
 In the quotations, both in prose and in verse, 
 the original spelling has been retained as far as 
 possible. The Index is made for the benefit 
 
iv 
 
 of all Bookmen ; and the absolutely blank leaves 
 disconnecting the various chapters, that each 
 may be separately extra-illustrated, is a conces 
 sion to what is considered the depraved taste of 
 the Grangerites. 
 
 The little volume, as it here appears, is in 
 scribed not only to the Book - knower who is 
 more familiar with every branch of my subject 
 than I can pretend to be, but to the Book- 
 lover who may care, perhaps, to glean from its 
 pages certain odd and curious facts concerning 
 the dainties that are bred in Books. 
 
 LAURENCE HUTTON. 
 
CONTENTS 
 
 CHAP. PAGE 
 
 I. ON SOME AMERICAN BOOK-PLATES 3 
 
 II. ON GRANGERISM AND THE GRANGERITES . . 33 
 
 III. ON THE PORTRAITS OF MARY QUEEN OF SCOTS 59 
 
 IV. ON SOME PORTRAIT INSCRIPTIONS 83 
 
 V. ON POETICAL DEDICATIONS . 131 
 
 VI. ON POETICAL INSCRIPTIONS 155 
 
ON SOME AMERICAN BOOK 
 PLATES 
 
CHAPTER I 
 ON SOME AMERICAN BOOK-PLATES 
 
 OW many book -buyers and 
 book-lovers in this civilized 
 country, and in this enlight 
 ened nineteenth century, 
 have any knowledge of 
 Book-plates? With boiler-plates, and 
 butter-plates, and racing-plates, and fash 
 ion-plates the average reader is perfectly 
 familiar ; but Book-plate to him means 
 nothing at all, or it means what it is not. 
 Go to a large retail book -shop in any 
 one of the leading American or British 
 cities during the busy holiday season, 
 and ask the frequenters what they know 
 upon this subject. Nine hundred and 
 ninety-nine out of every thousand never 
 possessed a Book - plate ; nine hundred 
 and fifty have seen Book-plates, but do 
 not know what they are; and nine hun- 
 
dred and twenty -seven never heard of 
 Book-plates at all. Yet Book-plates are 
 almost as old as the printing of books ; 
 and the production of them, at one time, 
 was nearly as common as the manufacture 
 of the volumes they marked. 
 
 Book-plates are not the engraved plates 
 which are used in the illustrating of 
 books, nor are they the stereotyped plates 
 from which books are printed ; they are 
 the engraved or printed labels, of any 
 form or design, which, pasted in the inside 
 of the front covers of books, serve to de 
 note the ownership thereof. They vary 
 greatly in style, according to the period 
 to which they belong, or to the taste or 
 social position of their possessors ; from 
 the fantastic and primitive designs of Al 
 bert Diirer to the graceful and artistic ex 
 amples of Abbey or Bracquemond ; from 
 the elaborate quarterings of an hundred 
 coats-of-arms in the volumes of Vere de 
 Vere, to the simple JOHN FISKE in the 
 tomes of the author of " The Outlines of 
 Cosmic Philosophy." 
 
 The term Book-plate is awkward, and 
 confusing to the uninitiated. It origi- 
 
nated in England in the middle of the 
 eighteenth century, and has since been 
 used generally by English-speaking peo 
 ples. The Latin Ex Ltbris (" From The 
 Books Of "), still employed by the French 
 and other Latin races of the Continent, is 
 much more happy. Etymologists and 
 linguists may perhaps find traces of it in 
 the literal translations so often to be seen 
 in the limited private educational libraries 
 of both sides the Atlantic at the present 
 day. Ex Libris Gitlielmi Sttibbsi is un 
 questionably the parent of " Bill Stubbs, 
 One of his Books." 
 
 The earliest Book-plate known to col 
 lectors is German, and is believed to be 
 long to the later years of the fifteenth cen 
 tury. The oldest dated Book-plate, also 
 German, contains the figures 1516; and a 
 number of highly-prized specimens bear 
 the well-known initials "A. D.," but un 
 fortunately no date. They were designed, 
 although, as it is believed, not etched or 
 engraved, by Albert Diirer (1471-1528), 
 who is called " the Father of Book 
 plates." 
 
 But few English Book-plates which are 
 
earlier than the Restoration are said to 
 exist. The oldest known example, bear 
 ing an engraved date, is of the year 1574 ; 
 and William Marshall, so prolific in fron 
 tispieces of English books during a great 
 part of the seventeenth century, is the 
 first English artist who is known to have 
 signed a Book-plate, and that in 1662. 
 Other specimens of early English Book 
 plates contain the signatures of such well- 
 known artists as George Vertue (1684- 
 1756), Hogarth (1697-1764), Bartolozzi 
 (1730-1813), and Thomas Bewick (1753- 
 1828). 
 
 The strange absence of these designat 
 ing marks in England during the many 
 years they are known to have been so 
 common in other countries, is attributed 
 to the fact that a great number of the 
 more richly bound volumes in English 
 libraries contained their owners crests, 
 stamped on the outside of the leather 
 binding. The earliest English examples 
 of these marks, whether within or with 
 out the covers, were simply coats- of - 
 arms, with no mottoes or names. Only 
 nobles or wealthy persons or corporations 
 
could own books at that period ; and ar 
 morial bearings were considered a suffi 
 cient mark of proprietorship. They were, 
 of course, familiar to all brother collec 
 tors, and at the same time they were 
 more easily recognized and deciphered 
 by the lower orders, who could not read 
 written or printed words. These heral 
 dic devices in a great many instances 
 have been followed by later British bib 
 liophiles. In France, on the other hand, 
 we find bright and fantastic designs, 
 plays upon proper names, ingenious mon 
 ograms, drawings characteristic in some 
 way of their owner s profession or posi 
 tion in life, all of them unconventional 
 and imaginative, the French differing 
 as greatly from their neighbors over 
 the Channel in their Book-plates as in 
 their art generally, or in their literature 
 itself. 
 
 The earliest examples of American Ex 
 Lzbrts, like the English, are heraldic in 
 style; but they are no more American 
 than is the copy of the King James Bible 
 or of the Book of Common Prayer, in 
 the cover of which they found their way 
 
to New England or to the Carolinas from 
 the Mother Country. Many of them, nev 
 ertheless, are of great interest now, and 
 are as valuable in their way as are Knick 
 erbocker knick-knacks or colonial chairs, 
 because of their association with the fa 
 mous families who made our early history 
 for us, or their association with the Fa 
 thers of the Republic who fought for our 
 rights to design our own Book-plates, 
 and who gave us the glorious privilege, for 
 so many years, of pirating the British 
 books into which we put them. 
 
 Among the colonial Book-plates in 
 possession of the collectors are those of 
 the Washingtons, the Beverleys, the Lees, 
 and the Byrds of Virginia; the Penns 
 and Hopkinsons of Pennsylvania ; the 
 Vaughans and Pepperills of Maine ; the 
 Quincys, the Royals, the Olivers of 
 Massachusetts ; the Carrolls and Magills 
 of Maryland ; and the Schuylers, the Mor 
 rises, the Clintons, and the Livingstons 
 of New York. 
 
 The most interesting American Book 
 plate to an American is, naturally, that of 
 the Father of his Country. John and An- 
 
drew Washington arrived in Virginia in 
 1657, during the Protectorate, bringing 
 with them, besides their principles and 
 their integrity, the heraldic symbols of 
 their family. Their crest gave us a na 
 tional shield, and suggested our flag, 
 while it has marked their books during 
 several generations of Washingtons both 
 in the Colonies and in the States. Some 
 fifteen years ago a number of volumes 
 were advertised for sale, and were sold, in 
 Philadelphia, which purported to have 
 belonged to the private library of General 
 Washington at Mount Vernon ; they all 
 contained Book-plates, but it is believed 
 that neither the Book-plates nor the 
 books were genuine. They certainly did 
 not possess the authenticated pedigree of 
 the specimens now preserved in the Li 
 brary of the Boston Athenaeum and else 
 where. 
 
 That John Franklin, brother of Benja 
 min Franklin and son of a non-conformist 
 tradesman in England, was entitled to 
 bear the arms he engraved in his books is 
 very doubtful ; but there can be no ques 
 tion that the Washingtons and their social 
 
peers, north and south of the Potomac, 
 had every right to the crests they used. 
 
 One of the earliest and most interesting 
 of colonial Book-plates is that of " Will 
 iam Byrd, of Westover in Virginia, Es 
 quire." The famous Westover Mansion, 
 on the James River, about two hours sail 
 below Richmond, was for at least two 
 generations of Byrds the vice-regal court 
 of Virginia. It might have served as a 
 model for that New Castlewood on the 
 beautiful banks of the Potowmack, to 
 which Colonel Esmond, of blessed mem 
 ory, took his dear spouse in the reign of 
 the first George, to pass the delightful 
 Indian summer of their lives, thankful 
 for its rest and sweet sunshine. 
 
 William Byrd, the earliest American of 
 that name, came to this country in 1674, 
 seventeen years after the arrival of the 
 Washingtons, and fifty-six years before 
 the immigration of the Esmonds. He in 
 herited the estates from an uncle, and 
 settled near the falls of the James River, 
 on the site of the City of Richmond. The 
 Westover Mansion was built a few years 
 later. 
 
William Byrd was barely of age when 
 he left the Mother Country. He acquired 
 great wealth as a planter and an Indian 
 trader, and at the time of his death, and 
 for many years previously, he was Re 
 ceiver General of his Majesty s Revenues 
 for the Colony. He was succeeded by his 
 only son, the second William Byrd, who, 
 like the Warringtons some generations 
 later, was sent to England for his educa 
 tion. He was a student of the Middle 
 Temple, a fellow of the Royal Society, 
 and, according to the inscription on his 
 monument at Westover, a man of great 
 accomplishments, who " made a happy 
 proficiency in light and varied learning," 
 was "thrice appointed Publick Agent to 
 the Court and Ministry of England," and 
 "after being for thirty -seven years a 
 member, at last became President of the 
 Council of the Colony." He survived his 
 father forty years. The third and last 
 William Byrd, also a man of mark and 
 influence in the Colony, is believed to 
 have died soon after the outbreak of the 
 Revolutionary War. The famous West- 
 over Manuscripts, first published in 1841, 
 
were written from 1728 to 1736, by Will 
 iam Byrd, second. 
 
 The Byrd Book-plate is, unfortunately, 
 unsigned and undated, but it probably 
 belonged to the author of the Westover 
 Manuscripts, and was engraved during 
 his residence in London. Its owner, no 
 doubt, ordered it in England upon the re 
 ceipt of his appointment, carrying it and 
 the books it marked, with the rest of his 
 household goods, to the new country to 
 which he had been sent. It is presum 
 ably older than the Ex Libris of " Robert 
 Elliston, Gent. Comptrol r of His Majes- 
 tie s Customs of New York in America 
 MDCCXXV.," which came into the pos 
 session of Mr. Richard C. Lichtenstein, 
 of Boston, a few years ago, and is the 
 earliest known heraldic American Book 
 plate bearing a date and the address of 
 its owner. The engraving, which is pure 
 ly Jacobean in style, is too fine, however, 
 to have been done by any colonial artist 
 as early as 1725. 
 
 The earliest distinctively American 
 Book-plates are, naturally, those which 
 are the work of the earliest American en- 
 
gravers Hurd, Callender, Turner, Daw- 
 kins, Revere, Doolittle, the Mavericks, 
 and Anderson. Of these, Nathaniel Hurd 
 was not only the first, but the best. He 
 was born in Boston in 1729. His father, 
 also a native American, was a goldsmith 
 in that city, and the younger Hurd was 
 his apprentice, turning his attention par 
 ticularly to engraving on copper. The 
 first plate executed by him is believed by 
 Mr. Lichtenstein a recognized authority 
 on such subjects to have been the Ex 
 Libris of Thomas Bering. It bears the 
 initials NH, and was dated 1749, when 
 the artist was barely out of his teens. 
 Hurd was considered the foremost cutter 
 of dies and seals on this continent, and 
 for thirty years he died in 1777 he en 
 graved Book-plates for a great number of 
 prominent families and societies through 
 out the Colonies, including those of Har 
 vard College. 
 
 Henry Dawkins, an Englishman long 
 resident here, engraved the Book - plate 
 of John Burnet, of New York, signing it 
 in full, and dating it 1754, five years 
 after the Bering plate by Hurd. Of 
 
Dawkins very little is known. He was 
 originally a worker in metals, designing 
 and moulding fancy buttons and the like 
 in New York. Dr. Anderson told Dunlap 
 that he remembered seeing ornamental 
 shop-bills and " coats-of-arms for books," 
 which Dawkins had engraved before the 
 year 1775. But until recently, when Mr. 
 Beverly Chew, of New York, discovered 
 in a copy of Tonson s edition of Pope s 
 Homer this Ex Libris of John Burnet, no 
 trace of Dawkins had been found in this 
 country earlier than 1760, when he signed 
 the frontispiece of a Collection of Psalms, 
 Tunes, etc., published in Philadelphia a 
 year later. The natural supposition now 
 is that the Book-plate was engraved in 
 Philadelphia or New York. A writer in 
 the Magazine of American History speaks 
 of Dawkins as having been arrested for 
 counterfeiting in 1776, and of his petition 
 to be hung rather than suffer the long 
 confinement to which he was sentenced. 
 Whether he was hanged, imprisoned, or 
 pardoned is not recorded. 
 
 The second native American engraver 
 was Paul Revere (1735-1818). A number 
 
of his Book-plates are familiar to collec 
 tors, and are as rare and as valuable as is 
 the "Landing of British Troops "or "Bos 
 ton Massacre" (1770), by which he is 
 known to those of his fellow-countrymen 
 who know that he was an engraver at all. 
 He was apprenticed to a goldsmith, and, 
 without a master, he learned the art of 
 engraving on copper. As an enthusias 
 tic and ever-active patriot, the work in 
 which he took the greatest pride, no 
 doubt, was the paper money of the Com 
 monwealth of Massachusetts (1775). This 
 he designed, engraved, and printed ; con 
 structing with his own hands the primi 
 tive press from which it was issued. He 
 was the typical Yankee boy, who, before 
 he s sent to school, well knows the mys 
 teries of that magic tool, the pocket- 
 knife, and who, before he dies, not only 
 makes the machine, but makes the ma 
 chine that makes it. 
 
 That art in this country is in its in 
 fancy is proved by the fact that a con 
 temporary of the earliest of the American 
 engravers lived to see the work of the 
 men of the present day, and to compete 
 
with it ; that the father of wood-engrav 
 ing in America laid down his tools less 
 than a quarter of a century ago. Alex 
 ander Anderson was born in the City of 
 New York in 1775. When a lad of twelve 
 he made his first attempt at his art with 
 a graver which he had fashioned out of 
 the back-spring of his old penknife, and 
 on a copperplate rolled out of the pennies 
 given him to buy a new one. At the age 
 of fourteen he was apprenticed to a phy 
 sician ; he studied medicine for five years, 
 and was licensed to practice in 1795. But 
 the passion for engraving was too strong 
 to be resisted, and all his leisure time was 
 devoted to it. He supplied the news 
 papers with the small figures of houses, 
 ships, mechanics arms, and runaway ne 
 groes, cut on type-metal, with which they 
 illustrated their columns of wants, when 
 Washington was President, and James 
 Duane or Richard Varick was Mayor of 
 New York ; and twenty-five years before 
 the death of Paul Revere, Anderson was 
 a professional engraver, and a ripe and 
 good one. In 1793, when employed in 
 copying drawings on wood after Bewick 
 
for an American edition of " The Look 
 ing Glass," he discarded the type-metal 
 upon which he had been working through 
 half the volume, cut the rest of the illus 
 trations upon boxwood, with tools of his 
 own invention and construction ; and 
 signing his name to the first wood - cut 
 published on this continent, he gained for 
 himself the title of the American Bewick. 
 
 Anderson continued in the daily prac 
 tice of his profession almost up to the time 
 of his death, at a great age, in 1870; and 
 until Abel Bowen began to engrave upon 
 wood in Boston in 1812, he had no com 
 petitor in this country in that branch of 
 his art. He illustrated many books of 
 all classes a catalogue of which has late 
 ly been printed by Mr. Charles C. Moreau, 
 of New York, for private circulation and 
 he made a number of Book-plates, includ 
 ing his own and one of Columbia College. 
 
 Doolittle (1754-1832) and the Mave 
 ricks began their professional lives not 
 much earlier than Anderson, but they 
 ended them almost half a century before 
 he cut his last block. Doolittle was a 
 native of Connecticut, self-taught, and 
 
the author of a copperplate view of 
 " The Battle of Lexington," engraved from 
 a drawing by an eye - witness, and pub 
 lished, with other plates of like character, 
 in New Haven in 1775. These were be 
 lieved for some time to have been the 
 earliest specimens of engraving of histor 
 ical subjects executed in America. Paul 
 Revere antedated him, however, by sev 
 eral years. 
 
 Peter R. Maverick (1755-1807), called 
 Peter Maverick the first, and his son 
 Peter Maverick (1780-1831), etched and 
 engraved in New York many Book 
 plates, which are highly prized by the 
 collectors. The younger Maverick is best 
 known as an engraver of bank-notes, and 
 as the instructor of Asher B. Durand, 
 who became his partner in 1817. 
 
 There is but a small band of collectors 
 of Book-plates in the United States, and 
 it is only within a few years that this 
 harmless but interesting hobby-horse has 
 been saddled and ridden here. The late 
 James Eddy Mauran, of Newport, had 
 thirty -five hundred examples of all na 
 tions and all ages, and Mr. Richard C. 
 
Lichtenstein possesses upwards of three 
 thousand all of which were kindly 
 placed at the disposal of the writer in 
 the preparation of this chapter. Valua 
 ble and interesting as these are, they seem 
 very meagre in quantity by the side of the 
 twenty thousand specimens which Mr. J. 
 J. Howard, of Dartmouth, near Black- 
 heath, England, a founder of the Har- 
 leian Society, and editor of Miscellanea 
 Genealogzca, has gathered together dur 
 ing th last forty years. 
 
 Book-plates are valuable and interest 
 ing for a number of causes ; on account 
 of the artist who designed and engraved 
 them, on account of their antiquity, their 
 rarity, or on account of the personal qual 
 ities or position of the men and women 
 whose books they mark. Plates that are 
 signed, dated, or addressed are, of course, 
 more interesting than those which have 
 no such stamps; and of course the Ex 
 Libris of a Daniel Webster, an Edward 
 Everett, a William H. Prescott, or a Win- 
 field Scott, is of more value than are 
 those which are simply Book-plates and 
 nothing more. All these Book-plates, 
 
too, are naturally of infinitely greater val 
 ue in the books their owners read and 
 loved, and in which their owners put 
 them, than, when torn from their proper 
 homes, they are gathered together in the 
 asylum of a collector s album. Mr. An 
 drew Lang, in " The Library," says that 
 any one of twenty coats-of-arms on leath 
 er is worth one hundred times the value 
 of the volume which the leather covers. 
 If this be true, and it is true, of the per 
 sonal marks on the outsides of books, it 
 is certainly quite as true of the marks 
 within. There are many editions and 
 many copies of the poems of Jean Inge- 
 low, and the Ex Libris of Charlotte Cush- 
 man is not at all uncommon, but Miss 
 Cushman s own copy of Jean Ingelow, 
 containing Miss Cushman s Book-plate, 
 is worth, for Miss Cushman s sake, an en 
 tire edition of "The Old Days and the 
 New," published after Miss Cushman s 
 death, and to be bought now for a few 
 shillings. 
 
 Miss Cushman is one of the few Amer 
 ican women whose coat-of-arms, or whose 
 name, is to be found upon American 
 
Book-plates at the present time. To Mrs. 
 Elizabeth Grsem Ferguson belongs, it is 
 said, the distinguished honor of having 
 been the first of her sex on this conti 
 nent to mark her books in this way. 
 She was a lady of literary ambitions, who 
 translated but never published " Tele- 
 machus " into blank verse before she was 
 out of her teens, and who printed a num 
 ber of original poems in the later years 
 of her life. She was born in Philadelphia 
 in 1739, and she died in the same city in 
 1801. No copy of her Book-plate, which 
 was heraldic in design, is now known to 
 the collectors ; but she figures in Alli- 
 bone s " Dictionary of Authors," and some 
 specimens of her verse are to be found in 
 Griswold s " Female Poets of America," in 
 Duyckinck s "Cyclopaedia," and in Sted- 
 man and Hutchinson s " Library of Amer 
 ican Literature." 
 
 M. Poulet - Malassis, in "Les Ex Libris 
 Fran$azs" (Paris, 1874), declares that 
 "the eighteenth century was the golden 
 era of Book-plates, the designs and the 
 mottoes were so witty, so brilliant, so ec 
 centric, and so varied." This may have 
 
been true of the Ex Libris of France, but 
 it is hardly true of British and American 
 Book-plates of the same period. It is 
 only within a decade or two that the Eng 
 lish-speaking bibliophiles have marked 
 their books, to any extent, with other 
 than heraldic symbols, and to such sym 
 bols, in many instances, the book-lovers 
 on our side of the Atlantic had no right 
 whatever. A well-known American fam 
 ily abandoned, not long ago, the crest 
 which it had borne upon its silver, its 
 carriages, and its books for four or five 
 generations, upon discovering that it had 
 sprung from a family whose crest was 
 entirely different, or who had no crest 
 at all. Nothing was needed by Hurd or 
 by Maverick but a surname and a work 
 on heraldry ; the connection between the 
 coat-of-arms and the man who bore the 
 name being a matter of as much indiffer 
 ence to engraver and to purchaser then 
 as it is, in their grandsons time, to Tiffany 
 and to Brentano. The Poulet-Malassis of 
 a hundred years ago, on the other hand, no 
 doubt, playing upon his own name, justi 
 fied his descendant s claims for his vari- 
 
ety, eccentricity, brilliancy, and wit by de 
 signing for himself an Ex Libris upon 
 which was engraven an uneasy hen on an 
 uncomfortable nest, and some punning 
 motto, in choice old French, about " Foul 
 Play," or " My pretty chickens and their 
 dam." 
 
 This is hardly more fantastic or in 
 genious than is a well-known Book-plate 
 of a much later date, on which the two 
 towers of Notre Dame de Paris are made 
 to form the initial capital H, while across 
 the entire front of the cathedral are seen 
 the letters U. G. O. ; and over the top of 
 all, in a flash of lightning, is engraven the 
 legend "Ex Libris Victor Hugo." It is 
 hardly possible to conceive of any of the 
 British poets of a hundred years before 
 Hugo s time, when the golden era of 
 Book-plates existed in France, and the 
 golden era of books existed in England, 
 as indulging in an Ex Libris so eccentric, 
 so brilliant, or so witty as this. 
 
 In marked contrast with the Ex Libris 
 of the French poet is that of the Ameri 
 can professor who is doctor as well as 
 poet, and who has travelled, in his One 
 
Hoss Shay, from the Atlantic to the far 
 ends of the land, singing Songs of Many 
 Seasons and in Many Keys, and carrying 
 help and comfort to thousands of patients 
 who never saw his face, but whose bruised 
 hearts have blessed him, and still bless 
 him, for their healing. The books in his 
 library bear the image of "The Cham 
 bered Nautilus," that 
 
 " Ship of pearl, which, poets feign, 
 Sails the unshadowed main, 
 The venturous bark that flings 
 On the sweet summer wind its purpled wings 
 in gulfs enchanted, where the Siren sings, 
 And coral reefs lie bare, 
 
 Where the cold sea-maids rise to sun their stream 
 ing hair." 
 
 " If you will look into Roget s Bridge- 
 water Treatise, " said the Autocrat one 
 morning, " you will find a figure of one 
 of these shells and a section of it. The 
 last will show you the series of enlarging 
 compartments, successively dwelt in by 
 the animal that inhabits the shell, which 
 is built in a widening spiral. Can you 
 find no lesson in this ?" 
 
