the university OF ILLINOIS UBRARY HIST( Return this book on or before the Latest Date stamped below. TERAEY F A C - S I M I SCE EIRTH-PLAC RELIQUES HENRY G. O C U M E N T ’S AND ) MONUMENTS, SUBJECTS. s LONDON: BOHN, YORK STREET, COVENT GARDEN. MDCCCXLV. the university OF ILLINOIS LIBRARY i-' ' > ' "7» ' ■ ' j»' Jr-- .• ■ . ■;»' x»iifMI« HISTOEICAL AND LITERAEY CUEIOSITIES, CONSISTING OF FAC-SIMILES OF ORIGINAL DOCUMENTS SCENES OF REMARKABLE EVENTS AND INTERESTING LOCALITIES ; AND THE BIRTH-PLACES, RESIDENCES, PORTRAITS, AND MONUMENTS, OF EMINENT LITERARY CHARACTERS; WITH A VARIETY OF RELIQUES AND ANTIQUITIES CONNECTED WITH THE SAME SUBJECTS. SELECTED AND ENGRAVED BY THE LATE CHARLES JOHN SMITH, F.S.A. LONDON: HENRY G. BOHN, YORK STREET, COVENT GARDEN. MDCCCXLV. or DESCEIPTION OF THE PLATES. No. 1. — View of the House, No, 10, High-street, Portsmouth, in which George Villiers, Duke of Buckingliam, was assassinated by Felton. A fac-simile of the paper found in Felton’s hat, when he was apprehended. This interesting docu- ment was discovered among the papers of John Evelyn, by one of whose descendants it was pre- of Evelyn ; one of them is the endorsement of the paper. “ That man is cowardly, base, and deservetli not the name of a gentleman or souldier, that is not willinge to sacrifice his life for the honor of his God, his Kinge, and ins Countrie. Lette noe man commend me for doeinge of it, bnt rather discommend themselves as the cause of it, for if God had not taken away of harts for C sinnes, he No. 2. — Part of a Letter from Horace Walpole to the Rev. Mr. Cole, respecting the genius of Chatterton, and his pretended poems by Rowley. No. 3. — Part of a Letter from Thomas Chatterton to Horace Walpole, inclosing some account of his pretended discovery of Rowley’s Poems, &c. No. 4.— View of the Residence of Elwood, the friend of Milton, at Chalfont St. Giles, in Buckingham- shire. View of Jordaens, the meeting-house of the Society of Friends, in Buckinghamshire, and the burial- place of William Penn of Pennsylvania, from original drawings by De Cort, in the possession of the Editor. No. 0. — A Letter from William Penn of Pennsylvania, engraved by Vertue. Extract from Dean Swift’s Journal, addressed to Mrs. Dingley, containing an account of the Duel between the Duke of Hamilton and Lord Mohun. No. 7. — View of the House at Chelsea, in which Smollett wrote his “ Roderick Random.” A Letter from Smollett to Richardson, denying that he was the Author of an article in the Critical Review, reflecting upon the talents of the Author of “ Clarissa.” No. 8. — Richardson’s ansvver to the above-mentioned Letter from Smollett. sented to Mr. Upcott, and in his possession it now remains. The two notes are in the hand-writin would not have gone so longe vnpunished. John Fecton.” From the Collection of Mr. Upcott. No. 6. — Part of a Letter from Matthew Prior the Poet, respecting his portrait painted by Richardson and Both from the Collection of Mr. Upcott. description of the plates. No. 9. — Exliacts from the Will of the Emperor Napoleon, with varieties of his signature, and the sig- natures of the Empresses Josephine and Maria Louisa. No. 10. — An Extract from the original Manuscript of Pope’s translation of Homer, containing the parting of Hector and Andromache. Part of a Letter from Gay to Dean Swift, describing the success of the Beggar’s Opera. No. 11. — View of Sterne’s Residence at Coxwold in Yorkshire. A Note from Sterne to Garrick, written immediately before his departure upon the “ Sentimental Journey.” No. 12. — Part of a Letter from Bishop Warburton, respecting the Poems of Milton. Part of a Letter from Dr. Robertson concerning his History of Scotland. No. 13. — Portrait of Thomas Howard, fourth Duke of Norfolk. The farewell papers were written immediately before his execution in 1572 ; the first, addressed to William Dyx, his steward, is on the leaf of a New Testament, now in the possession of his Grace the present Duke of Norfolk, who has most graciously allowed the copy to be made. The second appears in a copy of “ Grafton’s Chronicles,” obligingly communicated to the editor by Henry Jadis, Esq. Nos. 14 and 15. — The Poem of “ Queeyi Mary's Lament," in the hand-writing of Robert Burns. From Mr. Upcott’s Collection. No. 16. — View of the Birth-place of John Locke, at Wrington in Somersetshire. Part of a Letter from John Locke to Sir Hans Shane, respecting the alteration of the Calendar. Add. MSS. Brit. Mus. No. 4052. No. 17. — A Letter from Jfi/es Coverdale, Bishop of Exeter, addressed to Thomas Lord Cromwell, respect- ing his Annotations on the Bible. Harl. MSS. No. 604. No. 18. — Fac-simile of an Epitaph on Benjamin Franklin, written by himself. From Mr. Upcott’s Collection. No. 19. — View of Austin’s Farm at Sapiston, Suffolk, the early residence of Robert Bloomfield, with a fac-simile of the first eight verses of his Poem of “ Richard and Kate.” From Mr. Upcott’s Collection. No. 20.— Fac-simile of part of Shenstone's poem of “ The Snuff Box.” Some additions to the comic part of the “ Midsummer Night’s Dream,” in the hand-writing of Garrick. Both in Mr. Upcott’s Collection. No. 21. — Lord Chatham to Garrick, in answer to his verses from Mount Edgcumbe. From Mr. Upcott’s Collection. No. 22. — The Monumental Bust of Shakespeare, from his tomb at Stratford-upon-Avon, with the signa- tures of a few celebrated Actors. The Autographs are from the Collection of Charles Britifie Smith, Esq. No. 23. — Part of a Letter from Potter, Bishop of Oxford, to Atterbury, Bishop of Rochester, concerning a passage in St. Paul’s Epistle to the Corinthians. Add. MSS. Brit. Mus. 5943. DESCRIPTION OF THE PLATES. m Pait of a Letter from Disliop Atterbury to Trelawney, Bishop of Exeter, respecting the time of the writing of St. John’s Gospel. Add. MSS. Brit. Mas. 5943. No. 24. -View of the Cottage at Haverstock Hill, the residence of Sir Richard Steele, from a drawi 'om a drawing by R. Schnebbelie, taken in 1809. Part of a Letter from Sir Richard Steele to Add. MSS. Brit. Mus. No. 25.— Views of the Birth-place of Sir Isaac Newton at Wolsthorpe, Lincolnshire, and of the Interior of his Observatory in St. Martin’s Street, London. Nos. 26 and 27. — Fac-simile of a Letter from Grahame of Claverhouse, Viscount Dundee, written upon his arrival at Glasgow, immediately after the flight at Drumclog, and giving an account of his defeat by the Covenanters, in June 1679. This very interesting document is in the Library of the Duke of Buckingham and Chandos, at Stowe, and it is here engraved by His Grace’s kind permission. It forms an admirable illustration to Sir Walter Scott’s Tale of “ Old Mortality.” No. 28. — Portrait of Francis Grose, F.S.A. A Letter from Grose to Mr. Gough, the Antiquary, requesting information about Corfe Castle, &c. Nos. 29 and 30.— A Letter in rhyme from Cowper, the Poet, to the Rev. John Newton. No. 31.— View of the Birth-place of Addison, at Milston, in Wiltshire. A Letter from Addison, respecting a passage in Statius. No. 32. Fac-simile of a Poem by Dr. Doddridge, and a Letter from Dryden the Poet. No. 33.— Extract of a Letter from Lord Halifax to Dean Swift, with promises of promotion. Extract of a Letter from Lord Orrery to Dr. Birch, on the Character of the English Nation. Add. MSS. Brit. Mus. Nos. 4303 and 4804. No. 34.— View of the Residence of the Rev. James Granger, (Author of the Biographical Flistory of England) at Shiplake in Oxfordshire. Extract of a Letter from Granger to the Rev. Mr. Cole, on the Mania for Collecting English No. 37. -Declaration of eight of the Bishops in favour of King Henry the Eighth’s power in ecclesiastical affairs, and that Christian Princes may make ecclesiastical laws. The four preceding subjects are from Mr. Upcott’s Collection. No. 36.— The Agreement between De Lolme, and Robinson the publisli “ Treatise on the English Constitution.” In Mr. Upcott’s Collection. t IV DESCRIPTION OF THE PLATES. Signed by Tlionias Cranmer, Archbishop of Canterbury ; Cutlibert Tunstall, Bishop of Durham ; John Stockesley, of London; John Clerk, of Bath and Wells; Thomas Goodrich, of Ely; Nicholas Shaxton, of Salisbury ; Hugh Latimer, of Worcester ; John Hilsey, of Rochester. “ This being signed,” says Burnet, “ by John Hilsey, Bisho[) of Rochester, must be after the year 1537, in which he was consecrated ; and Latimer and Shaxton also signing, it must be before the year, 1539, in which they resigned.” — History of the Reformation, 2nd edition, London, 1681, vol. 1. p. 249 (History), p. 177 (Records). In the Library of his Grace the Duke of Buckingham and Chandos, at Stowe. No. 38. — View of the Residence of Edward Young, Author of “ The Night Thoughts,” at Welwyn, Hertfordshire. A Letter from Edward Young, addressed to Dodsley the Bookseller. From the Collection of Mr. Upcott. No. 39. — Report of Sir Christopher Wren to the Committee of the City Lands, respecting the finishing of the Monument. Dated July 28, 1675. From the Collection of Mr. Upcott. No. 40. — View of the House in which John Howard, the Philanthropist, was born, at Clapton, Middle- sex ; and of his Residence at Cardington, Bedfordshire. Part of a Letter of John Howard, addressed to No. 41. — Letter from David Hume, addressed to the Countess de Boufflers, dated Edinburgh, 20th of August, 1776 ; supposed to be the last written by that great Historian, as he died only five days afterwaids, August 25. Letter from Edward Gibbon to David Garrick, respecting his introduction to Lord Camden, dated March 11, 1776. Both from the Collection of Mr. Upcott. Nos. 42 and 43. — A Letter from George Villiers, second Duke of Buckingham, addressed to the Lord and Deputy Lieutenants of the West Riding of Yorkshire, respecting the fire of London, dated Sept. 6, 1666. In the possession of Thomas William Budd, Esq. of Bedford Row. No. 44. — View of the Tomb of William Hogarth, in Chiswick Church-yard, Middlesex. Memorandum by William Hogarth, respecting his picture of Sigismunda, dated June 12, 1764. No. 4"5. — Part of the Poem of “ The Wicker Chair,” by William Somerville. Part of a Poetical Epistle to Mr. John Gray, from Allan Ramsay. Both from the Collection of Mr. Upcott. No. 46. — A Letter from Dr. Johnson, on his finishing the Lives of the Poets. In the possession of Mr. Linnecar, Liverpool. Part of a Letter from James Boswell to David Garrick, dated Edinburgh, April 11, 1774. In the possession of George Daniel, Esq. Islington. No. 47. — Fac-simile of a Letter composed of Hieroglypliical Drawings, by the Princess Louisa Hollan- dina, second daughter of Frederick V. Prince Palatine of the Rhine and King of Bohemia, and Elizabeth of Great Britain, eldest daughter of James I. The Princess Louisa was born at the Hague, April 18, 1618, whither her father was again forced to retreat, after being expelled from his Kingdom in 1620; and from this retirement this letter appears to have been sent to the Lord DESCRIPTION OF THE PLATES. Goring, afterwards Earl of Norwich. She was instructed in painting, with the rest of the Royal Family, by Gerard Honthurst, and arrived at such considerable excellence in the art, that it was commonly observed of the Princesses, daughters of the King of Bohemia, that Elizabeth was the most learned, Louisa the greatest artist, and Sophia one of the most accomplished ladies in Europe Ihough she was originally educated as a Protestant, the Princess Louisa embraced the Roman Catholic faith in 1664, and died in 1709, at the age of 86, Abbess of Maubisson, at Ponthoise near Paris. ’ The signification of the emblems is presumed to be as follows : Good Master, /a haue receaued your^ letter by my La^/^V^c Maid, WhelRug upon my Teacher, which^ was uery e;;a*«full un [to] me, Ziecause I can doe the Book of Music, when I stand^ thmhinq in the fireplace here,^ and leave^ the rcsd to'^ fortune and fools : meane time I remain^ , Tour loueing cossun, JIague, the 4 of January. y Q- , . Lo.uise. '’‘>‘'“8''“''' Enjiisecome I'alpl.abet, i aurois escrit nne lettre plus in- telJigible. ^ 8F?;nf 1 ‘A forest in a tree, for shooting deer from. Ear of wheat. Leaf. ' A rest for a match-lock musket. k Toe. ‘Mane. “>1*7. From the Collection of Mr. Upcott. No. 48^-A Note from Captain Coram, the Founder of the » Foundling Hospital.” addressed to the Steward or Matron. In the Library of his Grace the Duke of Buckingham and Chandos, at Stowe. Fac-simile of a Certificate for the electing of Mr. John Nichols (the Historian of Liecestershire) to e Society of Antiquaries, in the hand-writing of Richard Gough, Esq. Director of the Society! In the possession of John Bow'yer Nichols, Esq F S A No. 49.-View of the Residence of Abraham Cowley, the Poet, at Chertsey, in Surrey, with a pJcJimile of part of his Autograph Poem of » The Garden;” addressed to John Evelyn. """ ""a7oIuIe^'et^760." No, 51.-View of the Residence of Sir Isaac Newton in St. Martin’s Street, Leicester Square. No. 52^-View ofthe Tombof John Rich, at Hillingdon, the Founder of Covent Garden Theatre, with a hac-simile of his Autograph attached to an Agreement with Charles Fleetwood in 173.5. No. 53.-Illuminated Initial Letter L, from the commencement of the Editio Princeps of the » Historia atura is” of Cams Plinius Secundus, printed at Venice by Johannes de Spira, in 1469. From the Collection of the Rev. Clayton Mordaunt Cracherode, in the British Museum. No. 54.-Enamelled Jewel presented by Mary Queen of Scots to George Gordon, fourth Earl of Hiintlev probably about 1548. -i^iuiuiey, No. 65.-Representallon of the Bible used by King Charles I. on the scaffold, January 30tli, 1649 and presented by him to William Juxon, D.D. Bishop of London. No. 66.-Facsimile of the Calligraphic Exhibition-Bill of Matthew Buchinger, the Dwarf of Nfirnbum sent by h.ra to Robert Harley, Earl of Oxford, in 1717. From the Harleian MSS. in the Britis'h Museum. ^luisn T VI DESCRIPTION OF THE PLATES. No. 57. — Fac-simile of an Original Drawing of Designs for the Armorial Ensigns and Cyphers for the Royal Society, by John Evelyn, Esq., one of the Founders and a Member of the first Council. No. 5 8. — Fac-simile of a Letter from Thomas Barlow, D.D. Bishop of Lincoln, to the Rev. George Thomason, relating to the removal of the Collection of Pamphlets, now called “ The King’s Tracts,” in the British Museum, from the Bodleian Library at Oxford. Dated February 6th, 1676. No. 59. — Part of a Letter from Charles Spencer, third Earl of Sunderland, to John Holies, third Duke of Newcastle. Dated August 9th, 1708. Part of a Letter from Thomas Seeker, D.D. Bishop of Oxford, afterwards Archbishop of Canterbury, respecting the last illness of Martin Benson, Bishop of Gloucester. Dated August 17th, 1752. No. 60. — Part of a Letter from John, first Baron Somers, to Sir Hans Sloane, respecting the admittance of Count Lorenzo Megalotti as a Member of the Royal Society. Part of a Letter from Henry St. John, afterwards Lord Bolingbroke, to Dr. Swift. No. 61. — The Pulpit of John Knox, in the Parish Church of St. Andrew’s, in the County of Fife ; with his Signature, and those of several eminent Personages connected with the Reformation of Religion in Scotland. No. 62. — The Exterior of Don Saltero’s Coffee-House, Cheyne Walk, Chelsea; with the Signatures of James Salter, Sir Hans Sloane, and of some remarkable frequenters of the house. No. 63. — Exterior of the Last Residence of Charles Macklin, Comedian, in Tavistock Row, Covent Garden. No. 64. — Exterior of Ivy Cottage, Highgate, the Residence of the late Charles Mathews, Comedian. With a Fac-simile of his Signature. No. 65.— A Ground-Plan, exhibiting the whole of the Apartments of the Theatrical Picture-Gallery at Ivv Cottage, and the particular disposition of the Collection of Histrionic Portraits, now in the possession of the Garrick Club. No. 66. — A Representation of the Carved Cassolette, made from the Wood of Shakespeare’s Mulberry Tree at Stratford-upon-Avon, and presented to David Garrick by the Corporation of the Borough, at the Shakespeare Jubilee, May 3rd, 1769. Drawn from the Original in the possession of George Daniell, Esq. formerly in the Collection of Garrickiana belonging to the late Mr. Mathews. No. 67. — A Fac-Simile of the Freedom of Stratford-upon-Avon, presented to Garrick, enclosed in the same Cassolette. No. 68. — The Illuminated Initial and Commencement of the Epistle of St. Paul addressed to the Romans; from the Fragment of a Bible executed in the Ninth Century^ for Charles le Chauve, King of France, preserved with the Harleian MSS. in the British Museum. Nos. 69 and 70. — Two illuminated Paintings of the Sacred Furniture and Vessels of the Tabernacle of Israel ; executed by a Spanish Jew in the Fifteenth Century. From a Manuscript in the Haiieian Collection of MSS. in the British Museum. Nos. 71 and 72.— Two Fac-Siniiles from the Prologues and Text of the celebrated Manuscript of Corpus Christi Plays, or Sacred Dramatic Mysteries, performed at Coventry and other Cities, wiitten about the reign of Edward IV. From the Original preserved with the Cottonian MSS. in the British Museum. DESCRIPTION OF THE PLATES. VII No. 73. — Frost Fair on the River Thames. From an Original Sketch by Thomas Wyck, taken February 4th, 1684. With a Fac-SImile of a Specimen of Printing executed on the Ice at the same Fair for King Charles the Second. No. 74.— A View of the Church of Stoke-Pogeis in the County of Buckingham, the scene of Gray’s Elegy in a Country Church Yard ; with a Fac-Simile of some of the descriptive stanzas from the Original Manuscript of the Poem, finished in 1750. No. 75. Fac-Simile of an Original Letter from Thomas Gray, concerning the edition of his poetical pieces, published in 1753, by Bentley. No. 76. — View of the Exterior of Astley’s Riding School, in Westminster Road, before a permanent building was erected. From Original Drawings made on the spot by the late William Capon. No. 77. — View of the Interior of the same. No. 78. —Standing Bowl and Cover of silver-gilt, presented by William Camden, Clarenceux King of Arms, to the Worshipful Company of Painter-Stainers. No. 79.— Carvings on the ends of the Cassolette made from the Wood of Shakespeare’s Mulberry-tree, and presented by the Mayor and Council of Stratford-upon-Avon to David Garrick. No. 80. — Carvings on the cover of the same. No. 81.— Fac-Simile of the Commencement of the Book of Genesis, from the Manuscript called “ Alcuin’s Bible,” in the British Museum. Nos. 82 and 83.— Illuminated Drawings of Two Banners attribute to St. Edmund, King of the West Saxons, with Fac-Similes of poetical descriptions of the devices represented upon them, composed by John Lydgate. No. 84.— Fac-Simile of an Original Letter addressed to Titus Otes to the Honourable Charles Howard, son of Henry Frederick Howard, Earl of Arundel. From the Archives of the Howard Family at Norfolk House. No. 85. — Head Quarter’s of Prince Rupert, at Everton, during the Siege of Liverpool, 1644. No. 86. — Thomson the Poet’s Alcove, Richmond, Surrey. No. 87. — Birth-place of the Rev. James Hervey, Hardingston, near Northampton. No. 88 — Upper Flask, Hampstead Heath, the rendezvous of Pope, Steele, and others, and subsequently the Residence of George Steevens, Esq. No. 89. — Garrick’s Cup, carved from Shakespeare’s Mulberry Tree. No. 89*— General View of the Cassolette, made from Shakespeare’s Mulberry Tree, and presented at Stratford-on-Avon to David Garrick, Esq. (described in No. VI.) No. 90. — Mill at Bannockburn, in which James III. of Scotland was killed. No. 91. — Tomb of Edmund Waller, at Beaconsfield. No. 92. — Trotton, Sussex, the Birth-place of Otway. No. 93. — Lochleven Castle, the Prison of Mary, Queen of Scots. No. 94. — Wallace’s Nook, Aberdeen. No. 95. — Graves of Bessy Bell and Mary Gray, near Perth. DESCPaPTION OF THE PLATES. viii No. 9G. -Curious Memento-Mori Watch, presented by Mary Queen of Scots, to her attendant iMary Setoun. ]\To. 97, — Exterior View of the Italian Opera House, before it was burnt down in 1789, from an original drawing by the late William Capon. No. 98.— The Residence of John Hoole, the translator of Ariosto, &c. in Great Queen Street, Lincoln’s Inn Fields. No. 99.— The Monument of Margaret Woffington, the Actress, at Teddington. No. 100. — Monument to Charles Holland, the Actor, at Chiswick. T ■i^'f ” _wJ . 17 ^ n'.‘- ■ », ."•^1 •;-::itV r. . *’> rj ■_, -■ . S ^ .ivf '-- r *,».,■•■ ■, ^ 1 Jfi , #* '■’ ft. .; <: - lit <• • ' ■ >i i-v-^ "■■ v; ' \> i. l ' 1 1^1 ■*ik!’ '■' * .*• '■ ',“‘f- r. •>!»',,' . ■ • .'; ' Vi,-, ‘fi^- •■• • tjv V *. y --^ - f ”?r. |IM> .i\ ,'^v - ' 'y :i. ,rr. ,:-. 'U .;• f« '-T, ' ^ „ •if-* * .p. % V:\ \ , ,-v -V yv' ^ -' ' • IL»^ -i . ... -. -'■.Ml ft •'* • .V .!■ ^ ;K: ■"* tWf- i.-* < Till "!i? m I rn. ‘m ■I w Ji ■^'i r- .4'>’ * ')ASI % •: -* X :n_6a »ij.; 1^ Jf' It :-f THB HorsE m WHire OEORGE YttLIEHS DU™ OF BirciCWGHAM WAS ASSASSINATED. '-^f 'TX^ / — -yyxSt (-y Xp^-r\}c*^\^^y ^^yyJL~ ^t-jt-yPairXf ^^>onc>v -(jy~0 ~nJ CA.y>^^ X p >4 1^9- y£ ^ '<9 — /^/ "o — r-hA^^\yr ~~& — o vi^ yryyyx TTA5 t Wx^X^ >-rrKVi ^v>_-6 ^ y 5~ y^ v^- /— ■/-eu^::^r4x a>yr\yO^ o'^ 'JJL^ . T t^>vvvt^>-^ — (^' f^u^Z ' /) '' ^ wT3-^ »2^/6^- 4fM!z^ ^, , . ^ ” ” '^7J^ A^: y //! library OF THE miVERSITY OF ILLINOIS ^K/uyyy.^ ^i-fy^ /U^c./^ 7 X/Z/^d ni^<^c^C/ AjUJL-> .. . ^ ^ /Z/-. / l/j A .A. JLO^ ^^XuJ ^ Lyn^ i>n^ ^ ^//y^/Au^ H^Tt. /zAZ 14/)^ C//^J^(-^HyY^ ^ ^ ly^ i*- ^ ^ U^ eyi'dLA. ^ ^ luJ^^ /^/ fZc^Cry*/^ ^/^^J^7Hy€yr~^ nvor^^ /tp~0 ^J/'<^//t^ At^K C/y^U^ . ./^/-ot;/ H^h> z^Ai? 'f^A'/' /4UAi/i4y}'^ A ^‘^/J ////. Lf»yr To Co^f . ,. , 7/ J’. ,J’ ^/-^^.y// , Wusermf . WZiiJ fuhhslied by 1 ^intili.Etigraver, 1£, Southaxaptou St.Tit^.roy 3quire.LondoT <» ?; ;7 7>.' f.'if — THE PJESlTOEIfCE OF EWoOU THE FEUtEHlD OF MIX.TOS, TJtlAiFOHT ST GIIJES , El rcmFGHAJMtSHIPJE , £t^hfd Tyy : h/’chl'.'rtc .I'H'.DAE,: ■ MKKTIN'I', HOirsK OF •|•:M r. ^ /,/ y/ry/^,,/ y,,y/y //, 'fry/,- ,, , ; !i:,T- 1 'igu < f; j| lA I'MT.S HHl' y y F-y /-yy y , , LIBRARY OF THE UNIVERSITY OF ILLINOIS ^ JfcM uA.^ ^n j^'^oJuti LiM^A in ^CATnz^'j ftpuciAft, Shorter l>Jr^(*j anJuA/r -fn- Hun ^UaJ: a£wM' ^ HvmJa- ^ w Hxoti' 7 yy\-Orr\lH^ mtM cn\. ^ uJit ?l1u^*«' ^uichji ^-4 c.ftAAj^ MoJhJ^^^. tT o.< ^ U /ru„9f°Ua Uc„<^ , o»c UjL }0. uir. V' //u<0 _L, 'h^tlaw^ %)i 10 bn). Kviuvn. jOMO / ////' P/'rro'^yi f n'<' ( > /f'l' r r , JJor/ar'.s' /.fwy/r>/j. 1 i 01- IVtl ^ /C^ '^3 4, ay'—' CPVV'--' aujoiirdfud, 15 ami 2821 2 lon^wood isle de St:heUne Te meure dans la. Belifftoiv ^Ipasfaht/ue et diojruune dans U sears je s/as nc il y a plus de cmquaj/te ans. — Te desire que rues cendres reposent sur las hards de 2 a. Seine an. 7 /uheis de ce. people Iranpais cpie j'ai ta.nt am' re. Hus present lo'^otllprd 1821 atlomn'ood. island of StSelena.. I die m the Hofy Rarru/n fatholie faith.. m. the bosom of irlmhlmis born.m are than fiftif vears aqo . 1 desire that mv remains rruiy he. dcposleil am the htmfs ot the Seuie.in. the v/hist of the.Fre.neh peoplr M'ho/m 1 luive so truict i Cj2JAy XA^ U/U/PL-'- die lapuelle 1 loved. Ccei cst mon testament, ecrit tout entier de r/ia, propre main.. Tldsisvu’ will writtem entireli/ nnth mv anii hand. The Rmprejss Josephine wheru at. Jtrasbouiy in 18(12. v^' ^cvV; C/r/ The Tmp/r.vs iiforia.Touisa. as llenent.whioi ^f'lpohim. was at Jfosanv. ^cTvvv./ Rdieu mm rher lavalette j e ii'ai que le terns de vous as.nner de mon attaehement- thhi-u 7/iv deal- lavalette 1 have only time to afni/'e you of/m- attailiment. . .///.sephuic ciy in 1725 . LIBRARY OF THE UNIVERSITY OF ILLINOIS IimI^ )%JrrcuJLj u,p4>f4^- ^ Uoy^ Ct^ Jm'i/Ctrj o4-~)aX^ , n!» /ff-n/ly %Ay j:^ h:£ L: rA >*■- >‘ -< ■ ' >'»; , « . .. . ? '] .. -■ AS -I- ' FAC-SIMILE of a LETTER from MYLES COVERDALE to THOMAS LORD CROMWELL. I53H. V * . /J >. ,~ <^v^ ^cj-xyoS- 27-7 /^ %xv^(^{ yn^(U O r*y<>Y^ ^x><9^ <*<^^' y^ ^y/^rr CZr^ hiJilishPd. lyy .r.fl A.Arvh, C on iliiU, London. IBiiO. y y^^ty. yyyyyy^&ycy-^:’~^yy^ ^ ■ ' ■ ^ ii^iiy^yy >rr y-^yy..^€^y/y^yy yy'" 'fe/tyfyy-Z^y^-^y ■i^y^'t'-^^iy^^ yA^y^yyy} y ^yy yyyyy" T '' 7 ^' -Ah^ 2. ^C-5^^»»e^ uj<^r-m g^e y^z^ r^yy-^ ^ ^ ^ (T^ rrzrz^et^'s'^ ^ <=-ec_ y/^£, ujX^^ f c^yy y^eyy yi^ty^y /fyzj- X^o-c /Xe^ ^ -0^^770 ne. yu^7"^dy<^ X yctryXV^ ,zX^yy?^y'y^y^y^ c £y777 e. \^c7r^^/yYp^ y(XXx-Zz.y y^if'T^€. y7~7i c'c^ X'p iVZ^ Zr / Xc>' ^PZZ'yy'^ I 'XZX cm cc/ryy ZzZ xZz^ cXye yX yoyyoZ^ y^^Xayy^ X ~~XPZ~e XZ^r pXy^'^X'r'cri-i^^ ..yZrX yy ^^y^TT- € tP^p-Z^ f7z>Y^ cn-ij zX' cyp^ X pp7 y’c-yi'X cy'^e’ Xp 7~ea CfpzZ^ Xfi-r Xap7cX~ ,^z^yX’c)y'ipy yp^ /5vp oe^X' yZ]/ y XpTzec Zf (^. ynirh £riyT Zr'’-/>'H J’-^'-r ■: -hhPu:.-] ht LIBRARY OF THE UNIVERSITY OF ILLINOIS LIBRARY OF THE UNIVERSITY OF ILLINOIS 'H't^y' y.y-'j^^ Ccryj-oJ^ f^z^-e^^uc 9*t^ if^^k4A^ 'If^^TL.. )jf)]> 'Jo > ^^/'^J-tJ-- .Ac>^ „„ t/ iJ^ J i/l^jT^ (T^ 0iy^~S^/t/i.<4'i^^- u/"/^^ Ocrffz ■fpt'i9'f’\y^ 07\^ onx^c£/yrv^ ¥- -n^i^ c'>-yf^ ^'' ' £X.^^,CUyO^, I ^ ~ ^ X //i2,2,. JcU.Mss.3nl Mcls. J'M&M. i^-ce^ ^ ' ^0AM- ^/V~ ,y^ Iru^^ ^^tzy/ p/n' ^'n^ ^ '^Ty^T-eTp- o~ 7yvCy''^7y^.-A. ^ ^ ^jt Ct*^ Add, Mss 3rit. Mus. Jf° 694-3. LIBRARY OF THE UNIVERSITY OF ILLINOIS r^TiT) ;bipj ' )!]-%^,i!|L;i /y/mt^ J^^rii^ ymAC' o/ /^c-:^ T^n^ 'Ahe^f'nSj ^Ct/' c^ A^ 9-^ e/ir-eyr- jfcn<. ^ ^ / 99v<. ^ t.'/^ ^ ^ / A^9h^ ^-ey^ ~Jp ^eru^ oa9^ ''^^^'■^-Cy/^ ^:c y^n i^/:;o^^ Ci- — /^.iy^ /^~ 9-C-Aty>-^ (/^y^ d /?t'A^Hy' cJ9l9 cA^O~Hy A A, •Aci/—C- ^ AytyA^ }v-Ao 'kyi*^A A ^r<-y:t'A (^^-Ay^y Jmi. If ^ / J/3 ^/(HnnM^^^ = J^yAy^('A^ ^ eo sAA^^ £l- IM. J ^ -vu^ / / ji^ r<^'^ ‘>f ^ iA^ Pf* /^“"f ■"//“_ , „ ^fc y« T ■ y^ f « - y'* -y I'T y'^^y -^‘'7 •rrAl-vA ^ ,5^77/777; ... 777 Cori^ y^^J^Y>y-n 7 - //^Z/^y-'Y ^ '^zCZyyyyy/y’Z^,^/^ A EtrheH K.- I'uh/ishztl !>\ (' J. SmitAi.E'uirtH'e?: London. 163E I Q V i ( /■ % ? ^ ^ iTT'U^ ^ <. /t^-^~r~'yiy<, 1^ y*^ ^ - -O >. ^ £trr<^yl^^ yj' 077rK-tl^ ^ PP^ey LIBRARY OF THE UNIVERSITY OF ILLINOIS Cf3 ^ M-J u iff ^'^fr . ^ . C^cr-^^ . ^ t'L^ £^£-'^:rz'(/f~ C/ , i>fe««- ^Jfl^ -jP:r^,-A ~ " ^ *fffP^ C(AAtZy ^yC<^ ^ Z^ ^ ^>0.^ ^eJ*^, A■t.^^^n-^' iA' 2^ Ay^ Aj^ /^ zi^z^A^ • ^ y A*~ A*-'U>--;/' ^Z/-~ ^ C^ /AZZZl^ y-t.^^ y f ^ Ou^ lA f A iZ C-^tAA AfZz^ CX^ A^x>~;^ A^f At at. c< ^ ^ - <-3Z-'CtJ^^ ^ zAiZZAr €f-^ ^ a't-< J'tOjA^ ^ c*, y*- A Z^'A-a.-t^y**- ^'"A’ f ^ C~C^€a^Z^£_ ^.y.f ZAt^ ^i.-<..-*z. e-Ai ^ A ^ L^ y ^ 't^ ZL <£^!^ 'Z '/^ ca^ ^ y iZt.^yZjg^ ^ '^-4_4L_ - Cu^~ c cu%/ /A oA- C^ HL^ . A'-e^ ■y‘ ct-^^x^ f ~Z^^ Z^ /s»L-W^ ^ Ci^ UO^ a c^ , X <^/6^ ^ ^ ' /**^ / Xi? £*^Z~c^ x/ZL^ c. ^ y f/Zo ^ x_ cZf c^y ^ J ^ /X/X-X CA>-4U-y ^ ^-y /^<>«-<££2;^^^ £X~~0^ (O 14^ A'erd^-^ tZ /f->^ ^ ^X Ud-i.,ZZ!t ^ ft ^zzA 8-x^ ^ Y '-A" J' e.-ozAZt^ j g.i^4^ 'ye^cZ^^ 'ZZC^ 4>-^ ' Z'^x^O'd'yZ ^‘'"A ^ '*" *^ c-A.-'t.^ox-'t-^^ ^ \/ d X /AAf%Z^ ^ ZK^du^ Y Cx-^ f iXX c<^'<^-*-' %/o^AZci ^ ^cx--€£ c<^t.*^ c^cr^f^ ^ ZZC(o-i<-j Ay A r-<^ .^ ^ A^^dZi^ c>. cty ^ // A-fty /■ ^ ^ X't^-tr'^ eyT-o^-or^ ^ AJ^yZCL- £k-^U^crZyuo^ yo-vA. y ^ «/ X"^ lAy^o^ d ^ ^*- ^ AA-^ ^^^x-AzAi JO tyO\ t~dd<.di^ X' eKX-ZL^Cd\ o-d*. Ux-'Z'dx^ *d<. ^ y Ur <7cV ^ ^ 4X ^ oy^ 3^1 ^A'/ UdA^A'-Odf' y'lAy*-^ ^ ^ cx-y /?t--*-ty zA.^<^-y^ . A^'tAZ >cx5>-^ y^X Ai^~0 ^ ^ yi;--Ou y uJ^o-^^- J't j^J /iA- ^ s^c.o-r, ^ ^ ^ «> 7^ /.^ ly/^ c^ 7 //r/ - LIBRARY OF THE UNIVERSITY OF ILLINOIS J/ ^ J /a/£o^ ,,. /cA (L /AA k/ A~ AtA //t /Ajo yAcA ' ' / / «r-v^ /f A Ac^A /A /Aatr/./j /^ Uf/y/y.-Z^ya /y A "r£.- 9 ... „ .. , y }n-ej ^ JA-t 1 ^' '' (^ // Q -A ! ■ y. ^/l^ ^ ^ /y/ ^ ^ y/a,A fjAAoyAT/m^, it y-rynmr y A 44/6. AA^M-r; . ZcmJoTv.ld '-r- — LIBRARY OF THE UNIVERSITY OF ILLINOIS id- Co(u-iL^ A '^sitlju (y ^ . j-y,-uJl d^Uu ^ ct'- -J / ^ci^y Jf^rvT^ <^Cn-y y^a^fL^Iclj UdrU^ ^'treJ. • iA[_dO ^J^. Qio^'d j / j ay/y<^ ^ 4 f^T/- 'Z^SlZa^CP iyt^?t^ "^tziy t^.*ty^ ~^tAH^ ieK- ' ^y>1p ^ aA^ ,AiA-A^£^^^Ah^ LIBRARY OF THE UNIVERSITY OF ILLINOIS /i^a^^&tc'-i ^ Wv^^/V»o^ /»^ -fo 4^ WV cJ^* «r^< 5 t|s» • < 3 »^ / /w^cS^x^ vvv f\^o^ *^C^x/x 4 r /\yo£k& o** h£ j .'|«*'l^VWt. l<^'^ 1 ^ ^ jX C^i-'VWVl?' / -CWVT^^ /\Vk^CxX^j^zh (^^Uahvf, t} ^'Le il; (y\aCO-Pi:^'^^^ * 0 ^»^v j iftS^' I LIBRARY OF THE UNIVERSITY OF ILLINOIS TBOE KESIDEH'CE 03F y ItM/^hi U—CL-Iruf- Qfntvh'on^; mvon^ Cfji _ ttuin^ Ei,-/i--/l H- Aililifhal Tiy C.3- SwU)ulm^oru.lSir>. LIBRARY OF THE UNIVERSITY OF ILLINOIS l/fc^ c/^. jvir /14 a jj^ro faAicr^ \ fc? a /^rt^ 3 aMl ho^. Tu-O^^ ^ Tncryf a.^T^ea/^1^ ^ 7 ^^S> OrA^^rVe^ iv ^ V^W ^ a. ^Tv^ <^-n^ ^t^y-a^uA c 4 ^^ Jy^ ^ {z> iA CcU f rniSlW-- ^ 0xanu. Ijiyr ccug^ y^ Je.v-er'oA, 'l^-^Q-d-^ %(yiy2- mcL^ 'xahA fXX(T>L- 'krtyC 4 -^,- 'ivAA ^ /iVi‘>^ fvr~"^^o'^ 4 - 0 cy 'Un'& i& Pnyf^ cO^c^ a yiu %{. ri(nr' 4 v a ^ T^a^^cm ct^^u-nr-^ oA '%\.Yi-a.nc^, aX^ (^eci.u^q_ a-nji . — . tti^ ^yo-<^ -1^10 ^ u^ovl. tk'^t^'^^ijU'Orf, ^ fr^ ^ W 2 . -K«.W rnhA \^tA, ^ !- ca^ U ^ tf ^^ oA yiyv-r'^u, , Cc-^^A' h «<-r-<^ « hifyu, fr ^viL^an^ Bf ^o-viyn,y^ A& ^ 4v (^Q-TV tdin’o YxjtyC-i /T-Zi,' • /tT^Z# * C Z/i ihU> At 0^:Qo K^al, LIBRARY OF THE UNIVERSITY OF ILLINOIS UBRARY OF THE UNIVERSITY OF ILLINOIS 7 /^ Z^^. iri^ <- ‘^r^ ' ^: 6^ i. fCfTvD ^T€4t /•. A \ or- (^2y:H.^e^: ^ /C.k^ c^ ^ e^CC^ic/yU ^ ^ /y.ac^£y ^ '^y' ,\',,u/i iU'/y''f/'i/ifj {/nj/irt7-\' .Zn/?/>.,X(>/?(io?L.JP37. library OF THr UNIVERSITY OF ILLINOIS ANTIQUITIES. Illuminated Initial Letter L, with part of tlie text, from the commencement of the Editio Princeps of the Historia Naturalis of Cains Plinius Secundus, printed at Venice by Joannes de Spira in 1469. From the collection of the Rev. Clayton Mordaunt Cracherode in the British Museum. Enamelled J ewel presented by Mary, Queen of Scots, to George Gordon, Fourth Earl of Huntley. The period is not now known at which this elegant relique was given to the nobleman by whose descendants it is still preserved at Gordon Castle ; though the time was not improbably during the residence of the Queen in France, when the Order of St. Michael was conferred on the Duke of Chatelherault, the Earl of Huntley, and several other Scottish nobles about 1548. The lock of Mary’s hair which is attached to the small ivory skull, is of a light auburn, inclining to a gold-colour ; and, if allowance be made for some fading in the course of years, and for the hair of the Queen having generally become darker as she advanced in life, the accuracy of Melvil will be confirmed, when, in speaking of her after her return to Scotland, he says, “ her hair was light auburn ; Elizabeth’s more red than yellow.” In this particular little reliance can be placed upon the portraits of Queen Mary ; since it is well known that in the latter part of her life it was a fashionable practice to wear false hair of various hues, though in some of her pictures the colour of the locks is nearly similar to the hue of that represented in the present. The skull from which it issues is connected by a twisted skein of silk with the figure of a Cupid shooting an arrow, enamelled white upon gold, with the wings, hair, and bow coloured, standing upon a heart enamelled red, transfixed with a dart. On one side the heart is a setting for a precious stone, now vacant ; and on the other, in white letters, the words “ Wil- lingly Wounded.” From the point of the heart is a pendant, containing on one side a small ruby, and having the other enamelled blue with an ornament in white. The annexed plate represents both sides of the jewel, of the exact size of the original ; and the drawing whence the engraving was made, was taken by express permission of his Grace the late Duke of Gordon, by Hugh Irvine, Esq., to the kindness of whose surviving brother the present work is indebted, for both the insertion of this interesting relique, and the preceding account of it. Representation of the Bible used by King Charles the First on the Scaffold, on the Day of his Mar- tyrdom, Tuesday, January 30th, 1648 — 9. There is so much external evidence of the genuineness of this very beautiful and interesting relique, that no doubt can exist as to its perfect authenticity, though the circumstance of the King having a Bible with him on the scaffold, and of presenting it to Dr. Juxon, is not mentioned in any contemporaneous account of his death. The only notice of such a volume, as a dying gift, appears to be that recorded by Sir Thomas Herbert in his narrative, which forms a part of the Memoirs of the Last Two Years of the reign of that unpa- ralleled Prince of ever blessed memory King Charles I. London, 1702, 8vo. p. 129, in the following pas- sage. “The King thereupon gave him his hand to kiss ; having the day before been graciously pleased under his royal hand, to give him a certificate that the said Mr. Herbert was not imposed upon him, but by His Majesty made choice of to attend him in his Bed-chamber, and had served him with faithfulness and loyal affection. His Majesty also delivered him his Bible, in the margin whereof he had with his own hand written many annotations and quotations, and charged him to give it to the Prince so soon as he returned.” That this might be the book represented in the annexed plate is rendered extremely probable, by admitting that the King would be naturally anxious, that his son should possess that very copy of the Scriptures which had been provided for himself when he was Prince of Wales. It will be observed that ANTIQUITIES. the cover of the volume is decorated vvitli the badge of the Principality within the Garter, surmounted by a royal coronet in silver gilt, inclosed by an embroidered border ; the initials C. P. apparently improperly altered to an R, and the badges of the Rose and Thistle, upon a ground of blue velvet : and the book was therefore bound between the death of Prince Henry in 1612, and the accession of King Charles to the throne in 1625, when such a coronet would be no longer used by him. If the Bible here represented were that referred to by Herbert, the circumstance of Bishop Juxon becoming the possessor of it might be accounted for, by supposing that it was placed in his hands to be transmitted to Charles II. with the George of the Order of the Garter belonging to the late King, well known to have been given to that Prelate upon the scaffold. This volume is now in the possession of Robert Skene, Esq. of Rubislaw. Fac-Simile of the Calligraphic Exhibition Bill of Matthew Buchinger, the Dwarf of Niirnburg, executed by himself, at London 1716—1717. From the original preserved in the Harleian MSS. No. 7026. As the few notices which are extant concerning this extraordinary individual are principally derived from himself in such sources as the present Bill, the following descriptive list of his Portraits and genuine productions has been drawn up for this work, as containing more curious and uncommon information. Half-sheet coarse foreign Etching, whole-length figure standing on a cushion in a laced military dress and hat, in a large apart- ment, by a table, with a musquet, writing-materials, etc. Beneath, in his own writing, the following inscription : A.B.C. Ich Matthias C.B.A. Buchinger, habe Diessers ohne hiinde und fuss gedruct: Anno 1709, Niernberg. Bare. In the Collection of Mr. J. Fillingham. Half-sheet in a richly ornamented oval, stippled, with an account of him beneath, in a compartment, dated London April 29th, 1724, “ drawn and written by himself.” In the curls of the wig are written the 2Ist, 27th, 130th, 146th, 149th, and loOth Psalms, with the Lord’s Prayer. A very fine impression of this plate before the inscription was inserted, or the writing in the wig finished, the latter concluded with the 3rd verse of Psalm 146, — is in the collection of Mr. Fillingham, and is probably unique. Small coarse Etching, copied from the above, the figure only; washed with red. J. Gleadah sculp. A stippled copy in a square. A smaller do. G. Scot sculp. 1804. Half-sheet foreign Engraving, whole-length, in a rich laced dress and hat, surrounded by thirteen compartments, in which are represented his various performances, with inscriptions in German beneath them. Lorenz Beger sculp. Bare. Quarter-sheet small whole-length set on a pedestal, without cushion or hat, in an ornamental oval cartouche; a drum and ink-stand in the back-ground. Copy by R. Grave. Small whole-length with a hat, on a cushion : a Painting in water colours contained in a manuscript account of extraordinary individuals, by Paris du Plessis, servant to Sir Hans Sloane ; drawn and written about 1732. In the British Museum, Sloanian MSS. No. 5246. SPECIMENS OP BUCIIINGER’s WRITING. Exhibition-Bill as engraven in the annexed Plate. A paper dated February 2nd, 1732. “ This was written by Matthew Buchinger, born without bands or feet 1674, in Germany.” Publius Lentulus Letter to the Senate of Rome, concerning our Blessed Lord and Saviour.” Within an ornamental border, surmounted by a Portrait of our Saviour, drawn with a pen and ink in lines and dots ; underneath in decorated old English : ” This was drawn and written by Matthew Buchinger, born without hands or feet in Germany, June 3rd, 1674.” A very beautiful ornamented Letter, addressed to the Earl of Oxford, concerning a Fan-mount executed by Buchinger, which had occupied fifteen months in drawing. Dated Chelmsford, April the 14th, 1733. The preceding four Specimens are contained in the Harleian MSS. No. 7026, at the end. ' Signature, &c. in English, dated Ludlow, Oct. 20, 1734. Copper-plate Fac-simile, Gentleman s Magazine for May 1791, vol. Ixi. plate 2, page 417. This specimen of Buehinger’s writing has been also copied on wood. IS |LIN IVS fecunrJus nouocomenlis cqucflnbus mililiis indufiTierunclus:prociit raltone3c|uocprplencIiclin'imas;atq:coiilnmagfumTnaintegTitate adTninifh'auit- I BROS NATVRALI SHISTORI AE nouiuucamenis gritiii tuoy opus natuapud me proxia fetara licet tore epiftola namrecofti^ tui tibi locddifTime impetator . n,m a, p t inniiti.-ti ... Jvlltio lrmi l']>S / ti, -IlM. n.i y.,n.r.,hj .. }y ,/f \inr.i m Ho" Quern modo tam rarumcupiens uix ledor baberSc Quiq:eUam fradlus pene legendug eram; Reftituit Venetis me naper Spira loannes : Exfcripfitq; libros pre notante meos. PefTamanas quondam moneo: Qlamafq; quiefcat . Nan q; labor Audio cefTit :<5c ingen io • .M.CCCC.LXVIIII. ■^1 4 / Authority Lately arrity d, and to 6t feen at the Globe and Jduke^ Marlboroug K’s H m Fleet-ftre&t A German; born Withoht Hands, Feeb , or Thighs , . Qh at never was m this Kingdom before^ Who does fuchmiracaLous Actions as none elfe. can do with Han.d$ and Feet : He has had the Honoixr to perform before nioft Kinps and, princes, particular]^ feveral Times bSore Kmp’ George. He maKeS a Pen, and Writes feveraL Hands as cjuich and. as Well as any Writhig- Mafter, and will write with any for a Wager; He draws Faces to the Life, andCoats of ,4Tmes, pictures, Flowers, With a Pen, very curi- oufly; He Threads a fine- Needle Vei^ f|ULcK.5 fhafles a Pack of Cards, and deals them veiy Iwift He plays upon the Dulcimer as Well as . any Mufician : He does maryi/ furpri^ing Things With Cups and^alls, andgiveS the Curious great Satisfaction thereby : He plays at Skittles feveral Ways very Well ; /haves himfelf very dexteroufly ; and inary olKer Things, too tedious to infert. ” At thus ordered, as entered in the official volume of Roval c ' ^ ^ Armorial Ensigns B. 14. fol. 1. in ,vi.ie„, instead of .nl Collegeof Ar™, marked Second "’.-izr'MS"!; :itz; "" April, in tlie 15th year of his reign. Hath orda"ned England, bearing date at Westminster, the 22nd day of called by the name of tlie President, Council, and Fellows Tth?Rly'lrs!rr/^V^^^ President, Council, and Fellows, ' to whom, amongst other things. His said Sacred Matie hath therein granted f CoTt oTa Science ; President, Council, and Fellows, being desirous to have the elanse x l k .u SuPPorters. The said thereof, entered among the records of this office -It was this dav \ ' Z togetlier with a trick upon the motion of Elias Ashmole, Esqre. Windsor Hrairand I of June, Anno Domini 1G63, in full Chapter, was made, and the said Patent sent hither to be viewed ) agreed and co ‘I'o «aid request followeth:-u Damns insuper, et Concedimus per Prlltes - eorumqne in perpetuum successoribus, in favoris nostri Reeii er a ' ’ ^ ®odahbus Regahs Societatis prsedictae, futuris cetatibus testimonium, hcec honoris Insignia sequentia • videlTcetT o^'^timationis prmsenti et AnffUcos ; et pro Crista, Galmm Corona floscuUs interstincta adnr 1 ^^9enUa^ ar^gulo dextro, tres Leones nostros Scutum Leonibus nostris insignltum tenens ; Telamones scutarios Tuol'"c Aquila, nativi coloris, altero pede margine luculentius videre est) a prmdictis Preside, Concilio et Sodalibus >” petuum gestanda, producenda, possidenda. ' ’ ^ uique successoribus, prout feret occasio, in per- “ Examined by Elias Ashmole, Windsor. 30th June, 1663.” «... Oeo^ge T, K.XVX Taxes,.. i„ U,e BH.lsl, M„se„„. fv„™ .he books, is rdated in ivvo^ pq'rsTn^erled”^ ^ collection and preservation of those most important errors, and was most probably com nosed Ev tho sx • -in " ^ copyist, containing many Barl„w.s letter was "r “> ui. abridgment of the former, as if designed for a mo^^ m small folio, and consists of an Rev. William Beloe's.4,,;*^ ^ extended circulation. A copy of it will be found in the hut as the manuscript sta«4 " ” | ml W07, 8vo. vol. II. pages 248-2.51 ; print, and ns it contains the annexed Icter with mi llr°°t “ It®* never yet appeared in -he Whole paper is here inserted, il“in;':;r;;,::““ ^ 7 Mr. Thomason's Note about his Collection tea,, . 0 ana me iTeM:r;;;::::rr::o :: - t. Oxr.,d, piLr, K..;! “d“ B 1T.W T , ■»4 « Decor .„.a. g,,,,..,.; „ ^ My good Friend, ^ Bishop of Lincoln's Letter. Oxoii, Feb. 6,1676. FAC-SIMILES OF ORIGINAL DOCUMENTS. otherwise conveniently dispose of them. Had I Money to my Mind, I would be your Chapman for them ; but your Collection is so great, and my Purse so little, that I cannot compass it. It is such a Collection (both for the vast Number of Books and the exact Method they are bound in) as none has, nor can possibly have, besides yourself. The Use of that Collection might be of exceeding Benefit to the Publick both in Church and State were it plac’d in some safe Eepository, where learned and sober Men might have access to, and the Use of it ; the fittest Place for it (both for Use and Honour) is the King’s, Sir Thomas Bodlie’a or some publick Library, for in such Places it might be most safe and usefull ; 1 have long endeavour’d to find Benefactors and a Way to procure it for Bodlie’s Library, and I do not dispair but such a Way may be found in good time by Your affectionate Friend, , Thomas Lincoln. There have been grete Charges Disbursed and Paines taken in an Exact Collection of Pamphletts that have been Published from the Beginning of that long and vnhappy Parlemt wch Begun Novembr 1640, wch doth amount to a very greate Numbi of Pieces of all Sorts and all sides from that time vntill his Majties happy Restauracion and Coronacion, their Numbr consisting of neere Thirty Thousand seu’all peeces to the very greate Charge and greater Care and Paines of him that made the Col- leccion. The vse that may be made of them for the Publiqe and for the prsent and after ages may and wille prove of greate Advan- tage to Posterity, and besides this there is not the like, and therefore only fitt for the vse of the Kinge’s Majtie. The wch Col- leccion will Necessarily employ Six Readers att Once, they Consisting of Six Severall Sorts of Paper, being as vniformely Bound as if they were but of one Impression of Bookes. It Consists of about Two Thousand Severall Volumes all Exactly Marked and • Numbred. The Method that hath been Observed throughout is Tyme, and such Exact Care hath been taken that the very day is written vpon most of them that they came out. The Catalogue of them fairely written doe Containe Twelve Vollumes in Folio, and of the Numbrs aforesaid, woh is so many that when they stand in Order according to their Numbrs, whilest any thing is asked for and shewed in the Catalogue, though but of one Sheete of Paper (or lesse), it may be instantly Shewed : this Method is of very greate vse and much Ease to the Reader. In this Numbr of Pamphlettes is Contained neere One hundred and Seu’all peeces that never were Printed on th’ one Side and on th’ other, (all or most of which are on the King’s Side), wch no man durst venture to Publish here, without the Danger of his Ruine. This Colleccon was so privately Carried on, that it was never knowne that there was such a Designe in hand, the Collectr in- tending them onely for his Majties vse that then was, his Maj«e once having Occasion to vse one Pamphlett could no where Obtaine or Compasse the Sight of it but from him, wch his Majtie haveing Seene was very well Sattisfied and pleased with the Sight o It, hee commanded a Person of honour (now) neere his Majtie that now is, to Restore it Safely to his handes from whom hee had It, who faithfully Restored it, together with the Charge his Majtie gave him, wch was with his owne hand to Returne it to him, and withall Expresst a Desire from his then Majtie to him that had Begun that worke, that hee should Continue the same, his Majtie being very well pleased with the Design wch was a greate Encouragemt to the Undertaker, Els hee thinks hee should never have been Enduced to have gon through so difficult a Worke, wch he found by Experience to prove so Chargeable and heavy a Burthen, both to himself and his Servts that were Imployed in that busines, wch Continued above the Space of Twenty yeares, m wch time hee Buryed three of them, who tooke greate Pains both day and night wth him in that tedious Imploy- ment. ‘ •’ And that hee might prevent the Discovery of them when the Army was Northward, hee Packt them vp in Seiierall Trunks, and by one or two in a Week hee sent them to a Trusty freind in Surrey, who safely preserved them, but when the Army was estwaid, and feareing their Returne that way, hee was faigne to have them sent back againe, and thence Safely Received them but durst not keepe them by him the Danger was so greate, but packt them vp againe and sent them into Essex, and when the Army Ranged that way to Triphleheath was faigne to send for them back from thence, and not thinking them Safe aiiv where in England, att last took a Ressolucion to send them into Holland for their more safe preservation, but Considering wth himselfe what a Treasure it was, vpon Second thoughts he durst not venture them att Sea, but Ressolved to place them in his Warehouses in forme of Tables round about the Roomes Covered over with Canvas, Continueing Still without any Intermission his goeing on; nay even then, when by the Vsurper’s Power and Comand hee was taken out of his Bed and Clapt vp Close Prisoner att V iitehall for Seaven weekes Space and aboue, hee still hopeing and looking for that Day, wch thankes bee to God is now come, and there hee putt a Period to that vnparallelled Labour, Charge, and Paines, hee had been att. Oxford Library Keeper (that then was) was in hand wth them, ab* them a long time, and did hope the Publiqe Library might pase them, but that could not bee then Effected, it riseing to so greate a Sume as had been Expended on them for so long a time together. if that Tiayterous Vsurper had taken Notice of them by any Informacion, hee to secure them had made and signed an Ac- quittance for One thousand pounds, acknowledged to be received in parte of that Bargaine, and haue Sent that Imediately FAC-SIMILES OF ORIGINAL DOCUMENTS. in any Christian Comon Wealth since Christianity had a Name. etestable Villanyes were ever Committed The following memorandum is annexed to the precedino- This IS erioneous.— The Collector, Mr. George Thomason, died in 1666. See his Will at Docto » r ticular mention is made of the Pamphlets, and a Special Trust annointed On» nf Commons, wherein a par- whom this letter was addressed, was eldest son of the Collector, and a Fellow of Queer’s, "otr. “G. G. Stonestreet, lineal descendant of the Collector.” A subsequent notice of the Collection of Tracts is contained in thp fpll. • i preserved in the British Museum. following document, which is also “ At the Court at Whitehall, the 15th of May, 1684, “ By the King’s Most Excellent Ma'y and the Lords of h;= The hemble pe.„,., „f Mel” I’l™”""- Ih. Bed, .e,.l„* forth that H„ M.., ,.e plee.ed by S> Joseph Wim.^soe, U.e Secr.t.llsirr^ husband to purchase a collection of severall bookes, concerning matter, of r ^ ® ‘=°'">«and the Petition^^^ being uniformly bound, are contained in two thousand volumes and upwards^'-lanrthtrb "““^er, and, cost the Petrs husband, and the burthen they are upon herself and familv hv tn ’• i ^ humbly prays HI. M.«.. lo.ro to dispose of the said Colleetion of Bookes a. hoi” le»g,-lhoroforo most port horselfe aad family i-Hls M..y ia Co.noll was gr.doosi, pleased to giro lea™ to the pXTo d'“ said Bookes as she shall think fit. ^ the Pet to dispose and make sale of the “ Phi. Lloyd.” After the period therein mentioned, no further information nnnparc t l u excepting that it was bought by John Stewart, Second Earl of Bute, for aZl rde'’rT4m to King George III. for the same amount in 1761, by whom the volumps i Museum, which had been then recently founded. presented to the British L^art ot a Letter from Charles Spencer, if, of Newcastle. Dated August 9th, 1678. Lansdowne MSS. Brit. Mus. No. 1236. Part of a Letter from Thomas Secker, D.D. Bishop of Oxford aftorworri, a lu- u respecting the last illness of Martin Benson, D.D. Bishop of Gloucester. Dated luglmth, iS.’’"'" Additional MSS. Brit. Mus. No. 4318. Part of an Original Letter from John, First Baron Someps to Sir TTnr,, gi admission of Count Loreuxo Magalotti, Councillor of State to Ferdinand (II.) De^MedirLTeTnth'orand Duke of Tuscany, a Fellow of the Royal Society. He was elected May 4th, 1709. ’ Sloane MSS. Brit. Mus. No. 4060. shad'd! K te. Vtscouuy BouuoBaoK., to Jonathan Sloane iMSS. Brit. Mus. No. 4805. i '^ ^ Oj^ri^ a ^7 4 '^ 7 • ytlOY v/.^ '^'M,‘u^ ^ fe«eX ^XipjL^u.y\() o ; V-07^ «;■ i.f'//Jf>/,- . P;//>//s/it-,/ ill Tni/iM/// t/f'/ct’nj/./, i'/M//ra ■I OiJ7i\Mi37. rhrS77i7thsMsfo?'UYi/ X- Xurnry 3 w'iom^>- r*{iu JhVLA^ A^ . ^ 4 . / 6 ?-.h. ^ j, ,„j.^ n't'/' V'^r^ «Aflw«A c^'linU.H'ly Afjic/^^^ ^C^J-J W.O.VY A,WW^^ ^ ^4/?i-^/ 9^^j'' A ft^y!f^~,y/i- AtU- ^ tunrurir-xv'r^j^^T^ ^V ^vrA -o{ J- V^.A~S- M.y%S-^^ x)tl cs^ P^M<(XY f^xx^r l^r/dfi ycx.r^c^/I^^/l tk J^cr^v^j n ^c-^/xxp, ^f^Q>^\y}fv^^l ix^(L^UcH iAk-ory{jJi Tiffi iuy^j^ tt^J‘\^%^(>‘\<'>^ J-c^ jKrxX ^ ^^^r2rCiA>^ odl/t-i nAvm^: ^ /(W/ ^ oslU U /Ke^ ‘rhr oK<^ oJ-Lo <4- tO-^'fmuA^ : (ruA- oat 4^ Un,tf) h<- ^tZ-^/y Y yr7^^^n£^££y^/^.xJ Zf £2>irA~^ Y ^ iZ-j Jc^ ^ ^ ^ .ic':^/-y^,^,£_ ^^££e£o'y^ Ji>-^ a. v-e/z^t/ Z U'Al^A. -^Azy £i/a- / Azz> ' VIEWS. The Pulpit of John Knox, in the Parish Church at St. Andrew’s, in the County of Fife- with his Signature, and those of several other eminent personages connected with the REFORMATION OF RELIGION IN SCOTLAND. One of the most remarkable preaching-places of this zealous pastor in his native country was that which was constructed for him by the Magistrates of Edinburgh on his being appointed Parish-Minister of the City, or of St. Giles s Kirk, on the north side of the High Street at the head of Menteith Close It was a projecting chamber in an edifice which has been considered to be the oldest stone buildino- of a private character now remaining in the City ; and, previously to the time of Knox, it was occupied by o’eorge Durie, Abbot of Dunfermline and Arch-Dean of St. Andrew’s, by whom it was resigned at the Refor- mation. The Town-Council then granted the house to the metropolitan preacher, rent-free ; and an order dated the last day of October, 1561, states that “the Provost, Baillies, and Counsail, ordains the Dene of Gyld, with all diligence to mak ane warme studye of dailies (deals) to the Minister, Jhone Knox, within his house, aboon the hall of the same, with lyht and wyndokis thereunto.” A window above the door of this building, looking up the High Street, probably still indicates the apartment re- ferred to, and tradition states that Knox was accustomed to preach from thence to the people in the street. Level with the window was erected the following religious inscription, now covered over with signs and placards, indicating the trades of the present inhabitants, “ Luve. God. above, al. and. your, nich- BOUR. AS. YOUR. SELF.” Beneath the window, against the angle of the house, appears a rude carved effigy of Knox in a pulpit, pointing to a stone at a short distance from him, inscribed with the name of God in Greek, Latin, and English, placed between clouds and rays of light. It was whilst Knox was residing in this house, that an attempt was made upon his life by some zealot of the opposing party • for as he was one night sitting in his chamber, he was fired at from across the street. The shot entered the window,^ but, as he was most providentially seated at another side of the table than that at which he usually sat, it missed him, and, striking the candlestick before him, at length lodged itself in the roof of the apartment. At the earnest entreaties of his friends, continues Howie, who declared their determination if he should be attacked to shed their blood in his defence, he reluctantly withdrew to St. Andrew’s; where he continued with undiminished boldness to denounce the enemies of the reformed faith. It waJ in that place that he had first discoursed against the degeneracy of the Church of Rome, and there he occupied the Pulpit represented in the present Engraving; and the following curious and characteristic anecdote connected with his preaching in it, is related in the Manuscript Diary of James Melville, then a student at the College of St. Andrew’s, and subsequently Minister of Anstruther. “ Of all the benefits I haid that year (1571), was the coming of that maist notable profet and apostle of our nation, Mr. Jhone Knox, to St. Andrew’s : who, be the faction of the Queen occupying the castell and town of Edinburgh, was compelht to remove therefra with a number of the best, and chusit to come to St. Andrew’s. I heard him teache there the Prophecies of Daniel that simmer, and the winter following ; I haid my pen and my little buike, and tuk away sic things as I could comprehend. In the opening up of his text he was moderat the space of an half houre ; but when he enterit to application, he made me so to grew (thrill) an tremble, that I could not hold a pen to wryt. He was very weak. I saw him every day of his life go hulie and fear (hoolie and fairly-slowly and warily) with a furring of marticks (martins), about his Views. neck, a staffe in the ane hand, and gud godlie Richart Ballanden, his servand, haldin up the uther oxter (arm^pit), from the Abbey to the Parish-Kirk j and be the said Richart and another servant lifted lip to the Pulpit, whar he hehovit (was obliged) to lean at his first entry : bot er he had done with his sermone he was sa active and vigourous, that he was lyk to ding the pulpit in blads (beat it into shiver^;') and flie out of it.” The interesting relique commemorated in this curious extract, is of that stately style of carving which was introduced towards the close of the sixteenth century in Protestant preaching-places ; and continued, though of a more heavy character, throughout the whole of the succeeding century. A scroll-bracket remaining on the preacher’s left hand, and some broken pieces at the top of the back, appear to indicate that It was once more extended, and had probably a canopy or sounding-board. In the back ornaments the Pulpit somewhat resembles a very handsome carved structure in the church of North Cray, Kent, which bears the date of 1G37. Beside the pulpits of Knox mentioned in these notices, there is another similar relique of him to be seen in St.John’s Church in Perth ; where, in consequence of a sermon which he delivered, the demolition of the Reformation commenced in the destruction of images and ail supposed monuments of idolatry. It may perhaps be proper to observe in conclusion, that Knox’s discourses which produced the same purification in St. Andrew’s and the vicinity, were not preached in the pulpit here represented, but in the Cathedral, on May 10th, 11th, 12th, and 13th, 1559, and in a single afternoon that magnificent fabric was laid in ruins by the multitude which had heard him. The Authorities used in the preceding notices have been The Life of John Knox, by the Rev. Thomas McCrie, D.D. Edinburgh, 1813, 8vo. Vol. II. pages 205, 206 : Traditions of Edinburgh, by Robert Chambers. Edinburgh, 1825, 1833, 8vo. Vol. I. pages 243,244; vol. III. page 214: The Scots Worthies, by John Howie, edit, by William McQavin. Glasgow, 1835 8vo Vol I pages 50, 60, 61. ’ .voui. The Signatures engraven beneath the annexed View are those of the following Personages : No.^1. John Knox. “ Thus I bid zow harteley fare well, from Sant’ Andres the xx off January, 1559. ^ The passage is taken from an original, though imperfect. Letter preserved with the Cottonian MSS. in the volume marked Caligula B. ix. Art. Al,fol. 99, 2. James Stewart, First Earl of Moray, Natural son of King James V. of Scotland, — whilst Prior of St. Andrew’s, signed James Sanctandres. From an Original Letter to Sir Ralph Sadler, dated November 17th, 1559. Cottonian 31SS. Caligula B. x. Art 73,fol. 187 b. 3. The same, signed as Lord J ames Stewart. From an Original Memorial, dated Stirling, July 18th, 1565, addressed to Queen Elizabeth, respecting the ill-treatment of the Scots Protestants by Marv. Cottonian 31 SS. Caligida B. x. Art. Wb.fol. 317. 4. The same, signed James Regent of Scotland. From an Original Letter, dated Edinburoh, December 18th, 15G9. Cottonian 3ISS. Caligula B. ix. Art. 23Q,fol. 395. ° 5. James Hamylton, Second Earl of Arran and First Duke of Chatelherault. From the same Instru- ment as No, 3. G, Archibald Campbell, Fifth Earl of Argyll, signed Arch. Argill. From the same Instrument as No. 3. 7. Robert, Fourth Baron Boyd of Kilmarnock, signed R. Boyd. From a Declaration and Petition of the Piotestant Lords of Scotland against the proceedings of the Queen Dowager, dated Aufust, 1559. Cottonian 3ISS. Caligula B. x. Art. 15,fol. 23 b. 8. James Hamilton, Third Earl of Arran, eldest son of the First Duke of Chatelherault, signed James IIamyltone. From the same Instrument as No. 7. 9. Alexander Gordon, probably the second son of John, Lord Gordon, and grandson of Alexander, Tliii-d Earl of Huntley. From the same Instrument as No. 7. t VIEWS. 10. James Douglas, Fourth Earl of Morton, Regent of Scotland, signed James Regent. From an Original Letter to the Earl of Leicester, dated Dalkeith, November 3rd, 1572. Cottonian MS8. Caligula C. ui. Art. 199, /oh 434. 11. William Ruthven, Fourth Baron Ruthven and Dirleton, and First Earl of Gowrie. From an Original Letter to Lord Burleigh, dated Holyrood House, December 29th, 1582. Cottonian MSS. Caligula C. vii. Art. l\,fol. 08 b. The Exterior of Don Saltero's Coffee House, Cheyne Walk, Chelsea: with the Signatures of James Salter, the proprietor, Sir Hans Sloane, and some remarkable frequenters of the house. Beckman supposes that the first collections of natural and artificial curiosities, were confined to the treasuries of Royal personages ; in which, besides those articles of great value properly belonging to such depositories,— were included religious reliques, rarities of Art, and antiquities, with occasional speci- mens of uncommon and extraordinary animals dried and preserved. It is probable that from even a remote period menageries were established to add to the magnificence of Courts; wherein, also, the stuffed skins of rare animals were exhibited, in proof that the creatures themselves once actually existed. Public Libraries were likewise made receptacles for such natural curiosities as might be presented to them ; and, as in all universities the faculty of medicine had a hall appropriated to the dissection of human bodies, there were by degrees collected in them skeletons and specimens derived from the Animal Kingdom. Though private collections of natural and artificial rarities appear to be noticed for the first time in the sixteenth century, they were most probably formed by every learned and scientific person who was before that time engaged in the study of Natural History. In general, however, the object of those collections appears to have been rather to gratify the sight and to produce surprise, than to improve the understanding ; and hence they contained more rarities of art, valuable pieces of workmanship and antiquities, than genuine productions of nature. The exotic oriental character which distinguished the furniture and decorations of the earliest coffee-houses established in Europe, about the middle of the seventeenth century— probably first introduced the practice of adorning the apartments of those opened m London, with that variety of rarities, both natural and artificial, with which the celebrated place of resort represented in the annexed Plate was so copiously provided. In the year 1604, such an exhibi- tion appears in immediate connection with a house of public entertainment, since there was then pub- lished “A Catalogue of Natural Rarities, collected with great industry, and thirty years travel in foreign countries by Robert Hubert, alias Forges, Gentleman, and sworn servant to his Majesty, and daily to^ be seen at the place called the Music-house, at the Mitre, near the West end of St. Pauls’ Church.” An instance of an extraordinary fish exhibited at a coffee house is mentioned also by Izaak Walton in his additions to the Complete Angler in the fifth impression of 1676, where Piscator says, “ When I go to dress an eel thus, I wish he were as long and as big as that which was caught in Peter- borough river m the year 1667, which was a yard and three quarters long. If you will not believe me, tien go and see at one of the coffee-houses in King Street in Westminster.” In the first edition of the same work, also, in 1653, Walton notices the “ great trout that is near an ell long; which was of such a length and depth, that he had his picture drawn, and now is to be seen at mine host Rickabie’s at the George, in Ware.” The same period was likewise distinguished by the establishment of two very celebrated public Museums or Collections of Curiosities ; namely, that formed by John Tradescant Sen and Jun. transferred to Elias Ashmole in 1659, and by him presented in 1683 to the University of Oxford ; and that formed by Daniel Colwall, and given in 1665 to the Roval Societv at Gresham Col- lege. a 2 VIEWS. It is not improbable that these and other examples, now altogether unknown, induced James Salter, 1 1 C original keeper of the notorious place of resort here represented, to add to it the attractions of an exhi- bition of various curiosities, many of which had been given to him by Sir Hans Sloane, to whom he had once been servant, and from whom he had doubtless derived a predilection for the accumulation of rarities. The house which he inhabited, was situated about the middle of Cheyne Walk, opposite the Thames] and is said to have been first opened in 1695 ; but in an entry of “ several presentments of Court Leet and Court Baron, relative to the repairs of the walls on the banks of the Thames,” contained in the Records belonging to the Earl of Cadogan, and dated May 7th, 1685, appears the name of James Salter, as one of the tenants who were amerced in a fine of £6 each, for suffering the wall opposite his dwelling- house to become ruinous. The earliest notice of this person as the proprietor of a museum, however, is most probably that contained in Sir Richard Steele’s paper of The Tatler, No. 34, published on Tuesday, June 28th, 1709; in which he is recognized by the name of Don Saltero, several of his curiosities being also incidentally mentioned. Beside the donations of Sir Hans Sloane, at the head of the “ Complete List of Benefactors to Don Saltero’s Coffee-room of Curiosities,” printed in 1737, are placed the names of Sir John Cope, Baronet, and his sons, the first generous benefactors.” An account of the exhibi- tion contained in The Oentleman’s Magazine, for February, 1799, Volume Ixix, part 1, page 160, states that “ Rear-Admiral Sir John Munden, and other officers who had been much upon the coasts of Spain, enriched it with many curiosities, and gave the owner the name of Don Saltero but the list of donors referred to does not include the Admiral, though “ Mr. Munden,” occurs in the list subjoined to the nineteenth Edition of the Catalogue. The title by which Salter was so well known, may be accounted for at even the present distance of time by the notice of his personal appearance preserved by Steele, admitting that the description may be considered faithful as well as humorous ; since he says, “ When my first astonishment was over, comes to me a sage of a thin and meagre countenance, which aspect made me doubt whether reading or fretting had made it so philosophic.” In The Weekly Journal of Saturday, June 22nd, 1723, is printed the following announcement of the exhibition at this Coffee- house, which may be regarded as containing more positive and authentic information concerning this establishment, inasmuch as it appears to have been at least sanctioned by the proprietor himself. Sir, Fifty years since to Chelsea Great,— From Rodman, on the Irish Main, — I stroll’d, with maggots in my pate, Where, much improved, they still remain. Through various employe I’ve past, — A scraper, virtues’, projector. Tooth-drawer, trimmer, — and at last I’m now a gimcrack-whim collector Monsters of all sorts here are seen. Strange things in nature as they grew so : Some relicks of the Sheba Queen, And fragments of the famed Bob Crusoe. Knick-knacks, too, dangle round the wall. Some in glass-cases, some on shelf; But, what’s the rarest sight of all. Your humble servant shows Himself ' On this my chiefest hope depends. Now, if you will my cause espouse. In journals pray direct your friends To my Museum-Coffee-house. And, in requital for the timely favour, I’ll gratis bleed, draw teeth, and be your shaver : VIEWS. Nay, that your pate may with my noddle tally, And you shine bright as I do, — Marry ! shall ye Freely consult your Revelation — Molly. Nor shall one jealous thought a huff. For she has taught me manners long enough. Chelsea KnacTiatory. Don Saltero.” The Signature of Salter attached to the annexed View, was written in the same year as these verses, and was taken from a short note addressed to Sir Hans Sloane, who was then residing in Bloomsbury Square, preserved in the volume of Additional Manuscripts, marked No. 4385, in the Library of the British Museum. The time of the death of this person does not appear to have been ascertained; but the Museum is said to have been continued by his daughter, Mrs. Hall, until about the year 1759. On Monday and Tuesday, January 7th and 8th, 1799, the premises, and collection of curiosities as it then existed, were sold by auction by Mr. Harwood, under the description of “ a substantial and well-erected dwelling- house and premises, delightfully situate facing the River Thames, commanding beautiful views of the Surrey Hills, and adjacent country ; in excellent repair, held for a term of thirty-nine years from Christmas last, at a ground rent of ,£3. 10s. per annum. — Also the valuable Collection of Curiosities ; comprising a curious Model of our Saviour’s Sepulchre, a Roman Bishop’s Crosier, antique Coins and Medals, Minerals, Fossils, antique Fire-Arms, curious Birds, Fish, and other productions of Nature ; and a large collection of various antiques and curiosities, glass cases, etc. The curiosities will be sold on the last day. May be viewed six days preceding the sale. Catalogues at sixpence each.” The whole number of lots was one hundred and twenty; the entire produce of the sale of the Museum appears to have amounted to only .£50. 8s.; and the highest price given for a single lot was for No. 98 whidi consisted of “ A very curious Model of our Blessed Saviour’s Sepulchre at Jerusalem, very neatly inlaid with mother-o’-pearl,” .£1. 16s. It is not improbable that this very celebrated collection was not preserved either entire or genuine until the time of its dispersion ; since the gift of John Pennant, of Chelsea, the great-uncle of Thomas Pennant, the Topographical writer, appears to have been wanting in the Forty-seventh edition of the Catalogue of the Museum. This donation consisted of a part of the root of a tree, shaped like a swine, and was sometimes called ‘‘ a lignified hog;” but the several impressions of the Catalogue differ con- siderably in the insertion or omission of various articles. The exhibition was contained chiefly in table glass-cases, placed in the front room of the first floor of the building, but the walls were also entirelv covered with curiosities, and the passage of the entrance displayed an alligator suspended from the ceiling, and a variety of ancient and foreign weapons hung at the sides. Perhaps, however, the most novel and interesting particulars which can now be given respecting this Museum will be to extract the strange, yet characteristic titles of some of the most remarkable subjects from the exhibition Catalogue ; it will immediately be seen that for the most part they partake rather of wonderful, than of valuable, specimens. A Catalogue of Rarities. To be seen at Don Salter’s Coffee House in Chelsea. To which is added a Complete List of the Donors thereof. Price Two-pence. O Rare ! In the First Glass were contained the Model of the Holy Sepulchre, and a variety of curiosities of a similar character : as “ Painted Ribbands from Jerusalem, with a pillar to which our Saviour was tied when scourged, with a motto on each.”