= 5 
 
 " Build thee more stately mansions, O my soul, 
 
 As the swift seasons roll ! 
 
 Leave thy low-vaulted past! 
 Let each new temple, nobler than the last, 
 Shut thee from heaven with a dome more vast, 
 
 Till thou at length art free, 
 Leaving thine outgrown shell by life s unresting sea." 
 
 George Bowland drew for the author 
 of " The Poets of America" a Book-plate 
 upon which is seen Pan piping with all 
 his heart, in Syracusan times, and in 
 haunts of shepherd, nymph, and satyr, the 
 prelude of some pastoral ditty, to fauns 
 who knew not Wall Street and nothing 
 cared for trade or last quotations. The 
 motto " Le Cceur au Metier " was sug 
 gested to Mr. Stedman by Mr. Matthew 
 Arnold, who, in his address to the mem 
 bers of the Authors Club, in 1883, urged 
 all men of letters, as well as all men of af 
 fairs, to put their hearts into their work. 
 Of this Book-plate three sizes have been 
 engraved ; the smallest, covering hardly 
 more space than a postage - stamp, fits 
 beautifully in, and ornaments, the Elze 
 virs of the seventeenth century and the 
 midget folios of this, which are among 
 its owner s collection of precious books. 
 
26 
 
 Mr. Aldrich s Book-plate contains a 
 comic mask, surmounted by a black bird 
 in the act of uttering sweet music, and it 
 is intended, perhaps, to represent a Daw, 
 and to be symbolic of Margery of that 
 name. Mr. Lawrence Barrett s plate had 
 the Mask of Tragedy on an open volume, 
 with torch and dagger ; and its motto was 
 Esto quod esse videris. Mr. Booth s books 
 are marked with a crest, and the motto, 
 Quod ero spero. 
 
 Mr. Brander Matthews s Book-plate, 
 designed by Mr. Edwin A. Abbey, is pecul 
 iarly fitting to an American, who is not 
 only a collector of French dramatic liter 
 ature and the author of the " Theatres of 
 Paris " and of " French Dramatists of the 
 Nineteenth Century," but is also the au 
 thor and editor of books relating to the 
 American stage, and the writer of Amer 
 ican plays. It represents the aboriginal 
 American s discovery of a Greek comic 
 mask, and the legend, taken from Mo- 
 liere, asks him, " What think you of this 
 comedy ?" 
 
 The variety and the ingenuity of the Ex 
 Lzbris of the present day in this country 
 
are shown in these examples. Others are 
 more fantastic, and all are intended to be 
 symbolic of the profession or of the taste 
 of the men to whom they belong. Mr. 
 George W. Childs, of Philadelphia, places 
 the pen where he thinks it should be, 
 above the sword. Mr. Edward Eggleston 
 selects a monk reading, with a nimbus and 
 a star above his head, and this line in old 
 English characters, " Flie fro the presse 
 and dwell with sothfastnesse ;" and Mr. 
 Dean Sage, an enthusiastic fisherman and 
 collector of the literature of the gentle 
 art he loves, puts into his copy of the 
 " Treatyse of Fysshyinge with an Angle," 
 or into his first edition of " The Complete 
 Angler," that rod, that net, and that tim 
 orous trout, which, we are told, are the 
 Contemplative Man s Recreation. 
 
 It may be remarked in passing that 
 Book-plates in books do not always prove 
 the ownership of the volumes which con 
 tain them. We have seen how the Ex 
 Libris of Washington was forged ; and it 
 is said that a dealer in London to whom 
 application was made for a specimen of 
 the Ex Libris of David Garrick, con- 
 
23 
 
 fessed that he had none for sale, except 
 in the books of Garrick s day, in which he 
 (the dealer) had pasted them, finding, 
 by so doing, that the books and Book 
 plates brought better prices ! The col 
 lecting of Ex Libris, however, has pre 
 served many interesting examples which 
 would naturally, every year, be lost or de 
 stroyed in re-binding by ignorant work 
 men who have no knowledge of their 
 value, or which are concealed and lost 
 under later Ex Librzs pasted above them. 
 And it must be confessed, in closing, 
 that all collectors, no matter what they 
 may collect, are in a measure destruction- 
 ists, although they may claim that they 
 destroy only to preserve. They have, 
 sometimes, very little hesitation in burn 
 ing scores of cottages for the sake of tast 
 ing the crackling on their special breed 
 of little pigs ; many priceless documents 
 have been mutilated in order to obtain 
 the easily duplicated signatures they con 
 tained ; many unique books have been 
 defaced for the sake of the not very rare 
 portraits bound within them ; or, to go 
 back to the very beginning of "collect- 
 
ing " in this country, many valuable heads 
 have been spoiled in order to gratify the 
 enthusiastic hobby of our aboriginal col 
 lectors of scalps ! 
 
ON GRANGERISM AND THE 
 GRANGERITES 
 
 ^^ 
 
 UNIVERSITY ) 
 
CHAPTER II 
 ON GRANGERISM AND THE GRANGERITES 
 
 : HAT a certain class of bib 
 liomaniacs and bibliolaters 
 should be denounced as bib- 
 lioclasts and bibliophobians 
 by all the great community 
 of bibliocists, bibliophilists, bibliogra 
 phers, bibliopolists, bibliologists, biblio- 
 pegists, bibliotaphists, bibliothecarys and 
 bibliognostes would seem, to the lay 
 mind, to imply a very serious condition of 
 affairs. Yet this is, and has been, the 
 position of the Grangerites since the foun 
 der of the sect published his great work, 
 one hundred and twenty odd years ago. 
 James Granger (cir. 1716-1776) was Vic 
 ar of Shiplock, in Oxfordshire, and author 
 of "A Biographical History of England 
 from Elizabeth to the Revolution, Con 
 sisting of Characters Dispersed in Differ- 
 
34 
 
 ent Classes, and Adapted to a Methodical 
 Catalogue of British Heads." It was 
 " Intended as an Essay towards Reducing 
 our Biography to a System ; and a Help 
 to the Knowledge of Portraits," etc., and 
 it contained a preface showing the " Util 
 ity of a Collection of Engraved Portraits 
 to Supply the Defect and Answer the 
 Various Purposes of Medals." (London, 
 4-i769.) To this was added, in 1806, by 
 Mark Noble (1784-1827), rector of Barm- 
 ing, in Kent, "A Continuation of Gran 
 ger s History, from the Revolution to the 
 End of the Reign of George I.," the ma 
 terials having been supplied from the 
 manuscripts left by Mr. Granger and from 
 the collection of the editor himself. The 
 first edition of Granger s work (1769) was 
 in two quarto volumes, each in two parts 
 hence the erroneous impression that it 
 appeared in four volumes, as did the lat 
 er editions, which were octavos. It was 
 printed on one side of the page only, in 
 order to facilitate the insertion of ad 
 ditional prints by the purchasers and 
 subscribers ; and it was introduced by a 
 Dedicatory Epistle to Horatio Walpole, 
 
35 
 
 Esquire ; who, in return, after Granger s 
 death, said, in print, that its author had 
 drowned his taste for portraits in an ocean 
 of biography ; and that, although he began 
 by elucidating prints, he at last sought 
 portraits, only that he might write the 
 lives of the men they represented. Which 
 sounds very much like Mr. Walpole. 
 
 In 1773 Dr. Samuel Johnson, who did 
 not realize how many of his own portraits 
 would be known to the collectors of a 
 century later, said : " Granger s Biograph 
 ical History is full of curious anec 
 dotes, but might have been better done. 
 The dog is a Whig. I do not like much 
 to see a Whig in any dress, but I hate to 
 see a Whig in a parson s gown." In 1776 
 Mr. Boswell, who certainly did not realize 
 that his own great work would be looked 
 upon within an hundred years simply as 
 a magnificent omnibus, into which Mr. 
 Granger s disciples would crowd all the 
 men of Boswell s own day, wrote from 
 Edinburgh to Bolt Court : " I have, since 
 I saw you, read every word of Granger s 
 Biographical History. It has enter 
 tained me exceedingly, and I do not think 
 
3 6 
 
 him the Whig that you supposed. Horace 
 Walpole s being his patron is, indeed, no 
 good sign of his political principles." 
 
 Granger s History was the first book 
 extended by the introduction of extra 
 prints illustrative of its text; and Mr. 
 Granger was the original Extra-illustra 
 tor, the father of the noble band of Gran- 
 gerites. Unlike his descendants he wrote 
 his book to illustrate his portraits; he 
 did not collect his portraits to illustrate 
 his book. He was followed at once by 
 other collectors, who wanted a valid ex 
 cuse for their collecting, and an asylum for 
 their collections ; and Clarendon s " His 
 tory of the Rebellion and Civil War of 
 England," Walton s " Lives," " The His 
 tory of the Worthies of England, Endeav 
 oured by Thomas Fuller, D.D.," John Au 
 brey s " Lives of Eminent Persons," and 
 other contemporary historical and bio 
 graphical works, were extended and en 
 larged ; many lesser illustrated books suf 
 fering, naturally, for the benefit of these. 
 Granger s collection of upwards of four 
 teen thousand portraits was sold after his 
 death. A correspondent of the Gentle- 
 
37 
 
 mans Magazine, for May, 1782, says that 
 they were secured in one unbroken lot 
 by Lord Mountstuart for ,1500, but this 
 was not the case. They were sold at 
 auction by Mr. Greenwood in the Hay- 
 market, April 6, 1778, and the following 
 days, the catalogue describing them as 
 " dating from the earliest specimens of 
 engraving to the present time." Lord 
 Mountstuart, afterwards first Marquis of 
 Bute, was a patron of Granger, and he is 
 mentioned by Boswell in the letter to 
 Johnson quoted above (August 30, 1776), 
 as being anxious to find a proper person 
 to continue Granger s work, upon Gran 
 ger s plan, offering to give such a person 
 generous encouragement. 
 
 The most cruel things that have ever 
 been said about the Grangerites are to be 
 found in "The Book Hunter." John 
 Hill Burton (1809-1881) declared that the 
 illustrator is the very Ishmaelite of col 
 lectors ; his hand is against every man 
 who loves books, and every book-lover s 
 hand is against his. He destroys un 
 known quantities of books for the sake of 
 enriching a single volume of his own with 
 
the portraits and other prints he finds 
 in them ; and what is worse, as he does 
 not always make his ravages known, many 
 a book is sold to the unwary person, who 
 is ignorant of the damaged condition of 
 his purchase. Mr. Burton could tell tales, 
 he said, fitted to make the blood run cold 
 in the veins of the sincere book hunter 
 about the devastations of the Grangerites, 
 who are in his eyes literary Attilas, the 
 Genghis Khans of literary plunder and pil 
 lage, spreading ruin and terror around 
 them ; they are monsters whether green- 
 eyed or not he was not quite prepared to 
 state who do make the meat they feed 
 upon, and becoming excited in their work, 
 go on ever widening the circle of their 
 purveyances, and opening new avenues 
 towards the raw material on which they 
 operate. Granger himself was conceded to 
 have been an industrious and respectable 
 compiler, however, and Mr. Burton hinted 
 that he is not, perhaps, to be held respon 
 sible for all the harm done in his name. 
 Dibdin also acquitted him of malice pre 
 pense, although he asserted that Granger s 
 History was published in an evil hour. 
 
It is a matter of some surprise that the 
 Grangerites, suffering for so many years 
 from the abuse heaped upon them, have 
 said so little in their own defense. Even 
 Mr. Tredwell, in his " Plea for Biblioman 
 ia," apologizes for, rather than defends, 
 the seductive art of privately illustrating 
 books ; and confesses his own sins in cut 
 ting up a new garment, like the old lady 
 in the fable, to mend an old one ; forget 
 ting that it is often possible and justifiable 
 to restore old and treasured gowns and 
 jackets with pieces taken from some new 
 raiment which is hardly worth the making 
 up, and certainly is not worth the wearing 
 out. An honest patch is better than 
 shoddy at its best. 
 
 The Grangerites are, by no means, the 
 only biblioclasts, nor the most persist 
 ent, nor the most ruthless. Mr. William 
 Blades enumerated among " The Enemies 
 of Books " (Trubner Co., London, 1880), 
 fire, water, gas, heat, dust, neglect, book 
 worms, and other vermin, and even book 
 binders and collectors ! An extra insert 
 ed print of man, or beast, or house, or 
 town, or field, or plain, does not always 
 
mean the destruction or mutilation of 
 some valuable volume which once con 
 tained it. It indicates, simply, the sur 
 vival of what in that book was most fit 
 to be retained. In very many volumes 
 which come from the printer s hands the 
 illustrations are the best part, not infre 
 quently the only part of any worth what 
 ever. Thousands of ephemeral books 
 and pamphlets have contained portraits 
 of some "worthy," or views of some old 
 theatre, or long demolished church, or 
 palace, or public building, which tell bet 
 ter the story of their originals than all that 
 their contemporaries ever wrote concern 
 ing them ; and, except for these prints, the 
 appearance of these originals would be as 
 much a matter of uncertainty now, and 
 quite as incomprehensible, as is the art 
 of a dead actor or the habits of the 
 dodo. They were not saved to posterity 
 by the books in which they were bound, 
 but by the collectors and the Extra- 
 illustrators who realized their worth, and 
 who plucked them from the burning, or 
 from the rag and bottle shop. Brandy 
 peaches are not so good, perhaps, as ripe 
 
peaches, but they are better than dried 
 peaches, or than no peaches at all ; and 
 they are available and valuable when 
 fresh peaches cannot be obtained. On 
 the shelves of the closets of hundreds of 
 enthusiastic collectors of jam are jars 
 of Clingstones and Morris Whites, which 
 would have comforted and refreshed no 
 man if they had been left to rot upon the 
 trees on which they grew. 
 
 Jonathan Richardson (1665-1 745) graph 
 ically described a portrait as " a general 
 history of the life of the person it repre 
 sents ; not only to him who is acquainted 
 with it, but to many others who, upon 
 occasion of seeing it, are frequently told 
 of what is most material concerning him 
 or his general character, at least ; the face 
 and the figure is also described, and as 
 much of the character as appears by 
 these, which oftentimes is here seen in a 
 very great degree." 
 
 The earliest Grangerites were collec 
 tors of personal portraits only of por 
 traits proper, as the word is now under 
 stood ; for in its primeval period all 
 painting, whether of landscape or figure, 
 
was called portraiture. The Pre-Ra- 
 phaelites painted a portrait of a mount 
 ain, a mill, and a man, the mill sometimes 
 being as big as the mountain and the 
 man often covering more space than the 
 mill and all on one panel. The first 
 human likeness, according to Pliny, was 
 drawn in Greece, and the original artist 
 was a Corinthian maiden, who, with the 
 charred end of a stick, traced the profile 
 of her lover on the white wall, upon which, 
 from the light of her lamp, his shadow 
 was cast. The early Roman warriors 
 had their own portraits painted upon 
 their shields ; and in the days of the Re 
 public none but those Romans whose fore 
 fathers had attained dignity in the state, 
 or who themselves had worn the purple, 
 were permitted to sit for their pictures at 
 all. 
 
 With engraved, etched, and printed por 
 traits alone, of course, the Grangerites 
 deal ; and these go back only to the end 
 of the fifteenth century, the earliest being 
 from the gravers of Diirer and his contem 
 poraries. The first English engraved por 
 trait, according to Vertue, was that of 
 
Archbishop Parker, by R. Hogenberg, and 
 it is dated 1572-73. The earliest attempt 
 at a collection of engraved portraits in 
 one volume in England, according to Wai- 
 pole, was Holland s " Heroologia Angli- 
 cana," folio, London, 1620; which even 
 in Walpole s day was very rare. It was 
 suggested to its publisher by a Flemish 
 work of the same character printed two 
 years previously. 
 
 One of the earliest collectors of prints 
 in England and one of the most enthu 
 siastic, was John Evelyn, whose learned 
 essays on Engravers and Engravings, 
 brought down to his own times, are de 
 lightful and instructive reading to all col 
 lectors in ours. In 1690 he wrote to 
 Pepys a brother collector, and a quon 
 dam pupil of his in that respect a long 
 letter full of good advice as to what to 
 buy and where to buy it, closing as fol 
 lows : " I send you, sir, my face, such as 
 it was of yore, but is now no more, tanto 
 mutata ; and with it what you may find 
 harder to procure, the Earl of Notting 
 ham, Lord High Admiral, which though 
 it makes a gap in my poor collection, to 
 
which it was glad, I most cheerfully be 
 stow upon you." Very rarely, indeed, in 
 the history of man does one find such an 
 instance of warm friendship as this, and 
 it may be urged against Evelyn on this 
 account, that he could not have been a 
 collector in the proper sense of the word. 
 A collector can exchange, but like the 
 Old Guard he never surrenders; and he 
 will not make a gap in his own lot to 
 please any man who ever lived. Pepys 
 himself, long before this time, was an en 
 thusiast on the subject of portraits ; and 
 in his Diary he records more than once 
 his purchases and the pleasure they gave 
 him. He even sent commissions to the 
 dealers in Paris ; for on January 25, 1668, 
 his wife " showed him many excellent 
 prints, Nanteuil s and others, which at 
 his desire had been brought to him out 
 of France, of the king, of Colbert, and 
 others, most excellent, and to his great 
 content." There is no record of his hav 
 ing made any gaps in his collection, how 
 ever, to enrich the collection of anybody 
 else. Of course, neither Evelyn, nor Pepys, 
 nor their contemporaries were Granger- 
 
45 
 
 ites. The name and the genus had not 
 then been invented. They had no thought 
 of the Extra -illustration of books, but 
 bought their prints for the prints own 
 sake, and from the natural collecting in 
 stinct of man, who is a collecting animal. 
 
 Of the art of collecting, and of the charm 
 of collecting, much has been written, and 
 much has been said, but nothing more 
 keenly appreciative or more valuably in 
 structive than the words of love and wis 
 dom which Richard Marriot, in St. Dun- 
 stan s Church-yard, in Fleet Street, printed 
 in 1653 for the dear old linen-draper of 
 Chancery Lane, who was a collector of 
 Trouts in the Tamesis and the Lea. 
 
 Your complete angler for prints is not 
 the man who fishes in preserved waters, 
 with priced-catalogues for fishing lines, 
 and long bank-accounts for hooks ; nor is 
 he the man who sends his agents to fish for 
 him, as the Japanese have their dancing 
 done, by proxy; nor yet the superannu 
 ated angler, with gouty foot on chair, who 
 bobs for gold-fish in a tub in his own din 
 ing-room, like the familiar man after the 
 old painting ; but, like Izaak Walton, he is 
 
4 6 
 
 the modest, humble piscator, who trudges 
 many a weary but happy mile for his sim 
 ple luncheon of speckled beauties which 
 will hardly weigh two to the pound avoir 
 dupois, but who feels that he has well 
 earned them before he lands them, and 
 who enjoys them all the more because he 
 has, perhaps, neglected the mixing of his 
 daily bread in the making of his flies or 
 the digging of his worms. With great 
 delight he studies the winds and the 
 clouds, the proper seasons of the year, and 
 the proper times of the day, and decides 
 whether he shall try a red fly or a dun 
 fly or the humble bait that turns. Long 
 experience has made him familiar with 
 the habits and haunts of the prints he 
 fishes for, and well he knows, and dearly 
 he loves, the quiet pools, so near the rap 
 id waters of Broadway, the Strand, or the 
 Quai d Orsay, where the fat ones lurk 
 waiting to be caught by the angler who 
 knows how to strike them, and how to 
 play them, and how to keep them when 
 he gets them in. 
 
 There are collectors and collectors, 
 however. Some gather prints for the 
 
sake of the artist who engraved them, 
 seeking, for instance, nothing but the 
 works of Hollar and Vertue, and every 
 thing of Vertue s and Hollar s that their 
 purses will buy. Others collect only for 
 the sake of a subject Bonaparte, Shaks- 
 pere, Washington, Mary Stuart, London, 
 Steamships, or Cats ; securing every por 
 trait or view of their subject, good, 
 bad, indifferent, authentic or ideal, nat 
 ural or artificial, possible, probable, and 
 absurd ; while others, collecting to il 
 lustrate a certain book, or books, gath 
 er pictures of every person, or place, 
 or thing upon which the text touches. 
 There are, also, specialists in style ; col 
 lectors of first impressions, or of artists 
 proofs only ; collectors who will accept 
 nothing but line-engravings, mezzotints, 
 or etchings, who draw the line at wood 
 cuts ; and there are omnivorous collec 
 tors who draw the line at nothing but a 
 photograph, who accept everything that 
 is a picture, from a Bartolozzi and a Blake 
 down to the commonest stamps on the 
 meanest handbills which come from the 
 press. These plebeian collections are, in 
 
4 8 
 
 certain respects, the most valuable of all. 
 They contain the rank-and-file of life, of 
 topography, and of architecture, subjects 
 which are too humble to attract the atten 
 tion of the great artist, and are only to be 
 found embalmed in the columns of some 
 illustrated daily, weekly, or monthly jour 
 nal, but which go to make history, and 
 are not to be ignored because they are 
 mere " process - pictures " of no artistic 
 worth. These common cuts, too, often 
 preserve the portrait of some person or 
 place of no little importance, which by 
 accident of time or opportunity have no 
 other or no better representation. The 
 Extra -illustrators of Ireland s "Records 
 of the New York Stage " will look in vain, 
 outside of an old number of " Frank Les 
 lie s Lady s Magazine," or of " The Me 
 moirs of Lester Wallack," for a portrait 
 of Mrs. Hoey, to make their book com 
 plete ; while inserted in different copies 
 of Dr. Francis s " Old New York " are 
 newspaper cuts of many interesting his 
 torical old buildings, which would never 
 have been reproduced at all if some spe 
 cial artist on the spot had not had the 
 
4 j 
 
 rare good-luck to find them next door to 
 a fire on the one side of them, or to a mur 
 der done on the other. 
 
 Grangerism is thus defined by the au 
 thor of "The Book Hunter": "Illus 
 trating a volume consists in inserting in, 
 or binding up with it, portraits, land 
 scapes, and other works of art bearing a 
 reference to its contents ;" and the Arch- 
 Enemy of the sect, parodying Dibdin s 
 famous " Recipe for Illustration," contain 
 ed in " The Bibliomania," and itself bor 
 dering on the satirical, proceeded to show 
 how a devotee of what he calls the pe 
 culiar practice would naturally go to work 
 to illustrate that piece of English verse 
 which begins : 
 
 " How doth the little busy bee 
 Improve each shining hour." 
 
 Dibdin s example is a paragraph from 
 the works of Speed, the historian. But 
 as Speed is not always accessible, and as 
 Dr. Watts s familiar poem is not alto 
 gether adaptable, the Neophyte for whom 
 this particular chapter is written it is re 
 spectfully inscribed to the Virtuoso who 
 is more familiar with the subject than the 
 
writer can pretend to be ; the Neophyte 
 will take, for instance, this chapter itself, 
 and turning back to the opening para 
 graph he will make, at random, a list of 
 names found in the text, including, among 
 others, those of James Granger, Thomas 
 F. Dibdin, Dr. John W. Francis, Mr. Jo 
 seph N. Ireland, John Hill Burton, James 
 Boswell of Auchinleck, Samuel Johnson, 
 and Mary Stuart. 
 
 Armed with this list he will at once set 
 himself out to procure every portrait of 
 these personages he can buy, beg, or ex 
 change, no matter at what period of life 
 it is taken, by what class of artist it is 
 executed, or to what process of engraving 
 it belongs. And this pursuit, if properly 
 carried out, he will find a liberal education 
 in itself. 
 
 To begin at the foundation of his sub 
 ject, he will discover, probably, but one 
 portrait of Granger, and that not very 
 easily. He will see that the first edition 
 of Granger s " History of Engraved Brit 
 ish Heads" contained no specimen of the 
 Engraved British Head of its author, but 
 that a vignette from the hand of C. 
 