— “ Boxes of Rehcks from Jerusalem”— “ A piece of a Saint’s bone, in Nun’s work”— several pieces of the Holy Cross in a frame, glazed-A Rose of Jericho— Dice of the Knights Templars— an Israelitish Shekel— and the Lord’s Prayer in an ivory frame, VIEWS. "" <=l’erry-stones, representing the heads of the four Evangelists and of fi r ■ """ Tt 1 baskets made out of the same minute materials. The same case also contained a number f fin Corns and Medals, both British and foreign, and « a Model of Governor Pitt’s great Diamond,” whicTlTs takerorof the sale. There were also a few natural curiosities as - a bone of an Angel-Fish”-a Sea-horse-a netrled crab from rv, l-TpieTrof?oUeT’ ^ Handkerchief made of the Asbestos rock, which fire cannot consume’ ap.eceofrMten wood,nottobe consumed by fire”-“ the rattle of a Rattle-snake with twenty-seven joints”-- a laree rr. . r ’nitci ■ .1 . ‘T ■" t- "'•* appears like fine lace -a Salamander-a Fairy’s, or Elfe’s Arrow-a little skull, very curious. The most remarkable artificial rarities contained in the Second Glass, were - a piece of Solomon’s Temple”-- Queen arines Wedding Shoes -“King Charles the Second’s band which he wore in disguise”-and - a piece of a coat ofliail ue lundred and fifty times doubled.” Of foreign productions this case contained a Turkish Almanack- a book in Chinese cha. acters-Letters in the Malabar language-the effigies and hand of an Egyptian mummy-forty-eight cups, one in anothcr- nd - an Indian hatchet used by them before iron was invented.” The natural curiositi inclLd a little whalHlLnC^ TlVJZ'Z oTthe r d°r 'T "r ^ ‘-e, wherewith they make Anodyne proTthe cL^ of an Ch-t ^ ^ tobacco-stopper”-and a The Glass comprised Black and White Scorpions-animals in embrio-- the worm that eats into the piles in Holland” -« e Tarantula-a nest of snakes-the hornsofa shamway-the back-bone of a rattle-snake. “acLrre'L^irw"^^^^ Artificial curiosities, and included a -Xun’s whip-<‘ a pair of garters from South-Carolina”- a . Chinese Dod^in, which they weigh their gold in”-- a little Sultaness”-- An Indian Spoon, of equal weight with gold”- A Chinese Nun, very curious”-- Dr. Durham’s paper made of nettles.” ^ ® inU”la^L^lTwror'-D^ Elk’s hoof”-- A humming-bird’s nest with two young ones ^ of Wampum, Lian The following curiosities were also disposed in various parts of the Cofi-ee-room, with many others less remarkable in their Z'Xm w, s..,a ..d i ' IZCZZZIZ 7 «■■■•’»■=»“>■, s.™p,.„d 7X7,1 Piece of the R 1 n "»>''> «' «■« l>»e. of S.lnt An.hoo,, of p.doa'-" . “I L , r f Z 7 T " d c«rloo. piece ofmel.l f.ood i. .he r.io. of Trov"- inwaras a Frog fifteen inches long, found in the Isle of Dno-ll say, the laughing god ever enlisted a merrier disciple ? On the 9th of September, 1793, Mr. Mathews first “ smelt the lamps” at Richmond, in Surrey, in the character of Richmond, in “ Richard the Third,” and BorvUtt, in the “ Son-in-Law.” This was as an amateur. professional bow was on the 19th of June, 1794, on the Dublin stage, in Jacob Qarohy and Lingo. His success was complete ; but the manager, Mr. Daly, so far from appreciating the talents of his young recruit, placed him on the list of “ walking gentlemen.” He soon quitted a situation so humiliating ; and, after a tour through Wales, engaged with Tate Wilkinson, the eccentric manager of the York theatre, where, in the year 1798, he made his first appearance in Silky and Lingo. For five years the risible faculties of the York audiences were kept in perpetual motion under the influence of Mr. Mathews. But this monopoly of fun was not to last till doomsday — for George Colman, seeing no just cause or impediment why the good folks of the Haymarket should not be merry too, deputed Mr. Mathews to relax their muscles, which he did most effectually, on the 16th of May, 1803, as Jabal in “ The Jew ;” and in his old favorite character of Lingo — “ the master of scholars ! ” On the 18th of September, 1804, Mr. Mathews made his entrSe on the boards of Old Drury, in the part of Don Manuel, in Cibber’s comedy of “ She would and she would not,” and for eight years continued a leading member of that company. His first appearance at Covent Garden was on the 12th of October, 1812, as Buskin, in Hook’s Farce of “ Killing no Murder.” No actor assumed a wider range of characters, or supported them with greater ability. Flats, Sharps, Tail-boys, Dotards, Countrymen, Cocknies, Eccentrics of all ages and nations, were represented by VIEWS. Mr. Mathews with true comic fidelity. His imitative talent occasionally indulged in the pleasant mischief of taking off his brother actors. He might have sat for Incledon’s portrait. If he was not the identical Dicky Suett, there’s no purchase in money I Considering, however, that his talents were not sufficiently called into action, for, like Richard, “ his soul was in arms, and eager for the fray,” he took himself off; and in March, 1818, invited his friends to an “ At Home," at the English Opera House ; realising all that has been said oi Proteus; and exhibiting more faces than Argus had eyes. Some wiseacres have labored hard to prove that Mathews, though a consummate mimic, was no actor : and Pope, by the same rule, has been pronounced a tolerable versifier but no "poet ! To adopt the sen- timent of Dr. Johnson, — if Mathews was no actor, where is acting to be found? Was nothing ? Sir Fretful Plagiary nothing ? Morhleu and Mallet nothing ? The Old Scotchwoman nothing? “ If these were nothing ; Why, then, the world, and all that’s in ’t, is nothing !" Mathews was the Hogarth of the stage ; his characters are as finely discriminated, as vigorously drawn, as highly finished, and as true to nature, as those of the great painter of mankind. His percep- tion of the eccentric and outre was intuitive his range of observation comprehended human nature in all its varieties ; he caught not only the manner, but the matter of his originals ; and while he hit off with admirable exactness the peculiarities of individuals, their very turn of thought and modes of expression were given with equal truth. In this respect he surpassed Foote, whose mimicry seldom went beyond personal deformities and physical defects,— a blinking eye, a lame leg, or a stutter. He was a satirist of the first class, without being a caricaturist; exhibiting folly in all its Protean shapes, and laughing it out of countenance — a histrionic Democritus ! His gallery of faces was immense : the extraordinary and the odd, the shrewd expression of knavish impudence, the rosy contentedness of repletion, the vulgar stare of boorish ignorance, and the blank fatuity of idiocy, he called up with a flexibility that had not been witnessed since the days of Garrick. His most remarkable expression lay in the elevation of the eye-brow, which instantly gave to his features a totally different character. Many of his most admired portraits were creations of his own ; the old Seotehwoman, the Idiot playing with a Fly, Major Longbow, &c. &c. The designs for his “ At Homes” were from the same source;— meaner artists filled in the back-ground, but the figures stood forth in full relief, the handiwork of their unrivalled impersonator. Mr. Mathews was an eminent tragedian : who but remembers his narration of the story of the Gamester, his Monsieur Mallet, and particular parts of Monsieur Morbleu ?— Nothing could be more delightful than his representation of the “ pauvre barhierer He had the air, the bienseance of the Chevalier who had danced a minuet at the “ Gourde Versailles. Hh petit chanson, “ C'est r Amour !" and his accompanying capers, were exquisitely French. His transitions from gaiety to sadness— from restlessness to civility; his patient and impatient shrugs, were admirably given. The infinite variety of Mathews’s countenance was true to every emotion. As a performance, it was unique of its kind. In legitimate comedy, his old men and intriguing valets were excellent ; while Lingo, Qiiotera, Nipperkin, Midas, Sharp, Wiggins, &c. &c. in farce, have seldom met with merrier representatives. His broken English was superb ; his country boobies were unsophisticated nature ; and his Paddies the richest distillation of whiskey and praties. He was the finest burletta singer of his day, and in his patter songs, his rapidity of utterance and distinctness of enunciation were truly wonderful. His Dicky Suett in pawn for the cheesecakes and raspberry tarts at the pastry-cook’s, in St. Martin’s Court, was no less faithful than convulsing ; and Tate Wilkinson, Cooke, Jack Bannister, and Bensley, were absolute resurgams. VIEWS. He was the first actor that imported the ludicrous peculiarities of Jonathan into England, for the entertainment of his laughter-loving brothers and sisters. They were a species of humor perfectly unique, and were relished with an epicurean gout. Their vraisemblance was unquestionable, and their effect prodigious. Few men said smarter things, or related a comical story with more superficial gravity. Innumerable anecdotes are told of him. — His first interview with Tate Wilkinson, when the veteran casting up his gooseberry eyes to Mathews’s tall, lank figure, (in prime twig to take a journey down a pump !) exclaimed “ You won’t do for low comedy ! ” — and then “ Your mouth’s all on one side ; ” with Mathews's apt reply — (suiting the action to the word !) “ Is it? Now it’s all on t'other!'" which instantly procured him from the humorist an engagement of a guinea a week ! Many were his tricks o^ ventriloquism. His alarming the Brighton folks with cries of “ Murder I” from every room in a house; his strange metamorphosis at his friend the pawnbroker’s, at v/hose house he had been dining, to whom, with a hat lightly dashed over his brow, an eye wickedly winking, the mouth twisted, a screw (alias, a tooth!) loosened, and shoulders upshrugged — he pledged, for twelve shillings, his (the pawnbroker’s!) own spoon ; and his adventure as the mock ambassador, (as extravagantly ludicrous as the delicious episode of the Russian Princess, great Rusty-Fusty, in O’Keefe’s wild farce,) are among the raciest of his frolics. I remember him at Covent Garden giving a fac-simile of Cooke in the entire part of Sir Archy M'Sarcasrn, without making a single trip ; and a true tale is told of him, that, personating an ancient male eccentric, a family friend, he drank tea with his mother — (“ O, wonderful son, that can so astonish a mother !”) — without the old lady finding out the cheat ! His manly spirit was not to be put down by ignorant and illiberal clamour. A Mr. Mawworm, at Sheffield, with sanctified garb and elongated visage, — held him up to censure, and libelled his profes- sion — he attacked the lank-haired, crop-eared Jack Presbyter in his strong-hold, and quilted him soundly. And when a few Yankies, on his second visit to America, attempted an opposition, in revenge for his vivid sketches of some of their absurdities, mark how a plain tale set them down 1 His judicious and uncompromising address shamed the blockheads into silence, amidst a shout of applause ! Of the Covent Garden Theatrical Fund he was a liberal supporter. He knew the importance and usefulness of his profession — that to make the vivid conceptions of the poet start into life ; to give feature, form, and motion to thoughts and words ; and draw smiles and tears simultaneously from thousands assembled to hail the rare union of these sister arts, is the triumph of the player : — that the highest authorities have borne testimony to its moral influence upon society ; and that it needed no vindication on the score of intellectuality, unless the infinite variety of Garrick be a fable, and the transcendant powers of Siddons and Kemble a chimera and a dream ! He knew, too, its many and sad vicissitudes ; that the broad sunshine of public favor is a dazzling and dangerous light ; that he, whose presence is hailed as the signal for mirth — whose vivacity and whim seem to indicate all absence of disappointment and sorrow, is too often a prey to those very evils he labors so successfully to dispel in others ; — that, with a shattered frame and a broken spirit, he is called to the exercise of physical and mental energies ; to be “ a fellow of infinite jest,” his “ occupation gone” — to crave endurance, where he once commanded applause I — To see Hamlet dwindled to the “ lean and slippered Pantaloon” — to hear Falstaff whistle his rich conceits in childish treble — and behold the awful Lear, too truly ! a “ very foolish, fond old man, fourscore and upward,” — were a sorry sight ! Better men, if they could not applaud, would pity and be silent; but the million, if they could not shout, would play the serpent, and hiss ! We have lived too long not rightly to estimate the world’s gratitude, and the bitterness of its compassion. The versatile talents of Mr. Mathews on the Fund’s anniversary festivals attracted a large company ; and he was equally happy when appealing to his auditors in behalf of the “ poor player,” whose VIEWS. gam ols, songs and flashes of merriment are passed away, as when making their lungs " crow like chantmleer, with the drolleries of one in tl.e zenith of his fame, admired by the public and liberlllj e rarded , ant,c.pat.ng a long and brilliant career, and, ere the curtain finally drops, an honorable retirement in competence and peace. ^ P nonorame Atl.UTle'^I “"'I "''a'naal relics, often brought the writer into his company. floV r n '’ ‘ "“"g ">Ws. of green iLns At T' ' f- T ' fancifully wreathed and overgrown with jasmine and honey-suckles ' tiis retired homestead was collected a more interesting museum of dramatic curiosities^han had ever been brought together by the industry of one man Garrick medals in copper, silver, and bronze ■ a lock of Ins hair; the garter worn by him in Richard the Third; his Abel Drugger shoes - his Lea^ Tnd il Vr V »>>“!'• in he kept his state in the green room of Old Drury - and he far-famed Casket, now in the possession of the writer) carved out of the mulberry-tree planted by Shakspere. Kemble was no less the God of his professional idolatry. The sandals worn L tto. great actor in Coriolanus on the las. nigh, of hi, performance, and pLented by him to his „lt admirer on that memorable occasion, were regarded by Mathews as a precious refic. He was glad of stick and Hamlet wigs were also carefully preserved. So devoted was he to his art, and so just and liberal m his estimation of ns gifted professors, that he lost no opportunity of adding to his interesting store some visib e tokens by which he might remember them. These, with his collection of engravings S bTh 'U 7’’”d r " Cl- is -0- •!- property of the Garrick C ub ) he felt no less delight in shewing to his numerous visitors, than in possessing; and when the mind had been abundantly recreated with the intellectual feast, the body came in for a substantial en ertainment at his cheerful and hospitable board-where, surrounded by his books, pictures, and a „ „ ° ‘“'■”“1 “'‘I® I'™"’ “S''® aslentatious Injury, and exclaimed, with the Spectator, ,eee are my companions 1 ” His theatrical career commenced during the meridian of the stage. He beheld it in its glory, and he witnessed its decline. “ A merrier man, Within the limit of becoming mirth, I never spent an hour’s talk withal. His eye begat occasion for his wit, For every object that the one did catch The other turn’d to a mirth-moving jest.” In spite of a nervous irritability, which his premature death too sadly proved was constitutional, he was the friendliest of men. The facetious companion never lost sight of the gentleman ; he scorned to be tlie buffoon— the professional lion of a party, however exalted by rank. It was one of his boasts— a noble and a proud one too !— that the hero of an hundred fights, the conqueror of France, the Prince of aterloo ! received him at his table, not as Punch, but as a private gentleman. He had none of the ow vanity that delights to attract the pointed finger he knew the vast popularity that his eminent ta ents had earned for him— that he could not appear in the streets without being among “ the observed of all observers he therefore took the by-ways, to avoid the (to him) painful effects o public curiosity. He was content with his supremacy on the stage— an universal imitator, himself Illimitable ! At his pressing invitation, and with no small difficulty on my part, (for the veteran was anythino- but locomotive,) I once all but succeeded in bringing King George the Third’s favorite comedian, oliick. VIEWS. to the cottage. J was however more successful with Mr. Mathews, who, in my company, visited Tony Lumpkin’s snug retreat at Islington, to spend a day, “ a summer’s day, as Millstone says !” Quick, with little round body, flaring eye, fierce strut, turkey-cock gait, rosy gill, flaxen wig, blue coat, shining buttons, white vest, black silk stockings and smalls, bright polished shoes, silver buckles, and (summer and winter) blooming and fragrant bouquet! This last of the Garrick-school, marvellously buckish and clean ! received us at the door, with his comic treble ! The meeting was cordial and welcome the talk capital! No man than Quick was a greater enthusiast in his art, or more inquisitive of what was doing in the theatrical world. He was in full song, and Mathews made him chirrup and chuckle right merrily ! Of Ned Shuter he spoke in terms of unqualified admiration, as an actor of the broadest humor the stage had ever seen ; and of Edwin, as a surpassing Droll, with a vis comica of extraordinary power. He considered Tom Weston, though in many respects a glorious actor, too rough a transcript of nature — true, indeed, to the very letter, but coarse, and occasionally offensive ; and Dodd (except in Sir Andrew Aguecheek, which he pronounced a master-piece of fatuity,) too studied and artificial. He could never account for Garrick’s extreme partiality for Woodward, (Davy delighted to act with him,) whose style was dry and hard ; his fine gentleman had none of the fire, spirit, and fascination of Lewis ; it was pert, snappish, and not a little ill-bred. His Bobadil and Parolles were inimitable. Moody was far surpassed by Jack Johnstone; except in the Irishman in the Register Office, which somehow admirably fell in with his drawling, sluggish humour. He pronounced his guest’s Sir Fretful Plagiary equal to the best thing Parsons ever did (Davy in Bon Ton, always expected) ; yet Parsons’s Old Doiley was for ever on his lips, and his Don’t go for to fut me in a passion, Betty !” was his favorite catch-word, when mine hostess of the King’s Head, Islington, put too much lime in his punch. He gave due praise to Yates, in Lovegold ; but accounted (somewhat whimsically) for his peculiar excellence in that part — he and his wdfe (the great tragic actress) being notorious misers! He awarded to Suett the palm of originality. Such an actor, so indescribably singular and queer, he had never seen before or since. He could trace imitation in most of his contemporaries ; (he confessed that he himself had not seen Shuter in vain !) but Suett was himself alone. — (Here Mr. Mathews borrowed one comical page from Dickey’s Drolleries; a resuscitation of Endless and Gossip!) — He called Joe Munden a yhce-mafer, depending too much upon that enemy to all good acting, '‘distort:” but highly praised his Sir Francis Gripe, and, above all. Old Dornton, the wonderful effects of which, on both actors and audiences, he had often witnessed when he played Silky in the same comedy. He thought King the best prologue-speaker, (not excepting Garrick) of his time ; his words flew from his lips with admirable distinctness and point. In characters of bluff assurance and quaint humor — Brass, Trippanti, and Touchstone — he had no superior. Garrick, or, as he pronounced it, (for the loss of his front teeth had turned the R into a W) Garwick, was his idol. His acting was a subject which called forth that day triplicate bumpers of his favorite beverage: — “ Age could not wither it, nor custom stale Its infinite variety.” .... His sitting-room was hung round with representations of this great master in different eharacters — Diugger, Richard, Sir John Brute, Kitely, cheek-by-jowl with his own comic self in Sancho, Tonv Lumpkin, ‘ Cunning Isaac, ’ Spado, &c. &c. — The time too swiftly passed in these joyous reminis- cences. Quick promised to return the visit, but increasing infirmity forbade the pleasant pilgrimage : and soon after he became the Quick and the dead ! My last visit to Mr. Mathews at Kentish Town was in the middle of March, 1833. “ ’Tis agony VIEWS. point with me just now,” he writes. “ I liave been writing from morning till night for three weeks. I am hurried with my entertainment j my fingers are cramped with writing; and on my return I find twenty- five letters at least to answer. I shall be at home Tuesday and Wednesday; can you come up? Do, Very sincerely yours, in a gallop I Charles Mathews.— P.S. It will be your last chance of seeing my gallery here." I accepted the invitation, and spent a delightful day. I saw him twice or thrice since, but never after did I behold him in such buoyant spirits, so full of glee and anecdote as on that occasion. Our only sad moment was at parting, when I took a last lingering gaze at his gallery. Then did his eye moisten, his hand tremble in mine, and his voice falter when he bade me adieu. His second visit to America, the change of climate, and the severity of the voyage out and home, accelerated the progress of that fatal disease, which had been silently preying upon his constitution, already shaken by his long and arduous professional exertions. He never saw London again, but reached his native land just in time to breathe in it his last breath. He died at Davenport, on the 27th of June, 1835, of an ossification of the heart, wanting one day of fifty-nine years. The curtain drops, and thus closes the busy scene of the actor’s triumph ! What record remains of him, save that which tradition gives, and the painter’s art, that transmits his lineaments to posterity ! — Farewell, incomparable humorist ! In thee the stage lost one of its brightest ornaments ; and could Diogenes revisit the earth, he might hold up his lantern, and look in vain to find an honester man I The very characteristic letter of Mr. Mathews, engraven beneath the present view, was obligingly furnished to the Proprietor of this work by James Thomson, Esq., to whom it was addressed. /• IiaJ/]^ Jt\ (xf^jzAj. ioA^yf— <5^ • -V ayi^ (~yy ■ LIBRARY OF THE UNIVERSITY OF ILLINOIS library OF THE UNIVERSITY OF ILLINOIS ANTIQUITIES. Description of the Cassolette made from the Wood of Shakespeare’s Mulberry Tree, Contributed by George Daniel, Esq. of Islington. Every object derives interest from association. The localities that were once hallowed by the presence of genius are eagerly sought after and fondly traced through all their obscurities ; and regarded with as true a devotion as the sacred shrine to which the Pilgrim, after his patiently-endured perils by sea and land, offers his adoration. The humblest roof gathers glory from the bright Spirit that once irradiated it ; the simplest relic becomes a precious gem when connected with the gifted and the good. We haunt, as holy ground, the spot where the muse inspired our favourite Bard ; we treasure his hand-writing in our cabinets ; we study his works, as emanations of the Poet; we cherish his associations, as remem- brances of the Man In those day-dreams of fancy, which persons of a certain temperament are wont to indulge, I have pictured to my imagination Shakespeare and his times. His majestic countenance, from the contem- plation of which Dryden caught inspiration, has been rudely, yet faithfully preserved ; his mind is best seen in his works. On the few incidents recorded in his life, I dwell with fond enthusiasm. His boy- hood, courtship, marriage, his wild exploits in the park of Sir Thomas Lucy (the scene of “ As you like it”), his bitter lampoon on the “ Parliament Member,” his retreat from Stratford, arrival in London, accidental encounter with the players, his appearance as an actor and author, and the first dawning of his mighty genius. That the Muse had vouchsafed him her inspirations, and opened to his infant eye.s the gates of immortality ; that she had haunted his visions by day, and his dreams by night; is not the fiction of an idle brain, but an inference fully warranted by events. In disgrace and penury, the world before him, but its prospects gloomy and uncertain, Shakespeare quitted his native town, his family and kindred. His feelings who shall imagine? who shall describe? I should say they partook of melan- choly mingled with hope, relieved by the curiosity of a young and ardent adventurer strong in the emotion of genius, anticipating a wider field for the exercise of his talents, and not without some partial glimpses of “ The All Hail Hereafter !” If such were his aspirations, never was vision more prophetic. In aid of this illusion, his contemporaries pass in review before me : Elizabeth, “the expectancy and rose of the fair state;” the munificent Southampton, “the observ’d of all observers;” the gallant Raleigh; the rare Ben Jonson; and \i\s fellows, Alleyn, Armin, Burbage, Green; and that prince of clowns, Dick Tarlton ; whose true effigies have passed to posterity, and enough of whose history remains to give me some insight into their characters. Their very places of resort, convivial and theatrical, though for the most part destroyed by time, are transmitted by the graver’s art ; and so minutely has description set forth each particular, that I pace the deserted chambers of the Falcon and the Devil— I hear the wisdom and the wit, and the loud laugh— I visit the Bear Garden, the Globe, and the Fortune— I listen to Tarlton, with his wondrous, plentiful, pleasant, extemporal humour, exchanging gibes with our merry ancestors — I behold Burbage, such a player “ as no age must look to see the like,” in his original character of the crafty Richard— Maister Greerie, than whom “ there was not an actor of his nature, in his time, of better ability in performance of what he undertook, more applaudent by the audience of greater grace at the court, or of more general love in the Citty,” in his crack part of Bubble, in “ Tu Quoque the merry and frolicksome Bob Armin, in simple John, in the Hospital—o^nd “ Alleyn playing Faustus, With the Cross upon his breast.” a ANTIQUITIES. The age of Shakespeare was the age of Romance, Of pomp, and feast, and revelry, With mask and antique pageantry ; Such sights as youthful poets dream On summer eves by haunted stream. As yet, frigid philosophy had not reduced man’s existence to one dull round of sad realities; but some magical drops were distilled in the cup, to make the bitter draught of life go down. Shakespeare had drank deep in this fountain of inspiration ; hence the high-toned sentiment, the noble enthusiasm, the perfect humanity, that make the heart tremble and the tears start, in the works of this mighty enchanter. The age, too, was a joyous one ; the puritanical ravings of Gosson and Stubbes, and the snarling of Prynne, had not disinclined the people to their ancient sports and pastimes ; and England, in her holy-days and festivals, well deserved her characteristic appellation of “ Merrie.” These national peculiarities were not lost on a mind so excursive as Shakespeare’s: — his works abound in curious illustrations of the domestic habits and popular superstitions of our ancestors ; and he who has attentively studied them, may claim more credit for antiquarian knowledge than is generally conceded to the readers of fiction and fancy. From all that I can learn of his personal history, his disposition was bland, cheerful, and humane; by one who best knew him, he is styled the “gentle Shakespeare.” He loved the merry catch and the mirth-inspiring glee, — the wine and wassail, the cakes and ale, which warmed the hearts of that immortal triumvirate. Sir Andrew, Sir Toby, and the Clown, and extracted from the taciturn Master Silence those precious relics of old ballad poetry that erst graced the collection, “ fair wrapt up in parchment, and bound with a whipcord,” of that righte cunninge and primitive bibliographer Captain Cox, of Coventry ! and how deeply has he struck the chords of melancholy ! — yet no marvel thereat ; since there never was a true poet who did not feel the presence of this sublime spirit — a spirit that dwelt in Shakespeare in all its intensity. “ To him the mighty mother did unveil Her awful face; the dauntless child Stretch’d forth his little arms and smiled. This pencil take (she said), whose colours clear Richly paint the vernal year : Thine, too, these golden keys, immortal boy ! This can unlock the gates of joy ! Of horror, that, and thrilling fears. And ope the sacred source of sympathetic tears.’ Shakespeare is the volume of mankind. Search his pages, and where shall we find such a school of eloquence, so rich, so passing rich in that trinity of supreme attributes, passion, imagination, and wisdona ? Do we desire the noblest examples of patriotism and virtue ; all that is beautiful in fancy, and brilliant in wit? his eternal dramas are the treasury where such gems will be sought and found. They present us with every object in nature’s landscape, with the added charms of philosophic and metaphysical lore. The springs of passion are unlocked, the inmost recesses of the heart explored, and every thought, however deeply seated there, revealed and analysed. The veil that separates the material from the immaterial world is drawn aside, and we behold the wonders of that mysterious region. We are subdued by sorrow that we would not exchange for mirth, and exhilarated by merriment that might have unbent the dull brow of melancholy, and softened it into a smile. We see morality and science in the many- coloured vesture of poetry ; and philosophy, erect, not elated, cheerful, benevolent, and sublime. But envy hath no fancy to the rose of the garden, and what careth malice for the lily of the valley ? Of Voltaire, and his host of infidels and buffoons, let me speak with temper. There are certain men to whom we cannot afford our anger; but charity demands something, and we throw them our contempt. This is the only feeling provoked by the French critics. Beautiful Spirit ! what griefs hast thou not ANTIQUITIES. alleviated and charmed ? what sympathies hast thou not awakened and subdued ? In health and in sickness, in joy and in sorrow, in the busy turmoil of every-day life, in the silent tranquillity of reflection and solitude, the infirmities of our nature have in thy brightness been glorified and transfigured. Shakespeare did not wait for the sear and yellow leaf, ere he bade a final adieu to the theatre of his glory. If ever pride became a virtue, it was that which glowed in the poet’s bosom at this auspicious moment. Of fame he possessed a greater share than ever fell to the lot of human being. A splendid retirement was before him ; — “ And that which should accompany old age. As honour, love, obedience, troops of friends.” With what emotions must he have revisited that sacred pile, the last object where perchance he fondly lingered, when he went forth a wanderer I Too soon it was to become his mausoleum! — the shrine of adoring votaries, through distant ages ; who, led thither by the divine spirit of his muse, account it no idolatry to bow before the dust of Shakespeare. What but a mind highly cultivated and intelligent can illustrate his glorious conceptions ? whether in his deepest sorrow or his broadest mirth ; in madness laughing wild — wdien the griefs of Lear, and the philosophy of Hamlet dignify the scene ; when we dance to the inspiring catches of Sir Toby and the Clown, and merrily “hend the stile” with the laughing Autolicus. Something then belongs to the “ poor player,” whose magic art calls them forth from the seclusion of the closet ; and with voice, feature, and action, exhibits to assembled thousands a living picture of human character, in all its eccentric varieties. An art, that is associated with the choicest recollections of antiquity ; that, to the scholar proves a model of commanding eloquence and classic grace ; that to the painter presents objects of matchless dignity and expression — that to those who would be instructed, offers the noblest lessons for intellectual improvement, while those, whose only ambition is to be amused, may have their desire gratified, without any sacrifice either of sense or virtue. Garriek was born to illustrate what Shakespeare wrote ; — to him Nature had unlocked all her springs, and opened all her stores ; and no passion was too elevated or profound, too sordid or ridiculous, for his genius to pourtray. We behold him writing, or speaking a prologue ; enacting Richard; studying Macbeth ; and in each, and all, we discover the same variety of expression, assuming by rapid transitions the different characters of the scene, and his far-beaming eye filling up every pause in word and action. We want indeed but his ever-varying cadences and tones, to complete the illusion, and bring us back to the period when the terrors of Macbeth, and the absurdities of Abel Drugger shook the nerves, and cracked the sides of our grandfathers. David Garrick was born at Hereford in the year 1716. He received the first rudiments of his edu- cation at the Free School in Lichfield, where his father, who was of the military profession, had settled with a numerous family. While a boy, he was much noticed by Gilbert Walmsley, registrar of the ecclesiastical court of that city ; who was highly diverted with the vivacity, humour, and lively sallies of his young friend. His extraordinary predilection for theatrical amusements discovered itself at an early age. His first stage attempt was in 1727, upon which occasion he got up “ The Recruiting Officer one of his sisters playing the part of the Chambermaid, and himself Serjeant Kite. Not long after, he w’as invited to Lisbon by an uncle, who was a considerable wine merchant in that city ; but though his stay was short, for he returned to Lichfield the year following, he contrived to render his company extremely agreeable to the resident merchants by his frankness of disposition, and the ready display of his precocious talents. In the beginning of the year 1736, Dr. Samuel Johnson, then an obscure individual, undertook the instruction of some young gentlemen of Lichfield in the Belles Lettres. David Garrick became his scholar — and hence arose that intimate connexion between those illustrious men — a connexion that ANTIQUITIES. continued through a long series of years unimpaired till the death of the latter. The fame of the actor “swells the loud trump of universal praise”— that of the moralist shall descend to the latest posterity. If to Garrick, in his 'prof essio7ial capacity, belong the eloquent eulogium passed on Shake- speare by the author of “ Night Thoughts”— that “ he was master of two books, which the last conflagration alone can destroy— the book of nature and that of man to Johnson, the great exemplar of religion and morals,— the sage, the philosojflier, and the poet, — we may justly apply that beautiful apostrophe to Hope, by a modern writer — ’ “ When wrapt in fire the realms of ether glow. And heaven’s last thunder shakes the world below; Thou, undismay’d, Shalt o’er the ruins smile. And light thy torch at Nature’s funeral pile.” David relates, that after a trial of six months, Johnson grew tired of teaching the classics to three or four scholars ; and he and Garrick agreed to try their fortunes in the great metropolis. The circumstances that led Garrick to abandon the Law for the Stage it is unnecessary to repeat. His first public appearance before an audience was in the summer of 1741, at Ipswich, in the character oiAhoan, in Oroonoko, under the assumed name of Lyddal He afterwards played Chamont, Captain Brazen, Sir Harry Wildair, and even Harlequin, on the same stage— all of which he acted with’applause. On the 19th of October, 1741, he made his entree on the boards of the Theatre in Goodman's Fields, in the* arduous character of Richard the Third. There is not, on dramatic record, a success so instantaneous, brilliant, and complete. Colley Cibber was constrained to yield unwilling praise ; and Quin, the pupil of Betterton and Booth, openly declared, “That if the young fellow was right, he, and the rest of the players, had been all wrong.” The unaffected and familiar style of Garrick presented a singular contrast to the stately air, the solemn march, the monotonous and measured declamation of his predecessors. To the lofty grandeur of Tragedy, he ’was unequal ; but its pathos, truth, and tenderness, were all his own. In Comedy, he might be said to act too much ; he played no less to the eye than the ear— he indeed acted every word. Macklin blames him for greediness of praise; for his ambition to engross all attention to himself, and disconcerting his brother actors by ‘^pawing and pulling them about." This censure is levelled at his later efforts, when he adopted the vice of stage-trick ; but nothing could exceed the ease and gaiety of his early performances. His extraordinary success alarmed the managers of Drury Lane and Covent Garden : they threatened Mr. Giffard and Mr. Garrick with a law suit ; a compromise was effected between the contending parties, and Garrick entered into an engagement with Fleetwood, the patentee of Drury Lane, for the annual income of five hundred pounds. From a revolution that took place in the Drury Lane company, the year 1747 beheld Garrick, Quin, IMrs. Cibber, and Mrs. Pritchard at Covent Garden. This constellation of genius produced to the pro^ prietor, Mr. Rich, in one season, a clear profit of eight thousand five hundred pounds. But Harlequin Lun was so wedded to his pantomimes and raree-shows, that he even grudged to put money into his pocket at the expense of his favourite entertainments. At this juncture, Mr. Lacy, proprietor of Drury Lane, fully appreciating the value of Garrick, offered him a moiety of his patent : the purchase-money was fixed at the moderate sum of eight thousand pounds : and on the 20th of September, 1747, Garrick opened the theatre of Drury Lane, with a prologue, the noblest but one in the language, written by his friend Samuel Johnson. On these boards a brilliant career of thirty seasons awaited him ; during which, his range of characters, tragic and comic, was unexampled. He was the delight of every eye, the theme of every tongue, the admiration and wonder of foreign nations ; for when (as has been hinted), to renew his popularity, he took a journey for two years to the continent, all who witnessed his transcendent talents declared that he ANTIQUITIES. carried the histrionic art to a higher degree of perfection than they Iiad ever beheld or contemplated ; and Baron, Le Kain, and Clairon, the ornaments of the French Stage, bowed to the superior genius of their illustrious friend and contemporary. In private life he was hospitable and splendid : he entertained princes and peers — all that were eminent in art and science. If his wit set the table in a roar, his urbanity and good-breeding forbade any thing like offence. Dr. Johnson, who would suffer no one to abuse Davy but himself! bears ample testimony to the peculiar charm of his manners ; and, what is infinitely better, to his liberality, pity, and melting charity. By him was the Drury Lane Theatrical Fund for decayed actors founded, endowed, and incorporated. He cherished its infancy by his muni- ficence and zeal ; he strengthened its maturer growth by appropriating to it a yearly benefit, on which he acted himself ; and his last will proves that its prosperity lay near his heart, when contemplating his final exit from the scene of life. In the bright sun of his reputation there were, doubtless, spots : transient feelings of jealousy at merit that interfered with his own ; arts, that it might be almost necessary to practise in his daily commerce with dull importunate playwrights, and in the government of that most discordant of all bodies, a company of actors. His grand mistakes were his rejection of Douylas and The Good Natured Man-, and his patronage of the Stay-maher, and the school oi sentiment. As an author, he is entitled to favourable mention : his dramas abound in wit and character ; his prologues and epilogues display endless variety and whim ; and bis epigrams, for which he had a peculiar turn, are pointed and bitter. Some things he wrote that do not add to his fame ; and among them are The Fribbleriad, and the Sick Monkey. One of the most favourite amusements of his leisure was in collecting every thing rare and curious that related to the early drama ; hence his matchless collection of old Plays, which, with Roubilliac’s statue of Shakespeare, he bequeathed to the British Museum ; a noble gift I worthy of himself and of his country ! The reward of his professional labours exceeded one hundred thousand pounds ; and in the bequest of this large fortune he was guided by feelings of liberality and justice. The 10th of June, 1776, was marked by Mr. Garrick’s retirement from the stage. With his powers unimpaired, he wisely resolved {theatrically speaking) to die as he had lived, with all his glory and with all his fame. He might have, indeed, been influenced by a more solemn feeling — “ Higher duties crave Some space between the theatre and grave That, like the Roman in the Capitol, 1 may adjust my mantle, ere I fall.’’ The part he selected upon this memorable occasion was Don Felix, in the Wonder. We could have wished that, like Kemble, he had retired with Shakespeare upon his lips ; that the glories of the Immortal had hallowed his closing scene. His address was simple and appropriate — he felt that he was no longer enactor; and when he spoke of the kindness and favours that he had received, his voice faltered, and he burst into a flood of tears. The most profound silence, the most intense anxiety prevailed, to catch every word, look, and action, knowing they were to be his last ; and the public parted from their idol vVith tears for his love, joy for his fortune, admiration for his vast and unconflned powers, and regret that that night had closed upon them for ever. Mr. Garrick had long been afflicted with a painful disorder. In the Christmas of 1778, being on a visit with Mrs. Garrick at the country seat of Earl Spencer, he had a recurrence of it, which, after his return to London, increased with such violence, that Dr. Cadogan, conceiving him to be in imminent danger, advised him if he had any worldly affairs to settle, to lose no time in dispatching them. Mr. Garrick replied, “that nothing of that sort lay on his mind, and that he was not afraid to die.” And why should he fear ? His authority had ever been directed to the reformation, the good order, and propriety of the Stage ; his example had incontestibly proved that the profession of ANTIQUITIES. a player is not incompatible with the exercise of every Christian and moral duty, and his well-earned riches had been rendered the mean of extensive public and private benevolence. He therefore beheld the approach of death, not with that reckless indifference which some men call pJdlosophij, but with resignation and hope. He died on Wednesday, January 20th, 1779, in the sixty-second year of his age. “ Sure his last end was peace, how calm his exit! Night dews fall not more gently to the ground. Nor weary worn-out winds expire so soft.’’ On Monday, February 1st, his body was interred with great funeral pomp in Westminster Abbey, under the monument of the divine Shakspeare. On the 6th of December, 1768, Mr. Francis Wheler, the Steward of Stratford-upon-Avon, wrote to Mr. Garrick the following letter. ‘‘ Sir, “ The old Town Hall of Stratford-on-Avon, where you very well know Shakespeare was born and lies buried hath this present year been rebuilt by the Corporation, assisted by a liberal contribution of the nobility and gentry of the neighbour’ hood. The lower part of the building is used as a market-place, and is of great benefit to the poorer sort of people. Over this is a handsome assembly room. It would be a reflection on the town of Stratford to have any public building erected there, without some ornamental memorial of their immortal townsman ; and the corporation would be happy in receiving from your hands some Statue, Bust, or Picture of him to be placed within this building. They would be equally pleased to have some picture of your- self, that the memory of both may be perpetuated together in that place which gave him birth, and where he still lives in the mind of every inhabitant. The Corporation of Stratford, ever desirous of expressing their gratitude to all who do honour and justice to the memory of Shakespeare, and highly sensible that no person in any age hath excelled you therein, would think themselves much honoured if you would become one of their body. Though this borough doth not now send members to Parliament, perhaps the inhabitants may not be the less virtuous ; and to render the freedom of such a place the more acceptable to you, the Corporation propose to send it in a box made of that very Mulberry Tree planted by Shakespeare’s own hand. The story of that valuable relic is too long to be here inserted ; but Mr. Keah, who is so obliging as to convey this to you, will acquaint you therewith, and the writer hereof flatters himself it will afibrd you some entertainment, and at the same time convince you that the inhabitants of Stratford are worthy of your notice. Brick Court, Inner Temple, << j am, Beceniber G, 1768. “ Your obedient humble servant, “ Francis Wheler.” This letter is thus indorsed by Mr. Garrick: The Steward of Stratford’ s Letter to me, which pro- duced the Jubilee.” On the 3rd of May, 1769, the freedom of Stratford-upon-Avon was presented to Mr. Garrick, by the Mayor, Alderman, and Burgesses, enclosed in the far-famed Cassolette, or Casket, made from the veri- table Mulberry Tree planted by Shakespeare. This precious relic is beautifully carved with the followingdevices i—in the front, Fame holding the bust of Shakspeare, and the three Graces crowning him with laurel ; the bach, Garrick, exquisitely delineated, in the character of King Lear, in the storm scene ; the sides, emblematical figures representing Tragedy and Comedy ; the top and corners, with devices of Shakespeare s works. Hhe four feet are silver griffins, with garnet eyes. The carver of the Casket was T. Davies, a celebrated artist of Birmingham ; the price for carving it, paid by the Corpo- ration, was fifty-five pounds. ^ It was purchased by Mr. Mathews, the eminent Comedian, at Mrs. Garrick’s sale. On the 22nd of Augustl835, It was again brought to the hammer, when Mr. Mathews’s library and curiosities were sold. Amidst a cloud of bidders, anxious to secure so matchless a gem, it was knocked down to Mr. George Daniel, of Islington, its present possessor, at forty -seven guineas. ANTIQUITIES. On receiving the Freedom, thus appropriately inclosed, Mr. Garrick sent the following reply : — “To the Mayor, Aldermen, and Burgesses of the Town of Stratford-upon-Avon. London, Southampton Street, “ Gentlemen, ,, „ , il/«y 8, 1769. cannot sufficiently express my acknowledgments for the honour you have done me in electing me a Burgess of Stratford-upon-Avon ; a town which will be ever distinguished and reverenced as the birth-place of Shakespeare. “There are many circumstances which have greatly added to the obligation you have conferred upon me. The freedom of your town given to me unanimously, sent to me in such an elegant and inestimable Box, and delivered to me in so flattering a manner, merit my warmest gratitude. It will be impossible for me ever to forget those who have honoured me so much as to mention my unworthy name with that of their immortal townsman. “ I am, Gentlemen, Your most obliged, and obedient humble Servant, “David Garrick.” Such was the happy Prologue to the “ swelling scene,” that opened to the lovers of Shakespeare, in the autumn of 1769. During the previous summer, great preparations had been made for the approaching festival : a large and magnificent octagonal amphitheatre was erected on the Bankcroft, close to the River Avon, capable of holding more than one thousand spectators, and an orchestra for the accommo- dation of one hundred performers. Upon the margin of the Avon were ranged thirty cannon, to be fired during the jubilee, and fireworks and variegated lamps were exhibited in endless variety. A medal in gold, silver, and copper, was struck to commemorate the event, with a finely-engraved head of Shake- speare, and the words, “ We shall not look upon his like again,” on the one side ; and on the reverse, “Jubilee at Stratford in honour and to the memory of Shakespeare, September, 1769. D. G. Steward.” Five o’clock on Wednesday morning, the 6th of September, 1769, witnessed the opening ceremonies of Shakespeare’s Jubilee. Cannons were fired ; the ladies w'ere serenaded under their windows by young men fantastically dressed, singing Garrick’s “ Warwickshire Lad,” &c. &c. accompanied by flutes, hautboys, clarionets and guitars. At 8 o’clock the corporation assembled, a public breakfast was held at the Town or Shakespeare’s Hall, where Garrick, with his Shakespearian medal and wand, presented to him by the corporation, received the numerous company of nobles and gentry. From the Hall they proceeded in regular order to the Church, where the Oratorio of Judith, composed by Dr. Arne, was finely performed in a temporary orchestra erected under the organ ; and such was the thrilling effect of the solemn sounds reverberating along the high arched roof of the venerable pile itself, — the mausoleum of Shakespeare ! that it produced a simultaneous and involuntary tremble among the audience, which only found relief in expressive silence and tears. A sumptuous banquet followed this intellectual treat, during which were sung a variety of songs, catches, and glees, adapted to the occasion. In the evening, the whole town was splendidly illuminated, a grand ball succeeded, and thus ended the first day’s entertainments. Cannonading, serenading, and merry peals, welcomed the following morn. After a public breakfast, the company repaired to the amphitheatre, where the Dedication Ode was performed. In the centre of the orchestra sat Garrick, in a full-dress suit of brown, embroidered with rich gold lace ; and in a similar dress stood Dr. Arne, by whom the music was composed, as conductor of the band. High and aloft rose the majestic statue of Shakespeare, tlie Genius of the Scene ! Garrick recited his portion of the Ode with all the fascination and witchery of his enchanting elocu- tion ; and the vocal parts were admirably sustained by the prime melodists of the day. The air, “ Thou soft-flowing Avon,” written with such tenderness and truth, gave especial delight, and afterwards became a great favourite with the public. A prose address succeeded, in which Garrick challenged the detractors of the Bard to state their objections. On this, rose the comedian, Mr. King, who appeared among the company in a great coat, and desired to be heard. Those who comprehended the joke ANTIQUITIES. naturally expected sometliing whimsical, while the ignoramusses were not a little astonished at the hardihood of such an unseasonable attack on their great dramatic poet. Mr. King went round to the orchestra, and, having taken off his great coat, appeared in a suit of blue, ornamented with silver frogs (the fashionable dress of the day), and commenced a pleasant attack on Shakspeare, styling him a domineering ill-bred fellow, for exercising such absolute sway over the passions, and making people laugh and cry at his will. The smartness and wit of this encomiastic reproof, and the peculiar piquancy with which it was delivered, caused infinite mirth; when Mr. Garrick, turning to the ladies, eloquently exhorted them, in a poetical epilogue, to vindicate the character of Shakspeare, in gratitude for those lovely portraits of female virtue, that give such sweetness and dignity to his works. A banquet succeeded as before, and the illuminations were repeated with equal brilliancy. In the centre window of the Hall was a transparent whole-length of Shakspeare ; on the right of which were Lear, pronouncing his withering curse, and Caliban, drinking from Trinculo’s keg ; and on the left, stood Jack Falstaff and his “ tame-cheating” ancient. Pistol. The humble birth-place of the Bard was adorned with an emblematical transparency, in which the sun was seen struggling through the thick clouds, to pour its resplendent flood of light upon the world ; an apt emblem of the majestic abundance of the stores of his inexhaustible mind ! A masquerade concluded the second day’s carnival, in which nobles and high-born dames personated the characters of Shakspeare. Yates and his wife figured away as a waggoner and a petit-maitre ,* and Boswell appeared in a Corsican habit, with pistols in his belt, a musket at his back, and in the front of his cap were inscribed, in gold letters, “Paoli,” and “ Viva la Liberia!" The unfavourable weather sadly marred the projected pageant of Shakspeare’s principal characters. The race for the jubilee cup, value fifty guineas, was run with great spirit at Shottery race-ground, a beautiful meadow, where the silver stream of the “soft-flowing Avon,” the verdant lawns, and the rising hills and woods, gave enchantment to the scene. In the evening there was a brilliant attendance at Shakspeare's Hall. Mrs. Garrick danced a minuet with her wonted grace ; and at four o’clock on the following morn, amidst the mutual gratulations of all parties, this memorable jubilee concluded. Garrick soon after produced a representation of it at Drury Lane ; and innumerable shafts of wit were pointed against the manager. Foremost among the satirical laughers was the facetious Sam Foote, who imputed the original jubilee to Garrick’s vanity, and its “picture in little” to his avarice. But let those laugh that win : Davy (“ futile fellow !”) earned abundance of fame and money by both exhibi- tions, and at the same time paid a heart-felt tribute of admiration and gratitude to the sublimest of human intelligences. I 04/ed' * fPL/:^uM(/'c/^i^€/niJ - ^fira/zc ^a/u^£^ . typp^ia^t' ^ aime Me- d^^ee^liMnerM^ e^/(e^£emem e/ Me^emeewe'/h.l cMo/^ieeU_ ^PC^/t U^l/2!i^ ^77^m/77Z FAC-SIMILES r •' OF MANUSCEIPTS AND HISTOEICAL DOCUMENTS. Illuminated Initial Letter and Commencement of St. Paul’s Epistle addressed to the Romans : from a Fragment of a French-Saxon Bible of the Ninth Century, executed for Charles LE Chauve, King of France, preserved with the Harleian MSS. in the British Museum. The very rich and ancient relique of literature represented on the annexed Plate, is executed in that remarkable style of ornament, which appears to have been common to all those varieties of Saxon illu- mination prevailing in England, Ireland, France, and even in Italy and Germany, between the eighth and the twelfth centuries. Initial letters were then most elaborately decorated, with tessellations or mosaics of rich colours and gilding; and the characters themselves were often formed of twisted or platted lines, or animals wreathed into knots and fret-work of singular intricacy and elegance.'* The principal words of the commencement, also, were traced in golden or painted capitals; the letters being still farther embellished by a series of red points placed round their edges, a feature which may be also observed in some parts of the present example. The interesting and splendid specimen here exhibited, has been selected from a number of fragments of the Vulgate Latin Version of the Apostolical Epistles, written on leaves of vellum in large capitals, containing several golden letters, preserved in the volume lyarked No. 7751, article 2, of the Harleian MSS. in the British Museum. The book to which these leaves originally belonged, has been discovered by Sir Frederick Madden, one of the Keepers of the MSS. in the British Museum, to have been a Bible of Charles le Chauve, King of France, formerly belonging to the Abbaye of St. Denis, and transferred to the Bibliotheque du Roi in 1595 ; the date of which book is placed, by the same authority, between A.D. 865 and A.D. 876, though stated by Humphrey Wanley, in his Catalogue of the Harleian MSS., to be of the tenth century only. Tiie ** The peculiar character of this style of illuminating, is very happily and forcibly described by Giraldus Cambreiisis, in the twelfth century, in his account of a manuscript volume which he saw at Kildare, supposed to have been the production of an angel in the sixth century ; of which passage the following is a trunslation. “ This book contains the concordant testimony of the four Evangelists, as it is given by Jerome ; and nearly all the pages therein are most richly adorned with as many diverse figures painted in various colours. In this place may be seen impressed the features of the Divine Majesty ; in that the myste- rious spiritual forms of the Evangelists, sometimes having six wings, sometimes four, and sometimes only two ; here appearing as an eagle, there as a calf; now with the face of a man, and elsewhere as a lion ; with almost an infinity of other figures. All these are so softly traced, and yet in so much less laboured a manner than is commonly to be seen, that they seem to be only touches rather than connected lines. Yet none who sees this book will dwell entirely on the exquisite art shewn therein, because there is nothing else but exquisite art to be seen. The whole, therefore, invites a close inspection of the most curious sight, and penetrates into the most inward arcana of pictorial skill ; the ornaments being as well delicate as cunning, bold and open as well as minute and close; linked together with twisting knots and lines, and so brightly illuminated with rich and vivid colours, that, even to this day, all the intricacies of the devices may be traced. Truly, then, all this work seems to have been wrought rather by angelical than by human diligence.’’ Topographia Hibernice, sivc de Mirabilibus HibernicE ; Authore Sylvestro Giraldo Cambrense . lib. ii. cap. 38. apud Anglica, Normanica, Hibernica, Cambrica, a Veteribus scripta, plerique nunc plurimumin lucem editi, ex Bibliotheca Gulielmi Camdeni. Edit. Francofurti, 1603, Folio, p. 730. Perhaps the finest illuminated manu- script of nearly the age and character here described, is that known by the name of The Durham Booh, or St. Cuthbert's Gospels ; which was probably written between A.D. 698, and A.D. 721, by Eadfrith, Bishop of Lindisfarn, in honour of St. Cuthbert. It is now preserved in the Cottonian Library of MSS. and is marked Nero D. iv. c FAC-SIMILES OF MANUSCRIPTS. InTf I’’"''' f numbered in a recent Frenol. hand from 408 to 420 bv M Tf T of 1'™"“. ■ and from o^er place!’ y . ) in Aymon, a Protestant Divine, when he escaped to Holland upon the pretence of rehoions pe.seculion ear y in tlie eighteenth century. His depredations were even then, however, gene°rally eved; and he was m particular known to have cut out from the Bible of Charles le Chauve the of ‘h cirLmr ho‘!k ?"r‘ ^r""’ commencement bought b. Lord Ha, ley , who appears to have been desirous of procuring for his collection even imperfect pec, mens of ancient and cnrions books and illuminations.b Such is the history of this line fragment of literature and art, as related by Sir Frederick Madden. ^ ° That po,-tion of the manuscript here copied, exhibits the first few words of the Epistle onlv ■ since it as a frequent practice with the scribes and illuminators of the period, to decorate and displai a part of the opening sentence and t.lle of a book, so as entirely to fill up the commencing page, the"^ initial letter m e, .KC.P.T BPISTOLX SO Ko„anos,“ written in purely Roman capitals of gold, without any spaces be ween the words and contracted by the omission of the letters here inserted in small italics Then fo ows the initial P, succeeded by the letters A V interlaced, in more of a Longobardic character the latter having the heads of eagles and hounds at the extremities, forming with the next line, again in con limed Roman capitals of gold, the beginning of the Epistle, Psonns sekvos. The fifth line is^placed on that remarkable kind of back-ground, which forms a sort of pavement of lines drawn in various direc- tions j the capitals thereon being of the sort called Frencli-Saxon, or Mixed-Saxou, united tooetber with great intricacy. The first three represent I H V ; the next character is a monogram of the nam°c of Christ, inposed of the Greek letters x, p, . interlaced ; and the last capitals arc a u enclosing an o, and c and a I n connection with the concluding line they express, by supplying the letters here inserted in small Italics, iBcsv cnnisti oocatvs apustoivs. The whole of the words, therefore, contained upon this Plate, . re NciPiT Epistola ad Romanos. Paulus, servus Jesu Christi, vocatus Apostolus.” The Manuscripts numbered 1850, 1851, 1852, in the Harleian Library, are described in the Preface to the Catalogue as Three remarkable volumes, being the original Registers of the Roman Chancery secretly brought from thence on the death of Pope innocent XII. (September «t„, .700). b.v Mo... A, mono. w,„ ... Apostolic Pr.tb.nomr, of that Court ■■ A w curious account of MSS. possessed by M. John Aymon,” drawn up by Sir Frederick Madden, was published in The GentZ I an s 3Iagazme for January, 1832, volume CII, part i, pages 30-32. The fragments of the French Vulgate Bible are not the y instances of manuscripts belonging to the Royal Library of France, being partly preserved in the Harleian collection since F iswirch ;an of of France^ illuminated, the other volumes of which are in the Royal Library b The following instances of the Earl of Oxford’s desire to procure literary fragments, occur in the very curious letter of instruc ions addressed by Wanley to Mr. Andrew Hay, on his departure to France and Italy, dated April 26th, 1720, inserted in a note Z 1 Bernard Montfaucon has some Coptic, Syriac, and w clrdinai Bmiillon "‘n leaf of the Greek Septuagint. Buy these, and the leaden book he gave wifi J K L “ Bemember to get the fragments of Greek MSS. you left 1 e bookseller who bought Maffeo’s Library.” “ At Milan, in the Ambrosian Library, is a very ancient Catullus • nart of -r'’chTraTte^r'div^errr “k”" Pentateuch in octavo; part of the Syriac Bible, in the ancient, orEstran- :hli;“;„e re Vou may look upon ..:przzr““r FAC-SIMILES OF MANUSCRIPTS. Illuminated Paintings of the Sacred Vessels and Furniture of the Tabernacle of Israel. From a Spanish Hebrew Manuscript of the Fifteenth Century, preserved with the Harleian Manu- scripts in the British Museum, No. 1528. The splendid and interesting illuminations which form the subject of these Engravings, now first introduced to the public, are contained in a large volume of the Old Testament Scriptures, written on vellum in Hebrew. From the peculiar style of art exhibited in the paintings, and from the richness of the embossed gold, the manuscript may be safely referred to the fifteenth century, whilst the small and cursive character of the writing is indicative of the Jews in Spain : the book was therefore most pro- bably executed before the year 1492, when the Jews were banished from Spain ; or, perhaps, even pre- viously to 1483, when the office of the Inquisition was first established in that nation. The Catalogue of the Harleian MSS. compiled by Humphrey Wanley, describes in Latin the volume in which these paintings are contained as “ a vellum book in a rather large folio, and written in a Spanish hand in Hebrew, many hundreds of years since; in which may clearly be read Sepher Berith Jah, the Book of the Lord’s Covenant, or the Bible : it contains the whole of the books of the Old Testament, with certain others. The paintings which are here copied, occur near the commencement of the volume, imme- diately after a syllabus of the Parashoth and Haphtaroth, or sections of Scripture according to the Sab- batical lessons of the Jews, winch ought to be read every year; and the illuminations are entitled in the Catalogue “ Pictures of the sacred vessels and utensils, splendidly delineated by a Jewish illumina- tor.” This description, however, does not express either the actual subject or value of these very im- portant paintings; since they are in reality perhaps the only figures of the Furniture and Vessels of the Tabernacle constructed by the direction of Moses, which accurately agree with the Scripture account and the traditions of the Jews themselves. Engravings on wood of the Tabernacle and the Temple, with figures of the most remarkable articles placed in them, appear to have been first introduced into the English version of the Scriptures in William Tyndal’s translation, printed in Germany in 1530 ; and the more recent representations of them have been derived chiefly from Dorn Auo-ustine Calmet’s Bictionnaire de la Bible, first published in 1722. In both instances, however, the furniture and vessels represented partake considerably of the character of the time and nation in which the drawings were made, and are often quite inconsistent with the age of either Moses or Solomon, as well as with the established tradition of the Jews. It has been supposed that really accurate and contemporaneous figures of the Table of Shew-bread, the Seven-branched Candlestick, and the silver Trumpets, as shewn in the Second Temple, are to be found in the sculptures on the Arch of Titus which exhibit his triumph over Jerusalem ; but even these have failed in explaining the text in connection with the received notions of the Jews. Whether those descriptions may be entirely elucidated by the present Plates is certainly doubtful ; but the value and curiosity of these interesting reliques of Hebrew antiquities, will perhaps be allowed by all who may pursue the ensuing illustrative remarks. It may be regarded as one of the most remarkable features of these illuminations, that they form the highest testimony of praise to the distinctness and accuracy of the authorised English Translation of that part of the Pentateuch to which they refer, though they were probably executed nearly a century and a half before it. Plate I. In accordance with the well-known principle of Hebrew writing proceeding from the right hand to the left,— and also with the order in which the sacred furniture and vessels are described in the Book of Exodus.-the Engraving placed on the right of the two Illuminations annexed, is properly the first to be considered and illustrated. The very remarkable flo-ure marked No 1 consists, in the original painting, of abroad border of embossed gold enclosing a silver ground, marked with two horizontal linel of a carnation colour, and one perpendicular line of light blue : the whole interior surface being covered with cursive Hebrew fac-similes of manuscripts. letters, rudely written, varying in size, and at the present time almost obliterated. Enough of the inscription, however, still remains legible, to shew that the figure is intended for the piS Aron, or Ark of the Covenant, described in Exodus xxv. 10— 1C, xxxvii. 1—5, in which the Pni? Eduth, or testimony, was to be afterwards preserved. The sacred coffer is here repre- sented as elevated in a perpendicular position, between the two gilded staves by which it was to be carried ; and it especially exhibits the Zeer, or golden crown, surrounding the upper part of the Ark, in the form of a broad border, consistently with the signification of the root of that word, namely, to compass, or gird about, or to tie round. It will be remembered that the Ark of the Covenant had no cover, excepting the mC3 Capporeth, or Mercy-Seat, which name is derived from the word Caphar, to overspread or cover j and hence, immediately within the Ark appear the Tables of the Law, which were placed there by Moses at Mount Horeb, Deuteronomy x. 5, inscribed with some of the principal words of every article of the Decalogue. The sentences appear, however, abridged or incomplete, partly by reason of the very contracted space in which so much matter was to be written, and partly from the obliteration and confusion of the painting; but it is presumed that the characters represented on the Plate, in connection with the following version, will exhibit the inscription on this figure with all the accuracy which can now be expected. “f'nbs mn^-Dai-riN rottin Dv-ns idt lawnsi -[''asTiH -03 Aonichy Yehowah Aleheicho asher La yeheythe lecho Aleheini aheereyem. La thisoa aeth sheetn Yehowah Aleheicho. Zachur aeth yum hashaboth. Cabeer aeth Abicho veaeth Arnicho. 