Brctherton is to be found in the edition 
 of 1775, and that this print itself is now 
 very scarce. 
 
 Dibdin s picture will not be so far out 
 of his reach. He was painted by T. Phil 
 lips, R.A., and engraved by James Thom 
 son for the edition of "The Bibliomania" 
 published in 1840. Besides this there are 
 several privately engraved plates. Of Dr. 
 John W. Francis there are at least four 
 portraits within the collector s reach ; the 
 familiar head by Julius Hollman serving 
 as a frontispiece to " Old New York ;" a 
 portrait by the same artist contained in 
 " The Knickerbocker Gallery ;" a three- 
 quarter length by Herring in " The Na 
 tional Portrait Gallery" (Philadelphia, 
 1836) ; and an uncommon print, folio size, 
 published by the Appletons. Two por 
 traits of Mr. Joseph N. Ireland, author of 
 " The Records of the New York Stage," 
 are in existence : one etched by H. B. 
 Hall in 1869, and a second engraved by 
 J. C. Buttre in 1884. 
 
 Of John Hill Burton there is no like 
 ness in the early edition of " The Book 
 Hunter," although a " Nook in the Au- 
 
thors Library," and a full-length portrait 
 by W. B. Hole were given in the Edition 
 de luxe printed in 1883. 
 
 If the Laird of Auchinleck pronounced 
 Affleck had come into the world with 
 out the enthusiasm, the impudence, the 
 curiosity, and the untiring want of tact 
 which distinguished him, he might have 
 gone down unhonored into the dust from 
 whence he sprung, and have died entirely 
 undrawn except by some Ayrshire limner 
 of no repute. But as the friend and biog 
 rapher of Johnson, he became so famous 
 that his portrait by Reynolds had been 
 engraved no less than ten times when the 
 first edition of Croker, and the eleventh 
 of Boswell, appeared in 1831 ; and how 
 often it has been copied since no man can 
 tell. This picture by Sir Joshua, the full- 
 length portrait by George Langton, an 
 engraving of which, by E. Finden, was 
 published by Murray in 1835, and the gro 
 tesque head in profile by Lawrence, are 
 the best known portraits that have come 
 down to us. 
 
 The print bearing the legend, " James 
 Boswell, in the Dress of an Armed Cor- 
 
sican Chief, as he appeared at Shakspere s 
 Jubilee at Stratford-on-Avon, September, 
 1769," is curious and rare, and was, no 
 doubt, originally published with his con 
 currence. It speaks for itself, and for 
 Boswell ! 
 
 Concerning the portraits of Dr. John 
 son alone, many pages might be written. 
 His face is as familiar to-day as is that of 
 Bonaparte, Shakspere, or Mary Queen 
 of Scots. In one private collection of 
 Johnson there are one hundred and fifty- 
 three prints, no two of which are alike ; 
 and this collection is known to be incom 
 plete. When the Neophyte comes to this 
 name on his list he will be at a loss where 
 to begin and how soon to stop. He will 
 certainly be tempted to gather as many 
 as his purse will buy. 
 
 The earliest authentic portrait of the 
 great lexicographer is a miniature, the 
 painter of which is unknown. It belonged 
 to Mrs. Johnson, and was first engraved in 
 1831 by Finden, for the earliest edtion of 
 Croker. 
 
 In 1756 Sir Joshua Reynolds painted 
 Johnson in three-quarter length, seated 
 
in an arm-chair at a table, and with pen 
 in hand. This has been repeatedly en 
 graved, although the most rare prints are 
 the work of J. Heath (quarto), for the 
 first edition of Boswell, 1791, and that of 
 J. Baker (octavo) for the edition of 1793. 
 Another portrait by Reynolds was with 
 out a wig and with the hands raised. It 
 was executed about 1770, and went into 
 the collection of the Duke of Sutherland. 
 A third by the same artist bears date 1773. 
 It has the left hand on the waistcoat but 
 ton, and was painted for Bennet Langton. 
 In 1778 Reynolds painted his friend again, 
 this time " a kit-kat," and for Mr. Malone. 
 It represents its subject as near-sighted 
 and holding a book close to the eyes, a 
 portrait which Johnson resented as an 
 unfriendly act on the part of the painter 
 in handing down to posterity the inflic 
 tions and infirmities of the original. 
 These have all been painted in replica; 
 and more than once, and scores of times, 
 have they been engraved. Sir Joshua s 
 hypothetical " portrait " of Johnson as he 
 was supposed to have looked when a 
 child of two years, preternaturally heavy 
 
in head, and already with deliberation and 
 pedantic care engraven on his front, is 
 described by Mr. Tom Taylor in his " Life 
 of Reynolds " as beautiful in color and in 
 fine preservation. 
 
 Johnson was painted by Barry full 
 face and finished only as far as the shoul 
 ders about 1781. Opie s portrait, a three- 
 quarter face turned to the left, was en 
 graved by J. Heath for the folio dictionary 
 of 1786. Miss Reynolds, a niece of Sir 
 Joshua, painted a miniature on ivory, as 
 well as a three-quarter length, life-size 
 portrait on canvas, which latter her sitter 
 himself described as "Johnson s grimly 
 ghost." Of the last portrait, by Trotter, 
 Johnson said: "Well, thou art an ugly 
 fellow ! But still I believe thou art like 
 the original !" 
 
 Besides all these, mentioned briefly 
 above, the collector will find prints of John 
 son in all conditions, of all sizes, and by 
 engravers good and bad, after original por 
 traits by Northcote, Zoffany, Humphrey, 
 Harding, and others, as well as engrav 
 ings of the bust by Nollekens, and the 
 statue by Bacon in St. Paul s Cathedral. 
 
Here, taken almost at random, are but a 
 very few examples of the pictures the 
 Extra - illustrator will hunt for, and per 
 haps find, in Extra-illustrating a few stray 
 pages upon Extra-illustration. But they 
 will whet his appetite for more. He will 
 have spent a few dollars well invested 
 and many happy days in making his 
 collection ; and he will spend happy nights 
 in arranging and counting and admiring 
 it. Those portraits which have margins 
 too large he will cut down to fit, those 
 which are too small he will have " backed " 
 and " inlaid " by Trent, Lawrence,or Toedt- 
 berg, or if he be an artist as well as an en 
 thusiast, like Mr. Moreau, he will inlay 
 his own prints. 
 
 When these are bound in with the text, 
 and with, perhaps, a few autographs add 
 ed, the Grangerite has made for himself 
 an absolutely unique book, into which he 
 has put so much of himself that his Extra- 
 illustrated copy becomes part of himself, 
 and a joy to him forever. And he blesses 
 himself that he has a hobby ; while he 
 blesses Granger for giving his hobby a 
 reason and a name. 
 
ON THE PORTRAITS OF MARY 
 QUEEN OF SCOTS 
 
CHAPTER III 
 
 ON THE PORTRAITS OF MARY QUEEN 
 OF SCOTS 
 
 i HE question of the personal 
 appearance of the last Queen 
 of the Scots is a matter of 
 as much uncertainty to-day 
 as is the greater question of 
 her moral character. Scores of volumes 
 have been written to prove her virtue or 
 to proclaim her infamy, and hundreds of 
 artists have endeavored to picture the 
 face, a glimpse of which, it was said, 
 would move even her enemies to forget 
 her follies and forgive her faults. That 
 she was the most beautiful princess, if not 
 the most beautiful woman, of her time, 
 tradition and history have declared for 
 three hundred years ; but wherein lay her 
 loveliness of person, or how far, as a wom 
 an, she was worthy of respect, neither 
 
6o 
 
 history nor art can positively assert. The 
 subject of her portraiture, therefore, merits 
 a chapter to itself. 
 
 Horace Walpole, author of " Anecdotes 
 of Painting," and no mean authority upon 
 the subject, to which he had given close 
 attention, said in a letter to Sir Joseph 
 Banks, first published in George Chal 
 mers s " Life of Mary Queen of Scots " 
 (1822), that he could never ascertain the 
 authenticity and originality of any of the 
 so-called portraits of her, except that one 
 which was in the possession of the Earl 
 of Morton. " It agrees," he wrote, "with 
 the figure on the tomb at Westminster; 
 in both the nose rises a little towards the 
 top, bends rather inward at the bottom, 
 but it is true that the profile on her medal 
 is rather full, too. Yet I should think 
 that Lord Morton s portrait and the tomb 
 are most to be depended on." 
 
 The picture known as the " Morton 
 Portrait " was painted, according to gen 
 erally accepted tradition, by Mary s own 
 order in 1567, when the unfortunate Queen 
 was twenty-five years of age, and during 
 the first year of her confinement at Loch 
 
Leven. It is on a panel, is of life-size, 
 and has been attributed to Lucas de 
 Heere. The present Earl of Morton is 
 descended from Sir William Douglas, 
 Laird of Loch Leven, and the elder brother 
 of George Douglas, to whom Mary is said 
 to have presented the picture, because of 
 his assistance in effecting her escape from 
 the castle. The fact that it has been in 
 the possession of this family for upward 
 of three centuries is its strongest claim 
 to originality. It has frequently been 
 engraved. 
 
 The full-length, life-size, recumbent 
 effigy in alabaster on the tomb in West 
 minster Abbey was placed there upon the 
 removal of the remains of Mary from 
 Peterborough in 1612. Its costume re 
 sembles in many respects that of the 
 Morton portrait, by which perhaps it was 
 suggested. The name of the designer of 
 this monument has never been clearly 
 ascertained, although it would appear 
 from certain of the records kept during 
 the reign of the first Stuart king of Eng 
 land that " Cornelius Cure, Master-Mason 
 to his Highness s Works," did receive, 
 
62 
 
 during the years 1606 and 1607, various 
 sums of money " for the framing, making, 
 erecting, and finishing of a tomb for Queen 
 Mary, late Queen of Scotland . . . accord 
 ing to a Plot thereof drawn " ; and that 
 "William Cure, his Majesty s Master- 
 Mason, son and executor under Cornelius 
 Cure," was paid other various sums in 
 1610, and again in 1613, for " making the 
 Tomb to his Majesty s Dearest Mother." 
 From these it would appear that the 
 monument was begun six years before, 
 and finished one year after, the final inter 
 ment, in 1612. John de Critz, mentioned 
 by Meres in his " Wit s Commonwealth " 
 (1598), as "famous for his painting," is 
 generally believed to have been the archi 
 tect of the tomb to Elizabeth in the ad 
 joining chapel ; and as they are similar 
 in design and of about the same date, it 
 is not improbable that he was the author 
 of the " Plot thereof drawn " for the tomb 
 to Mary. The figure, at all events, was 
 executed less than a quarter of a century 
 after Mary s death, and when there must 
 have been many persons living in Great 
 Britain who remembered her. Its cor- 
 
rectness as a portrait does not seem to 
 have been questioned then, and there is 
 every reason to believe, with Walpole, 
 that it is one of the best likenesses of her 
 which has been handed down to us. 
 
 Without doubt the first attempt at por 
 traiture of the Queen of Scots was made 
 in her earliest infancy, for her little face 
 was engraved upon the half-pennies issued 
 from the Royal Scottish Mint at the time 
 of her coronation in 1543, and when she 
 was but nine months old. A number of 
 these small coins are still preserved, and 
 it is said that the name " bawbee," or baby, 
 was originally given to that denomination 
 of money because of its bearing the image 
 and superscription of the Baby Queen. 
 As a likeness, of course, this is of little 
 value. Nor can much more credit be 
 attached to the portrait of the bright, 
 piquant little girl in the collection of Lord 
 Napier, notwithstanding the fact that it 
 bears a memorandum in the handwriting 
 of Francis, seventh Lord Napier, dated 
 1790, to the effect that "this picture of 
 Mary Queen of Scots, supposed to have 
 been painted when she was about twelve 
 
6 4 
 
 years of age, has ever been considered to 
 be an original picture, and has been in the 
 possession of the Napier family for many 
 generations." It is on canvas, two feet 
 three inches high, one foot ten inches 
 wide ; the complexion is fair, the hair 
 light brown, the roses in the head-dress 
 are crimson, and the gown is red, with 
 white stripes. It resembles so strongly 
 in face and costume, however, a portrait 
 in the collection of the Earl of Denbigh, 
 which is known to be that of an Infanta 
 of Spain, who lived many years after 
 Mary s time, and who was even suggested 
 as a proper wife for her grandson, Charles 
 I., that there can be little ground for the 
 belief that it was intended for the Queen 
 of Scots at all. 
 
 The earliest painted portraits of Mary 
 are probably those executed in France be 
 fore her marriage to the Dauphin in 1558, 
 for it is an established fact that Frangois 
 Clouet, otherwise Jehannet or Janet, who 
 was court painter successively to Francis 
 I., Henry II., Francis II., Charles IX., and 
 Henry III., made a portrait of her about 
 the year 1 555, which was sent to the Queen- 
 
Regent of Scotland, Mary of Guise, but of 
 which there is no trace now. In the col 
 lection of " Drawings of the Principal 
 Personages of the Court of Henry II. of 
 France," purchased by the Earl of Carlisle 
 in Florence about an hundred years ago, 
 and now at Castle Howard, there is a por 
 trait of Mary ascribed to Janet, and, per 
 haps, the first sketch of the picture sent 
 to her mother. It resembles the portrait 
 in colored crayons in the library of St. 
 Genevieve, in Paris, which has been re 
 produced by engraving in P. G. J. Neil s 
 " Portraits des Personages Frangais," al 
 though they both suggest a woman of 
 twenty or more, rather than a child of 
 thirteen, and neither of them resembles 
 in any way the subject of the Napier por 
 trait described above. In the crayon 
 drawing the eyes and hair are light brown. 
 Janet is known to have painted another 
 portrait of Mary during her first widow 
 hood, and when she was known as " La 
 Reine Blanche," and the picture now at 
 Hampton Court is believed to be the 
 original of this. It is faded, and has 
 every appearance of having been retouch- 
 
66 
 
 ed and restored. It certainly belonged 
 to Charles I., for it bears his monogram, 
 " C. R.," surmounted by a crown, and has 
 attached to it a note by the keeper of the 
 king s pictures testifying that " it is Queen 
 Marye of Scotland, appointed by His Ma 
 jesty for the Cabinet Room, 1631. By 
 Janet." Its history before it came into 
 the possession of Charles has never been 
 traced to the satisfaction of the antiqua 
 ries. The eyes are dark brown, the wid 
 ow s white cap pressing on the forehead 
 is opened at the sides to show the dark 
 brown hair and joins a veil which passes 
 around the cheeks and conceals the ears. 
 The face is that of a decidedly elderly 
 woman ; and the expression is very sad. 
 If by Janet, and of Mary, it could only 
 have been painted when the Queen was in 
 her nineteenth or twentieth year. An old 
 copy of it is in the National Portrait Gal 
 lery at South Kensington, whence it was 
 taken from the British Museum some 
 years ago ; and several .pictures of the 
 same type are to be found at Versailles 
 and elsewhere. 
 
 Patrick Fraser-Tytler, the historian of 
 
Scotland, published in 1845, for private 
 circulation only, a monograph in which 
 he attempted to prove that the picture 
 now known as the " Fraser-Tytler Por 
 trait " was the identical likeness painted 
 in 1 560 shortly before the death of Fran 
 cis II., and sent by Mary, through Lord 
 Seton, to Elizabeth. It belonged to an 
 artist named Stewart, was bought by Fra 
 ser-Tytler from a dealer, and is now the 
 property of the trustees of South Kensing 
 ton. It is three feet one and a half inches 
 long, and two feet three inches wide. The 
 painter is unknown, although it has been 
 ascribed to Zuccaro, who was only a lad 
 during Mary s residence at the French 
 court, and who did not go to Paris until 
 the reign of Charles IX., ten or twelve 
 years after Mary s return to Scotland. It 
 is hardly probable that she sat to Zuccaro 
 at any time. His only visit to England 
 was during her long captivity, and when 
 she was kept under the closest surveil 
 lance. Walpole believed that Zuccaro 
 could never have seen her, and Labanof 
 included him in a long list of artists who 
 painted purely imaginative portraits of 
 
63 
 
 her, or who, for various reasons, could 
 never have been the authors of the pict 
 ures of her which have since been attrib 
 uted to them. The portrait of Mary and 
 James VI., on one canvas, ascribed to 
 Zuccaro, now in the Drapers Hall, Lon 
 don, must of necessity be false as an his 
 torical if not as an artistic work ; for the 
 little prince, who was taken from his 
 mother before he was a year old, never 
 to see her again, is represented as a lad 
 of five or six, standing by his mother s 
 side. Curious stories are told of this 
 painting, and of the manner of its com 
 ing into the possession of its present 
 owners. There is a tradition that it was 
 thrown over the walls of the Drapers 
 Garden for safety during the great fire 
 by persons now unknown, and never re 
 claimed; another that Sir Anthony Ba- 
 bington left it with the Drapers Com 
 pany for safe-keeping, and could not get 
 it back ; still another that it was stolen 
 from some of the royal palaces by Sir 
 William Boreman in the reign of Charles 
 II. ; and it is even insinuated that it is a 
 portrait of Lady Dulcibella Boreman, Sir 
 
William s wife. It was cleaned at the in 
 stigation of Mr. Alderman Boydell tow 
 ards the close of the last century, and it 
 has been engraved by Bartolozzi. 
 
 Another portrait of Mary with a ro 
 mantic history is that which was be 
 queathed by Elizabeth Curie, an attend 
 ant and faithful friend of the Queen, to 
 the Scot s college at Douai, where it re 
 mained until the end of the French Rev 
 olution. During the Reign of Terror it 
 was concealed by the priests of the col 
 lege in the flue of a disused chimney, and 
 it lay there, forgotten, for more than 
 twenty years. It hung for some time after 
 that on the walls of the Scottish Benedic 
 tine Convent at Paris, but in 1830 it was 
 carried to the Roman Catholic estab 
 lishment at Blair, near Aberdeen, where 
 Agnes Strickland saw it, accepted its au 
 thenticity, and had it engraved as a fron 
 tispiece for one of her published works. 
 The artist, as usual, is unknown, although 
 it has been attributed, with slight author 
 ity, to Amyas Carwood, whose name ap 
 pears upon the painting of the decapitat 
 ed head of Mary which belonged to Sir 
 
Walter Scott, and with which all visitors 
 to Abbotsford are familiar. That the 
 Curie portrait was a posthumous work 
 there can be no question, as the scene of 
 the execution is introduced in the back 
 ground. A poor copy of it in her Maj 
 esty s collection at Windsor, is said by 
 the different authorities to have been 
 made in the reign of Charles I., of James 
 II., and even as late as that of George III. 
 Barbara and Elizabeth Curie were devoted 
 servants of the Queen, and were present at 
 the last scene of all at Fotheringay, in 1 587. 
 They escaped to the Continent with Gil 
 bert Curie, the brother of Elizabeth and 
 husband of Barbara, carrying the portrait 
 with them, or, perhaps, painting it from 
 memory during their exile. On the death 
 of the last survivor of them it was left, as 
 has been shown above, to the college at 
 Douai. Their bodies were buried in the 
 south transept of the church at Antwerp, 
 which is dedicated to the patron saint of 
 Scotland ; and above the mural tablet 
 erected to their memory, and supported 
 by two carved angels, is a portrait of their 
 Queen, copied the head and bust only 
 
from the original work which they so 
 dearly prized. 
 
 Still another picture of the Scottish 
 Queen, with a strange, eventful history, is 
 that which is known as the " Oxford Por 
 trait " in the Bodleian Library. Sir Da 
 vid Wilkie discovered that there were two 
 portraits of the same person although 
 unlike in costume and not very like in 
 f ace upon the same canvas; and after 
 the outer picture had been carefully cop 
 ied it was removed, leaving the portrait 
 as the visitor to Oxford sees it to-day. 
 The reason for painting this second pict 
 ure over the first, and the period or the 
 artist of either picture, no man now can 
 tell. 
 
 The portrait of Queen Mary most fa 
 miliar to the world, because most fre 
 quently reproduced, and upon which the 
 popular idea of her personal appearance 
 is based, is that known as the "Ork 
 ney Portrait," belonging to the Duke 
 of Sutherland. Its painter is also un 
 known. The nearly effaced date, 1556, 
 and the name Farini, or Furini,#re said 
 to be visible upon it ; but it bears every 
 
evidence of being much more modern 
 than the middle of the sixteenth century. 
 It is said to have belonged to Robert 
 Stuart, one of the many natural sons of 
 James V. who fretted Mary s reign, and 
 who was created Earl of Orkney by James 
 VI. How this picture came into his pos 
 session tradition does not say. A well- 
 known copy of it by Watson Gordon 
 hangs in Queen Mary s room in the Cas 
 tle of Edinburgh. 
 
 An interesting miniature of the Scottish 
 Queen is now in America. As it has never 
 been engraved or publicly exhibited, it is 
 little known to collectors. It represents 
 her at half length. The dress is black, 
 trimmed around the neck, the arms, and 
 upon the bosom with eider-down. Be 
 tween the large ruff of the down about 
 her neck, and the neck itself, is a fine, up 
 right collar of stiff lace. On the head, 
 and falling back over the neck, is a black 
 velvet coif. The hair is what is called 
 "Titian gold." The background of the 
 picture is dark blue, and contains the le 
 gend, "Maria. Regina. Scotorum." In 
 the case of polished wood which holds it 
 
is a gold plate with the following inscrip 
 tion : " This original portrait of Queen 
 Mary Stuart is an heirloom in the family 
 of the Setons of Parbroath now of New 
 York into whose possession it came 
 through their ancestor, David Seton of 
 Parbroath, who was Comptroller of the 
 Scottish Revenue from 1589 to 1595, and 
 a loyal adherent of his unfortunate Sov 
 ereign. It was brought to America in 1 763 
 by William Seton, Esquire, representative 
 of the Parbroath branch of the ancient 
 and illustrious family of the forfeited Earls 
 of Winton." There is a tradition that this 
 picture was the gift of the Queen to her 
 faithful servant, David Seton, who, al 
 though a member of the Kirk of Scot 
 land, was never counted among her per 
 sonal foes. A copy of it was presented by 
 the late William Seton in 1855 to Prince 
 Labanof, who believed it to be from life, 
 and surmised that it was taken during 
 her captivity. The face is beautiful but 
 no longer young. 
 
 Of the very many other existing por 
 traits of Mary, or of their claims to au 
 thenticity, it is hardly possible or neces- 
 
sary to speak here. Nearly fifty paintings 
 of all sizes, generally believed to be 
 " originals " by their owners, were exhib 
 ited at Peterborough, at the Tercentenary 
 of Queen Mary s death, in 1887, and hun 
 dreds of engraved portraits, no two of 
 which are exactly alike, are in the differ 
 ent private collections on both sides of 
 the Atlantic, nearly all of which may be 
 marked " doubtful." Vertue himself con 
 fessed that he did not believe "the fine 
 head in a black hat, by Isaac Oliver, in 
 the king s collection," which he engraved, 
 to be a portrait of Mary, and he also 
 questioned the authenticity of the pict 
 ure known as the "Carleton Portrait," 
 which he engraved for Lord Burleigh. 
 Holbein died before he could possibly 
 have painted Mary; Vandyck was not 
 born until twelve years after her execu 
 tion ; Paris Bordone may have seen her, 
 although there is no certainty of his hav 
 ing been in Paris after the reign of Francis 
 I.; Zuccaro probably did not paint her, 
 and yet to all of these artists " original " 
 portraits are positively ascribed. 
 
 It is a remarkable fact that the more 
 
beautiful is the face which is painted or 
 engraved the less reason is there for be 
 lieving it to be the face of Mary. A glance 
 at the fullest collection of " Mariana," in 
 which are prints good and bad, authentic, 
 posthumous, apocryphal, ancient, and 
 modern, will convince the observer that 
 no woman, no matter how varied her ex 
 pression, could possibly have looked like 
 them all. The coins and medals struck 
 during her lifetime to commemorate in 
 teresting events in her career, and still in 
 existence in France and in Great Britain, 
 so far as that style of portraiture is to be 
 depended upon, may give a better and 
 more reliable idea of her face in profile 
 than any of the paintings which vary so 
 much in expression and in color. Her 
 head is to be found upon Scottish silver 
 coins of 1553 and 1561, and upon a Scot 
 tish gold coin of 1555. There is a cast of 
 a medallion at South Kensington, by Ja- 
 copo Primevra, which is very clear ; and 
 the medals containing her head and that 
 of the Dauphin, which were struck in honor 
 of their marriage, are still to be seen in 
 their original state at Versailles and in 
 
other French galleries ; but how correct 
 any of these may be as portraits, it is not 
 possible now to say. 
 
 After careful inspection of all the so- 
 called " original portraits " of Mary Stuart, 
 and after conscientious reading of much 
 of the voluminous literature, contempo 
 raneous and otherwise, in which she fig 
 ures, it is not possible to accept any pict 
 ure of her, either by painter or by writer, 
 as absolutely correct. While the lock of 
 her hair, found in a cabinet which was 
 inherited by Charles I. from his father 
 and is carefully preserved by the present 
 Queen, " is of the loveliest golden hue 
 and very fine," Nicholas Whyte, Bur- 
 leigh s emissary, wrote to his chief in 1 569, 
 on the strength of information received 
 from Mary s attendants, that her hair was 
 "black or almost so." In the " Fraser- 
 Tytler Portrait " the face is pale, the eye 
 brows of a pale yellow tint, the hair yellow 
 rather than brown, and the eyes blue. In 
 the picture supposed to have been pre 
 sented by Mary to the Earl of Cassillis, 
 one of the Scottish commissioners sent to 
 act as a witness at her marriage to the 
 
77 
 
 Dauphin, the hair is of a rich chestnut 
 tint, almost black, the eyes and eyebrows 
 are dark, and the complexion is that of a 
 delicate brunette. In a miniature, dated 
 I579 with the monogram " M. R." in the 
 corner, and sold in the Neville Holt col 
 lection in 1848 as " a reliable, original por 
 trait of Mary Stuart," the hair is brown 
 and the eyes gray. Janet painted her 
 with light brown eyes and hair. Melville, 
 in comparing the rival queens, said that 
 Elizabeth s hair was more red than yel 
 low, while Mary s was " light auburn, her 
 eyes of chestnut color." Winkfield, an eye 
 witness of Mary s execution, described her 
 eyes as hazel. Ledyard, in one of his 
 poems, spoke of her yeux un peu brunets ; 
 and they all seem to agree that she had 
 a slight but perceptible squint. 
 
 That Mary wore false hair, and of many 
 different colors, there is every reason to 
 believe. Elizabeth is known to have had 
 a collection of eighty wigs, and her dear 
 cousin, with the unusual advantages of so 
 many seasons in Paris, is not likely to 
 have been far behind her. Among the 
 statements of the accounts of her personal 
 
expenditure are numerous items of per- 
 ruquesdecheveux, and Sir Francis Knollis, 
 writing to Burleigh of the ever faithful 
 " Mistress Mary Seton, the finest busker, 
 that is to say the finest dresser of a wom 
 an s head of hair that is to be seen in any 
 country," said, "And among the pretty 
 devices she did set such a curled hair 
 upon the Queen, that was said to be pere- 
 wyke that shewed very delicately. And 
 every other day she hath a new device of 
 head-dressing, without any cost, and yet 
 setting forth a woman gaylie well." This 
 variety and eccentricity of coiffure natu 
 rally adds to the confusion, and makes 
 greater the difficulty in identifying posi 
 tively any of the portraits or descriptions 
 of Mary. Historians say that her mother 
 was tall and beautiful, that her father was 
 dignified, having a fair complexion and 
 light hair ; and other and contempora 
 neous historians say that she inherited 
 most of the characteristics of her parents, 
 " being about the ordinary size, with fair 
 complexion and Grecian features, and a 
 nose somewhat longer than a painter 
 would care to perpetuate; . . . her face 
 
was oval, her forehead high and fine." 
 Froude, in later days, pictures her as grace 
 ful alike in person and in intellect, and as 
 possessing that peculiar beauty in which 
 the form is lost in the expression, and 
 which every painter has represented dif 
 ferently ; and Brantome, one of the an 
 cient chroniclers, summing it all up in one 
 fine sentence, described her at her mar 
 riage to the Dauphin as being "more beau 
 teous and charming than a celestial god 
 dess." 
 
 " An angel is like you, Kate ; and you 
 are like an angel," was a very pretty 
 speech for Shakspere s Henry V. to make 
 to the French king s daughter, but it gives 
 us of to - day no better notion of Kath- 
 erine s beauty than do all the composite 
 portraits, by painters and historians, of 
 the wondrous loveliness of the Queen of 
 the Scots. 
 
ON SOME PORTRAIT INSCRIP 
 TIONS 
 
CHAPTER IV 
 
 ON SOME PORTRAIT INSCRIPTIONS 
 
 EXT to the familiar lines, 
 beginning, " Good Frend for 
 Jesu s Sake Forbear," carved 
 upon the stone which covers 
 the supposed grave of Shaks- 
 pere, in the chancel of the church at 
 Stratford, no verses of any kind relating 
 to Shakspere are more familiar to the 
 general reader of English literature than 
 are those written by Ben Jonson, and pre 
 fixed to the famous Droeshout portrait of 
 Shakspere, contained in the Four Folios 
 of his Plays : 
 
 "This Figure, that thou here seest put, 
 It was for gentle Shakespeare cut ; 
 
 Wherein the Grauer had a strife 
 With Nature, to out-doo the life : 
 
 O, could he but have drawne his wit 
 As well in brasse, as he hath hit 
 
His face; the Print would then surpasse 
 All, that was ever writ in brasse. 
 
 But, since he cannot, Reader, looke 
 Not on his Picture, but his Booke. 
 
 "B. I." 
 
 This poetical effusion has served to 
 establish in a great many minds, and de 
 spite all sorts of contradictory statements, 
 the conviction that Shakspere lived, and 
 had a being, and even that he wrote, and 
 was portrayed by limners ; and it seems 
 to prove that Jonson knew him, and be 
 lieved in him, and that Jonson believed, 
 as well, in the Droeshout portrait. It is 
 unquestionably one of the most important 
 of the Portrait Inscriptions which have 
 come down to us from the seventeenth 
 century ; but that it is only one of very 
 many similar dedicatory stanzas, is prob 
 ably a fact of which the general read 
 er is not aware. A number of these, 
 including one to Jonson himself, were 
 seen in the Exhibition of Engraved Por 
 traits made by the members of the Grolier 
 Club of New York in December, 1891 ; 
 and in the collection of Mr. Beverly 
 Chew kindly placed at the disposal of 
 the writer of this chapter are some two 
 
hundred examples of this species of Eng 
 lish verse, all of them curious and some 
 of them rare, while a few, signed by their 
 authors, are nowhere to be found among 
 the fugitive pieces in these authors col 
 lected works. 
 
 Concerning the Droeshout portrait of 
 Shakspere innumerable papers, pamph 
 lets, and even books, have been written. 
 It is found in all sorts of conditions or 
 "states," no two of which are absolutely 
 alike; and the first "state" is, naturally, 
 the best. Of this only one example is 
 known to exist, a proof, which belonged 
 to Mr. Halliwell-Phillips. It was on the 
 exceedingly rare title-page printed before 
 the word " coppies " was corrected to the 
 single "p " of the rare First Folio ; and 
 all later impressions are believed to have 
 been printed from a re-touched plate. 
 
 The name Droeshout was spelled by 
 his contemporaries, and perhaps by him 
 self, in a number of ways Droeshout, 
 Droshaut, Drossaert, Drussoit, etc. 
 
 The Droeshouts were a Netherlandish 
 family of artists who settled in England 
 during the last quarter of the sixteenth 
 
S6 
 
 century. The first of the name of whom 
 there is any record was "John, a painter." 
 Michael, who is believed to have been a 
 son of John, is described " as a graver in 
 copper, which he learned in Brussels." 
 Michael s son, Martin, was baptized in 
 the Dutch Church, Austin Friars, April 
 26, 1 60 1, fifteen years before Shakspere s 
 death. Another Martin, probably an un 
 cle, figures in the records of the same 
 church as " a painter, of Brabant." The 
 younger Martin was admitted a member 
 of the church in 1624, a year after the 
 publication of the First Folio ; and he is, 
 in all probability, the author of the Shak- 
 spere portrait. His name also appears 
 upon still existing engraved heads of 
 James, Marquis of Hamilton, who died in 
 1625; George Villiers, Duke of Bucking 
 ham, assassinated in 1628; Sir Thomas 
 Overbury (1581-1613); Dr. John Donne, 
 engraved for " Death s Duell," published 
 in London in 1632-33 ; George Chapman 
 (1557-1634), etc. 
 
 The Droeshout print was placed upon 
 the title-page of the First Folio, between 
 the words of the actual title and the 
 
names of the printers " Isaac laggard, 
 and Ed. Blount, 1623 " ; and it bears the 
 signature of the engraver in full. Jonson s 
 lines were on the leaf facing the title- 
 page, as was not infrequently the custom 
 in those days. In the second issue of 
 the Third Folio, 1664, the Droeshout print 
 was removed from the title-page to make 
 room for the^ enumeration of the seven 
 doubtful plays, and was placed over Jon- 
 son s lines, so as to face the title, like the 
 frontispieces of the present time. 
 
 Mr. George Scharf, Curator of the 
 National Portrait Gallery in London, and 
 a recognized authority upon the subject, 
 in a long and exhaustive article upon 
 "The Principal Portraits of Shakspere," 
 contributed to Notes and Queries, for April 
 23, 1864 Shakspere s birthday ex 
 presses the opinion that the earliest im 
 pressions of the Droeshout print afford a 
 very satisfactory indication of the indi 
 vidual appearance of the man, that the 
 style of wearing the hair and the smooth, 
 round cheeks accord with the monu 
 mental bust ; and that the engraving, very 
 probably, represents the subject as he 
 
appeared towards the close of his life. 
 The plate is sharp and coarse, he con 
 tinues, but there is very little to censure 
 with respect to the actual drawing of the 
 features ; and he believes that Droeshout 
 worked from a good original some lim 
 ning or crayon drawing, which having 
 served its purpose became neglected, and 
 is now lost. Alas, and alas, that this 
 original limning if it ever existed exists 
 no longer ! 
 
 Malone, on the other hand, said that 
 "there is no way of accounting for the 
 great difference [in artistic skill] between 
 the print [of Droeshout s Shakspere] and 
 his spirited portraits of [Gen. William] 
 Fairfax and Bishop Howson, but by sup 
 posing that the picture of Shakspere from 
 which he copied it was a very coarse 
 performance." 
 
 While Mr. Scharf thinks that the print 
 exhibits Shakspere in the ordinary gar 
 ments of a private gentleman of the peri 
 od, other writers profess to believe that it 
 represents him in the character of Old 
 Knowell, in Jonson s " Every Man in His 
 Humor," which tradition says Shakspere 
 
acted at the original production of the 
 comedy in 1598; and this, perhaps, may 
 account for the Laureate s enthusiastic 
 indorsement of the portrait of the Player. 
 Mr. Scharf thinks, too, that the Droe- 
 shout head and stiff collar were followed 
 by William Marshall in his small oval 
 portrait of Shakspere which was prefixed 
 to the 1640 edition of "The Poems." The 
 body -dress and close-fitting sleeve are 
 similar in point of construction ; and 
 while the embroidery is omitted alto 
 gether, the exact number of buttons is 
 reproduced ; the head, however, is look 
 ing the other way, the background is 
 light, and the left hand holds a sprig of 
 laurel. This portrait has also an inscrip 
 tion, to wit : 
 
 "This Shadowe is renowned Shakespear s, Soule of 
 
 th age, 
 
 The applause, delight, the wonder of the Stage, 
 Nature herself, was proud of his designes, 
 And joy d to weare the dressing of his lines, 
 The learned will Confess, his works are such, 
 As neither man nor Muse can prayse to much. 
 Forever live thy fame, the world to tell 
 Thy like, no age shall ever paralell." 
 
 William Marshall engraved chiefly for 
 
the booksellers, and he excelled in por 
 traits. Some twenty-five examples of his 
 work were in the Grolier Exhibition, in 
 cluding heads of Michael Drayton, 1637 ; 
 Sir Thomas More, 1639 ; Sir Francis Ba 
 con, with eight lines in Latin, 1640; Ben 
 Jonson, 1640 ; James Shirley, with four 
 Latin lines, 1646 ; and William Camden, 
 1652. Marshall was emphatically the 
 medium for the expression of Portrait 
 Inscriptions in English, and at this same 
 Grolier Exhibition there were no less than 
 six specimens of his work in that direc 
 tion. Besides this inscription to Shaks- 
 pere, there were Walton s lines to Doc 
 tor Donne, 1635 ; four lines to Francis 
 Quarles, 1645 ; eight lines to Sir John 
 Suckling, 1646 ; nine lines to John Fletch 
 er, 1647; eight lines to Herrick, 1648; and 
 Thomas May s lines to John Quarles, 
 1648. 
 
 Another evident copy of the Droe- 
 shout head is to be found in the 1655 
 edition of " Lucrece." It is the work of 
 William Faithorne the elder, who was 
 born in 1616 the year of Shakspere s 
 death. It contains two lines of verse, but 
 
they refer to Lucrece and Tarquin, not to 
 Shakspere himself. 
 
 Faithorne was a prolific engraver. He 
 was a pupil of Hollar in England, and of 
 Nanteuil in France; and he was well- 
 known to Evelyn and Pepys, and to all 
 the art-lovers of his day. Walpole said : 
 " Faithorne now set up in a new shop at 
 the Sign of the Ship, next to the Drake, 
 opposite to the Palsgrave s Head, without 
 Temple Bar, where he not only followed 
 his art, but sold Italian, Dutch, and Eng 
 lish prints, and worked for booksellers." 
 Pepys wrote in his Diary, November 7, 
 1666 : " Called at Fay thorne s, to buy some 
 prints for my wife to draw by this winter, 
 and here did see my Lady Castlemaine s 
 picture done by him from Lilly s, in red 
 chalke and other colours, by which he 
 hath cut it in copper, to be printed "; and 
 on December ist of the same year, the 
 Diarist added : " By coach home, in the 
 evening, calling at Faythorne s, buying 
 three of my Lady Castlemaine s heads, 
 printed this day, which indeed is, as to the 
 head, I think, a very fine picture, and like 
 her." 
 
Thomas Flatman (1633-1688), who is 
 described as having been skilled in paint 
 ing, poetry, and law, paid to Faithorne, in 
 the 1662 edition of Faithorne s " Book of 
 Drawing, Etching and Graving," the fol 
 lowing poetic tribute : 
 
 " A Faithorne Sculpsit is a charm can save 
 From dull oblivion and a gaping grave." 
 
 Although Flatman is generally forgot 
 ten at the present day, there are evidences 
 that he was not entirely unknown to 
 Alexander Pope a century and a half ago. 
 The first edition of Flatman s Poems ap 
 peared in 1674, and contained the follow 
 ing lines : 
 
 "When on my sick-bed I languish, 
 Full of sorrow, full of anguish, 
 Fainting, gasping, trembling, crying, 
 Panting, groaning, speechless, dying. 
 
 Methinks I hear some gentle spirit say 
 Be not fearful, come away." 
 
 In the month of December, 1712, Mr. 
 Pope wrote to Steele : " I do not send you 
 word I will do, but have already done, 
 the thing you desire of me. You have 
 
93 
 
 it (as Cowley calls it) just warm from the 
 brain. It came to me the first moment 
 I waked this morning; yet you will see it 
 was not so absolutely inspiration but that 
 I had in my head not only the verses of 
 Adrian, but the fine fragment of Sappho." 
 The thing Steele desired of him was "an 
 Ode as of a cheerful dying spirit," and the 
 result, in part, is here set down : 
 
 " Vital spark of Heavenly flame, 
 Quit O quit this mortal frame ; 
 Trembling, hoping lingering, flying 
 Oh ! the pain, the bliss of dying. 
 
 Hark they whisper, Angels say 
 Sister Spirit come away." 
 
 What is known as " the deadly parallel " 
 will prove that Pope s inspiration came 
 rather from Flatman than from the orig 
 inal Sappho or from anybody else ; and 
 that the thing went to Steele not only 
 warm from the brain of its doer, but 
 warmed over! 
 
 Rare prints bearing the legend " Fai- 
 thorne Sculpsit" to return to the subject 
 of portraits have helped save from dull 
 oblivion the counterfeit presentments of 
 
many better persons than Samuel Pepys s 
 Lady Castlemaine ; including Thomas Kil- 
 ligrew, 1644; Richard Hooker, 1662 ; Jere 
 my Taylor, 1663; John Milton, 1670; and 
 Sir William Davenant, 1672-73. 
 
 From Jonson s inscription upon the 
 portrait of Shakspere we turn, naturally, 
 to the inscription under the portrait of 
 Jonson, which was engraved by Robert 
 Vaughan. It contains eight lines in Lat 
 in, and two in English, the latter reading 
 as follows : 
 
 " O could there be an art found out that might 
 Produce his shape soe lively as to write." 
 
 In its first state, with the words " Are to 
 be sould by William Peake," Mr. Chew 
 believes that it was issued as a print. The 
 second state was prefixed to the " Works," 
 London, 1640, three years after Jonson 
 received from King Charles I. eighteen 
 inches of square ground in Westminster 
 Abbey, and was left standing in his lim 
 ited estate, in a grave " dug not far from 
 Drayton s." 
 
 The lines on the Vaughan portrait are 
 signed Ab. Holl. 
 
" Ab. Holl " has been supposed to have 
 been Abraham Holland, an intimate of 
 Drayton whom he called his " Honest 
 Father," and a friend of John Davies, of 
 Hereford, who signed the inscription to 
 the portrait of Captain John Smith, de 
 scribed below. Holland was the author 
 of "A Resolution Against Death "and of 
 a poem upon the Plague of 1625. He 
 died, himself, despite his Resolution, in 
 1626; and, naturally, he could not have 
 written the lines placed under a posthu 
 mous portrait of Jonson, who lived until 
 1637. 
 
 Bryan, who gives but few dates, says 
 thaf Vaughan died towards 1667." His 
 latest plate, according to Horace Walpole, 
 was executed in 1665. Vaughan s por 
 traits are valued less for their merit as 
 works of art than for the fame of their 
 subjects. His print of Sir Walter Raleigh 
 has a Latin motto above the portrait, and 
 a three-line inscription beneath. 
 
 Marshall engraved a portrait of Jonson, 
 "a laureated bust," which appeared on 
 the frontispiece to " Horace," published 
 in 1640. It was "printed for John Ben- 
 
son." Ben Jonson for John Benson is 
 good ! 
 
 A portrait of Jonson by William Elder, 
 " with ten lines within the measure," was 
 in the edition of the " Works " dated 1692. 
 This is simply an enlarged copy of the 
 Vaughan print, with the same Latin and 
 English inscriptions. 
 
 William Elder was a Scotchman, who 
 went to London about 1680. His portriats 
 are not very many, nor do they represent 
 a very distinguished list of names. 
 
 It is not generally known, by the way, 
 that on the square stone which covers 
 the top of the head of Jonson s upright 
 figure in the north aisle of the nave of the 
 Abbey, his name is spelled with the " h " 
 " O Rare Ben Johnson." 
 
 Richard Brome, who died in 1652, ac 
 cording to the author of the " Biographia 
 Dramatica," " wrote himself into high re 
 pute, although his extraction was mean, 
 he having originally been no better than a 
 menial servant to the celebrated Ben Jon 
 son." His quondam master addressed to 
 him some complimentary lines on ac 
 count of his comedy called " The North- 
 
97 
 
 ern Lass," which was acted at the Globe 
 and at the Blackfriars, and was published 
 in 1632; and one A. B. signed the six 
 lines at the bottom of the portrait, which 
 appeared in the volumes of " Five New 
 Plays," printed in 1653-59: 
 
 " Reader, lo here thou wilt two faces finde, 
 One of the body, t other of the minde ; 
 This by the Graver so, that with much strife 
 Wee think BROME dead, hee s drawn so to the life. 
 That by s owne pen s done so ingeniously 
 That who reads it, must think hee nere shall dy. 
 
 "A. B." 
 
 This "A. B." is, no doubt, Alexander 
 Brome (1620-1666), who wrote one com 
 edy of his own, and edited the ten com 
 edies of Richard Brome, published after 
 the latter s death. He was an attorney 
 in the Lord Mayor s Court, according to 
 Langbaine, an enthusiastic Cavalier dur 
 ing the Civil Wars and the Protectorate ; 
 and he was given to the composition of 
 odes, sonnets, dithyrambs, songs, and epi 
 grams, all directed against the Round 
 heads and the " Rump." His relationship 
 to his better-known namesake known 
 better, however, through Alexander s own 
 
 7 
 
exertions only was not one of blood, but 
 of brains. They were the fruits of two very 
 distinct family trees. 
 
 Another writer of that, and a later peri 
 od, whose verse did much to strengthen 
 the Royal Cause after the Restoration, 
 was Thomas D Urfey, better known as 
 "Tom." He lived until 1723; a contem 
 porary of the Bromes, and a survivor of 
 Addison, who helped him in his old age, 
 on the ground that D Urfey had written 
 more odes than Horace, about four times 
 as many comedies as Terence, and had 
 "enriched our language with a multitude 
 of rhymes, and bringing words together, 
 that without his good offices would never 
 have been acquainted with one another 
 so long as it had been a tongue." He 
 was a diverting companion and a volu 
 minous writer, but not one of the thirty 
 or more " dramatic pieces " of D Urfey 
 enumerated in the " Biographia Dramat- 
 ica " were " on the muster-roll of acting 
 plays " when that useful book was com 
 piled, about half a century after his death ; 
 and Bartlett dismisses him, in a foot-note, 
 as the author of a single Familiar Quo- 
 
99 
 
 tation " Over the hills and far away." 
 His collection of songs, satires, and ir 
 regular odes, published in 1719 under 
 the quaint title, "Wit and Mirth, or Pills 
 to Purge Melancholy," contains a por 
 trait by George Vertue, and these three 
 lines : 
 
 " Whilst D Urfey s voice his verse dos raise 
 When D Urfey sings his Tunefull Layes 
 Give D Urfey s Lyric-Muse the Bayes." 
 
 Although neither history nor tradition 
 contains any account of intimate associa 
 tion between D Urfey and Edward Ward 
 (1667-1731), the author of "The Lon 
 don Spy," the simple fact that they were 
 contemporaries, in London, that the one 
 was a frequenter of taverns and the other 
 a keeper of taverns, and the significant 
 fact that each is still called, even at the 
 end of two hundred years, by a familiar 
 abbreviation of his first name, "Tom" or 
 "Ned," would go to prove that they were 
 both good fellows, and that they must 
 have known each other. Giles Jacob, in 
 his " Poetical Register," said that " Ned " 
 Ward " kept a public house in the city, 
 
but in a genteel way ;" and " Tom " 
 D Urfey was nothing if not genteel. 
 
 The inscription under Ward s portrait, 
 engraved by Michael Vander Gucht, and 
 printed in the first edition of his " Nup 
 tial Dialogues," London, 1710 the title is 
 significant is expressed in the first per 
 son, it was evidently written by Ward him 
 self, and it would seem to imply domestic 
 relations which were somewhat strained. 
 There can be little doubt, from the tone 
 of the four lines, that " Ned " was gener 
 ally spoken to, and spoken of, by the per 
 son of his house, as " Mr. Ward," or as 
 " Edward." Thus they read : 
 
 "Grant me O Hea n ! Good Humor still to please 
 My Wife, so long as she consults my Ease. 
 But give me courage, if she proves a Shrew 
 To scorn what none could ever yet subdue." 
 