1 am the Lord thy God who — There shall be to thee no other Gods. Take not the name of the Lord thy God— Remember the Sabbath Day. Honour thy Father and thy Mother. With the sixth line some confusion appears to commence in the inscription, since the writing is then continued fur some lines alternately, in a larger and thinner, but more careless, character, mounted on the intermediate smaller lines; but in the annexed copy this disorder is somewhat lessened. So far as the character can now be ascertained, the first large line appears to be a repe- tition of part of the fifth line, veaeth arnicho, and thy mother. The next line is written small again, and appears to consist of the Sixth Commandment sb La Thareetzah, Thou shalt not kill : which also seems to be repeated in the succeeding line in a larger letter. From the remains of the characters in the next line it is found to have been FlS3n S'b La thaneeaph, Thou shalt not commit adultery. The remaining three lines are more legible, and are as follow : 233^ wb La thageeneebi. Do not steal. n33?n sb La Thaeegnaenhe bereegnaeho. Answer not thy neighbour (falsely) sb La thaheemad beth bereegnaeho. Do not cov'et thy neighbour’s house. No. 2. Though there does not appear any Hebrew inscription upon this figure, it will be immediately recognised fur the rT"il33Q31 Vubamentorach, or seven-branched Golden Candlestick commanded lobe made for the Tabernacle, and par- ticularly described in Exodus xxv. 31 — 38, xxxvii. 1 7 — 24 ; with the instruments and furniture belonging to it, which are probably not to be found in any other representation. The candlestick ofthe Second Temple, is a part of the spoils exhibited on the Trium- phal Arch of Titus, with the Trumpets and the Table ofShew-bread ; but Josephus declares that the ti-ophy carried in the procession of the victor, was not precisely like the branched lamps of the sanctuary, and the present figure has many points of difference from it, which render both the Scriptural and Rabbinical descriptions quite clear and intelligible. The words of the English version of the passage describing this utensil are as follow. Exodus xxv. verses 31 to 33 ; “ And thou shalt make a Candlestick of pure gold ; of beaten-work shall the Candlestick be made : his shaft, and his branches, his bowls, hisknops, and his flowers, shall be ofthe same. And six branches shall come out of the sides of it; three branches of the Candlestick out of the one side, and three branches of the Candlestick out of the other side: Three bowls made like unto almonds, with a knop and a flower in one branch ; and three bowls made like unto almonds, in the other branch, with a knop and a flower; so in the six branches thatcome out of the Candlestick.” The first point which requires illustration in this passage, is the expression “ bowls,” the original word for which is D'11733 Gebovis, a cup, and the ornaments on the branches in the figures precisely resemble such a vessel, having a stand. Of these bowls there are to be three in each branch, with a knop and a flower ; and here also the painting is in the stiictest accordance with the original description ; every branch having three of these ornaments only, inserted at an equal height throughout the Candlestick. In the ordinary representations of this light, however, whether they have been derived from Cahnet or from the Arch of Titus, it is usual to And the branches decorated with a number of knops, bowls, and flowers, entirely different from that recited in the text; as well as exhibiting a number varying on every two branches; the longest, or outside, having flve or six, the second four, the third three, and the centre only two. Nor do the usual figures of the Candlestick e.xhibit any particular distinction between the bowls, knops, and flowers, of the text ; but in the present representation the characteristic difference of each is made clear and evident. The bowls have been already noticed, and the knops and flowers will be found FAC-SIMILES OF MANUSCRIPTS. surmounting the summit of each branch enclosing tlie lamp; the knop or bud arising out of the plain stem of the branch, and the flower springing from it, having the leaves folded over. Josephus calls the flowers by the name of lilies and pomegranates, and it will be seen that in the present figure the flowers luive precisely the form of the blossoms of those plants. It may, per- haps, be a proper observation in this place, that the word knop, employed in the English version of the Scriptures, is derived from the Anglo-Saxon Cnsep, a swelling or bud, and was most probably adopted by the first translators from the general use of the synonymous terms knoj>fe in Germany, and knoop in Holland, in which countries their labours were performed.— Verse 34 of the description of this light given in the Book of Exodus, directs that ‘ in the Candlestick shall be four bowls made like unto almonds with their knops and their flowers,” which appears to be the most difficult part of the account ; but the present figure shews that immediately beneath the point of the shaft whence the outer branches spring, it is formed into a bowl, with a bud and a flower of precisely the same shape as those exhibited above, which ornaments are common to the whole utensil, and might be therefore counted as four, with the three bowls on any of the branches taken separately. — Verse 35. “ And there shall be a knop under two branches of the same, and a knop under two branches of the same, and a knop under two branches of the same, according to the six branches that proceed out of the Candlestick.” The figure shews that these knops refer to the bulbous’ form of the points at which the branches issue from the shaft, like the knots in the trunk of a tree, which are placed strictly beneath every two branches. Having thus shewn the exact accordance between all the parts of this delineation of the Golden Candlestick and the directions for making it given by Moses,— the reader will perhaps be gratified by seeing how closely it agrees with Rabbinical tradition, as to several minute particulars which do not appear in the Scriptures. When Josephus is relating the triumph of Titus, he says that those spoils which ” were taken in the Temple of Jerusalem made the greatest figure of them all : that is, the golden table, of the weight of many talents, and the Candlestick also that was made of gold ; though its construction were now changed from that which we made use of ; for its middle shaft was fixed upon a basis, and the small branches were produced out of it to a great length, having the likeness of a trident in their position, and had every one a socket made of brass, for a lamp at the top of them.” The same authority in another place states, that the heads of the seven branches were all in one row, standing parallel to each other ; and that in the whole Candlestick were seventy ornaments. If the lamps, the flowers, the buds, and the double bowls, of the present figure be added together, this number will be easily made out. The description of the’ Candlestick by Maimonides, written in the twelfth century, about two hundred years before these illuminations were executed, evidently proves that the figure was drawn from an established and authentic Hebrew tradition. “ The Candlestick,” says he in his Beth Habbeck, “ was eighteen hands-breadth high, which, according to the cubit of six hands-breadth, was a yard and an half. It had tlrree feet, which lay almost flat upon the ground. At three hands-breadth height, there was a flowering of a coronet-work, curiously spread out ; then went the shaft up two hands-breadth high, and there was a dish, a boss, and a flowering above the boss, and all in a hands-breadth compass ; thence the shaft went up again plain for two hands-breadth, and then was there a boss of an hand- breadth, and there went out two branches, which were carried out bowed on either side, till they were to be brought up straight to an equal height to the top of this middle shaft out of which they proceeded. Then was there an hand-breadrh of the shaft plain, and a boss of an hand-breadth; and then came out two branches more on either side : and again one hand-breadth of the shaft plain, and a boss again of an hand-breadth, and then came out two branches more. Above them were two hands-breadth of the shaft plain ; and for three hands-breadth above them there were three cups, and three bosses, and three flowerings, in that space; and so the lamp stood in a flowering. In every branch that came out of this middle shaft, there were three 'cups at a hand-breadth’s distance one from another ; and above the highest a boss, and above that a flowering, and in that flowerinn- the lamp stood. Before the Candlestick there was a stone with three steps cut in it, on which he that mended the lamps stood” and on which he set down his dishes whilst he was about that work. All the lamps or lights that were set in the six branches’that came out of the shaft, were turned bending and looking towards the lamp which was in the middle in the shaft itself, and the lamp in that was turned bending towards the Most Holy Place ; and therefore the Candlestick was called “13 Nar Moraby, or “ the Western Lamps.” The particular parts and dimensions of this description will be easily recognised in the annexed Plate, and the stones for ascending to trim the lamps are placed on each side the base of the Candlestick, inscribed with the title Maoloth or the steps, derived from a root signifying to ascend. Suspended from the outer branches of the Candlestick, appear the instruments belonging to it mentioned in Exodusxxv. 37, xxxvii. 23, called the n'npb?2*l Vumelekoehohe , the Tongs orsnufiers for trimming the lights marked a, a; and nearer to the centre shaft are thenrinOn Ahmichethoth, or Fire-pans of the English translation of the Scriptures, marked b, 5, which, tradition states, held water for receiving the snuffs taken from the lamps. No. 3, and 4, 4, have not any titles inscribed upon them in the original illumination, though it will be evident, from their respective forms, that they represent the vessel used for containing the oil for the lamps and the bowls into which it’ was poured referred to in the preceding Rabbinical description under the name of dishes. In the English version of the Seriptures these vases appear to be eomprised under the general expression of the “furniture” of the Candlestick, as it occurs in Exodus xxxv. 14. The quality of the oil, “ pure oiZ olive, beaten for the light to cause the lamp to burn continualh',” Exodus xxsii. 20. FAC-SIMILES OF MANUSCRIPTS. Ze.Wc«5 xxiv- 2 appears to be indicated by No. 5, which is perhaps intended to represent an olive-tree. It is ncvertheiess possible that the plant may he designed for the figure of Aaron's blossoming rod which was laid up in the Ark before the Testimony as a memorial, Numbers xvii. 10, Hebrews ix. 4. i e me i esiimony Plate II. xxr^a 3™x^WM0 t^eannexed engravings, represents the Table op Shew-Bbeab, described in E.o^us ■ bears the name (D^32n) Shuleachr. Ahpar,im,.v the Table of the Faces, written on the mass of go d m which it is shaped, m a small cursive Hebrew character. It is well known that the loaves placed upon this table wn-e called Lechem Panim, or, literally translated. Bread of Faces, either because they were set before the presence or face’ ot God in the Sanctuary, or, because, as the Jews affirm, they were square, and presented an uniformity of face In the figure here delineated, the loaves marked a, are of a solid rectangular form, placed over each other in two piles of six each and between every loaf is inserted one of the golden canes, lettered b, mentioned by Dr. Lightfoot upon Rabbinical authority as separating the Shew-bread, which are probably not exhibited in any other representation of this table. The particulars of his .coo,,,,. „e .. , .. T,.. cue ef either row, they (the prte.t.) i.M .pen the pi.ie t.b.e t „p,r.hr‘ three golden canes, at a distance one from another, and upon those they laid the next cake ; and then three golden canes again aiK upon them another cake, and so of the rest : save only that they laid but two such canes upon the fifth cake, because there was but one more cake to be laid upon them. Now these which I call golden canes, and the Hebrews call them so also, were not 1 e reeds or canes perfectly round and hollow through, but they were like canes or kexes, slit up the middle; and their reason 01 ay.ng them thus betwixt cake and cake, was, that by their hollowness air might come to every cake, and all might thereby be kept the better from mouldiness and corrupting ; and thus did the cakes lie hollow, and not one touching another; and all the golden canes being laid so as that they lay within the compass of the breadth of the table, the ends of the cakes that lav over the table on each side, bare no burden but their own weight.” In the present figure it will be immediately observed that air is ac m.tted to the loaves as well by their peculiar form, each having a vacancy in the centre, as by the canes being placed a short distance over each, the support of the reeds being a series of brackets at the two extremities. On the left of the table are represented some of the vessels of gold, ordered to be made for the service of the same, and recited in Exodus XXV. 29, xxxvii. IG. These have also their names written upon them in small cursive Hebrew characters; by whicb it 13 shewn that Nos. 2, 2, are intended for two of the vessels, called, in the authorised translation of the Scriptures,'** Covers." They are entitled Kesoth, and are supposed to have been large cups or tankards, in which pure wine was kept on the table with the Shew-bread for drink-offerings or libations, which were poured out before the Lord every Sabbath, when the old bread was removed, and the new loaves placed upon the table. In the original illumination the vase standing nearest the table >sol silver. Nos. 3, 3, are the vessels called “ bowls" in the ordinary translation, which are also inscribed with the original word n p2a Menahyoth ; to which two purposes have been assigned. One of these was to contain the wine for libations to be afterwards offered from the Kesoth shewn in No. 2; and some sanction is given to this explanation, by the marginal rendering of the text m which these vessels are mentioned : since the words of the former are the “ bowls thereof, to cover withal,” and the expression m the latter is <* to pour out withal.” Calniet, however, supposes that, as the name of these vessels is derived from Nakar, to clear away, remove, empty, etc. they were either the ovens in which the shew-bread was baked, or the sieves in which the wheat whence it was made was purified; since the Jews assert that the grain was sowed, reaped, and ground, and the whole operation of making the loaves was performed by the Levites themselves. The form of the vessels, as here delineated, seems best to agree with their being intended for wine, and especially with the word used in the English translation. The vase on the left hand is of silver in the original illumination. The instances of silver utensils occurring in these paintings, evidently prove that they are intended to represent the furniture of the Tabernacle, and not that of the Temple, because it will be remembered that silver “ was nothing accounted of in the days of Solomon.” 1 Kings x. 21 . No. 4 IS inscribed nbim n^TJS Mizbeach Haolah, The Place (or Altar) of Sacrifice of the Burnt (or Ascendin*-) Of- fering; which name was derived from the circumstance that the gifts placed upon it, being entirely consumed, as it were asc'ended to the Almighty in smoke and vapour. This altar is described in Exodus xxvii. 1-8. xxxviii. 1-7 ; but the figure in the Plate corre- sponds rather with the Rabbinical account of that erected in the First Temple, which was of considerably larger dimensions than that in the tabernacle, though it is not improbable that the general form was really the same. According to Jewish authority, it was a large mass, all constructed of rough stones, the base of which was 32 cubits or 48 feet square, from which it rose one cubit, or a foot and a la , and then diminished one cubit in width. The fabric was then carried up fi ve cubits, and at that height decreased two cubits; from that elevation it rose up three cubits more, being then twenty-three cubits square ; and upon that stage was erected the altar itself, of a single cubit in height, having an area of thirty-six feet square. The last diminution of two cubits was made in the middle of the altar, and served as a passage for the priests to approach close to the part whereon the sacrifices were consumed, to keep alive the perpetual fire, and to place the off-erings upon it. This space appears to be represented in the annexed figure, or the FAC-SIMILES OF MANUSCRIPTS. vacancy may have a reference to the command given in Exodus xxvii. 8, “ hollow with boards shalt thou make it;” though that passage is rather supposed to signify that the altar was simply an empty case. The Jews consider, however, that the altar was filled within with earth or rough stones, consistently with the words in Exodus xx. 24, 25 ; “ An altar of earth shalt thou make unto me, and shalt sacrifice thereon thy burnt-offerings and thy peace offerings, thy sheep and thine oxen. And if thou wilt build me an altar of stone, thou shalt not build it of hewn stone ; for if thou lift up thy tool upon it thou hast polluted it.” Cor- responding with the four corners of the altar, on the last elevation, were fixed four pillars, designated in the Scriptures as the “ Horns of the Altar, marked a a in the present Plate, which, the Rabbins state, were a cubit square, hollow, and rising stj aight for five hands-bjeadth, or a cubit, in height, being pointed outward above like a horn. The representation of these horns in the annexed figure differs from any which has been hitherto brought forward to illustrate the appearance of the Altar of Burnt Offering. As the Divine command had prohibited that the altars should be ascended by steps, the passage up was by an inclined ))lane on the south side culled Kibbesh, which is indicated in the Plate by the slope marked b, as well as by that word being inscribed upon it. In the great Altar in the Temple it was thirty-two cubits in length and sixteen in breadth, and landed upon the highest stage close to the place whereon the offering was consumed. Around the Altar of Burnt Offering, are disposed the figures of some of the vessels and Instruments belonging to it, mentioned in Exodus xxvii. 3, xxxviii. 3, on several of which, however, the name has either never been written, or has been obliterated from the polished surface of the metal. The exact Identity of the vase. No. 6, therefore, is somewhat doubtful ; since it may be one of any of the following ; namely, of the m''D Siroth the “ Pans” of the established version, a sort of large brazen dishes which stood under the altar, to receive the ashes which fell through the grating : or of the npUtt Mizrehoth the “Basins” of the English text, broad bowls for receiving the blood of the sacrifices to be sprinkled on the people before the altar : or of the jlinrPD Machthoth the “ Fire-pans” of the ordinary translation, which Dr. Patrick supposes to be a larger kind of vessel wherein the sacred fire] described in Leviticus ix. 24, as having descended from heaven, was kept burning, whilst the fire-altar was cleared from ashes, as' directed in Numbers iv. 13, or was transported during the travels of the wilderness. In the original illumination this vessel is embossed in silver. Nos. 6, 6, evidently exhibit the Yaiv, one of the figures yet bearing the name inscribed upon it. The English version rightly renders this word to signify “ Shovels,” as they were some of the instruments of the altar which Moses was commanded to make of brass ; and these figures are therefore both a proof of the accuracy of the old translators, and of the very erroneous conception of those commentators who would understand the name to mean besoms or brushes. Nos. 7, 7, represent an instrument, embossed in silver, which is not mentioned in the directions for making the altar contained in the Book of Exodus, the Hpb Lekohe, or Tongs; a part of the same word which has been noticed as employed in reference to the Golden Candlestick. That a similar utensil, however, belonged to the altar, is shewn by Isaiah vi. 6, wherein the Prophet represents one of the Seraphim as having taken a live coal with the tongs from off the altar. The word in the orio-inal sense signifies to take hold on, or to take away. Nos. 8, 8, represent the instruments most expressively rendered in the authorised version of the Scriptures “ Flesh-hooks ” called in the Hebrew Mizlegoth; the figures of which, here exhibited, evidently shew that the term forcipes, ovfork, is not required for the proper understanding of the original word, though it is employed in the Vulgate and all the modern transl'ations of the Old Testament. It is evident that the Mazleg legally consisted of a single hook only, and that a part of the crime of the sons of Eli, related in 1 Samuel, ii. 13, consisted in their using an unlawful instrument in taking their dues, as well as in demanding them at an unlawful time. The original words are a'Dtyn ^blDTl Vedmazleg Shelesh heshenim, and a Flesh-Hook of three teeth, which probably describes an instrument contrary to the established form, and one that was capable of seizing thrice so much flesh as the priest was entitled to take. It has been supposed that these teeth were bent to a right angle in the middle, as the ideal signification of the Hebrew word seems generally to imply crookedness or curvature, which the annexed figures expressively explain. No. 9. represents one of the horn-shaped metal Trumpets called m^Vin Chatzotzeroth, which are described by Josephus as having a straight narrow tube, nearly a cubit in length, increasing in size towards the end, where they were curved like a bell • the opposite end being only of sufficient capacity to fit the mouth. The instrument is here placed in connection with the altar, because the trumpet was to be sounded when the victims were led to be sacrificed, and over the burnt offering, as stated in Num- bers, X. 10. As the figure m the original illumination is of embossed gold, it does not appear to represent either of the large silver trumpets described m the same chapter, verse 2, for ordering the movements of the Israelites in their passage through the wilder- ness ; but the form exactly agrees with the description of Josephus, and renders more plain the uniform tradition of the Jews that their trumpets were bent, and of the character of a ram’s horn, but constructed of metal. Perhaps the chief difficulty respecting the shape of these instruments, may be traced to the long straight trumpets represented with the Table of Shew-Bread upon the Arch of Titus, as the only received authority for their true shape, without any enquiry after a Hebrew delineation. The fi■■■ xul be bent Cryst to Accuse \v‘ worde and thouth. Tertius Vexillator. Then, in the Twenty-sixth Pageant. To CaiaphSs shall Christ be brought : The Jews full ready there shall be bent Christ to accuse with word and thought. Seynt petyr doth folwe w* good intent to se w‘ Cryst what zuld be wrouth ffor crysts dyscyple whan he is hent thryes he doth swer he knew hy’ nowth. A kok xal crowe and cry Then doth petyr gret sorwe make ffor he his lord yus dede for sake but god to grace him sone doth take Whan he doth aske mercy#. St. Peter doth follow with good intent, To see with Christ what shall be wrought; For Christ’s disciple when he is hent (taken) Thrice he doth swear he knew him nought ; A cock shall crow and cry ; Then doth Peter great sorrow make, That he his Lord thus did forsake, But God to grace (forgiveness) him soon doth take. When he doth ask merev. Pageant. XXVI. From Fol. 139 a. her xal annas shewyn hy' self in his stage be seyn aftr a busshop of y^ hoold (old) laivejn a skarlet goivne. and ou’ y* a blew tabbardfurryd wt lohyte ^ a myter on his hed after y‘ hoold lawe, y doctorys standing by hy’ infurryd hodys (hoods) and on’ beforn hem (one before them) his staff of A stat (estate) §• eche of hem on her hedys afurryd cappe wt a gret hnop (flower) in ye crowne and on’ standing beforn as a sarazyn y^ tcich xal be his massanger. Annas yus seying (thus saying) FAC-SIMILES OF MANUSCRIPTS. Annas. — As a p'']at am j p’peryd. to p’vyrle pes & of jewys. jewge. ye lawe to fortefye J Annas be my power, xal comawnde dowteles Ye lawes of moyses. no man xal denye. hoo excede my comawndement. A non ze certefye yf any erytyk her reyn. to me ze compleyn for in me lyth y« power, all trewthis to trye & pryncypaly our lawys. y“ must j susteyn Zef j may aspey. ye contraly, no wheyle xal yei I’eyn but a non to me be browth & stonde p'^sent be for her jewge, wich xal not feyn but after her trespace, to gef hem jugement now serys for A p’fe. lieryth my jntent ther is on’ jh’us of nazareth. y‘ our lawys doth excede yf he p’cede. thus we xal us all repent for our lawys he destroy t. dayly w*his dede. As a Prelate am 1 prepared to provide peace ; And of Jews J udge, the Law to fortify ; I, Annas, by my power shall command doubtless The Laws of Moses no man shall deny. Who exceeds my commandment, anon ye certify. If any heretick here reign to me ye complain ; For in me lieth the power all truths to try. And principally our laws those must I sustain, If I may espy the contrary no while shall they reign. But anon to me be brought and stand present. Before their Judge which shall not feign. But according to their trespass to give them judgment. Now, Sirs, for a proof hear mine intent. There is one Jesus of Nazareth that our laws doth exceed ; If he proceed thus we shall us all repent. For our laws he destroyeth daily with his deed. Pageant XXVI, From Fol. 140 a. her goth ye masangre forth and in ye mene tyme cayphas sheioyth hi’ self in his skafhald. A ryd lych to Annas savyng his tdbbard xal be red furryd lot white ij doctorys w* hy’ a rayd wt pellys (sheep skins) aftyr y’ old gyse ^ furry d cappys on her hedys. Cayphas yus seying. Cayphas. — As A p>'mat most preudent, j p''sent her sensyble buschopys of ye lawe w* all ye cyrcu’stawns J Cayphas am jewge w* powerys possyble to distroye all errors, f in our lawys make varyawns All thyngs j convey be reson & temp’awns & all mati‘'s possyble. to me ben palpable of y« lawe of Moyses j haue A chef governawns to Seuer ryth & wrong in me is Pmynable but y'' is on’ Cryst y‘ our lawys is varyable he p>'verte ye pepyl w‘ his p'"chy’g ill We must seke A mene. onto hym rep''vable fforyf he p’cede our lawys he wyll spyll We must take good Cowncel in yis case Of ye wisest of ye lawe y‘ kan ye trewthe telle Of ye Jewys of Pharasy. & of my cosyn Annas For yf he p’cede be p’ssesse. our laws he wyl felle prm^ doctor cayfas. My lord plesyt zow to pardon me for to say ye blame in zow. is as we fynde tolete Cryst contenue yus day be day w* his fals wichcraft ye pepyl to blynde. As a Primate most prudent I present here sensible Bishops of the Law with all the circumstance : I, Caiaphas, am Judge, with powers possible To destroy all errors that in our laws make variance. All things I convey by reason and temperance. And all matters possible to me be palpable; Of the Law of Moses I have a chief governance. To sever right and wrong to me is terminable. But there is one Christ that (saith) our Law is variable. He perverteth the people by his preaching ill ; We must seek a mean unto him reprovable. For if he proceed our laws he will spill. We must take good council in this case Of the wisest of the Law that can the truth tell. Of the Jews, of Pharisees, and of my cousin Annas, For, if he proceed by process, our laws he will fell. First Doctor of Caiaphas. My Loi’d, please it you to pardon me for to say The blame in you is as we find ; To let Christ continue thus day by day. With his false witchcraft the people toblind. The only remaining illustration of this very interesting manuscript required for the present work, will be a few notices as to the place and persons in which, and by whom the Mysteries contained in it were performed ; for Mr. Sharp observes that it is not clear that the volume was the particular property of the Grey-Friars of Coventry, or that it even contains a transcript of the religious plays exhibited by them. “The arguments,” he continues, “ in favour of appropriating this MS. to the Grey- Friars of Coventry are as follow. In 1538 that Monastery was dissolved; and Sir Robert Cotton, who was born in 1570, commenced the foundation of his collection so early as 1588, and died in 1631. Dugdale was born in the year 1605, began to collect materials for his History of Warwickshire about 1630, was introduced to Sir Thomas Cotton and the Cottonjon MSS. in 1638, and printed his Warwick- FAC-SIMILES OF MANUSCRIPTS. slure m 1656; wherein he mentionshaving conversed with old people who had been witnesses of the Grey-Friars Pageants, a circumstance which might have happened between 1615 and 1620, when he was at the Coventry Free School. Sir Robert Cotton beginning to collect his MSS. fifty years after the dissolution of the Grey-Friars, it may reasonably be imagined that on procuring the Corpus Christi Plays, some account of them and of their former possessors would be obtained ; and hence we may conceive arose their appropriation to Coventry, under the title of Ludus Coventrice, which title they evidently had at the time when Dugdale consulted the MS. : and, from the known industry of Sir William, his particular connection with Coventrj^, and his conversation with old persons, actual witnesses of the Grey-Friars Plays, it may with equal reason be inferred that he would make some enquires, both at Sir Thomas Cotton’s and at Coventry, respecting the identity of so curious a docu- ment. Perhaps we ought not to insist upon the account of Queen Margaret’s visit to Coventry (in 14.56 purposely to see the Corpus-Christi Mysteries) as affording any argument for the identity of the Cot- tonian MS. and the Coventry Plays ; because the Pageants then exhibited are not eicprmZy said to have been performed by the Grey-Friars, and Dooms-Day being the usual concluding portion of the Corpus- Chnsti Plays, which were by no means peculiar to Coventry. Against the foregoing hypothesis it has been objected that the conclusion of the Prologue indicates a series of plays for exhibition at Corpus Christi festival generally, rather than expressly for Coventry; N {nomen) being the usual mode of distin- guishing a person or place under such circumstances, as N stands in the Marriage ceremony unto this day : and that, at all events, if the Plays in question were performed at Coventry, they were not peculiar to that place. It is also objected that Dr. Smith was not very accurate in his conception and descrip- tion of various manuscripts; and, lastly, that there is great reason to believe the manuscript alluded to, came from Durham and not from Coventry. Such is the state of the question, after considerable pains taken to investigate the subject, and the reader must draw his own conclusion as to the probability of these plays being really the Ludus Coventrice, and appertaining to the Grey-Friars, for they certainly were no part of the Plays or Pageants exhibited by the Trading Companies of the City. — It may be he re observed that the exhibition of these Religious Mysteries at Corpus-Christi season was very general throughout the kingdom in Cities and Towns (as at Chester, York, Durham, Newcastle, and other places) both by the monks and the laity ; that in their compositions they greatly resemble each other ; and, that, if not abstracted from the French Mysteries, as some have supposed, with such additions and variations as are usual on such occasions, certainly are very much like them. The concluding passage in the Prologue to those Plays, referred to in the preceding extract, is as follows. “ A Sunday next yf y* we may At vj.of ye belle we gynne our play In. N.town wherefore we pray That God now be zourspede.” — Fol. 96. It is worthy of remark, that if the Sunday nearest to the Feast of Corpus-Christi were not the established day for the exhibition of the Pageants,— this verse may very possibly point out that these Mysteries were ylayed at Coventry in 1456, when the I4th of June really fell upon a Sunday. The Manuscript Annals of the City relate that in that year “ on Corpus-Christi yeven, at night, came the Quene Margaret of Anjou, from Kelyngworth to Coventre, at which tyme she wold not be met, but came prively to se the play there on the morowe ; and she sygh then all the pagentes pleyde, save Domes day, which might not be pleyed for lak of day.” The supposition that the Cottonian manu- script might possibly have come originally from Durham, appears to rest upon the remains of the lower fragments of a name, as of some former possessor, cut off from the top of Fol. 10 a, the first page of the Mystery of the Creation, with the designation Dunelmensis added to it. From the parts of the letters still left, it appears not unlikely that the book belonged to Christopher Bambrigire, Bishop of Durham in 1-507 ; who died at Rome, Cardinal-Priest of St. Praxedis and Archbishop of York, July 14th, 1514. ■.'