 Michael Vander Gucht spent some 
 time in London, and died there in 1725, 
 at the age of sixty-six. He was the mas 
 ter of George Vertue between 1702 and 
 1709, and the author of many engraved 
 heads, including those of Daniel Defoe, 
 1706; William Congreve, 1719; and John 
 Aubrey, 1719. 
 
Ward died in Fulwood s Rents, High 
 Holborn, and was buried in Old St. Pan- 
 eras Church-yard, in the most quiet man 
 ner. According to the directions of his 
 poetic will no costly funeral did his exec 
 utors prepare. Twixt sun and sun his 
 only crave was a hearse and one black 
 coach to bear his wife and children to his 
 grave. This seems to show that Mistress 
 Ward survived her husband, and con 
 sulted her own ease in paying him the 
 final earthly honors. 
 
 Aubrey said that Suckling (1608-1641) 
 was "an extra -ordinarily accomplished 
 gentleman, who grew famous at Court for 
 his readie sparkling witt, as being uncom 
 mon readie at repartying, and as the 
 greatest gallant of his time. He was of 
 middle stature," Aubrey added, "and of 
 slight strength, brisque eye, reddish fac t, 
 and red nose (ill liver), his head not very 
 big, his hayre a kind of sand colour;" 
 and, still according to Aubrey, "he died 
 a batchelor in Paris, and of Poyson, at 
 the age of twenty- eight." Suckling, it 
 will be remembered, was the author of 
 " A Ballad upon a Wedding," containing 
 
the familiar lines : " Her feet beneath her 
 petticoat, Like little mice stole in and 
 out," etc. 
 
 Marshall engraved for the " Fragmenta 
 Aurea," London, 1646, a portrait of Suck 
 ling in which no perceptible effect of the 
 subject s ill liver, touched upon so deli 
 cately by Aubrey, is apparent. The eight 
 lines at the foot of the picture prove that 
 their author did not fear the effects of 
 ill lights upon his forme. 
 
 "SUCKLIN whose numbers could invite 
 Alike to wonder and delight 
 And with new spirit did inspire 
 The THESPIAN Scene and Delphick Lyre; 
 Is thus exprest in either part 
 Above the humble reach of art; 
 Drawne by the Pencill here you find 
 His Forme, by his owne Pen his mind. * 
 
 The portrait of John Smith, alluded 
 to above, contains one of the earliest in 
 scriptions in Mr. Chew s collection ; it 
 is dated 1616, and it is signed by John 
 Davies. 
 
 " These are the Lines that shew thy Face, but those 
 That shew thy Grace and Glory brighter bee; 
 Thy Faire Discoveries and Foule Overthrowes 
 Of Salvages much Civilliz d by thee 
 
103 
 
 Best shew thy Spirit; and to Glory Wyn, 
 So, thou art Brasse without but Golde within 
 If so ; in Brasse (too soft Smith s Acts to beare) 
 I fix thy fame, to make Brasse Steele out weare 
 Thine, as thou art Virtues 
 
 John Davies, Heref." 
 
 John Davies, of Hereford, the epi 
 grammatist, was a writing-master and a 
 poet : a writing-master to Henry, Prince 
 of Wales, and a poet, although not a crown 
 ed laureate, to King James I. He lived 
 among the wits and the players of his 
 generation, Jonson, Bacon, Drayton, Sid 
 ney, Beaumont, and Fletcher ; and he 
 compared Shakspere to Terence, in his 
 " Scourge of Folly," undated but pub 
 lished before Shakspere died, and long 
 before Shakspere was recognized as the 
 Immortal even by his own intimates. This 
 is one of the earliest printed tributes to 
 the Immortal now in existence : but as it 
 was not inscribed upon a portrait, it has 
 no place here. 
 
 In his reference to Captain Smith as be 
 ing Brasse without, and in remarking that 
 Brasse, as a rule, is too soft a substance 
 to bear Captain Smith s various Acts, 
 Mr. Davies, of Hereford, was, perhaps, 
 
epigrammatic, perhaps sarcastic, and per 
 haps he intended to be facetious. These 
 lines were written some eight years before 
 the appearance of the " Generall His 
 toric," and, of course, before the writing- 
 master could have read Captain Smith s 
 vivid picture of one of his much civilized 
 Salvages caught in the act of slaying, 
 powdering, and eating his the Salvage s 
 own wife : " Now, whether she was bet 
 ter roasted, boyled or carbonaded, I know 
 not," saith the early and trustworthy his 
 torian of Virginia, New England, and the 
 Summer Isles, "but of such a dish as 
 poudered wife I never heard of." This 
 playful allusion to powdered wife, and 
 this serious speculation as to how she 
 were best cooked, Mr. Charles Dudley 
 Warner considers the first recorded in 
 stance of what is called " American Hu 
 mor;" and he claims for Captain Smith, 
 therefore, the honor of having been the 
 first of the "American Humorists" the 
 quotation-marks are Mr. Warner s own 
 who have handled subjects of this kind 
 with such pleasing gayety ! 
 
 Mr. Granger and the later editors of 
 
his great work were not very diffuse in 
 their historical or chronological notes 
 upon the British Heads they catalogued 
 and described. The Jonson inscription 
 under the Droeshout Shakspere is almost 
 the only thing of its kind the work re 
 produces ; and nowhere is any mention 
 made of this 1616 portrait of Captain 
 Smith. The earliest print of the founder 
 of the multitudinous name, noticed in 
 Granger, is that in the " History of Vir 
 ginia," with the date 1632 ; and he referred 
 to " a portrait by W. Richardson with six 
 English verses, "although he did not give 
 its date, nor any hint as to where it first 
 appeared. Walpole, however, said that 
 Pass, probably Simon Pass, engraved a 
 portrait of Smith in 1617. 
 
 Pass was born in Utrecht, in 1591. He 
 is known to have spent about ten years 
 in England, his earliest work there, ac 
 cording to Walpole, being dated 1613. 
 
 The portrait-inscription, in Mr. Chew s 
 collection, next to that of Smith in point 
 of antiquity, is addressed to Lancelot 
 Andrews (1555-1626), and is dated 1618. 
 The engraver is not known. The picture 
 
io6 
 
 represents the learned prelate in cap and 
 gown, and the lines are signed Ge : Wi : 
 (George Wither). 
 
 "These LINEAMENTS of Art, have well set forth 
 Some outward features (though no inward worth), 
 But to these LINES his WRITINGS added, cann 
 Make up the faire resemblance of a MAN. 
 For as the EDDIE S forme is figured here 
 So there the beautyes of his SOULE appeare, 
 WHICH I had praised; but that in THIS place 
 To praise THEM, were to praise HIM to his FACE. 
 
 "GE: Wi:" 
 
 Lancelot Andrews was successively 
 Bishop of Chichester, Ely, and Winches 
 ter ; and he should have been Archbishop 
 of Canterbury. Bishop Hackett, his bi 
 ographer, said of him that " the ointment 
 of his name was sweeter than spices " ; 
 and Fuller, the biographer of almost every, 
 body, remarked that " Andrews was so 
 skilled in all, that the world wanted learn 
 ing to know how learned he was." What 
 George Wither thought of him, as on his 
 portrait inscribed, has been shown above. 
 
 There are several portraits of Wither 
 with laudatory verses attached. The ear 
 liest, engraved by William Holle, or Hole, 
 was in "Abuses Stript and Whipt," Lon- 
 
io 7 
 
 don, 1615; and is one year earlier than 
 the portrait of Smith. It exhibits the 
 poet as very handsomely attired in rich 
 slashed doublet, broad lace collar, and 
 with a jewelled sword ; and it represents 
 him rather as a frequenter of courts than 
 as the man who " lashed the follies of the 
 time." It bears the legend, " G. W. an 
 ^Etatis sua 21, 1611. I grow and wither 
 both together," and has these six lines, 
 signed S r - T I. : 
 
 " Loe this is he whose infant Muse began 
 To brave th World before years stil d him man, 
 Though praise be slight, and scorns to make his Rymes 
 Begg favors or opinion of the Tymes ; 
 Yet few by good men have been more approv d, 
 None so unseene so generally loved." 
 
 No man of any distinction in England 
 during the reign of the First James, either 
 as a poet or as a patron of poets, bore 
 these initials. And it is not known now 
 who this " Sir T I " was. 
 
 William Holle, or Hole, flourished be 
 tween the years 1600 and 1630. Very little 
 is recorded concerning him, except that he 
 was the earliest engraver of music on cop 
 per-plate in England, and that he was the 
 
author of heads of John Florio, 1613; 
 Chapman, 1616; and Drayton, 1619. 
 
 The print of Wither, by Francis Dela- 
 ram, with the date 1622, has the following 
 lines : 
 
 " No matter wher the WORLD bestowes her PRAISE, 
 Or whom she crownes w th her victorious Bayes. 
 For HE that fearelesse hath oppos d the CRYMES, 
 And checkt the GYANT-VICES of the TYMKS: 
 HE that unchanged, hath AFFLICTIONS borne, 
 That smiles on WANTS; that laughs CONTEMPTS to 
 
 Scorne ; 
 
 And hath most COURAGE where most PERILLS are, 
 Is HE that should of right the LAURELLE weare." 
 
 Francis Delaram lived in the reigns of 
 Elizabeth and her successor. He is the 
 author of portraits of Elizabeth, Henry 
 Prince of Wales, and Charles [I.] Prince 
 of Wales ; and of a familiar print of " Will 
 Sommers King Heneryes Jester [VIII.], 
 after Holbein." 
 
 A third tribute to Wither was printed 
 under the portrait by I. P. [John Payne] 
 in the 1635 edition of the "Emblems": 
 
 "What I was is passed by, 
 What I am away doth flie, 
 What I shall bee none do see, 
 Yet in that my Beauties bee." 
 
John Payne, a pupil of Simon Pass, was 
 one of the earliest of the native English 
 engravers of distinction. Evelyn spoke 
 highly of him, and Walpole said, " The 
 head of Dr. Alabaster I have [by Payne] ; 
 and it truly deserves encomium ; being 
 executed with great force, and in a more 
 manly style than the works of his master." 
 
 George Wither (1588-1667) was a most 
 voluminous writer. Allibone gave a list 
 of nearly an hundred of his published 
 works, in prose and in verse. He is be 
 lieved to have been the original author 
 of the idea that "care will kill a cat"- 
 which care has never yet succeeded in 
 doing and it was his poetical shepherd 
 who could not understand why he the 
 shepherd should waste in despair and 
 die, because a fair woman preferred to be 
 fair not to him but to somebody else. 
 
 Charles Lamb in a letter to Southey, 
 written in 1798, said: "I perfectly agree 
 with your opinion of old Wither; Quarles 
 is a wittier writer, but Wither lays most 
 hold of the heart. Quarles thinks of his 
 audience when he lectures ; Wither solilo 
 quizes in company from a full heart." 
 
This, of course, refers to Francis Quarles 
 (i 592-1644). Marshall s portrait of Quarles 
 was engraved for " Solomon s Recanta 
 tion," London, 1645. Under four Latin 
 lines, Alexander Ross (1590-1654), chap 
 lain to Charles I., the Royal Martyr for 
 whom Quarles suffered martyrdom, wrote: 
 
 "What here wee see is but a Graven face, 
 Onely the SHADDOW of that brittle case 
 Wherein were treasur d up those Gemms, which he 
 Hath left behind him to Posteritie. 
 
 "AL. Ross." 
 
 John Quarles (1624-1665), the offspring 
 of old smooth Francis Quarles, does not 
 seem to have been born a very great poet, 
 although Granger declared him " to have 
 been the poetical, as well as the natural, 
 son of his Father." He was, at all events, 
 a good royalist, who suffered in the cause 
 of his king ; and he died of the Plague, 
 and in poverty. 
 
 Thomas May (i 595-1650) wrote for Mar 
 shall s portrait of John Quarles, to be 
 found in the 1648 edition of " Fons Lach- 
 rymarum," the following inscription : 
 
 " But for his Face the Work had clearly gone 
 For old smooth Quarles himself, and not his Sonne ; 
 
Who sighing how Kings fell, and Subjects rose, 
 Scornes to mis-spend one single Teare in Prose. 
 This Book s his shadowe, Hee s his Father s Shade 
 Quarles is a Poet as well Borne as made. 
 
 "T. M." 
 
 May, the eulogist, was a better rhyme 
 ster, if not a better character, than the 
 subject of his present verse. John Aubrey 
 pictured him as a " Handsome man, de 
 bauch d ; lodged in the little square by 
 Cannon Row, as you go through the Al 
 ley " ; and Thomas Fuller asserted that 
 " he was an elegant poet and translated 
 Lucan into English." In early life he at 
 tached himself to the royalist cause, but 
 tradition asserts that he expected to suc 
 ceed Jonson in the laureateship, and that 
 when Davenant received the appointment 
 May changed his politics, and thenceforth 
 warmly supported the other side. He 
 wrote a prose " History of the Long Par 
 liament "and several plays, in verse. Tra 
 dition further says that he became very 
 stout in his later years, and that he was 
 accidentally strangled to death in his bed 
 by the strings of his own night-cap ! 
 
 Thomas Fuller (1608-1661), mare than 
 once quoted here, was the author of a very 
 
entertaining " History of the Worthies of 
 England," published in 1662, after his 
 death. It is full of gossipy anecdote, and, 
 with John Aubrey s " Lives of Eminent 
 Persons," it is the basis of much of the 
 existing biography of the Men of his Time. 
 His memory is said to have been marvel 
 lous, even if it was not always to be relied 
 upon. The earliest portrait of Fuller is to 
 be found in " Abel Redevivus, or the Dead 
 yet Speaking," London, 1651. It is not 
 signed, but from the fact that the en 
 graved title bears the name of Vaughan, 
 and because the style of the portrait is 
 very like that of Vaughan, there is little 
 doubt, in Mr. Chew s opinion, that 
 Vaughan is its engraver. There are no 
 verses attached to it. 
 
 Two portraits of Fuller, each having 
 four-line inscriptions at the foot, are fa 
 miliar to the collectors. The first, by an 
 unknown engraver, was printed in the 
 "Life," London, 1 66 1, and reads as follows: 
 
 " Nature t expresse the Symetry of Parts, 
 Made this faire bulke the Magazine of Arts : 
 Body and Minde doe answer well his NAME 
 FULLER, Comparative to s BLISSE and Fame." 
 
The second, engraved by David Loggan, 
 was in the 1662 edition of the "Worthies." 
 It also plays upon the subject s name : 
 
 "The Graver here hath well thy Face design d 
 But no hand Fuller can expresse thy Mind. 
 For that a Resurrection gives to those 
 Whom silent Monuments did long enclose." 
 
 David Loggan was born at Dantzic, in 
 1635. He studied under Simon Pass, and 
 settled in England before the Restoration. 
 He engraved a portrait of Alexander 
 Brome, 1664; and two of Isaac Barrow, 
 the first dated 1683. Loggan died, ac 
 cording to varying accounts, in 1693 or 
 in 1700. 
 
 A contemporary of Loggan, and like 
 Loggan an engraver imported into Eng 
 land, was F. H.Van Hove, who is described 
 as having been " Dutch and prolific." He 
 has left portraits of Bacon ; Sir Thomas 
 Browne, 1672 ; and William Winstanley, 
 1687. The dates of his plates cover a 
 long period of time from 1648 to 1692 
 and not the least rare of them bears the 
 head of Edward Cocker, with this inscrip 
 tion : 
 
" Cocker who in fair writing did excell 
 And in Arithmetick perform d as well, 
 This necessary Work took next in hand 
 That Englishmen might English understand." 
 
 It is not positively known now in which 
 of Cocker s works this portrait appeared. 
 Besides writing his " Arithmetick," first 
 published in 1654, which, according to 
 Lowndes, saw upward of sixty editions, 
 Cocker was a writing-master of great re 
 pute, and the author of many treatises upon 
 this subject. Some of his quaint titles are 
 worth record ing. His "Copy Book of Fair 
 Writing " appeared in 1657; the " Penna 
 Volans,"in 1661; " England s Penman," in 
 1671 ; "Cocker s Urania, or the Scholar s 
 Delight in Writing," bears no date ; and in 
 1675 ne published "Cocker s Morals; or 
 the Muses a Book of Sentences for Writ 
 ing," etc. It is said that Cocker engraved 
 many of his "copy-books" on silver 
 plates and with his own hand. The above 
 verses in all probability were attached to 
 a portrait in some one, or more, of these 
 volumes. The following verses, no doubt, 
 were under a portrait in one of the many 
 editions of the "Arithmetick": 
 
" Ingenious Cocker, now to rest thou rt gone 
 No art can shew thee fully but thine own. 
 Thy rare Arithmetick alone can show 
 Th vast sums of Thanks we for thy Labours owe." 
 
 Edward Cocker "According-to-Cock- 
 er" Cocker (1631-1677) was, according 
 to Edward Hatton, "a person well skilled 
 in all the parts of arithmetic. He was also 
 the most eminent composer and engraver 
 of letters, knots and flourishes in his time." 
 He was, too, a collector of books and man 
 uscripts; and, no doubt, a collector of the 
 Inscribed Portraits of the men who flour 
 ished when he flourished himself. On 
 the loth of August, 1664, Pepys wrote 
 "Abroad to find out one to engrave my 
 tables upon my new sliding rule with sil 
 ver plates. ... So I got Cocker the famous 
 writing-master to do it, and I sat an hour 
 by him to see him design it all ; and 
 strange it is to see him, with his natural 
 eyes, to cut so small at his first designing 
 it, and read it all over, without any miss 
 ing, when for my life, I could not with my 
 best skill, read one word or letter of it ; 
 but it is use. ... I find the fellow, by his 
 discourse, very ingenious ; and among oth- 
 
er things a great admirer of, and well read 
 in, the English poets, and undertakes to 
 judge of them all, and that not imperti 
 nently." 
 
 Cocker s " Vulgar Arithmetick " was 
 the strange gift of Dr. Johnson to his 
 landlady s daughter at Anach. " Several 
 ladies," wrote Mr. Boswell, " wishing to 
 learn the kind of reading which the great 
 and good Dr. Johnson esteemed most fit 
 for a young woman, desired to know what 
 book he had selected for this Highland 
 Nymph. . . . And what was this book? 
 My reader prepare your features for mer 
 riment. It was Cocker s Arithmetick !" 
 
 According to Cocker himself, Cocker 
 was fond of fire-water, for he wrote in 
 " Cocker s Farewell to Brandy "this awful 
 warning : "Here lys one dead by Brandy s 
 mighty power." It is not recorded, how 
 ever, that Brandy, or any other excess, was 
 the cause of Cocker s taking off. 
 
 Few of the Worthies of England who 
 flourished at the beginning of the seven 
 teenth century are better known, and bet 
 ter liked, at the end of the nineteenth 
 century than is George Herbert (1593- 
 
1632). His Life was written by Izaak 
 Walton ; Bacon dedicated to him certain 
 of his translations of the Psalms; Cole 
 ridge called him " that model of a man, a 
 gentleman and a clergyman ;" he was the 
 only author whom Cowper, during his 
 melancholy, had any delight in reading; 
 and Dr. Holmes, in his tribute "To Whit- 
 ier on his Seventieth Birthday," two cen 
 turies and a half after the author of " The 
 Church Porch " died, could give the good 
 Quaker poet of the present " so fervid, so 
 simple, so loving, so pure," no higher 
 praise than to liken him " to Holy George 
 Herbert, cut off from the Church." Thus 
 hath Holy George Herbert, undivorced 
 from the Church, lived through all these 
 generations ! To paraphrase his own 
 verse his own " Sweet and virtuous soule, 
 like seasoned timber, never gives." 
 
 "The Effigies of Mr. George Herbert," 
 engraved by John Sturt in an edition of 
 the "Temple," published in London in 
 1709, has this inscription : 
 
 " Behold an Orator Divinely sage, 
 The PROPHET and APOSTLE of that age. 
 View but his PORCH and TEMPLE, you shall see 
 
The Body of Divine PHILOSOPHY. 
 Examine well the Lines of his dead face, 
 Therein you may discern Wisdom and Grace. 
 Now if the Shell so lovely doth appear, 
 How Orient was the Pearl Imprison d here!" 
 
 John Sturt was born in 1658, and he 
 died in poverty and neglect some seventy 
 years later. He was fond of engraving 
 the Lord s Prayer, certain of the Psalms, 
 and all of the Ten Commandments in 
 small compass, sometimes so small that 
 they could not be read without the aid of 
 a magnifying-glass. Among his subjects 
 of a larger size was a portrait of John 
 Bunyan, a writer easily visible to the 
 naked eye. 
 
 Good Izaak Walton, who wrote the 
 Life of John Donne (1576-1631), as well as 
 of George Herbert, is the author of the 
 eight lines to the former gentleman at the 
 foot of Marshall s portrait of Donne, print 
 ed with the " Poems" in 1635 : 
 
 " This was for Youth, Strength, mirth and wit that Time 
 Most count their Golden Age; but twas not thine. 
 Thine only was thy later years, so much refined 
 From youth s Drosse, mirth and wit as thy pure mind 
 Thought (like the Angels) nothing but the Praise 
 Of thy Creator, as those last best Dayes. 
 
Witness this Booke (thy Emblem) which begins 
 With Love ; but endes, with Sighes and Teares for 
 Sins. " Is. WA." 
 
 The portrait represents the future di 
 vine and poet at the age of eighteen. 
 Hence the allusion to his youth and its 
 " Drosse." 
 
 Vaughan engraved a portrait of " Abra 
 ham Cowley [1618-1667] at the age of 
 thirteen," which contains six lines of Eng 
 lish verse, and was prefixed to the first 
 edition of " Poetical Blossoms," published 
 in London in 1633, when Cowley was a 
 pupil at Westminster School, and only 
 fifteen years of age. 
 
 The Cowley inscription is unsigned. 
 
 " Reader when first thou shalt behold this Boyes 
 Picture, perhaps thou shalt think his writings toyes : 
 Wrong not our Cowley so; will nothing passe 
 But gravity with thee? Apollo was 
 Beardlesse himselfe, and for ought I can see 
 Cowley may youngest Sonne of Phoebus bee." 
 
 Another younger son of Phoebus, beard 
 less as Cowley or Apollo, was Francis 
 Hawkins, who before he was eight years 
 of age translated from the language of 
 France a book entitled "Youth s Be- 
 
haviour; or Decency in Conversation 
 Amongst Men ; Composed in French by 
 Grave Persons for the Use and Benefit 
 of their Youth ; now Newly Turned into 
 English." The work was first printed 
 when Francis was in his thirteenth year ; 
 and it saw nine editions in all. In his 
 " Address to the Publick " the publisher 
 of the second edition 1646 apologized 
 for "the Style . . . wrought by an un 
 couth and rough File of one greene in 
 years." The edition of 1654 contains a 
 portrait of the youth according to 
 Granger, by John Payne under which, 
 with the title : " Francis Hawkins about 
 the Age of Ten Years," is this inscription : 
 
 " See here th effigies of a Child whose witt 
 So far outstripps his years & ruder thronge 
 That at Ten years he doth teach youth what s fitt 
 For their behavour from a forraigne tongue." 
 
 Hawkins entered the Society of Jesus in 
 1662 he was born in 1628 and he is now 
 entirely forgotten, save by the few col 
 lectors of such things who are fortunate 
 enough to possess the rare portrait in 
 question. The fact that John Hawkins, 
 
the father of Francis, was a translator 
 from the Spanish and the Italian, may, 
 perhaps, account, in a measure, for the 
 precocity of the son in putting into Eng 
 lish, in such very green years, the writings 
 of certain of the French. 
 
 Still another youth who lisped in num 
 bers as a child, and whose wit far out 
 stripped his years, but who is by no means 
 forgotten now, was John Milton (1608- 
 1674). " When he went to schoole, when 
 he was very young," said John Aubrey, 
 " he studied very hard, and sate up very 
 late, commonly till twelve or one o clock 
 at night, and his father ordered the mayde 
 to sittupfor him, and in those years [ten] 
 composed many copies of verses which 
 might well become a riper age." 
 
 There are in existence several portraits 
 of Milton as a child, but most of them are 
 proleptic, and none of them are prefixed 
 to the works published during his child 
 hood, for the simple reason that he pub 
 lished no works until his epitaph to 
 Shakspere was printed in the Folio of 
 1632, when its author was twenty -four 
 years of age. The earliest engraved por- 
 
trait of Milton is that by Marshall, which 
 figures as a frontispiece in his juvenile 
 "Poems," issued by Moseley in 1645. It 
 must have been taken from a still earlier 
 original painting, for it distinctly calls him 
 a youth of twenty-four, and the four lines 
 of Greek verse at the bottom seem to in 
 dicate that Milton himself did not alto 
 gether indorse it as a likeness. No other 
 satisfactory portrait of him could have 
 been known to the engraver ; and none 
 appears to have existed, although Milton 
 was then thirty-seven years of age, and 
 was living, and teaching school, in the 
 Barbican, Aldersgate Street, on unpleas 
 ant terms with his first wife, and his first 
 wife s relations. George Vertue knew of 
 no likeness of Milton between this of 
 Marshall s in 1645 with no English in 
 scription and "the front" engraved by 
 Faithorne for the " History of Britain," 
 published in 1670, when Milton was sixty- 
 two. 
 
 Mr. Charles B. Foote is the fortunate 
 possessor of Vertue s own copy of one of 
 his engravings of Milton. Below the por 
 trait, Vertue has written, " This was done 
 
123 
 
 from the original print, engraved by W. 
 Faithorne/ andon the back of the portrait 
 in Vertue s handwriting, signed G. V., are 
 the following remarks : " This picture of 
 Milton was painted in oyl, and had been 
 in the Family until the death of Milton s 
 third wife who kept it with great regard. 
 She lived to a great age and died at Nant- 
 wich, in Cheshire. This was bought by a 
 Gent, who brought it to London and sold 
 it to the HonW Arthur Onslow, Speaker, 
 from whence I engraved it." 
 
 Old Jacob Tonson printed a monu 
 mental folio edition of Milton s works, 
 "adorned with sculptures," prefixed to 
 which, in a handsome frame, was a beau 
 tiful portrait of Milton engraved by Rob 
 ert White, and containing the celebrated 
 verses by Dryden : 
 
 "Three Poets in three distant Ages born, 
 Greece, Italy and England, did adorn ; 
 The First, in loftiness of thought surpas d ; 
 The Next in Majesty; in both the Last. 
 The force of Nature cou d no further goe; 
 To make a Third, she joyn d the former two. * 
 
 Tonson was so proud of this. perform 
 ance that when his portrait was painted 
 
by Kneller for the Kit-Kat Club he had 
 himself represented with the volume 
 under his arm. A copy of this Milton 
 folio, in fine old English binding, has 
 been presented to The Players by Mr. 
 Samuel P. Avery. 
 
 Robert White was born in London in 
 1645, and, according to Walpole, he died 
 in 1704, although some of his plates are 
 said to bear a later date. He was a pupil 
 of Loggan, and a successful and volumi 
 nous engraver of portraits. In the Gro- 
 lier Exhibition were, among others, the 
 following examples of his work : Baxter, 
 1667, and 1670; Herbert, 1670; Flatman, 
 1682; Bunyan, 1688; Pepys, 1688; and 
 Jeremy Collier, 1701. Walpole said " Many 
 of White s heads were taken by himself, 
 by a black lead pencil on vellum. . . . Ver- 
 tue thought them superior to his prints ;" 
 and Granger wrote that "he was never 
 exceeded in the truth of his drawings." 
 
 A tablet containing Dryden s lines to 
 Milton was placed, many years ago, upon 
 the outer Watling Street wall of the 
 church of All Hallows, Bread Street, 
 which stood upon the site of the edifice 
 
(destroyed in the Great Fire) in which 
 Milton was christened. When the second 
 All Hallows Church was taken down, in 
 1878, the tablet was inserted in the west 
 wall of Bow Church, where it is still to 
 be seen of every passer-by. 
 
 To end at the beginning. Professor 
 Lounsbury, the recognized authority upon 
 the subject, says that there is but one au 
 thentic portrait of Chaucer in existence 
 that made by Occleve upon the margin 
 of one of his own works ; a colored draw 
 ing of the man he styled his Master and 
 his Father. It was painted from memory, 
 as Occleve confessed, and probably after 
 Chaucer s death. Thomas Occleve, or 
 Hoccleve, was a poet, and a Writer to the 
 Privy Seal. He is supposed to have been 
 born about 1370, and to have died about 
 1454; which would make him many years 
 Chaucer s junior, and his survivor for more 
 than half a century. The Occleve por 
 trait is on Leaf No. 91 of Occleve s " De 
 Regimine Principum," Harleian MS., 
 4866. Upon it, of course, every subse 
 quent likeness of Chaucer is based. George 
 Vertue engraved at least three portraits 
 
126 
 
 of Chaucer; the earliest, dated 1717, was 
 for John Urry s first edition of the " Life 
 and Works of Chaucer," published in 1 72 1 . 
 It has no inscription. The second, also 
 in folio, was engraved for Vertue s set of 
 the English Poets. The head is an ex 
 act copy of the portrait made for Urry s 
 edition, although the ornamental frames 
 are entirely unlike. It contains the fol 
 lowing verses, written by Occleve himself, 
 to accompany his original sketch of the 
 Master and the Father of them all; and, 
 although the portrait is late, the inscrip 
 tion is the earliest on record : 
 
 "Althogh hys lyf be queynt the resemblance 
 Of hym hath in me so fresch loftynesse 
 That to putte othir men in rembraunce 
 Of hys psone I have here hys lykness 
 So make to this ende in sothfastnesse 
 That they v have of hym lost thought and mynde 
 By thys peynture may ageyn hym fynde." 
 
 An octavo print of Chaucer by Vertue 
 was issued in the edition of the Canter 
 bury Tales, published by Dr. Morell, Lon 
 don, 1737. 
 
 George Vertue (1684-1756) is famous as 
 an antiquary and a scholar, as well as 
 
an artist. He belonged to a generation 
 later than that of Droeshout, Faithorne, 
 and Marshall. He was the author of sev 
 eral literary works upon engravings, and 
 collections of engravings ; and his notes 
 and memoranda concerning English art 
 were purchased, after his death, by Wai- 
 pole, and became the basis of the " Anec 
 dotes of Painting." His powers of catch 
 ing and preserving a likeness are said to 
 have been great, and his prints, on that 
 account, are of much value and interest. 
 Walpole gave a list of them which covers 
 many pages, and includes a series of seven 
 teen English Poets from this portrait of 
 Chaucer down to John Dryden. 
 
 There are extant, and addressed to all 
 sorts and conditions of men and women, 
 Portrait Inscriptions enough to fill a vol 
 ume of any of the various editions of the 
 British Poets now so common on both 
 sides of the Atlantic. Those that are giv 
 en here are only a few specimens of this 
 interesting and obsolete form of literature; 
 taken, almost exclusively, from the In 
 scriptions attached to the Portraits of 
 the British Worthies who have made 
 
British Literature itself, not those who 
 have made British Laws or British His 
 tory. 
 
 The Poets of Britain and of America 
 to-day who write in English, dedicate 
 their books, in verse, to their friends, and 
 inscribe their presentation copies, in verse, 
 to their intimates ; but they leave their 
 portraits, in the frontispiece, to speak for 
 themselves, even when they feel that some 
 body else must speak for their poetry. To 
 quote the slang of the profession they 
 get their Advance Notices in some other 
 way. 
 
ON POETICAL DEDICATIONS 
 
CHAPTER V 
 
 ON POETICAL DEDICATIONS 
 
 I HE first of the British period 
 ical essayists, and the father 
 of all later contributors to 
 English and American mag 
 azines, wrote in The Tatler 
 on May 26, 1710, and from The Trumpet, 
 in Sheer Lane, that "the ingenious Mr. 
 Pinkethman, the comedian, had made 
 him a high Compliment in a facetious 
 Distich by way of Dedication to his en 
 deavours." This distich, unfortunately, 
 has not been preserved ; but it gave to the 
 editor of The Tatler an opportunity to 
 discourse most wisely upon the " Differ 
 ence betwixt ancient and modern Dedica 
 tions ": 
 
 "In olden Times," he wrote, "it was 
 the Custom [for authors] to address their 
 Works to some eminent for their Merit 
 
to Mankind, or particular Patronage of 
 the Writers themselves, or Knowledge in 
 the Matter of which they treated. Under 
 these Regards it was a memorable Honour 
 to both Parties, and a very agreeable Rec 
 ord of their Commerce with each other." 
 "But," he added later, "vain Flourishes 
 came into the World, with other barbar 
 ous Embellishments; and the Enumer 
 ation of Titles and great Actions in the 
 Patrons themselves, or their Sires, are as 
 foreign to the Matter in Hand as the Or 
 naments are in a Gothic Building." 
 
 And thus, for a page or two, the vener 
 able gentleman, then known to the read 
 ing world as Mr. Isaac Bickerstaff, berat 
 ed his contemporaries, the moderns, for 
 the fulsomeness and unmeaningness of 
 their dedications, in a volume which is 
 inscribed to the Right Honorable Will 
 iam, Lord Cowper, Baron of Wingham, 
 and is signed "My Lord, Your Lordship s 
 Most Devoted, Most Obedient, and Most 
 Humble Servant, Richard Steele "! 
 
 The history of the dedications of books 
 goes back as far as the beginning of the 
 history of books themselves. Among the 
 
33 
 
 ancients, concerning whom The Tatler 
 wrote, dedications were little more than 
 prefaces and introductions, and it was not 
 until what The Tatler considered mod 
 ern times that they became the pegs upon 
 which the author hung the compliments 
 he bestowed upon that particular "Pa 
 tron " who was willing to pay most gener 
 ously for his praises. It is a curious fact 
 that the earliest printed addresses and in 
 scriptions of the poets themselves were 
 generally written in prose, although it 
 was a prose which contained, as a rule, 
 quite as much poetry as truth ; and that 
 of all the examples, ancient and modern, 
 noted and quoted in Mr. Henry B. Wheat- 
 ley s interesting volume entitled "The 
 Dedications of Books," not more than 
 half a dozen are in verse. 
 
 Horace dedicated his first Ode, his first 
 Epistle, and his first Satire, in metre, to 
 his friend and patron, Maecenas : 
 
 "Maecenas, scion of a race 
 Of kings, my fortune s crowning grace 
 And constant stay." (Book I., Ode I.) 
 
 And Catullus dedicated his poems to 
 
Cornelius Nepos, in lines which Mr. An 
 drew Lang has put into English for Mr. 
 Brander Matthews s " Ballads of Books," 
 as reprinted here : 
 
 " Quoi dono lepidum navum libellum." 
 
 " My little book, that s neat and new, 
 Fresh polished with dry pumice stone, 
 To whom, Cornelius, but to you 
 Shall this be sent, for you alone 
 (Who used to praise my lines, my own) 
 Have dared in weighty volumes three 
 (What labors, Jove, what learning thine !) 
 To tell the tale of Italy, 
 And all the legend of our line. 
 
 " So take, whate er its worth may be, 
 My book, but Lady and Queen of Song, 
 This one kind gift I crave of thee, 
 That it may live for ages long!" 
 
 This same Mr. Andrew Lang, after res 
 cuing the " Book " of Catullus from the 
 language in which it had lain dead during 
 so many ages, dedicated his own " Books 
 and Bookmen," at the end of nineteen 
 hundred years, and in accents unknown 
 in the days of Catullus, to this same Mr. 
 Brander Matthews, who had found for 
 his wandering papers a home and a pub 
 lisher in States then unborn. 
 
135 
 
 " You took my vagrom essays in, 
 You found them shelter over sea; 
 
 Beyond the Atlantic s foam and din 
 
 You took my vagrom essays in ! 
 
 If any value there they win 
 To you he owes them, not to me. 
 
 You took my vagrom essays in, 
 You found them shelter over sea!" 
 
 In the mean time Mr. Lang himself was 
 made the subject of a poetic epistle 
 which, if not a dedication, is worth re 
 printing here. In his " Underwoods " Mr. 
 Robert Louis Stevenson wrote : 
 
 " Dear Andrew, with the brindled hair, 
 Who glory to have thrown in air, 
 High over arm, the trembling reed, 
 By Ale and Kail, by Till and Tweed: 
 An equal craft of hand you show 
 The pen to guide, the fly to throw : 
 I count you happy starred; for God, 
 When He with inkpot and with rod 
 Endowed you, bade your fortune lead 
 Forever by the crooks of Tweed, 
 Forever by the woods of song 
 And lands that to the Muse belong; 
 Or if in peopled streets, or in 
 The abhorred pedantic sanhedrim, 
 It should be yours to wander, still 
 Airs of the morn, airs of the hill, 
 The plovery Forest and the seas 
 That break about the Hebrides, 
 
Should follow over field and plain 
 
 And find you at the window pane; 
 
 And you again see hill and peel, 
 
 And the bright springs gush at your heel. 
 
 So went the fiat forth, and so 
 
 Garrulous like a brook you go, 
 
 With sound of happy mirth and sheen 
 
 Of daylight whether by the green 
 
 You fare that moment, or the gray ; 
 
 Whether you dwell in March or May ; 
 
 Or whether treat of reels and rods 
 
 Or of the old unhappy gods : 
 
 Still like a brook your page has shone, 
 
 And your ink sings of Helicon." 
 
 To which Mr. Lang replied in the fol 
 lowing lines : 
 
 "Dear Louis of the awful cheek, 
 Who told you it was right to speak, 
 Where all the world might hear and stare, 
 Of other fellows brindled hair? 
 Shadows we are, the sophist knew 
 Shadows and shadows we pursue. 
 For this my Ghost shall chase your shadow 
 From Skerry vore to Colorado." 
 
 But to return to the gentlemen who 
 even in Mr. Bickerstaff s time were styled 
 the " ancients." Master Geoffrey Chau 
 cer, the " Floure of Poetes throughout all 
 Britain " 
 
 " That nobly enterprysed 
 How that our Englisshe might fresshly be enued," 
 
137 
 
 while given to prologues, does not seem 
 to have indulged himself in dedications, 
 although at the end of the last book of 
 "Troylus and Cryseyde " he thus ad 
 dressed a brother of the pen : 
 
 " O moral Gower, this boke I directe 
 To the, and to the philosophical Strode, 
 To vouchen -sauf, ther riede is, to correcte, 
 Of youre benignites and zeles goode." 
 
 Gower returned the compliment in the 
 first form of the " Confessio Amantis ;" 
 omitting the eulogy, however, in the 
 second form. 
 
 Chaucer s editors on more than one 
 occasion have supplied Chaucer s defi 
 ciencies in dedication, for William Wynne, 
 Chief Clerk of the Kitchen to Henry 
 VIII., and editor of the first edition of 
 Chaucer s works (1532), inscribed his vol 
 ume "to that most gracious Defencer of 
 the Christen Faithe, his most dradde sov- 
 eraygne lord ;" and Dryden dedicated his 
 version of the "Tales from Chaucer," in 
 the beginning of the eighteenth century, 
 to the Duchess of Ormond, in .lines be 
 ginning, 
 
138 
 
 "The bard who first adorn d our native tongue, 
 Tuned to his British lyre this ancient song : 
 Which Homer might without a blush rehearse, 
 And leaves a doubtful palm in Virgil s verse ; 
 He match d their beauties, where they most excel ; 
 Of love sung better, and of arms as well." 
 
 Spenser s Poetical Dedications, that to 
 the Earl of Leicester, "late deceased," 
 prefixed to his "Virgil s Gnatt" one of the 
 " Complaints," published in 1 591, and that 
 to " Maister Philip Sidney " introducing 
 " The Shepherd s Calender " have nothing 
 in them which warrants their being re 
 printed here. 
 
 The fact that Samuel Page, of Corpus 
 Christi College, Oxford, dedicated " The 
 Loves of Amos and Lama " not his 
 "Alcilia," as Mr. Wheatley has it to 
 Izaak Walton, in 1619, is worthy of note, 
 because at that time Walton was only 
 twenty-six years of age, and was entirely 
 unknown to the world except as the oc 
 cupant of a linen-draper s shop, seven- 
 feet-and-a-half long and five feet wide, in 
 the Royal Bourse, in Cornhill. His first 
 work, the " Life of Doctor Donne," was 
 not published until 1640, and "The Com- 
 pleat Angler" did not appear until 1653. 
 
139 
 
 When Page wrote his lines to the humble 
 sempster he little dreamed that on their 
 account alone posterity would remember 
 him. Here are his claims to immortality : 
 
 "TO MY APPROVED AND MUCH RESPECTED 
 FRIEND, IZ. WA. 
 
 "To thee, thou more than thrice beloved friend, 
 
 I too unworthy of so great a blisse, 
 These harsh-tun d lines I here to thee commend, 
 Thou being cause it is now as it is; 
 
 For hadst thou held thy tongue by silence might 
 These have been buried in oblivion s night. 
 
 "If they were pleasing, I would call them thine, 
 
 And disavow my title to the verse ; 
 But being bad, 1 needes must call them mine, 
 No ill thing can be cloathed in thy verse. 
 Accept them then, and where I have offended 
 Rase thou it out, and let it be amended." 
 
 Perhaps these are the verses which in 
 spired the subject of them to write five- 
 and-thirty years later that angling and 
 poetry are somewhat alike " Men are to 
 be born so !" He must have been a good 
 fellow even in his youth, this Izaak Wal 
 ton, born so himself. " The Compleat 
 Angler" was dedicated in prose. "To the 
 Right Worshipful John Offley, of Madely 
 
140 
 
 Manor, in the County of Stafford, Es 
 quire." 
 
 John Taylor, " the Water Poet," dedi 
 cated " Et Habeo, Et Careo, Et Curo, A 
 Poem " (1621), 
 
 "TO EVERYBODY: 
 
 "Yet not to every Reader, doe I write 
 But onley unto such as can Read right; 
 And with impartial censures can declare, 
 As they find things to judge them as they are." 
 
 The reader of early biographical litera 
 ture cannot help being impressed with 
 the fact that most of the British men of 
 letters before the close of the Georgian 
 era are chronicled as being the Father 
 of something. Chaucer was the Father 
 of English Poetry ; Walton the Father of 
 Angling; Richardson the Father of the 
 British Novel ; Granger the Father of 
 Extra-illustration ; Steele the Father of 
 the British Essay ; and now comes a Scot 
 tish bookseller who figures as the Father 
 of the Circulating Library. Allan Ramsay 
 began life as a wigmaker in Edinburgh. 
 He wrote a second canto to " Christ s 
 Kirk of the Grene," no less than two 
 
kings of Scotland claiming the authorship 
 of the first ; he was esteemed so highly by 
 Hogarth that the twelve plates of " Hudi- 
 bras"were dedicated to him in 1726, and 
 he figures in these pages as the author of 
 a Poetical Dedication to Josiah Burchet, 
 Esq., prefixed to "The Gentle Shepherd," 
 his own great work, and closing as fol 
 lows : 
 
 " May never care your blessings sowr, 
 A n may the Muses, ilka hour, 
 Improve your mind, an haunt your bow r, 
 
 I m but a cailan ; 
 Yet may I please you, while I m your 
 
 Devoted Allan." 
 
 Ramsay retired from his original pro 
 fession of "skull-thatching," as he him 
 self somewhere described it, in 1718 or 
 1719, and during the rest of a long life he 
 either sold, loaned, or made books. He 
 was intimate with Gay, admired of Pope, 
 praised by Boswell, snubbed by Johnson, 
 and, according to Sir Walter Scott, he was 
 the lamp at which Burns lighted his torch. 
 
 While dedications are not always alto 
 gether pleasing to the persons to whom 
 they are addressed, it is not often that 
 their very abusiveness adds to the market 
 
value of the books which contain them, as 
 in the case of Churchill s " Sermons on 
 the Lord s Prayer." Among their reputed 
 author s posthumous papers was found 
 an unfinished dedication to William War- 
 burton, Dean of Bristol and Bishop of 
 Gloucester, the character of which in 
 spired the publishers to give ^250 sterling 
 for the ten sermons to which it was pre 
 fixed, sermons so poor in themselves that 
 they are generally believed to have been 
 the work of a duller, but better, man than 
 the writer of "The Rosciad." Whoever 
 originally delivered the discourses, how 
 ever, there can be no question as to the 
 authorship of the dedication. It is writ 
 ten in a strain of terrible irony. 
 
 "To Doctor! Dean! Bishop! Glo ster! and My Lord! 
 
 Let not thy brain (as brains less potent might) 
 Dizzy, confounded, giddy with the height, 
 Turn round, and lose distinction, lose her skill 
 And wonted power of knowing good from ill, 
 Of sifting truth from falsehood, friends from foes; 
 Let Glo ster well remember how he rose, 
 Nor turn his back on men who made him great; 
 Let him not, gorged with power, and drunk with state, 
 Forget what once he was though now so high, 
 How low, how mean, and full as poor as I." 
 
The Bishop of Gloucester, gorged with 
 power, lived fourteen or fifteen years after 
 this, and must have found comfort in the 
 fact that the publishers of the Sermons 
 suffered as much in their pockets by the 
 venture as he did in his feelings. 
 
 It is not possible here to quote, or even 
 to enumerate, the Poetical Dedications of 
 the men of modern times. In previous 
 generations, but within the present cen 
 tury, Keats inscribed, in 1817, to Leigh 
 Hunt the little volume of poems which 
 had already been printed in Hunt s Ex 
 aminer ; and Tom Hood dedicated his 
 " Hero and Leander " to Coleridge in 1828. 
 
 It is not with a hope my feeble praise 
 Can add one moment s honor to thy own, 
 That with thy mighty name I grace these lays; 
 I seek to glorify myself alone : 
 For that some precious favor thou hast shown 
 To my endeavor in a bygone time, 
 And by this token I would have it known 
 Thou art my friend, and friendly to my rhyme ! 
 It is my dear ambition now to climb 
 Still higher in thy thought, if my bold pen 
 May thrust on contemplations more sublime, 
 But I am thirsty for thy praise, for when 
 We gain applauses from the great in name 
 We seem to be partakers of their fame." 
 
144 
 
 Shelley s" Queen Mab," printed in 1813, 
 was dedicated " To Harriet " in lines be 
 ginning: 
 
 " Whose is the love that, gleaming through the world, 
 Wards off the poisonous arrow of its scorn? 
 Whose is the warm and partial praise, 
 Virtue s most sweet reward? 
 
 " Beneath whose looks did my reviving soul 
 Riper in truth and virtuous daring grow? 
 Whose eyes have I gazed fondly on, 
 And loved mankind the more ? 
 
 " Harriet, on thine : thou wert my purer mind, 
 Thou wert the inspiration of my song." 
 
 Whether this was written to Harriet 
 Grove, his first love, or to Harriet West- 
 brook, his first wife, the commentators 
 have not been able to decide ; but there 
 is no doubt that the " Mary " to whom 
 " Laon and Cythna " (The Revolt of Islam) 
 was dedicated in 1818 was the Mary God 
 win to whom he had then but lately been 
 married. In it he says ; 
 
 " So now my summer task is ended, Mary, 
 And I return to thee, mine own heart s home." 
 
 Scott prefaced the different cantos of 
 
145 
 
 " Marmion " with poetical letters to dif 
 ferent friends; and Byron, in what he 
 called "good, simple, savage verse," ded 
 icated " Don Juan " to Southey. 
 
 "Bob Southey! You re a poet Poet-laureate, 
 
 And representative of all the race, 
 Although tis true that you turned out a Tory at 
 Last yours has lately been a common case." 
 