■A"’REB) FUBM-ITimE ^ TEKSEXS OF THE TABERJ^AFTLE OF ISRAEL^' i~T}^‘i-nNb TT^i'TJIHS nnrfD:Kjiab ItJ' T))TJl bmH‘T‘^i-ibNiV'»:jDW ^'rWb'irTbH'rb JT’n'Jlb TrtbNhW bytfl^^WL)^Nb J^bbS^^'|t 3 TJ^Nb^b| TaHnNi‘Tv:ianiA"T:i5 l''OK SMITTrS II ISTORICM. MUD I.ITF,l:Mj /\ % rritD Jiairo JT*p3i3 7)f f4ti‘/i <■(' j6}w/y/i''Y7 Ou C.j Sy/^ith f'ACBEB EEMMTraJE & TJE-.S SEILS tcF TUBE: TA1RETR1TA I'JJF- ;JlF I^.EAEE , LIBRARY OF THE UNIVERSITY OF ILLINOIS Fcvo Sx'rnFl^ ofo'M^ojnuySOT'd^l:, of Cofpu>s CTvfXyUtoJ^Zays , TorMett^ifv'tfuy-fij/^x^ith Ccrotufp' nc^lM — ^ -f ma^- /I^ ^ io -#wA>< 5' ^00 SUum. ^tS> As>v*‘S^«J? ys^^ * tvvs'^tP ^ f)i M fy y ,.tJ)^i D ^ jO . / ^ ^ 'tfyi'iuS ^Ji£~&ys^^^'t^‘i:0 1 Jtljsle^yJSVj. Foh'v f/iO,a- JL ^ rj %^ch^y6 ^ ^yfi ■j^^mfekv^nPiyi, j/yj^ (0 ' ; fi/ —fs> / ^ — I 1^ C^JC4^&U^ r 0citd^7t^? ^ ' f ^^'ynSL^P'rjcj'l^^ .in of m^jefS’^ %t^&^ ^jAoMtti (L toi^ojbo^ ^ S^yyy9 yvujo^. 'Uf^u^W^ h3 Es>iiP £onU^S fo> ^ « VIEWS. Frost Fair on tlie River Thames. From an Original Sketch by Thomas Wyck, taken February 4th, 1684, preserved in the Illustrated Pennant’s London, formerly belonging to J. C. Crowle, Esq m the Print-Room of the British Museum.— A Fac-Simile of a Specimen of Printing executed ON THE Ice at the same Fair for King Charles the Second. • The very memorable Frost represented in the annexed view, commenced in the December of the year 1683, and by the 23rd of that month the Thames was frozen, but it is probable that the Fair erected on the River did not begin untilJanuary 1st, 1684, when Evelyn records in his Diary, that “the weather continuing intolerably severe, streetes of boothes were set upon the Thames, and the aire was so very cold and thicke, as of many yeares before there had not been the like.” On the 6th he observes, that the ice had “now become so thick as to beare not onely streetes of boothes in which they roasted meate, and had divers shops of wares quite acrosse as in a towne, but coaches, carts, and horses, passed over.” At this time there was a foot-passage quite over the river, from Lambeth-stairs to the horse-ferry at Westminster; and hackney-coaches began to carry fares from Somerset-house and the Temple to Southwark. On January 23rd, the first day of Hilary Term, they were regularly employed in going on the ice between the Temple-stairs and Westminster Hall, at each of which places they stood for hire, where the watermen were accustomed to be found. In this arrangement, the means of conveyance only, and not the ordinary way, was altered ; since the use of boats to Westminster was almost universal at the period, as the rough paving of the streets rendered riding through them in coaches very uneasy By the I6th the number of persons keeping shops on the ice had so greatly increased, that Evelyn says “the Thames was fill’d with people and tents selling all sorts of wares as in the Citty and by the 24th the variety and festivities of a fair appear to have been completely established. “ The frost ” he states “continuing more and more severe, the Thames before London was still planted with boothes in formal streetes, all sorts of trades, and shops furnish’d and full of commodities, even to a printino- presse, where the people and ladys tooke a fancy to have their names printed, and the day and yeare set down when printed on the Thames; this humour tooke so universally, that ’twas estimated the printer gained £5 a day for printing a line onely at sixpence a name, beside what he got by ballads etc =* Coaches plied from Westminster to the Temple, and from several other staires, to and fro as in the streetes; sleds, sliding with skeetes, a bull-baiting, horse and coach races, puppet-plays and interludes cookes, tippling, and other lewd plaies; so that it seem’d to be a bacchanalian triumph, or carnival on the water.” This traflic and festivity were continued until February 5th, when the same authority states, that “it began to thaw, but froze again. My coach crossed from Lambeth to the horse-ferry at Millbank, Westminster. The booths were almost all taken downe ; but there was first a map or land- « In a poem commemorative of this frost, published at the time, there occurs the following passage relating to these Printers • tte irti^ml ^ Frost-fair, from tLt in 1684 down to’ ‘ ~ ' ■ to the Print-House go, Where men the Art of Printing soon do know : Where, for a Teaster, you may have your name Printed, hereafter for to shew the same ; And sure, in former ages, ne’er was found A Press to Print where men so oft were drown’d !” Thamesis's Advice to the Painter, from her Frigid Zone ; or Wonders on the Water. River of Thames. Small folio half sheet, 74 lines. Ijondon ; Printed hy G, Groom on the PART yir. d VIEWS. skip cut ill copper, representing all the manner of the camp, and the several actions, sports, and pastimes thereon ; in memory of so signal a frost.” The very curious Original Drawing of this Fair, engraven on a reduced scale on the annexed Plate, represents the Thames, looking from the western side of the Temple-stairs, appearing on the left, towards London Bridge, which is faintly shewn in the centre at the back with all the various buildings standing upon it. The time when the view was taken, was the day previous to the first thaw, as the original is dated in a contemporaneous hand at the top in the right hand corner, “ Munday, February the 4th, 1683-4.” The drawing consists of a spirited though unfinished sketch, on stout and coarse paper in pencil, slightly shaded with Indian-ink ; which was the well-known style of an artist of the seventeenth century, peculiarly eminent for his views, namely, Thomas Wyck, — usually called Old Wyck, to distinguish him from his son John — who spent the greater part of his life in England. This sketch is preserved in the Illustrated Pennant’s London, formerly belonging to John Charles Crowle, Esq. in the Print Room of the British Museum, Volume VIII., after page 262, and measures 28 inches by 9|. On the right of the view is an oblique prospect of the double line of tents which extended across the centre of the river, called at the time Temple Street, consisting of taverns, toy-shops, etc. which were generally distinguished by some title or sign; as the Duke of York’s Coffee house, the Tory-booth, “the booth with a phenix on it, and insured to last as long as the foundation stands,” the Half-way house, the Bear-Gardenshire booth, the Roast-beef booth, the Music booth, the Printing booth, the Lottery booth, and the Horn Tavern booth, which is indicated about the centre of the view by the antlers of a stag raised above it. On the outsides of this street were pursued the various sports of the fair, some of which are also shewn in the annexed Plate ; but in the nearer and larger figures introduced in the pictorial map mentioned by Evelyn, there appear extensive circles of spectators surrounding a bull-baiting, and the rapid revolution of a whirling-chair or car, drawn by several men by a long rope fastened to a stake fixed in the ice. Large boats covered with tilts, capable of containing a considerable number of passengers, and decorated with flags and streamers, are represented as being used for sledges, some of them being drawn by horses, and others by watermen in ivant of their usual employment. Another sort of boat was mounted on wheels, and one vessel called “ the Drum-boat,” was distinguished by a drummer placed at the prow. The pastimes of throwing at a cock, sliding and skating, roasting an ox, foot-ball, skittles, pigeon-holes, cups and balls, etc. are represented in the large print as being carried on in various parts of the river ; whilst a sliding-hutch propelled by a stick, a chariot moved by a screw, and stately coaches filled with visitors, appear to be rapidly moving in various directions ; and sledges with coals and wood are passing between the London and Southwark shores. The gardens of the Temple and the river itself are both filled in the large Plate with numerous spectators, as they are also shewn in the present view' ; but, in addition to its originality, the Drawing now engraven is perhaps more pictorially interesting than the Print, from the prospect being considerably more spacious and carefully executed ; as it exhibits the whole line of the Bankside to St. Saviour’s Church, w’ith the Tower, the Monument, finished in 1677, the Windmill near Queenhythe, the new Bow Church, and some others of the new Churches, the vacant site and ruins of Bridewell Palace, and Old London Bridge. Beneath the present copy of this interesting Drawing is introduced another equally curious relique of the same Frost-Fair, from the collection of Henry Hyde second Earl of Clarendon, and now in the possession of Mr. William Upcott, by whose kind permission the annexed Fac-Simile is now published for the first time. It consists of an impression of the specimen of Printing on the Ice, executed for King Charles the Second and the Royal Family who visited the Fair with him. The names upon the paper are Charles, Ki.\g : — James, Duke (of York, his brother, subsequently King James II.) — VIEWS. Katherine, Qheen (Catharine, Infanta of Portugal, Queen of Charles II.) — Mary, Dutchess (Mary D’Este, sister of Francis, Duke of Modena, the second Duchess of James) — Ann, Princess (the second daughter of the Duke of York, afterwards Queen Anne) — George, Prince (the Princess’s husband, George of Denmark.) The concluding name, Hans in Kelder, was no doubt dictated by the humour of the King: it literally signifies Jack in the cellar, and alludes to the pregnant sittiation of the Princess Anne. It is not improbable that King Charles visited Frost-Fair more than once; since a contemporaneous notice of it contained in a Diary cited in The Gentleman's Ma(jazine for February 1814, Vol. Ixxxiv. Part 1. Page 142, Note, states that on February 2nd an ox was roasted whole over against Whitehall, and that the King and Queen ate a part of it. He appears to have taken much pleasure in viewing the lively scene from his palace, since in the poem also printed upon the ice, entitled Thamesis' s Advice to the Painter," there occur the following lines. “ Then draw the King, who on his leads doth stray To view the throng as on a Lord Mayor’s day. And thus unto his nobles pleased to say : With these men on this Ice I’de undertake To cause the Turk all Europe to forsake ; An army of these men arm’d and complete Would soon the Turk in Christendom defeat.” The Print of Frost-Fair, referred to in the Diary of Evelyn, is entitled “An exact and lively Mapy or Representation of Boothes and all the varieties of Showes and Humours upon the Ice on the River of Thames hy London, during that memorable Frost in theSoth Yeare of the ReigneofHis Sacred Majesty Kmg Charles the Und. Anno Dni, M.D CLXXXIII. With an Alphabetical Explanation of the most remarhable figures." It consists of a whole-sheet copper-plate, the prospect being represented horizontally from the Temple-stairs and Bankside to London Bridge. In an oval cartouche at the top of the view, within the frame of the print, appears the title ; and on the outside, below, are the alphabetical references, with the words “ Printed and sold by William Warter, Stationer, at the signe of the Talbott vnder the Mitre Tavern in Fleete Street, London. An impression of this Plate will be found in the Royal Collection of Topographical Prints and Drawings given by King George IV. to the British Museum, Vol. xxvii. Art. 39. There is also a variation of the same engraving in the City Library at Guildhall, divided with common ink into compartments, as if intended to be used as cards, and numbered in the margin in type with Roman numerals in three series of ten each, and two extra. A descriptive list of the other Prints, Printed Papers, and Tracts, relating to the Frost-Fair of 1683 — 1684, will be found in the Londina Illustrata, commenced by the late Mr. Robert Wilkinson, London, 1819 — 1834. 4to. Volume I. Article 9, whence the preceding notices have been derived; and another list is contained in the Catalogue of the Sutherland Collection of Prints and Drawings inserted as illustrations in Lord Clarendon’s Life and History of the Rebellion, and Burnet’s History of his Own Times. London, 1837, 4to. Volume II. Page 420. VIEWS. A View of the Church of Stoke-Poges. in the County of Buckingham, the scene of Gray’s “ Elegy in a Country Church-Yard with a Fac-Simile of part of an Original Transcript OF THE Poem, in the hand-writing of the Author. Fac-Simile of an Original Letter from Thomas Gray to Dodsley ; from the collection of George Daniel, Esq. The most appropriate literary illustration of these engravings, appears to be some account of the original composition and publication of that very celebrated Elegy with which they are both so intimately connected ; and which has imparted so deep and lasting an interest to the village cemetery on which It was written. The interesting materials of such a narrative, are to be found in the affec- tionate and elaborate Memoirs of the Life and Writings of Thomas Gray, prefixed to the edition of his works published by his friend William Mason in 1775; and the present notices have been therefore derived irom that copious and excellent authority. The first acquaintance, of Gray with the spot which suggested his immortal lines, appears to have ^ken pkce in June 1742, when lie went to visit his mother and her sister; who, on the death of Mr- Philip Gray, the father of the Poet, had retired to Stoke, near Windsor, previously the residence of another sister, a widow. At this place and period he composed his beautiful Ode to Spring, concernincf which a memorandum in Ins common-place book states that it was “written at Stoke, the beo-inning of June 1742, and sent to Mr. West,-«oi knowing he was dead!- To this extremely afflicting circumstance Mason traces Uie origin of the Elegy in a Country Church-Yard, in the following observations “ 4s to Mr. Gray, we may assure ourselves that he felt much more than his dying friend, when the letter, which enclosed the Ode, was returned unopened. There seems to be a kind of presentiment in that pathetick piece, which readers of taste will feel when they learn this anecdote; and which will make them read it with redoubled pleasure. It will also throw ‘ a melancholy grace, ’-to borrow one of his own expressions-on the Ode on a distant prospect of Eton, and on that to Adversitv, both of them written in the August following : for, as both these poems abound with pathos, those who have feeling hearts will feel this excellence the more strongly when they know the cause whence it arose • and the unfeeling will, perhaps, learn to respect what they cannot taste, when they are prevented from ’imputino- to a splenetick melancholy, what, in fact, sprung from the most benevolent of all sensations I am inclined to believe that the Elegy in a Country Church-Yard was begun, if not concluded, at this time also ; though I am aware that, as it stands at present, the conclusion is of a later date : how that was originally, I have shewn in my notes on the poem.” The illustration to which Mason here refers, is contained in his account of the imitations and variations of a number of passages in Gray’s poetical works ; and on this particular part of the Elegv he states that it was originally intended to conclude with the four stanzas following, the last of which exhibits the present nineteenth verse, as it appeared when it was first composed. The subsequent form of the same lines, is shewn in the last of those verses represented in the annexed Fac-Simile. “ The thoughtless world to Majesty may bow. Exalt the brave, and idolise success ; But more to innocence their safety owe Than power or genius e’er conspired to bless. And thou who, mindful of the unhoiiour’d dead. Dost in these notes their artless tale relate. By night and lonely contemplation led To wander in the gloomy walks of fate : — VIEWS. Hark ! how the sacred calm that breathes around, Bids every fierce tumultuous passion cease ; In still small accents whispering from the ground, A grateful earnest of eternal peace : — No more, with reason and thyself at strife, Give anxious cares and endless wishes room ; But through the cool, sequester’d vale of life Pursue the noiseless tenour of thy doom.” ‘And here, ’ adds Mason, “the poem was originally intended to conclude, before the happy idea of the ‘ hoary-headed swain,’ etc. suggested itself to him. I cannot help hinting to the reader, that I think the third of the rejected stanzas equal to any in the whole Elegy.” In the well-known form in which these verses are at present published, they were most probably completed about the middle of the year 1750 ; since, in a Letter addressed by the Author to the Hon. Horace Walpole, dated June 12th, he says “ I have been here at Stoke a few clays, where I shall con- tinue a good part of the summer ; and having put an end to a thing whose beginning you have seen long ago, I immediately send it you. You will, I hope, look upon it in the light of a thing with an end to it; a merit which most of my writings have wanted, and are like to want.” This communication of the Elegy soon caused its publicity ; and the applauses which it so highly merited, appear to have followed it in no ordinary degree, for in another Letter from Gray to Dr. Warton, dated December 17th, he says, “ the stanzas I now enclose to you have had the misfortune, by Mr. Walpole’s fault, to be made still more public, for which they certainly were never meant ; but it is too late to complain. They have been so applauded, it is quite a shame to repeat it : I mean not to be modest, but it is a shame for those who have said such superlative things about them, that I cannot repeat them.” Another Letter from the Author to the Hon. Horace Walpole, dated from Cambridge, February 11th, 1751, contains the following particulars concerning the remarkable original publication of these splendid verses ; with an arrangement for printing them in a more authentic and reputable manner. “As you have brought me into a little sort of distress, you must assist me, I believe, to get out of it as well as I can. YeLrday I had the misfortune of receiving a letter from certain gentlemen, as their bookseller expresses it, who have taken The Magazine of Magazines into their hands : they tell me that an ingenious poem, called Reflections in a Country Church-Yard, has been communicated to them, which they are printing forthwith ; and that they are informed that the excellent author of it is I by name, and that they beg, not only his indulgence, but the honour of his correspondence, etc. As I am not at all disposed to be either so indulgent or so correspondent as they desire, I have but one bad way left to escape the honour they would inflict upon me; and, therefore, am obliged to desire that you would make Dodsley print it imme- diately, which may be done in less than a week’s time, — from your copy, but without my name, in what form is most convenient for him, but on his best paper and character ; he must correct the press nimself, and print it without any interval between the stanzas, because the sense is in some places continued beyond them ; and the title must be Elegy written in a Country Church-Yard. If he would add a line or two to say it came into his hands by accident, I should like it better. If you behold The Magazine of Magazines in the light I do, you will not refuse to give yourself this trouble on my account, which you have taken of your own accord before now. If Dodsley do not do this imme- diatelg, he may as well let it alone.” In consequence of this arrangement, the Elegy was published in the same month by Cooper, “price VIEWS. sixpence,” witli an advertisement by Mr. Walpole, to whom Gray addresses a letter of thanks dated Cambridge, Ash- Wednesday, (February 20th) 1751. It will be observed that in the preceding extract the Author assigns to the poem the name by which it is now universally known ; but he originally, says Mason, gave it only the simple title of “ Stanzas written in a Country Church-Yard adding also,— “I persuaded him first to call it an Elegy, because the subject authorised him so to do; and the alternate measure in which it was written, seemed peculiarly fit for that species of composition. I imagined, too, that so capital a poem written in this measure, would, as it were, appropriate it in future to writings of this sort ; and the number of imitations Avhich have been since made of it, even to satiety, seem to prove that my notion was well founded.” As the poem soon after this period was published in other Magazines than that in which it was first inserted, the Author in a Letter to Mr. Walpole dated March 3rd, 1751, observes that be does not expect any more editions ; but, by the marginal memorandum attached to that Transcript of the Elegy repre- sented in the present Fac-Simile, it will be seen that the piece passed through the press four times in two months; and that the reprints of it were increased to eleven, before the appearance of the illustrated impression of 1753. The original of the interesting manuscript here represented, was first introduced to the public from the papers of Gray preserved at Pembroke Hall in the University of Cambridge, in 1814, in the improved edition of Gray’s Works by Thomas James Mathias, Esq. in two volumes quarto. The whole poem extends to four pages, and the lines are written without distinction of stanzas, in the manner directed in the Author’s Letter already cited. At the end of the transcript is added the following beautiful stanza, to be inserted immediately before the Epitaph, but rejected because the Author considered that it occasioned too long a parenthesis in that place. “There scatter’d oft, — the earliest of the year, — By hands unseen, are show’rs of violets found : The red-breast loves to build and w’arble there. And little footsteps lightly print the ground.” A marginal note by Gray, adds “omitted in 1753,” by which is meant that it was first rejected from that illustrated edition of his poems referred to in the memorandum shewn on the present plate, and in the annexed Fac-Siraile of the Original Letter. The cause of that Letter being written, is to be found in a passage of another communication which Gray addressed to Walpole from Stoke, in January 1753 ; wherein he says “Sure you are not out of jmur wits! This I know, if you suffer my head to be printed, you will infallibly put me out of mine. I conjure you immediately to put a stop to any such design. Who is at the expense of engraving it I know not ; but if it be Dodsley, I will make up the loss to him. The thing as it was I know wdll make me ridiculous enough ; but to appear in proper person at the head of my works, consisting of half-a-dozen ballads in thirty pages, would be worse than the pillory. I do assure you if I had received such a book with such a frontispiece, without any warning, I believe it w'ould have given me a palsy ; therefore 1 rejoice to have received this notice, and shall not be easy till you tell me all thoughts of it are laid aside. I am extremely in earnest, and cannot bear even the idea. I had written to Dodsley, if I had not received your’s, to tell him how little I liked the title which he meant to prefix ; but your letter has put all that out of my head. If you think it necessary to print these explanations” — to Bentley’s designs to Gray’s Poems — “ for the use of people that have no eyes, I should be glad they were a little altered.” The sequel to these observations is to be found in that Original Letter by Gray, hitherto unprinted, a Fac-Simile from which is now published ; relating to that quarto edition of six of his Poems, which VIEWS. was illustrated with twenty-four engravings after a series of designs by Richard Bentley, the only son of the celebrated Dr. Bentley, consisting of an ornamental frontispiece, a head-piece, an initial letter, and a vignette tail-piece, to each Ode. A letter from Gray, dated Stoke, January, 1753, notices the pro- gress of these copper-plates, and expresses his surprise at the skill of the London engravers ; adding, however, that “the drawing itself was so finished, that I suppose it did not require all the art I had imagined to copy it tolerably.” To this observation Mason subjoins his testimony, that “ It is but justice to declare that the original drawings now in Mr. Walpole’s possession, which I have since seen, are so infinitely superior to the published engravings of them, that a person who has seen the latter only, can by no means judge of the excellencies of the former : besides there is so much grotesque fancy in the designs themselves, that it can be no great matter of wonder if the engravers even had done justice to them, — that they fail to please universally.” As these engravings were chiefly the production of Charles Grignon, few persons will doubt that they were at the least equal to the drawings of Bentley ; a principal merit of which latter appears to be the neat finish referred to by Mason, as is indicated in the following passage occurring in one of Walpole’s letters : — “The explanation was certainly added for people who have not eyes ; such are almost all who have seen Mr. Bentley’s drawings, and think to compliment him hy mistaking them for 'prints.” But without questioning the taste of either Gray or Mason in estimating the productions of the pencil, it can scarcely be denied by any who are acquainted with the plates from these illustrations, that the chief excellence of the designs is the ingenious and fanciful ornaments with which they are surrounded, and that the engravings must be very superior to the original drawings as works of art. A remarkably happy exemplification of the extremely common- place character of the vignette tail-piece to the Elegy in a Country Church-Yard, is contained in the same letter in which Gray expresses his admiration of the impression of it forwarded to him by Walpole. The subject of the print, it should be premised, represents “a country burial, and beneath it a torch fallen into an ancient vault.” — “My aunt,” says the Poet, “seeing me open your letter, took it to be a hurying-ticket, and asked whether any body had left me a ring ; and so they still conceive it to be, even with all their spectacles on. Heaven forbid they should suspect it to belong to any verses of mine ! they would burn me for a Poet !” In the first glow of his gratitude. Gray commenced some laudatory stanzas to Bentley, of which Mason observes that “many readers will perhaps think the panegyrick carried too far ; as I own I did when he first shewed it to me the unfinished fragment of these verses is preserved by Mason. The only remaining particulars which the literary illustration of the present plates appears to require, are to be found in the following Letter from the Hon. Horace Walpole to Gray, dated February 20th, 1753, and written evidently in consequence of that addressed by Gray to Dodsley, exhibited in the annexed Fac-Simile ; though it refers to some circumstances and a note which do not otherwise appear, “lam verry sorry,” says Walpole, “that the haste I made to deliver you from your uneasiness the moment after I received your.letter, should have made me express myself in a manner to have quite the contrary effect from what I intended. You well know how rapidly and carelessly I always write my letters ; the note you mention was written in a still greater hurry than ordinary, and merely to put you out of pain. I had not seen Dodsley, consequently could only tell you that I had no doubt but he would have no objection to satisfy you, as you was willing to prevent his being a loser by the plate. Now, from this declaration, how is it possible for you to have for one moment put such a construction upon my words, as would have been a downright stupid brutality unprovoked. It is impossible for me to recollect my very expression, but I am confident that I have repeated the whole substance. — How the bookseller would be less a loser by being at more expense I can easily explain to you. He feared the price of half-a- guinea would seem too high to most purchasers. If, by the expense of ten guineas more, he could make VIEWS. the book appear so much more rich and showy as to induce people to think it cheap,— the profits from selling many more copies would amply recompense him for his additional disbursement. The thouo-ht of having the head engraved was entirely Dodsley’s own, and against my opinion, as 1 concluded” it would be against yours ; which made me determine to acquaint you with it before its appearance. When you reflect on what I have said now, you will see very clearly, that I had, and could have, no other possible meaning in what I wrote last. You might justly have accused me of neglect, if I had deferred giving you all the satisfaction in my power as soon as ever I knew your uneasiness. The head I give up. The title I think will be wrong, and not answer your purpose ; for, as the drawings are evidently calculated for the poems, why will the improper disposition of the word designs before poms, make the edition less yours? lamas little convinced that there is any affectation in leaving out the Mr. before your names ; it is a barbarous addition : the other is simple and classic ; a rank I cannot help thinking due to both the poet and painter. Without ranging myself among classics, I assure you were I to print anything with my name, it should be plain Horace Walpole : Mr. is one of the gothicisms I abominate. The explanation was certainly added for people who have not eyes : such are almost all who have seen Mr. Bentley’s drawings, and think to compliment him by mistaking them for prints. Alas ! the generality want as much to have the words a man, a cock, written under his drawings, as under the most execrable hieroglyphics of Egypt, or of sign-post painters.— I will say no more now, ’but you must not wonder if I am partial to you and your’s, when you write as you do and yet feel so little vanity. I have used freedom enough with your writings to convince you I speak truth : I praise and scold Mr. Bentley immoderately, as I think he draws well or ill : I never think it worth my while to do either, especially to blame, where there are not generally vast excellencies. —Good night! Don’t suspect me when I have no fault but impatience to make you easy. Yours ever, Hor. Walpole.” The Works of Horatio Walpole, Earl of Orford. London, 1798. 4to. vol. v. pages 353—355. With respect to the view of the Church of Stoke-Poges engraven above the annexed Fac-Simile from Gray’s Elegy,— it appears to require no other remark, than that it represents the western end of the edifice ; and that the remains of the Poet are deposited in a vault beneath an altar-tomb in the church-yard near the eastern windows. London : Printed by G: Croom. on the ICE^ on the River oi 7 hames^ January 31. 1684. -r J J iJe.T’fc^ Tt/' iza‘0- ,/a.iii/u^ n>ltL y o‘i- iJr D , iLu: y ^ Cr^cJz iit±yL. L y y X if^e^ ^nna-tvxnjj ^ ^ ^t4^^c--r ^ -T-e-oxfoyi- . ^o-n- _ . ,AxfL. tJt H>iye. cAa.Jt^'^ lL»- ?n.^>urue.rr~ y f^te-yi. tu x'lxrc: ei-n^re,h>e--ni> , ch.a-c: th-i4 Ch.a-m.^& /ti, 7t7^^ /l. 77W3t>y iro ix. ^ cnr~ iy%/a ; yjis /A 9X0-£ 0^- /.// / ^ e / . /• /•/■^ ^ jOTtiUS. cjt-u-i^c £. — CAUf ta-rn.e.y!f j wA-r ytnx- wt-4^ d- ^ ^ yjue.j» iLi, i/i_l.r^ j y a.c.^rtxAi-x~-ti^ 7t^^!«.7»d. .*<7- ^e.ri3 ^ **”” l^e. dJTo-c-^ ro-tyi- CxyryiA- ^yvc^ u- ^mA. £n.ryUL. ^ »X 7trz^i^t«7«. 'i Lyc-<^i-x.a~fX.- . lanXl. yeyme.T-nye.-T' £o JC-?^ tnxO Cxh^itA xto ^ c/^TTwW ra / P / //' . . y^ru^ TTvcc tcy^ f *7^ •■ 3u.y^ixx.n^ ■ ^Aoyxyox / n^ £uaxcvrt^ '^oi'xx-yi- £i^ It is probable that this part of Astley’s exhibition was introduced partly in ridicule of Breslaw’s performances at Hughes’s Riding-school in the Surrey-road, near Westminster Bridge ; since an advertisement of June 1773 states that “ the little military horse will take oflf the present conjurors to admiration.” One of the artists referred to was Jonas, whose name appears upon the upper show-cloth on the right of the entrance in the exterior view : in January 1772, he exhibited “ in a commodious and warm room up one pair of stairs at bis house. No. GO, in Houndsditch.” VIEWS. as well as some of the articles of whicli it was composed. He accordingly commenced one of his adver- tisements with the words, “ At the Riding-school, Westminster Bridge, the grandest exhibition that was ever exhibited in Europe ! As soon as the doors are opened, at 5 o’clock, the Great Room will be superbly illuminated ; in which is placed a most extraordinary, new, pleasing mechanical exhibition, con- sisting of several large Automaton Figures, which are animated to play on German-flutes in a manner beyond conception. Also another Figure, that plays on an instrument resembling a harpsichord ; with a variety of Figures, the work of the greatest masters. The curtain of the above exhibition will ascend at five, and descend at six, o’clock ; at which time a general display of the whole Feats of Activity will be presented, in a manner never attempted before.” As the season of 177G advanced, Astley protracted the hour ofthis part of his exhibition; and in the same year he also brought forward that old feat of strength and dexterity which has been found in China, but which was principally known as being per- formed ^ on a stage supported on boats on the Canal Grande at Venice. It consisted of four men supporting three others on their shoulders, who again supported two more, who in their turn held up one. This exploit was for a long time a very favourite and attractive entertainment in London, and Astley accordingly erected a large representation of it at the south end of his Riding-school, as it is shown in the exterior view annexed: in June 1776, therefore, his advertisement thus notices this per- formance in connection with his mechanical figures: “This evening, at Astley’s Riding-school, West- minster Bridge, will be displayed the grandest performances that were ever exhibited at any public place of entertainment, particularly comic tumbling; and the new pleasing exhibition of the Egyptian Pyramids, or La Force d’Hercule : never seen in England. If the ladies and gentlemen who frequent the above entertainments, will make it convenient to themselves to be there before six o’clock, they will have an opportunity of seeing those grand Pieces of Mechanism which compose Minerva’s Temple, consistino- of various Automaton Figures, &c. far superior to any in Europe: in short. Nature in this exhibition is rivalled by Art!” Another advertisement for September 4th, 1776, will complete the description of Astley’s entertainments for that season, and connect the present notices with the period at which the annexed views were taken. “ This evening, at the Riding-school, Westminster Bridge, a variety of amusements, several of which are taken from the Boulevards of Paris ; particularly many deceptions, experiments, and operations, after the manner of the Sieur Comus. Also the Magical Tables, in four grand changes, with birds, lemons, cards, and watches. The brilliant Temple of Minerva, consisting of various capital Pieces of Mechanism, never exhibited in Mr. Cox’s Museum, will be open for inspection. On the Slack Rope will be exhibited the Roasted Pig. Great variety of new feats of activity on horseback, by Mr. Astley, Mr. Griffin, Mr. Philips, Mrs. Griffin, and the Clown. Mr. Astley will go thiough the different exercise of the broad-sword. Towards the conclusion of the evening’s entertainment, the Grand Saloon will be illuminated with several hundred lights, in imitation of the Colossa at Paris. Likewise lofty Tumbling and Vaulting, in a manner truly entertaining. The Lion and Salmon’s leap, flying over chairs and tables by several capital performers. The Egyptian Pyramids, or La Force d'Hercule, will be displayed with considerable alterations. In short, the entertainments will be exhibited in a most brilliant style.” The Views of Astley’s Riding-school, engraven for this work, represent its appearance a year after the time of the last advertisement, as they are dated in July and September 1777. Beneath each of the original drawings the artist has added some descriptive particulars in writing, according to his usual prac- tice ; with a copy of which the present notices may be appropriately concluded. * Military Reminiscences. By Colonel James Welch. Loud. 1830. 