 Among the men of our own day, Bay 
 ard Taylor dedicated, in verse, his " Poems 
 of Home and Travel " to George H. Boker, 
 and his "Poems of the Orient" to Mr. 
 Richard H. Stoddard ; Mr. Stoddard in 
 scribing to Boker his " Songs of Summer." 
 Mr. Swinburne dedicated " Songs of the 
 Springtide" to Edward John Trelawney ; 
 Mr. Whittier, " In War Times," to Sam 
 uel E. and Harriet W. Sewell, of Melrose ; 
 Longfellow, the " Ultima Thule," to G. 
 W. G. (George W. Greene) ; John Fors- 
 ter, the " Life of Goldsmith," to Charles 
 Dickens ; and Owen Meredith, " The Wan 
 derer," to J. F., in a long poem dated Flor 
 ence, September 24, 1857. 
 
 "Susan Coolidge"dedicated her".Verses" 
 (Boston, 1881) 
 
146 
 
 "To J. H.,& E. W. H. 
 
 " Nourished by peaceful suns and gracious dew, 
 Your sweet youth budded, and your sweet lives grew, 
 And all the world seemed rose-beset for you. 
 
 " Only this leaf, a single petal flung, 
 One chord from a full harmony unsung, 
 May speak the life-long love that lacks a tongue." 
 
 "Vignettes in Rhyme," the first Ameri 
 can edition of Mr. Austin Dobson s verses, 
 was introduced to American readers by 
 Mr. E. C. Stedman, to whom Mr. Dobson 
 dedicated his second volume, entitled 
 " At the Sign of the Lyre." 
 
 " No need to-day that we commend 
 This pinnace to your care, oh, friend ! 
 You steered the bark that went before 
 Between the whirlpool and the shore, 
 So though we want no pilot now 
 We write your name upon the prow." 
 
 In like manner he dedicated his "Prov 
 erbs in Porcelain" to Mr. Frederick Lock 
 er- Lampson, who is, perhaps, his only con 
 temporary rival in their own peculiar and 
 delightful line. 
 
 " Is it to kindest friend I send 
 This nosegay gathered new? 
 
Or is it more to critic sure 
 
 To singer clear and true? 
 I know not which, indeed, nor need. 
 
 All three I find in you." 
 
 H. C. Banner s "Airs from Arcady" are 
 inscribed 
 
 "To BRANDER MATTHEWS: BY THE 
 HEARTH. 
 
 "Take these, the gathered songs of striving years, 
 And many fledged and warmed beside your hearth 
 Not for whatever they may have of worth 
 A simpler tie, perchance, my work endears. 
 
 " With them this wish : that when your days shall close, 
 Life, a well-used and well-contented guest, 
 May gently press the hand I oft have pressed, 
 And leave you by Love s fire to calm repose." 
 
 Mr. Whittier s gift to his intimates of 
 a privately printed volume of his recent 
 verse is inscribed to " The poet and friend 
 of poets," Mr. E. C Stedman, with these 
 lines: 
 
 " Poet, and friend of poets, if thy glass 
 Detects no flower in winter s tuft of grass, 
 Let this slight token of the debt I owe 
 Outlive for thee December s frozen day, 
 And, like the arbutus budding under snow, 
 Take bloom and fragrance from some morn of May^ 
 When he who gives it shall have gone the way 
 Where faith shall see and reverent trust shall know. 
 
Lowell, by his own fireside, talked to 
 Mr. Charles Eliot Norton, in " Under the 
 Willows," of old times and of old scenes. 
 
 " I sit and I dream that I hear, as of yore, 
 My Elmwood chimney s deep-throated roar. 
 If much be gone, there is much remains ; 
 By the embers of love I count my gains, 
 You and yours with the best, till the old hope glows 
 In the fanciful flame as I toast my toes." 
 
 Rather more tender is the dedication 
 to "Among my Books." 
 
 "To F. D. L. 
 
 * Love comes and goes with music in his feet, 
 And tunes young pulses to his roundelays ; 
 Love brings thee this : will it persuade thee, Sweet, 
 That he turns proser when he comes and stays?" 
 
 These lines suggest Browning s "One 
 Word More " at the conclusion of " Men 
 and Women," inscribed 
 
 "To E. B. B. 
 
 "There they are, my fifty men and women, 
 Naming me the fifty poems finished ! 
 Take them, love the book and me together: 
 Where the heart lies, let the brain lie also." 
 
 To another good wife Mr. Aldrich dedi 
 cated " Flower and Thorn." 
 
"To L. A. 
 
 " Take them and keep theirs 
 Silvery thorn and flower, 
 Plucked just at random 
 In the rosy weather 
 Snowdrops and pansies, 
 Sprigs of wayside heather, 
 And five-leaved wild rose 
 Dead within an hour. 
 
 J Take them and keep them : 
 Who can tell ? some day, dear 
 (Though they be withered, 
 Flower and thorn and blossom), 
 Held for an instant 
 Up against thy bosom, 
 They might make December 
 Seem to thee like May, dear!" 
 
 And Professor Boyesen dedicated his 
 Idyls of Norway," in 1882, 
 
 "To L. K. B. 
 
 I fain would praise thee with surpassing praise, 
 To whom my soul its first allegiance gave; 
 For thou art fair as thou art wise and brave, 
 And like the lily that with sweet amaze 
 Rocks on its lake and spreads its golden rays 
 Serenely to the sun and knows not why, 
 Thou spreadst the tranquil splendor of thine eye 
 Upon my heart and fillst the happy days, 
 Brimmed with the fragrance and the light of thee. 
 
Mute was my life and chill ere thee it found; 
 Like dumbly heaving waves it rolled along 
 In voiceless wrestling on a barren sea, 
 
 Until it broke with sudden rush of sound, 
 Upon thy sunny shore in light and song." 
 
 One of the most touching of dedications 
 is that of Mr. James Whitcomb Riley, 
 contained in his " Afterwhiles." It is 
 very simple and very brief. 
 
 "To HUMBOLDT RILEY. 
 " I cannot say, and I will not say 
 That he is dead He is just away." 
 
 The Poetical Dedication to the book is 
 what the prologue is to the play. They 
 both serve to explain to the public the 
 circumstances of the action of the work 
 they introduce, or the situation in which 
 the writer stands, or wishes to stand, in 
 regard to the world at large. They ad 
 dress sometimes the whole audience of 
 readers, but more often some one particu 
 lar individual whose commerce with the 
 author, as The Tatler quaintly puts it, is 
 agreeable and affectionate, and an honor 
 to them both. The score or so of poetical 
 dedications given here, and the hundreds 
 
of others which must readily occur to the 
 lover of books, will show, as emphatically 
 as any other form of literature, the changes 
 of thought and expression in English let 
 ters during the last five hundred years. 
 
ON POETICAL INSCRIPTIONS 
 
CHAPTER VI 
 ON POETICAL INSCRIPTIONS 
 
 ; UITE as interesting as "Po 
 etical Dedications," and 
 much more valuable, because 
 more rare, are those occa 
 sional autograph inscrip 
 tions in verse to be found on the fly 
 leaves of certain printed books, but not 
 originally intended to be printed them 
 selves. They may be divided into three 
 classes : first, those written by the author 
 in the special copy of his own book which 
 he has presented to his friend ; second, 
 those written by the recipient in the vol 
 ume which his friend the author has pre 
 sented to him; and third, those written 
 in the books of men who are known 
 neither to donor nor to recipient, They 
 are fuller than marginal notes, and they 
 are more personal and more spontaneous 
 
56 
 
 than dedications ; they render the tomes 
 in which they are contained absolutely 
 unique, and sometimes they make a vol 
 ume as precious to the collector of auto 
 graphs as to the lover of books. A copy 
 of "Venus and Adonis," for instance, in 
 which Shakspere had written with his 
 own hand, 
 
 " Don t steale this Booke, my little Frend, 
 For feare the Gallowes will be your end" 
 
 if it existed would be worth a mount 
 ain of First Folios of the Plays. There 
 were only twenty-seven leaves in the little 
 quarto volume in question, as first pub 
 lished in 1593, so the author could not 
 have completed the inscription, 
 
 "If you don t beleeve this Book is mine, 
 Just turn to Page number ninety nine." 
 
 but as literature and as poetry the famil 
 iar quatrain is certainly as worthy of the 
 author of " Venus and Adonis " as are the 
 famous four lines carved upon the stone 
 which is said to cover the dust and the 
 bones enclosed in front of the altar of Holy 
 Trinity Church at Stratford-on-Avon. 
 
157 
 
 The Ancients, as The Tatler called 
 them, were much given to writing sonnets 
 to each other ; but these were not always 
 strictly personal nor strictly true ; and 
 they always found their way into their au 
 thors printed works, if not into the publi 
 cations of the authors to whom they were 
 addressed. Milton s famous "Epitaph 
 upon the Admirable Dramatick Poet W. 
 Shakspere " " dear son of memory, great 
 heir of fame," prefixed to the Second Folio 
 Edition of Shakspere s plays (1632), and 
 Wordsworth s " Sonnet to Milton," in 
 the two volumes of " Poems by Wm. 
 Wordsworth," first published in 1807, 
 beginning, 
 
 "Milton! them shouldst be living at this hour: 
 England hath need of thee," etc., 
 
 are cases in point. 
 
 Among the earliest specimens of this 
 complimentary verse are the lines ad 
 dressed by Edmund Spenser to Gabriell 
 Harvey, Doctor of Laws, printed in 1592, 
 with " Foure Letters and Certaine Son- 
 nettes EspeciallyTouching Robert Greene, 
 and Other Parties by him Abused." In 
 
15* 
 
 an early edition of Captain John Smith s 
 " History of Virginia " are prefixed almost 
 a score of short poems so called the 
 most notable, perhaps, being from the pen 
 of John Donne; while, in 1616, George 
 Wither congratulated his " Frend Captain 
 Smyth upon his Description of New Eng 
 land," in harmonious numbers. Benge- 
 mennes Jonson wrote verses " to Master 
 John Fletcher upon his Faithful Shep- 
 herdesse ;" Fletcher wrote verses " To 
 the True Master of his Art, B. Jonson," 
 which are to be found in the edition of 
 "Volpone the Foxe," printed in 1607. 
 Beaumont wrote verses to Fletcher and 
 Jonson, as Jonson and Fletcher both 
 praised him ; and so each did laud the 
 other, as all three of them eulogized, or 
 were eulogized by, Nat. Field and by 
 Chapman and by the rest of their con 
 temporaries for pages. 
 
 On a blank leaf of a copy of Dugdale s 
 " Monasticon," Warton wrote a sonnet, 
 which is printed among his collected 
 poems. Neither Warton nor Dugdale is 
 remembered now. The former was Pro 
 fessor of Poetry at Oxford from 1757 to 
 
1767, Camden Professor of Ancient His 
 tory at the same university, and Poet-lau 
 reate of England from 1785 until he died 
 in 1790, succeeding Whitehead, and im 
 mediately preceding Pye, in the long line 
 of commonplace, half-forgotten versifiers 
 who have held the office of Court Poet to 
 the English kings. Sir William Dugdale 
 was a distinguished antiquary in the 
 seventeenth century; his " Monasticon 
 Anglicanum " (1655-73) a chronicle of 
 the monastic and other foundations in 
 England before the Reformation has 
 been placed next to the Doomsday Book 
 itself as the most ancient and ample record 
 of the history and descent of the greater 
 portion of the landed property in the 
 kingdom; and it has even been admitted 
 as evidence in courts of justice when 
 original titles and documents have been 
 lost. 
 
 The lines written by Warton in Dug- 
 dale s great work, being comparatively 
 unfamiliar even to the close students of 
 English verse, and representing fairly the 
 class of " poetry " to which they belong, 
 are given here in full. 
 
" Deem not devoid of elegance the Sage 
 By Fancy s genuine feelings unbeguiled, 
 Of painful Pedantry the poring child, 
 Who turns of these proud tomes th historic page. 
 Now sunk by Time, and Henry s fierce rage. 
 Think st thou the warbling Muses never smiled 
 On his lone hours ? Ingenuous views engage 
 His thoughts, on themes, unclassic falsely styled, 
 Intent. While cloistered Piety displays 
 Her mouldering roll, the piercing eye explores 
 New manners, and the pomp of elder days, 
 Whence culls the pensive bard his pictured stores. 
 Nor rough nor barren are the winding ways 
 Of hoar Antiquity, but strewn with flowers." 
 
 Robert Burns, a contemporary of War- 
 ton, frequently expressed his affection for 
 his friends upon the blank leaves of some 
 favorite book before presenting the vol 
 ume to the object of his regard. " Miss 
 Cruikshanks," a maiden of twelve years, 
 in whose father s house in Edinburgh he 
 spent some time during the winter of 
 1 787-88, was addressed by Burns as " Beau 
 teous Rosebud, young and gay," on the 
 page of a now -forgotten work; and on 
 January i, 1787, he gave a copy of 
 Beattie s "Minstrel" to Miss Susan Logan, 
 with the following lines: 
 
 "Again the silent wheels of time 
 Their annual round have driv n, 
 
And you, though scarce in maiden prime, 
 Are so much nearer heav n. 
 
 " No gifts have I from India s coasts 
 
 The infant year to hail ; 
 I send you more than India boasts, 
 In Edwin s simple tale. 
 
 " Our sex with guile and faithless love 
 
 Is charged, perhaps too true ; 
 But may, dear maid, each lover prove 
 An Edwin still to you!" 
 
 Miss Logan was sister to the Major 
 Logan to whom Burns addressed one of 
 his " Epistles ;" and " Edwin " is the hero 
 of Beattie s poem. 
 
 Some fifty years later, in 1831 or 1832, 
 Campbell sent a volume of his poems to 
 his cousin Mary Sinclair, with the follow 
 ing inscription ; 
 
 " Go, simple Book of Ballads, go 
 From Eaton Street in Pimlico; 
 It is a gift my love to show 
 
 To Mary! 
 
 "And more its value to increase, 
 1 swear by all the gods of Greece 
 It cost a seven-shilling piece 
 
 My Mary! 
 
 " But what is gold, so bright that looks, 
 Or all the coins of miser s nooks, 
 Compared to be in thy good books 
 My Mary! 
 
" Now witness earth, and skies, and main I 
 The book to thee shall appertain; 
 I ll never ask it back again 
 
 My Maryt 
 
 " But what,, you say, shall you bestow ? 
 For, as the world now goes, you know, 
 There always is- a quid pro quo 
 
 My Mary - 
 
 " I ask not twenty hundred kisses, 
 Nor smile the lover r s heart that blesses, 
 As poets ask from, other misses 
 My Mary I 
 
 " I ask that tHl the day you die 
 You ll never pull my wig awry, 
 Nor ever quiz my rjoetrye 
 
 My Mary!" 
 
 That our contemporary poets have been 
 quite as happy in their Poetical Inscrip^- 
 tions as were the men of other days the 
 verses which here follow will clearly prove. 
 Many of these have never before been* 
 submitted to the public gaze, and such of 
 them as are here printed for the first time 
 are printed with the full consent of those 
 to whom, or by whom, they are addressed. 
 
 An uncut copy of "The Virginians," first 
 edition, was sold in London the other day 
 with the following inscription, in Thack 
 eray s handwriting, upon its fly-leaf i 
 
" In the U. States and in the Queen s dominions 
 All people have a right to their opinions, 
 And many don t much relish The Virginians. 
 Peruse my book, dear R. ; and if you find it 
 A little to your taste, I hope you ll bind it. 
 
 Peter Rackham, Esqre., with the best regards 
 of the Author." 
 
 A copy of " Prince Lucifer " presented 
 to Lord Tennyson contains these lines in 
 the handwriting of Mr. Alfred Austin : 
 
 " Poet ! In other lands, where spring no more 
 Fleets o er the grass, nor in the thicket-side 
 Plays at being lost and laughs to be descried, 
 And blooms lie wilted on the orchard floor, 
 There the sweet birds that from the Attic shore 
 Across Ausonian breakers thither hied 
 Own that May s music in their breast hath died, 
 And sobering words resound not as before. 
 But in this privileged isle, this brave, this blest, 
 This deathless England, it seems always spring. 
 Though riper grow the days, Song takes not wing; 
 Mid autumn boughs it builds another nest ; 
 Even in the snows we lift our hearts and sing, 
 And still Your voice is heard above the rest." 
 
 As a Christmas greeting in 1876, Richard 
 Henry Home sent to Mrs. Henry Edwards 
 an article of his own, contributed to an 
 English magazine on the cover of which 
 he had pasted an embossed card contain 
 ing the following lines : 
 
1 6 4 
 
 "Though age o er garden, field, and tree 
 Must cast its thoughtful ash-gray shades, 
 
 I send to thee 
 
 O er land and sea 
 A Rose of Love which never fades." 
 
 Although Mr. Frederick Locker-Lamp- 
 son s library is wonderfully rich in auto 
 graph dedications and inscriptions, he 
 gives but two examples in his " Cata 
 logue," printed in 1886. These are four 
 lines he himself wrote in a presentation 
 copy of Dr. Holmes s " Songs of Many 
 Seasons," and four verses written by Mr. 
 William Morris in a copy of his " Love is 
 Enough," addressed as follows : 
 
 "TO HANNAH JANE LAMPSON. 
 
 " Spring am I, too soft of heart 
 Much to speak ere I depart. 
 Ask the Summer-tide to prove 
 The abundance of my love. 
 
 " Summer, looked for long, am I ; 
 Much shall change or e er I die. 
 Prithee take it not amiss 
 Though I weary you with bliss. 
 
 " Laden Autumn here I stand, 
 Weak of heart and worn of hand. 
 Naught of rest seems good to me; 
 Say the word that sets me free. 
 
" I am Winter, that doth keep 
 Longing safe amidst of sleep. 
 Who shall say, if I were dead, 
 What should be remembered?" 
 
 Beneath the inscription in Dr. Holmes s 
 book, Mr. Locker- Lampson has written : 
 
 " Some books are writ to sell and don t ! 
 And some are read such heavy tomes ! 
 But all should buy (though many won t) 
 And read the books of Dr. Holmes." 
 
 In a copy of one of Mr. Locker-Lamp- 
 son s own books, given by the author to 
 Mr. Lang, he has written as follows : 
 
 " By Enna s fold I strayed of yore, 
 I ve heard the pipe, I ve plucked the wheat, 
 And yet I would not give a straw 
 To bide where any (Enna s) shepherds bleat. 
 Give me in Shepherd s Bush a seat 
 Where Pindar (classic Peter) sang, 
 My Daily News, the vicious sheet 
 Or pipe (if short!) of Andrew Lang!" 
 
 Mr. Edmund Gosse wrote in a copy of 
 the " Hesperides " presented to Mr. Austin 
 Dobson in 1878 : 
 
 " Fresh with all airs of woodland brooks 
 
 And scents of showers, 
 
 Take to your haunt of holy books 
 
 This Saint of Flowers. 
 
i66 
 
 "When meadows burn with budding May, 
 
 And heaven is blue, 
 Before thy shrine our prayers we say 
 Saint Robin true ! 
 
 " Love crowned with thorns is on thy staff 
 
 Thorns of sweetbrier; 
 Thy benediction is a laugh; 
 Birds are thy choir. 
 
 "Thy sacred robe of red and white 
 
 Unction distils ; 
 
 Thou hast a nimbus round thy head 
 Of daffodils." 
 
 In the copy of " Letters to Dead Au 
 thors" presented to Mr. Brander Mat 
 thews, Mr. Lang wrote : 
 
 " Go, letters, to the irresponsive Ghosts 
 
 That scarce will heed them less than living Men. 
 For now new Books come thicker than on Coasts 
 
 And Meads of Asia throng the sea-birds when 
 The snow-wind drives them south in clamorous Hosts 
 
 From their salt marshes by Cayster s Fen." 
 
 These lines, as an " Envoy," were sub 
 sequently printed in the second edition of 
 the book. 
 
 Mr. Dobson about the same time put 
 the following lines in a copy of his " Old 
 World Idyls," addressed to an American 
 friend : 
 
i6 7 
 
 * There is no mighty purpose in this book, 
 Of that I warn you at the opening page, 
 Lest, haply, twixt the leaves you careless look, 
 And finding nothing to reform the age, 
 Fall with the rhyme and rhymer in a rage. 
 Let others prate of problems and of powers, 
 I bring but problems born of idle hours, 
 That, striving only after Art and Ease, 
 Have scarcely more of moral than the flowers, 
 And little else of mission than to please." 
 
 Mr. William Ernest Henley, the collab 
 orator of Mr. Robert Louis Stevenson in 
 the authorship of " Deacon Brodie " and 
 other plays, is the possessor of a copy of 
 " Dr. Jekyll and Mr. Hyde " in which Mr. 
 Stevenson has written the following : 
 
 " Dramatic Jekyll and dramatic Hyde, 
 But which is which, let other men decide. 
 To the two friends, meanwhile, the work is fun, 
 And being never played, does harm to none." 
 
 In the copy of " The Paradox of Act 
 ing," presented by Mr. Walter Herries 
 Pollock to a friend who disapproved of a 
 Latin and later of a French prose inscrip 
 tion it contained, the author finally wrote : 
 
 "As no prose pleases, I must write in rhyme, 
 And wish the book were better worth your time." 
 
 In a paper upon Walter Savage Landor, 
 
1 68 
 
 Lowell gave to the public not long ago 
 a pair of quatrains he had written in a 
 copy of Lander s works presented to a 
 friend upon her marriage some years be 
 fore. They are interesting as containing a 
 condensation of the younger poet s judg 
 ment of the older. 
 
 "A villa fair, with many a devious walk, 
 Darkened with deathless laurel from the sun, 
 Ample for troops of friends in mutual talk, 
 Green Chartreuse for the reverie of one. 
 Fixed here in marble, Rome and Athens gleam ; 
 Here is Arcadia, here Elysium too ; 
 Anon an English voice disturbs our dream, 
 And Landor s self can Lander s spell undo." 
 
 In a copy of " Azarian," given to Mrs. 
 T. B. Aldrich in 1866, Mrs. Harriet Pres- 
 cott Spofford wrote : 
 
 " Full often pictured on the page 
 
 Some reader sees a fair sweet face, 
 That floats between the vacant lines 
 
 And paints the margin with its grace. 
 " Precious because th illumined sheet, 
 
 Though idle all its lettered lore, 
 Here leaves a secret never sung, 
 
 And spells a charm unknown before. 
 " Yet pages less fortunate than mine, 
 
 If here a fair sweet face shall bend, 
 And to the trembling, happy leaf 
 Perchance one shade of beauty lend." 
 
i6 9 
 
 Mr. James Whitcomb Riley, having in 
 advertently written his name on the back 
 instead of the front cover of a copy of 
 " Afterwhiles," expressed himself thus in 
 the proper place : 
 
 " LINES ON A ERROR. 
 
 " In the back of the book, 
 
 With his heels in the air, 
 
 You ll find your friend here, 
 
 Ef you look anywhere." 
 
 In a copy of Mr. E. C. Stedman s 
 " Songs and Ballads," presented by Mr. 
 H. C. Bunner to an intimate friend on 
 the eve of that friend s marriage, Mr. 
 Bunner wrote : 
 
 " The new year s not too old, my friend, 
 
 To wish a wish for you 
 That the fire may ne er grow cold, my friend, 
 
 That now shall shine for two; 
 The flame for kindly friendship set 
 Shall blaze for Love the higher yet, 
 Or be the heavens wintry wet, 
 Or summer blue." 
 
 Mr. Stedman possesses a copy of Cra- 
 shaw s Poems, edition of 1670, in which 
 Mr. Richard H. Stoddard had written in 
 1865 the following verse: 
 
"To E. C. S. 
 