8vo. vol, 3, pages 135, 13C. VIEWS. Exterior View. “ William Capon, del'. July 31, 1777. Pinx' August 1818.’’ In this manner appeared the outside of Philip Astley’s Amphitheatre, on the Surrey side of Westminster Bridge. It was only of upright boarding over a frame-work of timber, and whitewashed. On the outside used to be hung, during the day, painted representations of some of the feats of tumbling and posture-masters. They used to exhibit on a temporary stage erected in the ride before and after the horsemanship. The representations of horses, &c. seen on the top of the building, were painted and cut out to the form required. You ascended from the road five steps, which was to the level of the middle tier of boxes. There was a green curtain, as shewn (at the doorway), where Mr. Astley used to receive the money for entrance. The price to the boxes was two shillings, to the pit one shilling. The white painted posts and rails shown before the building on the side of the road, are a part of those which were put all along the new distri- bution of the roads throughout the whole of St. George’s Fields; and they diverged fromdie Obelisk, as a common centre, to all the then three Bridges. The ground of the Amphitheatre was on the original soil; of course much lower than the present road is.” Interior View. “ William Capon, del'. September 1777. Pinx' Aug* 1818.” The Inside View of Astley’s Amphitheatre, on the Surrey side of Westminster Bridge, as it then appeared, September 1777. The performances were only by day-light, as there was then no fixed stage, but only a temporary one erected in a few minutes on trussels, and platforms for the tumbling, and a few other feats ; and some were on a large carpet or cloth on the ground. The whole area or ride°was covered over with sawdust, for the ease of the horses’ feet. The diameter then was much more than now. It was then sixty feet, and every alteration or rebuilding these Amphitheatres has been accompanied by a con- traction of the area, and an increase of the plot allotted for the stage-performances. After they had covered sta^rc-performances at this place, they gradually increased in excellence, and sometimes in their pantomimes almost equalled the regular theatres. The very remarkable drawings which are thus described, and for the first time exhibited to the public, were copied for the present work by the express permission and condescending courtesy of His Grace the Duke of Buckingham and Chandos. They are contained in that splendid collection of Prints, Drawings, and Original Letters, in the Illustrated copy of the Private Correspondence of Horace Walpole, in the Duke s Library at Stowe ; in which magnificent work the four octavo volumes, published in 1820, are extended into Twenty-three volumes of inlaid text on leaves of elephant folio. Some of the margins are decorated with armorial ensigns : and the places and persons mentioned are illustrated by Portraits, Views, and many hundred Original Letters. The passage at which these representations of Astley’s Amphitheatre are inserted, is contained in a Letter addressed by Horace Walpole to the Earl of Strafford, dated September 12th, 1783, printed in vol. 4, pages 340, 341. “I could find nothing at all to do, and so went to Astjey’s, which indeed was much beyond my expectation. I do not wonder any longer that Darius was chosen king by the instructions he gave to his horse : nor that Caligula made his consul. Astley can make his dance minuets and hornpipesrwhich IS more extraordinary than to make them vote at an election, or act the part of a magistrate, which animals of less capacities can perform as dexterously as a returning officer or a master in chancery. But I shall not have even Astley now. Her majesty, the Queen of France, who has as much taste as Caligula, has sent for the whole dramatis persoruB to Paris.” ° LIBRARY OF THE UNIVERSITY OF ILLINOIS t THE CAMDEN CUP. The annexed engraving represents the Silver-gilt Standing Cup and Cover bequeathed by the celebrated historian, William Camden, Clarencieux King at Arms, to the Worshipful Company of Painter Stainers. Camden’s will is recorded in the Prerogative Court of Canterbury (in the register designated III Swann 3, probate granted November 10, 1623), and it has been printed by Hearne, in his Collection of Curious Discourses, Ox. 1720. After directing the sum of eight pounds to be given ‘ to the poore of that place, (Chislehurst) when it shall please God to call me to his mercie,’ Camden continues—' I bequeath to Sir Foulke Greville, Lord Brooke, Chancellor of the Exchequer, who preferred me gratis to my Office, a peece of plate of tenn pounds ; Item, to the Company of Painter-Stayners of London, to buy them a peece of plate in memoriall of mee, sixteene pounds;’ the inscription upon which is directed to be— “ Guil. Camdenus Clarenceux, filius Sampsonis, Pictoris Londinensis, dono dedit.” This stately and richly-decorated cup and cover is used on Corporation Festivals, in memory of the illustrious donor. In height, it is altogether twenty-three inches and a quarter, the cover only being eight inches and three-quarters ; and the cup, independent of the stand, five inches and a half, its greatest diameter being five inches and a half. The inscription encircles the upper rim of the cup ; and directly under it is an engraved escutcheon of Camden’s arms; Or, a fess engrailed, between six cross crosslets fitchee, Sable. The cover presents an object of much elegance, a richly ornamented open pyramid, based on the heads of birds, the breasts bending gracefully with cartouche ornaments : the pinnacle of the pyramid surmounted by a female figure, the right hand resting on a shield, charged with the same arms as shewn on the side of the cup. The birds heads have apparently a reference to the phoenix heads in the second and third quarters of the armorial ensigns and to the crest of the Company of Painter-Stainers. / !f* \WWi ' 1 r\iWA r ■2 S ?-■ V .i .'■♦if ^ I'i v'.l ..XS ‘ TT^’ i- ♦I'- ' v.'«> ' i ' T'T ,* t -:«r>' ' , .\v<’--i t.'i II ':,‘^|fi ■f..,.. |:, u" .. -- ^ :' ' ■: ’•> !-if •'V 1| i|.(> tiy- fSAnl ^jV'> > ''^1 ' ■' X k'.uP huf'ii J ^ mI I'fpltl .Cl khy ' Uji ‘ ! vj'*' for^V'-'' ■ V»i -yctrc|-clG 0'pfkcTA;?lu>c 0xruitltTtlf'Lacem cjuo deff^hond^ ^rdiuitvcdT tucem ArcmetriG XppeLl^uuzrcj-iuc^ncli^m erTenehr^fn ocx^ jurxum cj-^nefper^exTns^ne diefVmaG i^iTicji^Oi^-d^ jp i^fir^xtnert-cuin mm^ di£>A-c|u*:r‘iUTn- erJtui jArir&^c|uA^rftJ?&u:jatG 0x:f^ dr^r-TTWfftWrrum 0'ui^Eix[ 2,.qu2^f^uxe NnirfiLtfat^rnAmemrct . e^lj^ifqua^e&raoiTrfu perfit^mA-Tnenrum tlt>c».tux d Jf^jfnr^mAmenxumcaueUim C^fTSxxumef^ uefper^eerrrixne- Jieflf^ciinclaf^ p| ^ 9ctra&rocj?r Con^re^enrar^a^quAequAe f ubcjLel o fun rmL>cum unum 6x~.xp p vneacr' pi-crurriq-e tra. 0x:uoGaaj,irdr xriclsLrn conc^re^Arioru^fq-AquAxum ^pelU. mxna- 0xtUc/irclP cjucdBffe-rhoniir^i CT2lit ^ erxninetrre‘rra>-()er^{?Ajnuircmjem e-cfd^ieti (emen 6^^:l^riumpcnntf'eT'umfxcienffh^cTiUm tUpcr»^eniLf(tLumctiiaf(hrtentnfernerrip(oftT^fiiptr' 'Trerrr^m 0xr^Axtxime' tTa^-Orprxm.iti-rrerr.x ^l^"emrem er|xnenxetnfeTneniu>a-A-<^niif'ftmm ti umq- J^cten r^^Wiccum exta^tenfunumquo cfq/ (eman f^undum (peciem.(uS^-^TUidrcdTcJLiodeffh::l>ortijL fWzsnrrq. ^rofp^r^-exTTTar^ Ertonu fJ X: Publvslirt/ b\ llui* fahrt Mn»th Snunnet, J^nult'n Jti^h FAC-SIMILES OF MANUSCRIPTS. Illuminated Drawings of Two Banners attributed to St. Edmund, King of the West Saxons; with Fac-Similes of a Poetical Description of the devices delineated upon them composed by John Lydgate. From a Manuscript of the Fifteenth Century in the Harleian Library in the British Museum. The origin of bearing banners with religious devices, as the national standards of the English army, is most probably to be assigned to a period, when it was the ordinary custom to consecrate the principal ensigns of the host at the altar of a Church previously to an engagement ; or when a peculiar force and efficacy were attributed to the bearing of a sacred emblem. At the Battle of the Standard, in the reign of Stephen, in 1138, the English ensign which gave name to the conflict, consisted of the mast of a ship fixed upon a carriage having four wheels, at the top of which was placed a silver pix containing a consecrated wafer ; and immediately beneath it were suspended three narrow pennons, dedicated to St. Peter, St. John of Beverley, and St. Wilfred of Rippon. The very interesting heraldical poem of the Siege of Caerlaverock in June 1300, which recounts in French verse the blazon displayed by every person capable of bearing a banner in the English army,— states also that King Edward I. had in his own standard three lions of fine gold set on red ; and that there were three other ensigns carried as belonging to the host, namely, the banners of St. George, of St. Edmund King of the West Saxons, and of St. Edward the Confessor: to these was subsequently added another charged with the heraldical device of the Holy Trinity. The same authority likewise adds, that when the fortress of Caerlaverock was captured, the king caused his own banner, with those of St. Edmund, St. George, and St. Edward, to be displayed on high ; and with them, by established right, were the banner of Lord Segrave, who then executed the office of Earl-Marshal, and that of the Earl of Hereford, Constable of the Army, with that also of Lord Clifford, to whom the custody of the castle was committed. It is a remarkable circum- stance that the banners of neither St. Edmund nor of St. Edward appear in any of the paintings of the illuminated Manuscripts in the British Museum ; but there is the contemporaneous evidence of Lydgate and others, that they were borne by Henry V. at the Battle of Agincourt, in 1413, when the national banners carried in the army appear to have been five in number ; that of the Holy Trinity, of St. George, of St. Edmund, of Edward the Confessor, and another charged with the armorial bearings of the Sovereign himself.a It was probably partly from the remembrance that the ensign of St. Edmund had been borne with un- varying prosperity in the French wars of Henry V., that induced the Poet, John Lydgate, to promise it to the young Henry V., his son, for a certain signal of success whenever he should go forth to battle ; for in the verses and illuminations represented in the two Plates annexed, he exhibits the devices of two banners attributed to St. Edmund, and describes the figures wrought upon them, with their history and virtues. The Manuscript in which the poem and paintings are contained, is marked No. 2278 in the Harleian Collection in the British Museum, and consists of a volume written on vellum of a large quarto form, comprising several of the Poems of Lydgate the Monk and Poet of the Abbey of St. Edmund, at Bury in Suffolk. The book is decorated with one hundred and twenty illuminations, with rich initial letters, executed m the best manner of manuscript painting of the early part of the fifteenth century, and the youthful appearance of Henry VI. in two of the pictures, agrees with the period of time at which - The substance of these notices has been derived from a very curious and original paper “ On the Banners used in the English Army,” printed in the Second Series of The Retrospective Review, Part I. volume T. for October, 1827, pages 90-117, by Sir Nicholas Harris Nicolas ; and also from his History of the Battle of Agincourt, and of the Expedition of Henry the Fifth ^nto Prance Second Edition. London, 1832. 8vo. page 115, Notec. An ancient representation of the Standard displayed by Stephen, wDl be found in Roger Twysden’s Histories Anglicanm Scriptores Decern. Lond. 1652. Folio col. 339, 340. FAC-SIMILES OF MANUSCRIPTS. Lydgate translated the principal poem contained in the book, namely, the Life of St. Edmund, from the Latin of Abbo Floriacensis. Lydgate’s own account of the work as inserted in the prologue states “ When I first ’gan on this translation. It was the year by computation, — When Sixte Kerry in his estate royal. With his sceptre of England and of France, — Held at Bury the Feast principal Of Christemas, with full great abundance : And after that listed to have pleasance. As his council ’gan for him to provide. There in this place till Easterne for to abide.” The year thus commemorated, was 1433, at which time Henry was twelve years old ; and a very curious original account of the royal visit, from All Saints day, November 1st, to St. George’s day, April 23rd, 1434— will be found in The Rev. Richard Yates’ Illustration of the Monastic History and Antiquities of the Touon and Abbey of St, Edmund's Bury. London, 1805, quarto, pages 150 154. At the time of the King’s departure a grand mass was performed, with some other religious offices ; after which the Sovereign, with the Duke of Gloucester and certain nobles, was conducted to the Chapter- House, and there admitted a member of the Benedictine Abbey of St. Edmund. It was probably some time during this visit, that the Abbot, William Curteys, directed Lydgate to translate the Latin legend of St. Edmund, contained in the manuscript whence the present plates have been selected, “ in full purpose,” as he states, “ to give it to the king.” The volume was no doubt also illuminated at the same period ; since one of the drawings inserted in it exhibits the presentation of the book to Henry, attended by the conventual fathers and his own court, a and such an offering formed both a rich and most appro- priate gift to the young and royal brother of the Abbey. It may be hence regarded as a very probable circumstance, that the very interesting illuminations with which the volume commences, and which are here engraven, — were faithful representations of two banners dedicated to St. Edmund, actually pre- served at the Abbey, and regarded there as reliques of the highest worth and of a miraculous virtue. The remarkable device delineated on the first, is probably not to be found on any other ancient standard. Lydgate states that it was celebrated for possessing the power of extinguishing fires, and declares that it should be borne in the royal wars as an ensign of success ; for it must be remembered that the carrying of religious standards in the King’s army was always attended with considerable honour and profit to the establishment to which they belonged. b The second banner is of Azure, charged with three ancient crowns, two and one, Or, the original arms borne by the Abbey of St. Edmund until about a century before the dissolution : these were afterwards increased by transfixing each crown with two * A copy of this illumination is engraven in Joseph Strutt’s Regal and Ecclesiastical Antiquities of England. Lond. 1793. 4to. Plate xli. page 81. In this manner was borne the banner of St. Cuthbert in the Scotch wars of Edward I., in 1299 — 1300, by William De Gretham, a Monk of Durham Abbey, where it was kept, the standard being also attended by four men, and divers others who carried it. In the 24th year of Edward I., also, the banner of St. John of Beverley was borne in a similar manner by one of the V icars of Beverley College, the bearer receiving eight pence half-penny per diem for carrying it after the King, and one penny per diem tov bringing it back : and so late as the year 1513, when the Earl of Surrey commanded the English forces in the North. Hall states that he “ appointed ” or arranged the sum to paid to the Prior of Durham “ for Saincte Cutberd’s banner.” FAC-SIMILES OF MANUSCRIPTS. arrows in saltire, Argent, in memory of the manner of St. Edmund’s martyrdom.c It will hence be observed, ,f these conjectures be accurate, that the present illuminations are of great value and interest as being undoubted contemporaneous representations of two ancient Church-banners no longer in existence : and the description of Lydgate connected with them, may be regarded of equal importance rom Its containing the legendary history and interpretation of the ensigns, as received at the Abbey where they were preserved. ^ The writing of this beautiful manuscript, as will be seen by the annexed Fac-Sitniles, is the ordinary Gothtc runntng-hand of the hfteenth century, with few contractions, and having the lyric measures of the stanaas general y tnd.eated by a small and light diagonal line to point out the breathing.place. The character ,s large and distinct, but the following copy of the entire poem descriptive of St Edmund s banners, ts mserted, that the text of the Engravings may be made completely intelligible Plate I. Manuscript folium 2 a. B lyssyd Edmuwd, kyng, martir, and vyrgy'ne, Hadde in thre vertues by grace a souereyn prys {price), e {by) which he vanquysshed al venymes serpenty'ne ; Adam, baserpent, {by a serpent) banysshed fro paradys, Eua {Eva) also, be cause she was nat wys {voise), Eet off an appyl of flesshly fals pleasance ; Which thre figures Edmund by gret auys {great advice) Ear in his baner for a remembrance. Lyk a wys kyng peeplys {peoples) to gouerne, -^y always) vnto reson he gaff the souerevnte ; Figure of Adam wyssly to dyscerne To oppresse in Eua sensualite : A lamb off gold hygh vpon a tree. An heuenly signe, a tokne off most vertu. To declare how that humylite Above alle vertues pleseth most Jhesu. Off Adamys synne was wasshe away the rust ^ Be {by) vertu only off this lambys blood ; The serpentys venym and al flesshly lust Sathan outraied {outwrayed—displayed) ageyn man most wood {mad) Tynie whan {at the time) this lamb was offred on the rood For our redempcion ; to which having reward {regard) This hooly martir, this blyssyd kyng so good. Bar this lamb hiest aloffte in his standard. ^ Notitia Monastica. By Thomas Tanner, D.D. Bishop of St. Asaph Foho. Notes on the Arms of the Monasteries, page xxiii. No. clvi. Edit, by the Rev. James Nasmith. Cambridge, 1787. FAC SIMILES OF MANUSCRIPTS. Folium 2 b. The feeld of gowlys, {field of gules — red) tokne of his suffrance Whan cruel Danys were with hym at werre (war) ; And for a signe off royal suffisance, (sufficiency — completeness) That no vices neuer maad hym erre, The feeld powdryd with many a heuenly sterre (star), And halff cressantis off gold, ful bryht and deer ; And wher that euere he iourneyde, nygh or ferre, Ay in the feeld with hym was this baneer. Which, be influence off our Lord Jhesu, — As it hath be preued (been proved) offte in deede, This hooly Standard hath power and vertu. To stanche fyres, and stoppe flawmys rede (fiames red) By myracle ; and who that lean take heede : God grantyd it hym for a prerogaty ff ; Be cause al heete off lust and flesshly heede Were queynt (quenched) in hym duryng al his lyff. This vertuous Baner shal kepen and conserue (conserve) This lond from enmyes, dauwte ther cruel pryde ; Off Syxte Kerry the noblesse to preserue. It shall be born in werrys be his syde T’ encresse his vertues, Edmund shal been his guyde. By processe t’ enhance his royal lyne. This martir shall by grace for hym provyde To be registred among^he worthy nine. Plate II. Manuscript folium 4 a. T his other Standard, feeld stable off colour Yndea In which off gold been notable crownys thre : he firste tokne in cronyclc men may fynde Grauntyd to him for Royal dignyte ; And the seconde for virgynyte ; For martirdom the thrydde in his suffryng, To these annexyd feyth, hope, and charyte In tokne he was martyr, mayde, and Kyng. • A permanent unfading field of the colour of India or Azure. BAHHIKR ATTRIBUTED TO ST EDMOND KTOO OF THE WE 'IT SASl?^: LIBRARY OF THE UNIVERSITY OF ILLINOIS FAC SIMILES OF MANUSCRIPTS. Fac-Simile of an Original Letter addressed by Titus Otes to The Honourable Charles Howard, son of Henry Frederick Howard, Earl of Arundel. From the Family Archives at Norfolk House. The present very curious document has been most obligingly contributed to this work by The Rev. M. A. Tierney, by whom the contents of the Letter were first introduced to the public in his History and Antiquities of the Castle and Town of Arundel. London, 1834, 8vo. Volume 2, pages 539, 540, Note. The circumstances which caused it to be written are also carefully and perspicuously related in the same authority j and, therefore, the most appropriate illustration which can be attached to the annexed Plate, will be to extract the particulars concerning the Letter from Mr. Tierney’s own account. At the period of the developement of the Popish Plot, in November 1678, an Act passed the two Houses of Parliament, prohibiting the Members of each from sitting or voting in their respective places, until they should have made and subscribed the instrument commonly known as “ the Declaration against Popery ; ’ upon which Henry Howard, Eleventh of the name, Duke of Norfolk, withdrew to Bruges to place himself beyond the reach of the effects of the Bill. A person named Wilcox, an associate of Titus Otes, had made a claim of money on Charles Floward, one of the younger brothers of the Duke, for some pretended service, which was naturally resisted; when Otes, who was evidently to partake of the spoil, was called in to decide the dispute. The terrible power entrusted to this infamous informer, appears to have soon extorted a promise of payment ; and Howard’s only resource was to address himself to the compassion of this new plunderer, entreating that he would “a little consider the wrongs he suffered,” and engaging that he would consent to the decision which should be pronounced. The award was, of course, speedily settled ; but the victim of the conspiracy appears to have faltered in his compliance, and Otes, in the fear of losing the expected prey, addressed him in the following Letter ; a copy of which is also here inserted, printed line for line with the original. S^ • I haue taken paines in yo'' buisness and haue had not any advantage but my labour for my Paines you may haue an occasion to vse me in p’l’t when your cause may come before either Lords or Com’ons or both but if you break yo*' word with mee at this rate you will finde mee but cold in appeareing for you there or in any other occasion I haue done you Justice in this and if you stand not to that award you will finde mee severe in other respects, for in plaine termes I cannot keepe friend’pp with any man that values not his word, and further let mee tell you that your house will not protect you from mee — howeuer if you comply with your word vpon honour to me I will appere Y*’ Affec*®. Ser‘ Titus Otes. June 30th 81 FAC-SIMILES OF MANUSCRIPTS. These thre crownys Kyng Edmund bar certeyn. Whan he was sent be grace of Goddis bond At Geynesburuh (^Oainsborovgli) for to slen Kyng Sweyn ; By which myrade men may vndirstond Delyuered was fro trybut al this lond, Mawgre Danys in fill notable wyse ; For the hooly martyr dissoluyd hath that bond, Set this regioun ageyn in his franchise. JppUcacio. These thre crownys historyaly t’ aplye, By pronostyk notably souereyne,— To Sixte Herry, in flgur signefye How he is born to worthy crownys tweyne Off France and Ingland, lynealy t’ atteyne In this lyff heer ; — ■afterward in lieuene The thrydde crowne to reccyue in certeyne, For his meritis aboue the sterrys seuene. PART VII. C J r Icjoi/h i- dr*^ A3 %a^/cc^ 97 ^ 7 ?^ 7 ?t^ ^ nt( So T^^TTTt'^ ^ 07 ^ (^r ^ i^/> ^ ^k)u^ 4 k^ Qd- ^ a^pd-iinr j OyT^ zfzs^u^ }(U OJt^ f^dZxC^ ^ . L 'lr\ 1/ v^s ^ loi •^ " - (Sdy Tyud/ys^ 7 io i- /tci _ ^24uy /] y. n^ ^ y; fi LIBRARY OF THE UNIVERSITY OF ILLINOIS HEAD-QUARTERS OF PRINCE RUPERT, AT EVERTON, During the Siege of Liverpool, in 1644 . -d -f-hecl his armv of CollerMor l^T^’ P-dament had a strong garrison under the comtnank to his I • ^ ^ ; and finding on his approach to the town, the high ground near it favourable design, compared it to a crow’s nest, probably imagining it would be taken with as little difficulty • but the resistance he met with, induced him to declare it was more like an eagle's nest, or a den of lions. ’ reducf'" T" the view exhibits his head-quarters from that time till the leduction of the place. His main camp was established round the beacon, about a mile from the town and IS officers were placed in the adjoining villages, from whence a detachment marched everyday beino- re leved every twenty-four hours, to open trenches and erect batteries. From these advances Prince Ruper“t requently attacked the besieged and their works in the way of storm, but was constantly repulsed with great aughter of his men. ^ At length. Colonel More finding the town must of necessity surrender, and desiroL of ingratiating himself with the Prince, for the preservation of his house and effects at Bank-hall, gave such order for his soldiers to retire, that the works on the enemy’s side were abandoned, and the royalisfs entered «t"tb ^ the morning of June 26, putting to the sword all they met with, till they arrived at the High Cross, which then stood on the site where the Exchange now stands. Here the soldiers of the Castle, drawn up in line, beat a parley, and demanded quarter, which, on their submitting as prisoners of war and surrendering the Castle to the Prince was granted. The soldiers were then sent to the tower, St fhettr ^ Parliament-army, soon after the siege, repossessed thembelves of the Castle, and appointed Col. Birch as governor. ' i ^ ■ .V»! fj f- » - ^ £- '■ ■' . ■ /, / 7^ m: ifi .r -4 ■ ’ " '■ ^•'’ '*'^'J 2 yi-- a^‘ • -21 ^ras., •'»Hi .- *' ^‘ ,^|l‘^.. 1 « 4 '.i* * ‘ « '• ' > v’ 4 J . vi: ;a. Iftf 1 s 3 • . *'^ / '’!»y|^ ..I l! K > J, «. ^ .■, .f ' * . ■ h I ii?*.4l f _ - • : f " -ifl p-.'l ’ ’ 'Tj f ** ’• * 'mJ' ■ ■ ■'' r .f,' .* .. ,^ >, . ■ ii.‘ii -. ‘ 'VI »* « > 1 !^. U 1 ^ r> . -^.■' ■ -*f ■ ' ' ‘ •■ f •■''f* ^.^^ y«-. , ; .. . t 'i ‘' ■’•I ■ «'»iW^i' *' * ■’"''! Mit 'i >: h rtpr __ '* , "f *& •' - * ''•* -■■“4 Jifl " r i|. •Mpfr-i 4 *:\r . 1 ' '# •tJ' " '-.’^ ' ./j» ,^ .‘ 'I ,■ ''■• . -^ ■* * u- 4> ' •/ |to« V, .^naF , 1 . ? .', A. ( . -I ,»«V‘- I ■ . -‘ii,, ;. ^■^’r'.v • *4| * *’ i it 4 ;.y ,; v r ' '^\f <4k' ' “" ’ " y'**'' x.'> * f'j ' -a •A-.o. j «4 •* rCti^^V ’ C;t . » . Vii' \jl : '.' .1 THOMSON THE POET’S ALCOVE. Thomson lived and died in a small cottage, now part of Rosedale House, the residence of the Earl ot Shaftesbury, in Kew-foot Lane, in the vicinity of Richmond ; and at the lower end of the garden had an arbour or alcove, where, according to the relation of William Taylor, his barber, he used to write during the summer months. He added, — “ I have known him lie along by himself upon the grass near it, and talk away as though three or four people were along with him.” An amusing little work, by the late Dr. Evans of Islington, entitled “ Richmond and its Vicinity,” after mentioning the enlargement of Rosedale House, thus describes the alcove, where the poet is said to have listened by the hour to the song of the nightingale in Richmond Gardens “Stepping into the garden, you are conducted by a neat gravel walk through a serpentine avenue of shady trees to an alcove painted green, on whose front are these words — ' Here Thomson sung the seasons, and their change. The table formerly belonging to Thomson, and on which he is said to have completed the Seasons, being old and decayed, is placed in the summer-house, and its place in the alcove is supplied by one of rusticVorm; and on aboard, suspended over the back seat is the annexed memorial. “ Within this pleasing retirement, allured by the music of the nightingale, which warbled in soft unison to the melody of his soul in unaffected cheerfulness, and genial though simple elegance, lived James Thomson. Sensibly alive to all the beauties of nature, he painted their images as they rose in review, and poured the whole profusion of them into his inimitable Seasons. Warmed with intense devotion to the Sovereign of the Universe, its flame glowing through all his compositions, animated with unbounded benevolence, with the tenderest social sensibility, he never gave one moment’s pain to any of his fellow-creatures, save by his death, which happened at this place, on the 27th of August, 1748.” Itr THE BIRTH-PLACE OF THE REV. JAMES HERVEY, A.M. Hardingston, near Northampton, Hardingston became the residence of the family of Hervey, formerly spelled Harvey, towards the close / , of the sixteenth century. Stephen Hervey, of Cotton, in Hardingston, auditor of the Duchy of Lancaster, who , died Nov. 8, 1606, and was buried at Hardingston, was the first of the family who settled in Northampton- ’i shire, fi-om Bletchworth in Surrey. Others of the family followed, as Sir Francis Hervey, Judge of Common Pleas, who died Aug. 2, 1632; and his son, Francis Hervey, Esq. M.P. for Northampton in 1660 and 1661, I and great-grandfather of the author of the Meditations, were also buried there. | The rural budding here depicted, now a farm-house, situated within a short distance of the village, was | ' the birth-place of ‘the famed celestial meditant,’ James Hervey, and there on Feb. 26, 1713-14, he ‘first i|. I burst upon the world.’ The register of the Church of Hardingston, whose embattled tower is seen in the ' 'j| j distance of this pleasing sketch, records his baptism in these words: — “James, son of William Hervey, jj' Rector of Collingtree, was baptized March 7, 1713 and here his mother, the first person in the village of | ' I Hardingston who displayed a tea equipage, and, to use the elegant phraseology of her son, ‘steeped the , delicately-flavoured Chinese leaf,’ taught him the rudiments of his education, and advanced him till he i i j was capable of reading, when he was sent at the age of seven years, as a day-scholar, to the Free Grammar ‘ j School in Gold-street, Northampton. From this house, in his seventeenth year, he set out for Lincoln j, j | College, Oxford, and here his father, the Rev. William Hervey, died on May 8, 1752. i I /' ! I ( Subsequently the Residence of George Steevens, Esq. The Upper Flask, formerly a place of public entertainment, situated near the summit of Hamnstead bill »I.e„ Hampstead Walls d,w .any visUoss fro™ London, .as .he rendezvous of Popl S.fe^'Ild o'Z’ mem ers of the oelebratcd Ku-Cat cinb, during Ihe summer months. Richardson also refers to its popu- Wilh’the ly Clarissa, after one of her escapes from lovelaL w.th the deel.ne of the attracuons of the amusements a. Hampstead, the business of the house appears also to have ceased and the Tavern became a private residence, and here the distinguished Shakespelian ed,,or George Steevens, passed nearly thirty years of his life, in unvisitable retirement, seldom mLing in oc.ety, beyond h.s calls at booksellers’ shops, the Shakespeare-gallery, or the Morning Con^ermzmne of Sir Joseph Banks. Here rtch tn rare books and prints, he expended upwards of tw“o thousand pounds in embellishments of the house and grounds, which presented a coup d’mil of surprising beauty and*^le«-ance Steevens who had studied the age of Shakespeare, and possessed that knowledge which pre-eminently quali’ the Hampstead patrole, proceeding, without any consideration of the weather or season to Lll „n ,f compositor, and awaken his devils, for the sheet requiring correction, which he usTa ; read I; he 1 le r I"" ^ toil greatly accelerating the pointing of thetoH , while the printers slept, the editor was awake. Steevens died a. this house, jl 22 1800 1 ! I I. f ill lyir'iii I GARRICK’S CUP, CARVED FROM SHAKSPEARe’s MULBERRY TREE. Tuis celebrated Shakspearian relic was presented to David Garrick by the Mayor and Corporation of Stra^ord-upon-Avon, in September, 1769, at the Jubilee which he instituted in honour of his favourite Bard It measures about 11 inches in height. The tree from which it is carved was planted by Shakspeare’s own hand m the year 1609. and after having stood 147 years, was, in an evil hour, and when at its full growth and remarkably large, cut down, and cleft to pieces for fire-wood, by order of the Rev. Francis Gastrell to whom it had become an object of dislike, from its subjecting him to the frequent importunities of travellers. Fortunately, the greater part of it fell into the possession of Mr. Thomas Sharp, a watch- maker of Stratford, who, “out of sincere veneration” for the memory of its immortal planter, and well knowing the value the world set upon it, converted the fragments to uses widely differing from that to which they had been so sacrilegiously condemned. Garrick held this cup in his hand at the Jubilee while he sung the beautiful and well known air which he had composed for the occasion, beginning Behold this fair goblet, ’twas carved from the tree. Which, O my sweet Shakspeare, was planted by thee ; As a relic I kiss it, and bow at the shrine. What comes from thy hand must be ever divine ! All shall yield to the Mulberry tree. Bend to thee, Blest Mulberry, Matchless was he Who planted thee, And thou like him immortal be !” After the death of his widow, the cup was, by a decree of Chancery, sold at Christie’s Auction oou|^. King Street, St. James , on the 5th May, 1825, and purchased by Mr. J. Johnson, of Southampton Street, Covent Garden, who now offers it for sale at two hundred guineas. ^ I 4 i *• ■' f f. t, \ -~^ t is , |»S^‘ I*:.