 "With a good long life 
 
 And a happy end, 
 These fine old songs 
 
 From his poor old friend 
 
 R. H. S." 
 
 On the same fly-leaf, in the handwrit 
 ing of Mrs. Stoddard, is the inscription : 
 
 " My ornary powers 
 Allow but flowers. 
 Tis for my bashaw 
 To send for Crashaw. 
 
 "E. D. B. S." 
 
 The following quaint lines are to be 
 found in a copy of Miss Ellen Mackay 
 Hutchinson s " Songs and Lyrics :" 
 
 " This little book it is so small 
 
 You scarce can call it book at all; 
 
 Yet prithee grant it so much grace 
 
 As on your shelf to keep its place, 
 
 This little book." 
 
 In a copy of " New Waggings from Old 
 Tales," presented to Mr. Ernest D. North, 
 Mr. John Kendrick Bangs, one of its au 
 thors, wrote the following lines : 
 
 "To E. D. N. 
 
 " If you ask for a garden with never a weed in, 
 Where bloom in profusion the flowers of readin , 
 Why, go you at once to the garden of E. D. N. 
 
171 
 
 To its master I send this small book of letters, 
 In the hopes that, if placed on a shelf with its betters, 
 When The Tales of the Wags Mr. N. is perusing, 
 The wags of the Tales he ll not fall to abusing, 
 But ever continue his pleasant enthusing 
 
 Over me, 
 
 J. K. B." 
 
 In a presentation copy of " Along the 
 Shore," Mrs. Rose Hawthorne Lathrop 
 has written : 
 
 " Is carking care a guest, and scowls the host, 
 
 They dwell not there to whom I send thee : 
 Where cloud is least and hearty life is most, 
 The H own the roof : to them commend me. " 
 
 And in a presentation copy of " Gettys 
 burg, a Battle Ode," are these lines by its 
 author, George Parsons Lathrop : 
 
 "Dear kinsman H , turn these leaves 
 
 That in a chaplet I have bound 
 For those whose valiant suffering grieves, 
 
 Though they our land with glory crowned, 
 And you will notice, while you turn, 
 
 Our modern laurels are of paper, 
 Yet they at least, being good to burn, 
 
 To light Fame s torch may serve as taper." 
 
 In the first copy of Mr. Eugene Field s 
 " Echoes from the Sabine Farm," privately 
 printed for Mr. Francis Wilson, Mr. Field 
 wrote : 
 
" This is a prize which cultured eyes 
 
 Feeding upon do covet. 
 And well they may, I cannot say 
 How very much I love it. 
 
 " That s why I send it to the friend 
 
 Who favored me and brother. 
 Speed, pretty tome, into the home 
 Of Wilson, and no other. 
 
 " He ll wonder what on earth he s got 
 
 A birthday gift a stunner. 
 
 Come, Mira, look ! another book. 
 
 And see ! a number oner ! " 
 
 Unquestionably the worst specimen of 
 this class of versification extant is the 
 " Poem " written, by the author, in a copy 
 of "The Curiosities of the American 
 Stage," which he presented to Mr. Brand- 
 er Matthews, to whom it was dedicated, 
 in prose : 
 
 "This book to Brandar, 
 Whose helping hand a 
 Lot did comfort and do me good. 
 Accept it Brandar, 
 And understand a 
 Lot of gratitude understood." 
 
 These fly-leaves contain merely a sam 
 ple of the unique treasures in this line 
 which are to be found in the private li> 
 braries on both sides of the Atlantic at 
 
173 
 
 the present day. They are not only val 
 uable in themselves, but they are of in 
 terest as showing the possibilities of 
 Poetical Inscriptions, a form of literature 
 to which the bibliophiles hitherto have 
 paid but little attention. They show, too, 
 that the knights of the pen have a fellow- 
 feeling which is not always exhibited by 
 the knights of the brush or by the knights 
 of the chisel. While sculptors and paint 
 ers rarely dedicate their works to each 
 other, authors are very apt to inscribe to 
 authors the books they write a visible 
 proof that the kinship of letters is more 
 pleasant and more pronounced than are 
 the personal amenities of pictorial and 
 plastic art. 
 
INDEX 
 
 Abbey, Edwin A., 4, 26 
 
 Addison, Joseph, 98 
 
 Adrian, 93 
 
 Alabaster, William, 109 
 
 Aldrich, Thomas Bailey, 26, 
 148-9 
 
 Aldrich, Mrs. Thomas Bai 
 ley, 148-9. 168 
 
 Allibone, S. Austin, 20, 109 
 
 Anderson, Alexander, 13,14, 
 16 
 
 Andrews, Lancelot, 105-6 
 
 Arnold, Mathew, 25 
 
 Aubrey, John, 36, 100, ioi r 
 
 102, III, 112, 121 
 
 Austin, Alfred, 163 
 Avery, Samuel P., 124 
 
 Babington, Sir Anthony, 68 
 Bacon, Francis, 90, 103, 113, 
 
 117 
 
 Bacon, John, 55 
 Baker, J., 54 
 
 Bangs, John Kendrick, 170-1 
 Banks, Sir Joshua, 60 
 Barrett, Lawrence, 26 
 Barrow, Isaac, 113 
 Barry, James, 55 
 Bartlett, John, 98 
 Bartolozzi, Francesco, 6, 47, 
 
 69,78 
 
 Baxter, Richard, 124 
 Beattie, James, 160, i6r 
 Beaumont, Francis, 103, 158 
 Benson, John, 95-6 
 Bewick, Thomas, 6, 16 
 " Bickerstaff, Isaac," 132, 
 
 136 
 
 Blades, William, 39, 53 
 Blake, William, 47 
 Blount, Ed., 87 
 Boker, George H., 145 
 Bonaparte, Napoleon, 47 
 Booth, Edwin, 26 
 Bordone, Paris, 74 
 Boreman, Lady Dulcibella, 
 
 68-9 
 
 Boreman, Sir William, 68-9 
 Bosweil, James, 35-6, 37, 
 
 5. 5 2 -3> 54 "6, 141 
 Bowen, Abel, 17 
 Bowland, James, 25 
 Boydell, John, 69 
 Boyesen, Hjalmar Hjorth, 
 
 M9-5 
 
 Boyesen, Mrs. H. H., 149-50 
 Bracquemond, Felix, 4 
 Brantome, Peter Bourdelr 
 
 les, 79 
 
 Bretherton, C., 50-1 
 Brome, Alexander, 97-8,113 
 Brome, Richard, 96-8 
 
1 7 6 
 
 Browne, Sir Thomas, 113 
 Browning, Elizabeth Bar 
 rett, 148 
 
 Browning, Robert, 148 
 Bryan, Michael, 95 
 Buckingham, George Vil- 
 
 liers, Duke of, 86 
 Bulwer, Edward Robert, 
 
 Lord Lytton, 145 
 Banner, H. C., 147, 169 
 Bunyan, John, 118, 124 
 Burchet, Josiah, 141 
 Burleigh, Robert ( 5 th Lord), 
 
 74 
 Burleigh, William Cecil, 
 
 Lord, 76 
 
 Burnet, John, 13, 14 
 Burns, Robert, 141, 160 
 Burton, John Hill, 37-8, 49, 
 
 50, 5 - 2 
 Bute, Marquis of (Lord 
 
 Mountstuart), 37 
 Buttre, John, 51 
 Byrd, William (ist), 10-11 
 Byrd, William (2d), n, 12 
 Byrd, William (sd), n, 12 
 Byron, Lord, 145 
 
 Callender,Mr. (engraver), 13 
 Camden, William, 90 
 Campbell, Thomas, 161-2 
 Carlisle, Earl of, 65 
 Carwood, Amyas, 69 
 Cassellis, Earl of, 76-7 
 Castlemaine, Lady, 91, 94 
 Catullus, 133-4 
 Chalmers, George, 60 
 Chapman, George, 86, 108, 
 158 
 
 Charles I., 64, 66, 70, 76, 94, 
 
 108, no 
 Charles II., 68 
 Charles IX. (of France), 64, 
 
 67 
 Chaucer, Geoffrey, 125-6, 
 
 127, 136-7, 140 
 Chew, Beverly, 14, 84, 94, 
 
 102, 105, 112 
 
 Childs, George W., 27 
 Churchill, Charles, 142-3 
 Clarendon, Edward Hyde, 
 
 Earl of, 36 
 
 Clouet,Frangois. (See Janet) 
 Cocker, Edward, 113-16 
 Colbert, Jean Baptist, 44 
 Coleridge, Samuel Taylor, 
 
 "7, J 43 
 
 Collier, Jeremy, 124 
 Congreve, William, 100 
 " Coolidge, Susan" (Sarah 
 
 C. Woolsey), 145-6 
 Cornelius Nepos, 134 
 Cowley, Abraham, 93, 119 
 Cowper, William, 117 
 Cowper, William (Baron of 
 
 Wingham), 132 
 Crashaw, Richard, 169-70 
 Critz, John de, 62 
 Croker, John Wilson, 52 
 Cruikshanks, Miss, 160 
 Curie, Barbara, 70-1 
 Curie, Elizabeth, 69-71 
 Curie, Gilbert, 70-1 
 Cure, Cornelius, 61-2 
 Cure, William, 62 
 Cushman, Charlotte, 20-1 
 
 Davenant, Sir Wm., 94, in 
 
177 
 
 Davies, John (of Hereford), 
 
 95- 03-4 
 
 Dawkins, Henry, 13-14 
 Defoe, Daniel, 100 
 Delaram, Francis, 108 
 Denbigh, Earl of, 64 
 Dering, Thomas, 13 
 Dibdin, Thomas F., 38, 49, 
 
 5. Si 
 
 Dickens, Charles, 145 
 Dobson, Austin, 146, 165-6, 
 
 166-7 
 Donne, John, 86, 90, 118, 
 
 138, 158 
 
 Doolittle, Amos, 13, 17-18 
 Douglas, George, 6x 
 Douglas, Sir William, 61 
 Drayton, Michael, 90, 94 , 
 
 103, 108 
 
 Droeshout, John, 86 
 Droeshout, Martin (elder), 
 
 86 
 
 Droeshout, Martin (young 
 er), 83-91, 105, 127 
 Droeshout, Michael, 86 
 Dryden, John, 123, 124, 127, 
 
 137-8 
 
 Duane, James, 106 
 Dugdale,Sir William, 158-60 
 Dunlap, William, 14 
 Durand, Asher B., 18 
 Diirer, Albert, 4, 5, 42 
 D Urfey, Thomas, 98-100 
 Duyckinck, Evert A., 21 
 Duyckinck, George L., 21 
 
 Edwards, Mrs. Henry, 163-4 
 Egeleston, Edward, 27 
 Elder, William, 96 
 
 Elizabeth, Queen, 33,62,67, 
 
 77, 108 
 
 Elliston, Robert. 12 
 Evelyn, John, 43-5, 91, 109 
 Everett, Edward, 19 
 
 Fairfax, George William, 88 
 Faithorne, William, 90-2, 
 
 93-4, 122-3, 127 
 Ferguson, Elizabeth Grxm, 
 
 21 
 
 Field, Eugene, 171-2 
 Field, Nathaniel, 158 
 Finden, E., 52, 54 
 Fiske, John, 4 
 Flatman, Thomas, 92-3, 124 
 Fletcher, John, 90, 103, 158 
 Florio, John, 108 
 Foote, Charles B., 122-3 
 Forster, John, 145 
 Francis I., 64, 74 
 Francis II., 64, 67, 75 -6, 77 , 
 
 79 
 
 Francis, John W., 48, 50, 51 
 Franklin, Benjamin, 10 
 Franklin, John, 10 
 Fraser Tytler, Patrick, 66-7, 
 
 76 
 
 Froude, James Anthony, 79 
 Fuller, Thomas, 36, io6,m- 
 
 13 
 
 Garrick, David, 27-8 
 
 Gay, John, 141 
 
 George I., 34 
 
 George III., 70 
 
 Godwin, Mary Wolktoncraft 
 
 (Mrs. Shelley), 144 
 Goldsmith, Oliver, 145 
 
Gordon, Watson, 72 
 Gosse, Edmund, 165-6 
 Gower, John, 137 
 Granger, James, 33-56, 104- 
 
 5, no, 120, 124, 140 
 Greene, George W., 145 
 Greene, Robert, 157 
 Greenwood, Mr., 37 
 Griswold, Rufus Wilmot, 21 
 Grove, Harriet, 144 
 
 Hackett, John, 106 
 Hall, H. B., 51 
 Halliwell- Phillips, James 
 
 0.,8 S 
 Hamilton, James, Marquis 
 
 of, 86 
 
 Harding, J., 55 
 Harvey, Gabriell, 157 
 Hatton, Edward, 115 
 Hawkins, Francis, 119-21 
 Hawkins, John, 120-21 
 Heath, J., 54, 55 
 Heere, Lucas de, 61 
 Henley, William Ernest, 167 
 Henry II. (of France), 64, 
 
 65 
 
 Henry III. (of France), 64 
 Henry VIII. (of England), 
 
 108, 137 
 Henry, Prince of Wales, 
 
 103, 108 
 
 Herbert, George, 116-18,124 
 Herrick, Robert, 90 
 Herring, James, 51 
 Hoccleve, Thomas, 125-6 
 Hoey, Mrs. John, 48 
 Hogarth, William, 6, 141 
 Hogenberg, R., 43 
 
 Holbein, Hans (younger), 
 
 74, 1 08 
 
 Hole, William, 106-8 
 Holland, Abraham, 95 
 Holland, Henry, 43 
 Hollar, Wenceslaus, 47, 91 
 Holle, William, 106-8 
 Hollman, Julius, 51 
 Holmes, Oliver Wendell, 
 
 23-5 "7> 6 4. 165 
 Holt, Neville, 77 
 Hood, Thomas, 143 
 Hooker, Richard, 94 
 Horace, 98, 133 
 Home, Richard Henry, 
 
 163-4 
 
 Howard, J. J., 19 
 Howson, John, 88 
 Hugo, Victor, 23 
 Humphrey, Ozias, 55 
 Hunt, Leigh, 143 
 Hurd, Nathaniel, 13, 22 
 Hutchinson, Ellen Mackay, 
 
 21, 170 
 
 laggard, Isaac, 87 
 Ingelow, Jean, 20 
 Ireland, Joseph Norton, 48, 
 5, 5 1 
 
 Jacob, Giles, 99 
 
 Jaggard, Isaac, 87 
 
 James I. and VI., 61, 68, 72, 
 
 76, 103, 107, 108 
 James II., 70 
 James V. (of Scotland), 78 
 Janet (Frangois Clouet), 
 
 64-6, 77 
 Jehannet. (See Janet) 
 
179 
 
 Johnson, Samuel, 35. 37, 52, 
 
 S3-S, 116, 141 
 Johnson, Mrs. Samuel, 53 
 Jonson, Benjamin, 83-4, 87, 
 
 88, 90, 94-6, 103, 105, in, 
 
 58 
 
 Keats, John, 143 
 Killigrew, Thomas. 94 
 Kneller, Geoffrey, 124 
 Knollies, Sir Francis, 78 
 
 Labanof, Prince. 67, 73 
 Lamb, Charles, 109 
 Lampson, Hannah Jane, 
 
 164-5 
 Lampson. (See Frederick 
 
 Locker) 
 Landor, Walter Savage, 
 
 167-8 
 Lang, Andrew, 20, 134-6, 
 
 165, 166 
 
 Langbaine, Gerard, 97 
 Langton, Bennet, 54 
 Langton, George, 52 
 Lathrop, George Parsons, 
 
 171 
 Lathrop, Rose Hawthorne, 
 
 171 
 
 Lawrence, Sir Thomas, 52 
 Lawrence, Thomas W., 56 
 Leicester, Earl of, 138 
 Lely, Peter, 91 
 Leslie, Frank, 48 
 Lichenstein, Richard C., 12, 
 
 14, 18-19 
 
 Locker -Lampson, Freder 
 ick, 146-7, 164-5 
 Logan, Major, 161 
 
 Logan, Susan, 160-1 
 Loggan, David, 113, 124 
 Longfellow, Henry W., 145 
 Louis XIV., 44 
 Lounsbury, Thomas R., 125 
 Lowell, James Russell, 148, 
 
 168 
 Lowndes, William Thomas, 
 
 114 
 
 Lucian, in 
 Lytton - Bulwer, Edward 
 
 Robert, 145 
 
 Maecenas, 133 
 Malone, Edmund, 54, 88 
 Marriot, Richard, 45 
 Marshal], William, 6, 89-90, 
 
 95, 102, no, 118, 122, 127 
 Mary of Guise, 63-4, 78 
 Mary, Queen of Scots, 47, 
 
 So, 53, 59~79 
 Matthews, Brander, 26, 134, 
 
 147. 1 66, 172 
 
 Mauran, James Eddy, 18 
 Maverick, Peter. 13, 17, 18, 
 
 22 
 
 Maverick, Peter R., 13, 17, 
 
 18, 22 
 
 May, Thomas, 90, no-ii 
 Melville, Sir James, 77 
 Meres, Francis, 62 
 Milton, John, 94, 121-5, 57 
 Milton, Mrs. John (ist), 122 
 Milton, Mrs. John (3d), 123 
 Moliere, 26 
 More, Sir Thomas, 90 
 Moreau, Charles C., 17, 56 
 Morell, Thomas , 126 
 Morris, William, 164 
 
i8o 
 
 Morton, Earl of, 60-6 1 
 Moseley, Humphrey, 122 
 Mountstuart. Lord (Marquis 
 
 of Bute), 37 
 Murray, John (26), 53 
 
 Nanteuil, Robert, 44, 91 
 Napier, Lord, 63-4 
 Neil, P. G. J., 65 
 Nepos, Cornelius, 134 
 Noble, Mark, 34 
 Nollekins, Joseph, 55 
 North, Ernest D., 170-1 
 Northcote, James. 55 
 Norton, Charles Eliot, 148 
 Nottingham, Earl of, 43-4 
 
 Occleve, Thomas, 125-6 
 Offley, John, 139-40 
 Oliver, Isaac, 74 
 Onslow, Arthur, 123 
 Opie, John, 55 
 Orkney, Earl of, 72 
 Ormond, Duchess of, 137-8 
 Overbury, Sir Thomas, 86 
 "Owen Meredith," 145 
 
 Page, Samuel, 138-9 
 Parker, Matthew, 43 
 Pass, Simon, 105, 109, 113 
 Payne, John, 108-9, 120 
 Peake, William, 94 
 Pepys, Samuel, 43~5i 9*> 94> 
 
 115-16, 124 
 
 Pepys, Mrs. Samuel, 44 
 Phillips, Thomas, 51 
 Pinkethman, William, 131 
 Pliny, 42 
 Pollock, Walter Herries, 167 
 
 Pope, Alexander, 14, 92-3, 
 
 141 
 Poulet-Malassis, A. P., 21, 
 
 22, 23 
 
 Prescott, William H., 19 
 Primevra, Jacopo, 75 
 Pye, Henry James, 159 
 
 Quarles, Francis, 90, 109-10 
 Quarles, John, 90, no-ii 
 
 Rackham, Peter, 163 
 Raleigh, Sir Walter, 95 
 Ramsay, Allan, 140-1 
 Revere, Paul, 13, 14-15, 16, 
 
 18 
 
 Reynolds, Frances, 55 
 Reynolds, Sir Joshua, 52, 
 
 53-5 
 
 Richardson, Jonathan, 41 
 Richardson, Samuel, 140 
 Richardson, W., 105 
 Riley, Humbolt, 150 
 Riley, James Whitcomb, 
 
 150, 169 
 
 Roget, Peter Mark, 24 
 Ross, Alexander, no 
 
 Sage, Dean, 27 
 
 Sappho, 93 
 
 Scharf, George, 87-9 
 
 Scott, Sir Walter, 69-70,141, 
 
 144-5 
 
 Scott, Winfield, 19 
 Seton, David, 73 
 Seton, Lord, 67 
 Seton, Mary, 78 
 Seton. William, 73 
 Sewell, Harriet W., 145 
 
Sewell, Samuel E., 145 
 Shakspere, 47, 53, 83-91, 91, 
 
 103, 105, 121, 156, 157 
 Shelley, Harriet Westbrook, 
 
 144 
 Shelley, Mary Wollston- 
 
 craft Godwin, 144 
 Shelley, Percy Bysche, 144 
 Shirley, James, 90 
 Sidney, Sir Philip, 103, 138 
 Sinclair, Mary, 161-2 
 Smith, Captain John, 95, 
 
 102-5, I0 7. !5 8 
 Sommers, Will, 108 
 Southey, Robert, 109, 145 
 Speed, John, 49 
 Spenser, Edmund, 138, 157 
 Spofford, Harriet Prescott, 
 
 168 
 Stedman, Edmund Clarence, 
 
 21, 25, 146, 147, 169-70 
 Steele, Richard, 92-3, 131-2, 
 
 i33, 140, 157 
 Stevenson, Robert Louis, 
 
 135-6. 167 
 Stewart, Mr., 67 
 Stoddard, Richard H., 145, 
 
 169-70 
 
 Stoddard, Mrs. R. H., 170 
 Strickland, Agnes, 69 
 Stuart, Mary, Queen of 
 
 Scots, 47, 50, 53, 59-79 
 Stuart, Robert, Earl of Ork 
 ney, 72 
 
 Sturt, John, 117-18 
 Suckling, Sir John, 90,101-2 
 Sutherland, Duke of, 54, 71 
 Swinburne, Algernon Chas., 
 
 MS 
 
 Taylor, Bayard, 145 
 Taylor, Jeremy, 94 
 Taylor, John, 140 
 Taylor, Tom, 55 
 Tennyson, Alfred, 163 
 Terrence, 103 
 
 Thackeray, Wm. M,, 162-3 
 Thomson, James, 51 
 Toedtberg, Augustus, 56 
 Tonson, Jacob, 14, 123-4 
 Tredwell, Daniel M., 39 
 Trelawney, Edward Chas., 
 
 MS 
 
 Trent, George, 56 
 Trotter, S. C, 55 
 Turner, James, 13 
 
 Urry, John, 126 
 
 Vander Gucht, Michael, 100 
 Vandyck, Anthony, 74 
 Van Hove, F. H. , 113 
 Varick, Richard, 16 
 Vaughan, Robert, 94-5, 96, 
 
 112 
 
 Vertue, George, 6, 42, 47, 74, 
 99, 100, 122-3, 124, 125-7 
 
 Victoria, Queen, 70, 76 
 
 Villiers, George, Duke of 
 Buckingham, 86 
 
 Virgil, 138 
 
 Wallack, John Lester, 48 
 Walpole, Horace, 34-5, 36, 
 
 43, 60, 63, 67, 91, 95, 105, 
 
 109, 124, 127 
 Walton, Izaak, 36, 45-6, 90, 
 
 117, 118-19, 38-40 
 Warburton, William, 142-3 
 
1 82 
 
 Ward, Edward, 99-101 
 Ward, Mrs. Edward, 100, 
 
 101 
 
 Warner,Charles Dudley, 104 
 Warton, Thomas, 158-60 
 Washington, Andrew, 8-9 
 Washington, George, 9, 16, 
 
 2 7,47 
 
 Washington, John, 8-9 
 Watts, Isaac, 49 
 Webster, Daniel, 19 
 Welbrook, Harriet (Mrs. 
 
 Shelley), 144 
 
 Wheatley, Henry B., 133, 138 
 White, Robert, 123, 124 
 Whitehead, William, 159 
 
 Whittier, John G., 117,145, 
 
 H7 
 
 Whyte, Nicholas, 76 
 Wilkie, Sir David, 71 
 Wingham, William Cow- 
 
 per, Baron of, 132 
 Wilson, Francis, 171-2 
 Winstanley, William, 113 
 Wither, George, 106-9, 158 
 Woolsey, Sarah C. (" Susan 
 
 Coolidge"), 145-6 
 Wordsworth, William, 157 
 Wynne, William, I37 
 
 Zoffany, John, 55 
 Zuccaro, Frederigo, 67,68, 74 
 
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