- “-(I. ^ « 4 '*-. ,c /<■ * iMt ;v -^i ^ 1* . „ , • , ,;c frlX ■ vr A v*n . J v*”^ UM#rft .i^ ^ J -j-^y 7^;^' ff' t tr.'i |» “ l I i/, Mk' \ . 1 T i'*''-"*’ ^ s*'' .-•<«^vV.''' xf t ^ .: ? ..(.'V-j. ' V .. . ■' * -.'.'v- /' *• t ff k.' ■'■• a^! .. lij? 4 =5 Iff tin » 1^3 f ^ ■ .ifSt"»'.i' . T ~^.-.f ii»* •*..■ -' ■ .,•♦,'1 1 '■v: i.- f > vs a;’^ ‘ MJifv A'- 7 ^ Vv ^-1 • ■ ' * \i V . V ■'• tji S 3 ?iv£ '* 4 ' ■■ ■'^■ ip 6 w^: • ' ■' ' ftw] H-. rt- 'i -_ ' * A r k;.' Jf* WM 1.1 r'« 7 - . •ilt ^ ; ' f if4» 4 -r i't.‘ li.^i T ^ ^ 3 ;v ■ MILL AT BANNOCKBURN, IN WHICH JAMES III. OF SCOTLAND WAS KILLED. James III. of Scotland inherited little of that talent for which the Stuart family were so remarkable. Living at a time when the crown was overawed by a bold and powerful nobility, and when it would have required both wisdom and resolution to have maintained his prerogative, he sunk into indolence, or devoted himself to accomplishments, which, however elegant, ought never to have superseded the duties of a Sove- reign. He had the same inclination to humble the aristocracy as his predecessors, but shewed an excessive ignorance of human nature in the means which he adopted to effect his object. By submitting himself to the guidance of a few favourites, whom the Scottish historians, partaking somewhat of the indignation of the nobles, describe as meaner than they really were, and by taking every opportunity of insulting the barons, he incensed the whole order, and ultimately fell a victim to their revenge. His two brothers, Alexander, Duke of Albany, and John, Earl of Mar, whom he had treated with like contempt, joined the malcontents and conspired against him. They were both thrown into prison, where the latter is said by some of the Scottish historians to have been murdered by his command, but the former escaped to England, where he con- cluded a treaty with Edward IV., the object of which was, to deprive James of his crown, and seat himself on the throne. Having basely agreed to sacrifice the independence of his native country, should his rebellion succeed, he approached Scotland with the army under the command of the Duke of Gloucester. James now began to feel the effects of his mistaken policy, for though he was followed to the borders by a powerful army raised by his nobility, he had no confidence in it, and was subjected to the ignominy of having his unfortunate favourites torn from him, and hanged over the bridge of Lauder, with military but barbarous dispatch. He dismissed his army, and retired to Edinburgh Castle. A reconciliation took place with Albany, which however did not last long, for the latter again rebelled, and openly raised his standard at his castle at Dunbar, where he was joined by a great number of Barons. Had it not been for the death of Edward IV. this second attempt would probably have been successful, but despairing of aid from England, he retired to France. James, whose infatuation no experience could overcome, became still fonder of retire- ment, heaped new insults on the nobility, established a standing guard, and forbade anyone to appear in arms within the precincts of the court. The principal nobles, particularly those of the south, again took arms, “ and having persuaded, or obliged the Duke of Rothesay, the King’s eldest son, a youth of fifteen, to set himself at their head, they openly declared their intention of depriving James of a crown, of which he had discovered himself to be so unworthy.” A battle took jjlace near the town of Bannockburn, (though it is generally called the field of Stirling, or the battle of Sauchie-burn,) before the arrival of an army from the north, which was coming to his assistance, and the adherents of James were defeated. It is impossible to ascertain exactly what part his son, the Duke of Rothesay, took in the transaction ; whether he was forced to join the rebels, or approved of their proceedings; but from the remorse which he afterwards expressed for his conduct on this occasion, it is but too probable that he participated to a certain degree in their views. He even wore an iron belt, which he yearly increased in weight, as a penance, to the last hour of his life. Before the battle which proved fatal to his father, he issued orders that none should attempt the King’s life, and was inconsolable when he heard of his death. As Lindsay of Pitscottie, a contemporary writer, and an author of considerable weight in Scottish history, gives the most detailed account of James’s death, and as it is very characteristic, it is here inserted. “ But, at last, the thieves of Anandale came in shouting and crying, and feared the King so, (having no practice in war,) that he took purpose and ran his way, and thought to win the town of Stirling : but he spurred his horse at the flight-speed, coming through the town of Bannockburn. A woman seeing a man coming fast upon his horse, she standing in a slonk bringing home water, she ran fast away, and left the pig behind her ; so the King’s horse, seeing this, lap over the burn and slonk of free-will, but the King was evil-sitting, and fell off his horse at the mill-door of Bannockburn, and was so bruised with the fall, and weight of his harness, that he fell in swoon; and the miller and his wife haled him out of it into the mill, not knowing what he was, but cast him in a nuik, and covered him with a cloth. But at last, when all the host was passing by, and the enemies returned again, the King overcame lying in the mill, and cried if there was any priest there to make his confession. The miller and his wife hearing these words, required of him, what man he was, and what his name was. He happened out unluckily, and said, “ I was your King this day at morn.” Then the miller’s wife clapt her hands, and ran forth, and cried for a priest to the King. In the mean time a priest was coming by, (some say it was the Lord Gray’s servant,) and he answered, ‘ Here am I, a priest j where is the King.’ Then the miller’s wife took the priest by the hand, and led him into the mill where the King lay ; as soon as the said priest saw the King, he knew him incontinent, and kneeled down upon his knee, and spiered at the King’s grace, if he might live, if he had good leiching, who answered him, and said, ‘ He trowed he might, but desired a priest to take his advise, and give him the sacrament.’ The priest answered and said, ‘ that I shall do hastily and pulled out a whinger, and gave him four or five strokes, even into the heart, and then got him on his back and went away. But no man wist what he did with him, or where he yearded him ; for no wit was gotten of him, or of his dead, nor yet who slew him a month after.” ’ ^ Buchanan names other assassins, but as he is not supported by authority, and as he, of all the Scot- tish historians, scarcely excepting even Hector Boece, is the most prejudiced and inaccurate, it is considered unnecessary to pay any regard to his account. The view of the mill is taken from the south, close to the Bannockburn, and shews the road by which the mg was approaching from the north. The well at which the woman was standing, still exists by the side of the road, and as the ground rises behind it, she could not have seen the King till he was close upon her. The only part of the ancient mill, which now exists is the east gable, but there is every appearance of that portion being of the time in question, and of the then building having been a mill. In short, time has altered the objects so little, that if we suppose the present house to have been built on the foundations of the ancient one, the scene is now in all probability almost exactly the same as it was in the year 1488 . ■rv». •r '^■; J' v . *- ••/•'-■ ; ■.'•^{\r^’ -■*• V* ' ::■ fiH ‘-‘v.^W«f 5 fPI 'A;.* •'• ■» 'i'vl'V ym- ', .1 I •.•%!' >JV/^ . fl ? »»«.'5l*f' /I *'^,'i -V <.•,>! *iia.) lr.j> tfK'j . ■» ■<*>''^‘‘'flB *flil» . •■’♦A i.'J 1'^‘fl I'b-Ii* .' ‘t *' 1^/; A^t ,»•.. ■^W'- ^ •ru-^ *'.. ‘M. ^ , * ■ iij^ ' * '.ii,- •z;-# - .A M ■# 4- fM ' t ri< •../Vi'.:... J iVJJi . ' • '^'4 ■->?.' ■•_•'* ■•<{' 5 *.- ,.>W* .V. ,w., •,j !i,%{,il .. ‘;..^%1^« '*• ■■' ■ ' - * 'dj J- . .•' * ' ’ '•* ■■^i'*.*.' ■ - '**■" ^5T''’’fc '* ‘ * . v' .t|.l * “. ■'..- .rh] ., V v%. . i .y, ■ .Mf.:: » V ,, * 'li'. 'fc?' 1-' ; ■ ,tt ,..f4 J >,ff. iJj, I ■ • ^. . .. . ■ •» .,..i -f'r.. imF ': -.1 £ , m- . ■ />' *• ) ‘f,. ‘*i . \ ' ?<«\S ti ' r N, y y 'y» ■'■•.,■ \i i- ■y Dftwi - *. ..if-.- -Jiyt i. - 'f* ;:■■ ^ *v -1 V ti*« ' T- wl J *1 r-^ i$ ' !>.•*- t ' r 'i '■-* • r?, "v,U Jf'- ?SfRi i 1 ' ' -J,J* )'♦ - ^,*-_* ■nvii sl>-.<,. t/ .»*■■’■ v.'.al tr ft '.. •'•> ,:it ■ . r?- |r >' V‘ . »il^‘ ■~. *i r -j I ' ii; ■ J||jB f ■' t * V, • ■;■ ‘t*' ;« _« . . I 4aV1 •- .m* _jy J,t> . ,^,. '■ ,(V **' 1) ■' t«< ,i i-.'uit;^ 'f, Jlf - B ^1 V ■.i,.'*rt;. •, -«A»} I - fiJ" ,J.. o ■> '. •iVV’.n 't c; •; ft .»ttr,,(t ■"ihum'mf: ■ O' » J i^*; • , T 17 *'> . . ’•'•■I t Ii■ -,■^. ^iJ^, <‘-»-,Vi> ■ ',■*'•■■■;'. • >. , ! •»?< -l;,yT,.)|^^.,*f ■»?:» r: - - ■ / ■ ' •''• ' "' ’ ■••’' -|* •'/fV , ..1 ~ j i-i .'u hn> ■' ' - :> '■' W‘‘^ f- ■■'■ ' ■ ■ < 4 * ' ^ , ^*i'W »v 7 ‘ 1 ' • ' -. Vi^r >./ i 1 £JB^. ■■•4 .;. ^ if* "■ ■■" « vrtT , \.t -.’ ■♦- ' 1- .' - s ' *7^ ‘ • -' ■ ■HI-' f'i ■ td «*■• ' 4 * , T - Jl* « - ' '^■ i ■»! # 4 b '4 ■Ji ijr.-s ; |b^ . «.■’ ri LOCHLEVEN CASTLE, THE PRISON OF MARY QUEEN OF SCOTS. Lochleven a name which is never pronounced in Scotland without exciting emotions of deep interest, IS now mamly worthy of attention on account of the island fortress, the prison, in 1567, of the ill-fated Mary, Queen of Scots. ^ The Castle of Lochleven is situated on an island of about two acres, near the north-west extremity of the lake, and directly opposite to the point of the promontory, on which was, till something more than a century since, an ancient stronghold, called Kinross, long the residence of the Earls of Morton. Mary, when she dismissed Bothwell on Carberry-hill, and joined the insurgents, on the 15th of June, was carried captive into Edinburgh, and on the following day committed prisoner to Lochleven Castle. On the 25th of March, 1567-8, she attempted to escape from thence in the disguise of a laundress, and had well nigh effected her purpose, assisted by George Douglas, the youngest brother of William Douglas of Lochleven, the Queen’s gaoler, as well as half-brother of the Regent Murray ; but being detected, George Douglas was turned out of the castle and island. He however had conceived the design of liberating the Queen, and was not so easily to be driven from his purpose ; but having gained in her interests William Douglas, an orphan boy, who had been brought up in the castle, and then under eighteen years of age, sly and silent, enterprising and persevering, they effected her escape in the following manner. On Sunday , May 2, 1568, while the family were at supper, at seven in the evening, the boy William Douglas contrived to secure the keys of the castle, and gave egress to the Queen and her maid from the stronghold, and locking the gates behind them to prevent pursuit, he placed the fugitives in a small boat that lay near at hand, and rowed them to the appointed landing place, called Balbinny, on the south side of the lake, where George Douglas, her old and faithful servant John Betoun, and a few others devoted to her cause were waiting, and knowing from an appointed signal that the Queen was on board the boat, gave notice to Lord Seaton and James Hamilton of Orbieston, who approached with their followers. The Queen and her maid were speedily mounted on horseback, and conducted across the moors to the Ferry, to Lord Seaton’s house, Niddry Castle, in West Lothian, where she staid a few hours during the night, and early on the morrow arrived at Hamilton Palace, fifty miles from the place of her late confinement. Lochleven Castle, now dismantled and partly in ruin, consists of one square tower, not very massive, although five stories in height; a square barbican wall, and a minor tower at the south corner of the court yard. The main tower was unroofed soon after the time of Sir William Bruce, aftd reduced to its present desolate condition. The drawbridge, which originally communicated with a door in the third story by means of a structure raised in the eastern part of the coart yard, having shared the fate of the roof, there is now no proper access to the castle; but it is, nevertheless, possible to clamber up through a window into the second fiat. Mary’s apartments are affirmed by popular tradition to have been on the fourth story, where a small recess or embrasure is shewn, said to have constituted all her accommodations in the way of bed- room. As the whole internal space of the tower is only about twenty feet square, it is not probable that the Queen was consoled in her captivity by many of the conveniences or elegancies of life. WALLACE’S NOOK, ABERDEEN. At the junction of two narrow streets in Aberdeen, sufficiently picturesque, is Wallace’s Nook, so designated from a statue of the warrior (the sword in his left hand) having been placed there, but when or by whom is not known. Popular tradition ascribes its erection to the gratitude of the citizens to Wallace for having prevented Edward the First from burning that part of the town; but for this there is no authority. Amid the events which emanated from the invasion of Scotland by Edward the First, and the dethrone- ment of John Baliol, Wallace appeared, in 1297, as the champion of Scotland, and assuming to himself the title of Governor of the Kingdom, made great efforts to rescue his country from subjugation by the English. He raised an army in its defence; and in his progress northward took the castle of Dunnotter, then occupied by Edward’s forces, by storm, and put the garrison to the sword. After this enterprise he marched to the re le of Aberdeen, but the English, on intelligence of his approach, plundered and set the town on fire ; and leaving a strong garrison in the fortress, embarked on board their fleet. Wallace, on his arrival, besieged the castle, but was unable, to atchieve its capture by assault. The townsmen, awed probably by the vengeance of Edward’s soldiers, and fearing worse disasters as the result of the failure of Wallace’s endeavours, appear to have withheld their co-operation in the siege; and, as Fordun mentions, he at this time hanged many 0 / the inhabitants on gibbets in the vicinity of the town. Wallace, at length, finding all his efforts unavailing raised the blockade, and retired with his forces into Angus; but only to encounter severe reverses of fortune’ He was soon after betrayed to the English by Sir John Monteith, and conducted as a prisoner to London where he was tried and condemned as a traitor, and hanged in Smithfield, toward the close of the year 1305 His body, according to the usual ruthless policy of the age. was quartered, and one of his mangled limbs sent to Aberdeen for exposure, as an intimidation to his partisans in that part of the country. The origin of the distinction of Wallace’s Nook evidently arose from some incident connected with these events; but which the lapse of time has enshrouded in almost impenetrable obscurity. It may have been the spot, where the portion of his body sent to Aberdeen, was exposed. In the distance is represented the church of St. Nicholas, erected on the site of the old church according to a design and plan of the celebrated architect, James Gibbs, a native of Aberdeen ; and, with much gene rosity, gratuitously presented by him to the magistrates of that great and opulent city. The present edifice was opened for divine service November 9, 1755 ; but the great steeple, and the centre, of an octagonal form constructed of oak and covered with lead, is of a date long antecedent to the Reformation. s -i- * ^ ^ 4 ) '. A A''. ^ 'u »'■*, .A-*" ih'»/.,,'''j ■^. ■'*• •'' —ijilj' ■; j;;}*''"*^*! ■ ;-^ ' i .'Jrt 6? '-^ '" -'•«(!> v*-» *•> ' i-v _ •" - ,^. -m .ti** y it;' ' "' ’• ''♦■•lp 1 B)^ 1 ^l^,'^^y/^ ■.» .> j, j 4 ; 'iff *• •'fulfil ’ ' -Vi ' .V. ' i; 1 ^|^*&’t!'''»n. >t-»n'*;'-il ’•[r:ur|i yjsi>, '* »■ ■..'^'■'r^i i<"l ^ ■■^'' * *1 '-•-•*■’ ». ’” . ' *-• ■-> ' ;. Jj'lt .> y • t ’■ ■ .,1 Vig>»i( ■” ■* 4 ^ 0 I.'*T _ ’ ■ •"'■ -.f'. ■.■^ '■■ ■ ‘^ ; ' ‘,‘VW ^ " “^H'^ ; (Ifrrt/f rsf.v *L : -■ ' f .^,«,y;;VWv ■ V <> -‘■■'•(r4>*«'«i‘;'-V^- rt'-xVf ^ -f ir • / , >1 j} r:»V ♦rnrii ; n-: lllk ’ 1 ’ >'. .- ■■‘\ii/i','rli^i«' ‘ 1 ^- •'■•; - ' f?V IrTt /•.^ill 'Jc^' '•' ■'■•jB ■■ , •}''?(i|^,?^ - • • '■•'■‘-"I' .. *.ijNv< .:« _ . ;■ j( It'' ‘ - 1*14 • ., Aa ’ . K ' * • riC'-.a a : ill '■ '>1 i: . :Si ... H ■*• .i.'J }iim iijjjA jj _ ririiiul THE GRAVES OF BESSY BELL AND MARY GRAY. The fate of Bessy Bell and Mary Gray is one of those romantic incidents which have frequently afforded interesting subjects for the Scottish Muse. There has been handed down to the present day, among the Peasantry of Scotland, a large collection of Ballad Poetry not to be surpassed by the Legendary lore of any other country. Many of them seem to have been composed at the time when the incidents which they describe, happened— some are very ancient ; but the major part are probably of the 16 th and beginning of the 17 th centuries. The constant feuds and state of warfare which existed in the English Border inspired the poet and musician as much as the warrior— hence the banks of the Tweed, the Ettrick, and the Yarrow, are one continued scene of classic ground. During those turbulent times the muses were nursed in the lap of heroism. When the mind is long excited in any one direction, the general habits of thinking and feeling become sympathetically affected. It is not difficult to imagine the same race of men engaged one day in all the adventurous circumstances of a predatory life; and the next, indulging in pastoral leisure and comparative security. It was in such peaceful intervals that the warrior-shepherds probably composed those spirit-stirring songs and melodies that bring so many delightful associations into the minds of the Scottish Peasantry. But though a large portion of their old Ballads were the production of the Border Minstrels; the taste which dictated them pervaded more or less the whole of Scotland. Of this the song of Bessy Bell and Mary Gray is an instance. The little that is known of their pathetic history is as follows : Their parents were neighbours : the father of the former being Laird of Kinvaid, that of the latter was Laird of Lynedoch. Both places are within a few miles of Perth, Bessy and Mary were of great beauty, and so strictly united in friendship, that even personal jealousy could not interrupt their union. They were visited by a handsome and agreeable young man, who was acceptable to them both, but so captivated with their charms, that while confident of a preference on the part of either, he was unable to make a choice between them. While this singular situation of the three persons of the tale continued, the breaking out of the plague forced the two ladies to take refuge in the beautiful valley of Lynedoch, in a sequestered spot called Burn Braes, about three-quarters of a mile west of the house of Lynedoch, (now the residence of the gallant veteran Lord of that name), where they built themselves a bower, in order to avoid human intercourse and the danger of infection. The two friends remained in their retreat for some time, and, as Pennant remarks, without jealousy. The lover was not included in their renunciation of society. He visited their retirement, brought with him the fatal disease, and unable to return to Perth, which was his usual residence, was nursed by the fair friends with all the tenderness of affection. He died, however, having first communicated the infection to his lovely attendants. They followed him to the grave, lovely in their lives, and undivided in their death. Their burial place, in the vicinity of the bower which they built, is still visible, in the romantic vicinity of Lord Lynedoch’s mansion, and prolongs the memory of female friendship, which even rivalry could not dissolve. Two stanzas of the original ballad alone survive : — “ Bessie Bell and Mary Gray, They were twa bonnie lasses ; They bigged a bower on yon burn-brae. And theekit it ower w’ rashes. * * ^ They wadna rest in Methvin kirk, Amang their gentle kin ; But they wad lie in Lednoch braes. To beek against the sun.” Allan Ramsay, in the additional stanzas which he composed, has introduced various images from Heathen Mythology, (Phoebus, Thetis, Pallas, and Jove!) which but ill accord with the simplicity of the original. A MEMENTO-MORI WATCH, PRESENTED BY MARY STUART, QUEEN OF SCOTS, TO HER MAID OF HONOUR MARY SETOUN. This curious and interesting relic is now in the possession of Sir Thomas Dick Fountain Hall, Baronet, who inherited it through the Seaton Famil}', from which he been given by Queen Mary to Mary Seaton, of the house of Wintoun, one of the who were Maids of Honour to her Majesty. “ Yestreen the Queen had four Maries, The night she’ll hae but three ; There was Marie Seaton, and Marie Beaton, And Marie Carmichael and me.” See Scott’s Minstrelsy, “ The Queen's Marie." The drawing from which the present plate was engraved was made by the late Mr. Hugh Irvine, son of Mr. Irvine of Drum in Aberdeenshire. The watch is of silver, in the form of a skull, and of the size represented in the plate. On the forehead of the skull is the figure of Death with his scythe and sand-glass ; he stands between a palace on the one hand, and a cottage on the other, with his toes applied equally to the door of each, and around this is the legend from Horace, “ Pallida mors aequo pulsat pede pauperum tabernas Regumque turres.” On the opposite, or posterior part of the skull, is a representation of Time, devouring all things. He also has a scythe, and near him is the serpent with its tail in its mouth, being an emblem of eternity ; this is surrounded by another legend from Horace, “Tempus edax rerum tuque invidiosa vetustas.” The upper part of the skull is divided into two compartments: on one is represented our first parents in the garden of Eden attended by some of the animals, with the motto, “Peccando perditionem miseriam aeternam posteris meruere.” The opposite compartment is filled with the subject of the salvation of lost man by the crucifixion of our Saviour, who is represented as suffering between the two thieves, whilst the Marys are in adoration below ; the motto to this is “ Sic justitiae satisfecit, mortem superavit, salutem comparavit. ’ Running below these compartments on both sides, there is an open work of about an inch in width, to permit the sound to come more freely out when the watch strikes. This is formed of emblems belonging to the crucifixion, scourges of various kinds, swords, the flaggon and cup of the Eucharist, the cross, pincers, lantern used in the garden, spears of different kinds, and one with the sponge on its point, thongs, ladder, the coat without seam, and the dice that were thrown for it, the hammer and nails, and the crown of thorns. Under all these is the motto, “ Scala coeli ad gloriam via.” The watch is opened by reversing the skull, and placing the upper part of it in the hollow of the hand, and then lifting the under jaw which rises on a hinge. Inside, on tlie plate, which thus may be called the lid, is a representation of the Holy Family in the stable, with the infant Jesus laid in the manger, and angels ministering to him ; in the upper part an angel is seen descending with a scroll on which is written, “ Gloria excelsis Deo, et in terra pax hominibus bonse volu In the distance are the shepherds with their flocks, and one of the men is in the act of performing on a cornemuse. The works of the watch occupy the position of the brains in the skull itself, the dial plate being on a fiat where the roof of the mouth and the parts behind it under the base of the brain, are to be found in the real subject. The dial plate is of silver, and it is fixed within a golden circle richly carved in a scroll pattern. The hours are marked in large Roman letters, and within them is the figure of Saturn devouring his children, with this relative legend round the outer rim of the flat, “Sicut meis sic et omnibus idem.” Lifting up the body of the works on the hinges by which they are attached, they are found to be won- derfully entire. There is no date, but the maker’s name with the place of manufacture, “ Moyse, Blois,” are distinctly engraven. Blois was the place where it is believed that watches were first made, and this Lauder, of Grange and is descended; it having four celebrated Maries, suggests the probability of the opinion that the watch was expressly ordered by Queen Mary at Blois, when she went there with her husband, the Dauphin, previous to his death. The watch appears to have been originally constructed with catgut, instead of the chain which it now has, which must have been a more modern addition. It is now in perfect order, and performs wonderfully well, though it requires to be wound up within twenty-six hours to keep it going with tolerable accuracy. A large silver bell, of very musical sound, fills the entire hollow of the skull, and receives the works within it, when the watch is shut : a small hammer set in motion by a separate escapement, strikes the hours on it. This very curious relic must have been intended to occupy a stationary place on a prie-dieux, or small altar in a private oratory, for its weight is much too great to have admitted of its having been carried in any way attached to the person. When Queen Mary, after her disastrous defeat at Langside, fled into England, and was conducted to the castle of Carlisle, May 18, 1558, ‘ Marie Seaton’ is mentioned in the list of persons in attendance on her at that eventful period. Sir Francis Knollys, in a letter to Secretary Cecil, dated “Carlyll, 28 June, 1568, at mydnight,” in reference to the servants in waiting on the Scottish Queen, says— “Nowe, here, are six wayting women, althoe none of reputacion but Mystress Marye Ceaton, whoe is praysed by this Q. to be the fynest busker, that is to say, the fynest dresser of a woman’s heade and heare that is to be seen in any countrye, whereof we have seen divers experiences since her comyng hether, and among other pretie devyce, yesterday, and this day, she did sett sitche a curled heare upon the Queen, that was said to be a perewyke that shoed very delycately, and every other day hightherto she hath a newe devyce of heade dressyng without any coste, and yett setteth forthe a woman gaylie well.” “ M’rez Setoun,” is also in the Queen of Scots’ “ cheker-rolle” of the persons constituting her household, rendered by Beaton, her master of the household, May 4, 1571, to the Earl of Shrewsbury, under whose surveillance the Queen was then placed. Mary, Queen of Scots, after supper on the evening of February 7, 1586-7, the day previous to her execution at Fotheringay Castle, perused her will, read over the inventory of her goods and jewels, and wrote down the names of her attendants and domestics, to whom she bequeathed each particular. Paulet’s letter to Secretary Walsingham, dated February 25, 1586-7, states, “that all the jewels, plate, &c. belonging to the late Queen of Scots were divided among her servants, previous to Walsingham’s letter being received by him ; none of the servants, or attendants, except Mr. Kennedy and Curl’s sister, have any thing to shew in writing to prove they were given to them by the late Scottish Queen ; for they all affirm they were delivered to them with her own hands : they have been collected together, and an inventory taken of them, and they are now entrusted to the care of Mr. Melvin, the physician, and Mrs. Kennedy.” ITALIAN OPERA HOUSE, BEFORE IT WAS BURNT DOWN. From an original Drawing by the late Wm. Capon. The following note in Capon’s hand-writing is attached to the drawing:— “ This Plate exhibits the front of the old Opera House, as built by Sir John Vanbrugh about the year 1728. The roof, which is shewn, was covered with black glazed tiles. The width of the entrance from South to North was 34 feet ; each opening 6 feet ; each pier 4 feet wide.” Over the entrance hall, was Ridaut’s Fencing Academy. The front was built of red brick, and rusticated with good gauged work. On the piers are seen some bills of that time; in particular. Signor Rauzzini’s of Bath, where he died, and Signora Carnivali’s, whose husband, it was always reported, set fire to the theatre; and who is said to have confessed the act when at the point of death. Mr. Slmgsby, according to Mr. Capon, was the first person who caused to be put on his bills such a one's night. It made much talk at the time for its singularity. This Theatre was burnt down in June, 1789; and on the 3rd of April, in the following year, the first stone of the present building was laid by the Earl of Buckinghamshire. THE RESIDENCE OF JOHN HOOLE, IN GREAT QUEEN STREET, LINCOLN’S INN FIELDS. John Hoole was born in London in 1727. He devoted his leisure hours to literary pursuits, particularly the study of the Italian language, of which he acquired a great knowledge, as appears by his excellent translations of Ariosto’s Orlando Furioso, Tasso’s Jerusalem, and the dramas of Metastasio. He was the author of three Tragedies, viz. Cyrus, acted at Covent Garden, in 1768; Timanthes, performed the year following; and Cleonice, in 1775; also of some pleasing poems, and the Life of John Scott of Amwell the Quaker-Bard. He died in 1803. MONUMENT TO MARGARET WOFFINGTON. her "s:,: •» --‘p'- - cl.iUI.ood; as in 1728, being o„e\f M;da” o VilTe'- Mr’' '"‘7 >>“" -en in by enacting the part of Polly^ in the Beggar’s Opera Her fi f '‘’“P®"’’’ *'"= 8"=>“ “PPl»“SC Ophelia, which she performed on February 12.h m7 '^“/''“‘4P'>“'‘7“haracter on the Dublin stage was London, a. Covent Garden Theatre^tl p r „V SylWa F T V'"' “ The following season she performed at DrLy Lane The’a " Kccruiting Officer, higher walks of corned V in i r ^ • i P>’e-emiiiently distinguished in the In tragedy she had 1 ' d ' ■““■c'*. part.cuiarly in that of Mrs. Loyeit, she surpassed Mrs. Oldfield. Clbl,n! M “to d Tim L“h'"‘,’ b "‘ ’r“ "" P-“- Mrs, Having in her youth heen^atr^rMad:! vToT ^^71?;'™’ Id”’ her, she had accustomed herseif to French Tcly and !nl “. '''P“'“‘'»" “"M ‘'“h i’i;!n7.hTe";:e::kTX ut ‘'‘Tir r^n " ^ to p vailing pompous mode of elocution, which preceded Garrint’aciTtic. .i • i,- l i was confirmed by Cibber wbn ni onyrr. < i i- i-a i ^ ^ ^^i^i^ick s style, and in which she and took her farewell leave of the public on May 17lh as Rol d ' TT" ’ with this insLipll ■" 0" ‘'■e wall, near the pulpit, is a marble monument. Near this Monument lies the Body of MARGARET WOFFINGTON, Spinster, born October 18th, 1720, who departed this life, March 28th, 1760. Aged 39 years. Arms— Or, three leopard’s faces, gules Mast°i;i::T::r:‘Tur;,t„Ti^ sister of the said Mauoannr Wo,P.noro7al 6 7 th7 T "7“”””““; “.■• CnouMonnnuny, continued by Brydges, .ol, iv. „ 85 shew. Mas, T n ^ T baptised March 16lh following ll St’ Georue's H T” PS*- 17«, and Angus, 1763. ® »f "ti* sepulture was therefore .r*' j .•/ /;«rT" 1?- ’ «'| t.r • V-.l .?. • • *A'- • J * ’^j’ V '/• ’___jfrj |jH ’>'1 •r]'^ ■ •* pSfUm 'ft j 1^, t '• *» ,‘'if m-'.T i' '"'i‘^. ■ ■tv, ■ ■ . t ' h’/” • . r ..jv .‘/f ) •( ..ie, ,„ir I 'v•♦%^■.•.' f *--’U <-'* 'H; •ill’ -it^i 1 r ?_ . 'V^T'^ - ijvi ^ 7*^ t f.| ' ■; jv- • ''',y-^ ■ ” 4 ^' ' iE '■» ';i , •!,■?;&■ 'V, v?' ,,vj j _jii* .-^ f<».l « ■ LW*flSfci ''■'i fj\J l;f,f . I*f'-- ■,. M' , Wj ■ ' < >•1 (;*• I * *'flKf .■ ■•"rtifcttatai » 1 f *'«,«» •: • ;• •> •>■' U-' ,ta tfj^^ikSk * ■•• •• •-■*■?>» .it ^F/. - ' 'i * rA 1. 1 i K 'iu0^r. ‘- Jl- ^ ‘"*® ^ b ,'' -..'v.ih'J <.ii »-r {'^ *■' *V:*»{f‘(® )iV ii'ri<’'>v^ .'.^.»*i’’ V '-/'»*'* I '-^ — vj» II- ^ I , 't -all* ' • ♦ ‘■‘^ f.^ m ^ vj» II- ' - ll^irtV^Ti ■ . • f' '\ '■* J ‘j ■•* >«,f' 4 ,'U '■)! ^^'^^<■'‘•'1 -• ^ *» 4 Ci t .4 -.V <» il V* t • '* lA*' *%'( JP vyf‘. ,(Vl -i X >i • • • 4 / I » .:-)■ •i< «. IV,, • / : < 'i »* ■>'^»j V • * _ 1 ■• /t > , ^ -1* » ' •( l.»; «4 . • ■- * -1 JtM , ■ ■ "-W1 ■ «t f. J . IV 4 y y '?i •jp-.jE MONUMENT TO CHARLES HOLLAND. Holland was the son of John Holland, a baker of Chiswick, where he was baptized April 3rd, 733. He was apprenticed to a turpentine merchant, but strongly embued with a predilection for the stage, and praised for the display of that talent in his private circle, he applied to Garrick, who gave him good encouragement, but advised him ‘ punctually to fulfil his engagement with his master, and should he then find his passion for the theatre unabated, to again apply to him.’ This advice he followed ; and under Garrick’s auspices made his debut at Drury Lane Theatre, in 1754, in the part of Oronooko. He distinguished himself principally in the characters of Richard III., Hamlet. Pierre, Timur in Zingis, and Manley in the Plain Dealer. Holland was a zealous admirer and follower of Garrick; and as a player continued to advance in reputation His last performance was the part of Prospero, in Shakspeare’s Tempest, November 20th, 1769, and he died of the small-pox on December 7th following. His body was deposited in the family vault, in iswick church-yard on the 15th of the same month, and his funeral was attended by most of the performers e onging to rury Lane Theatre. In the church, on the north wall of the channel, is raised a marble rdmh-rbTe\ust^‘"^ '' following inscription, in a circular compartment, surmounted by an If TALENTS to make entertainment instruction, to support the Credit of the Stage by just and manly Action, If to adorn Society by VIRTUES, which would honour any Rank and Profession, deserve remembrance ; Let Him, with whom these Talents were long exerted. To vdiorn these Virtues were well known, And by whom the loss of them will be long lamented, bear Testimony to the Worth and Abilities of his departed Friend CHARLES HOLLAND, who was born March 12, 1733, dy’d December 7, 1769, and was buried near this place. D. Qarjick. p-irvi • A^,; rt’ ? ^ ‘ *?' ’ a: ,,vj^ “ % r*~^ '^" ' *-’ :*’w4.''i/* “'y ' . .*?■♦. :.C'vvi > r/fi /. >7 .— • ■-.: -7 '•■•i »*>:?.■■ .li;}'*^ t« i> ( ' in ;S?. ^■■•i T* ■:t4. :\-^u ry * V t «■ ;jj:'. il«' “•, " tjr '-'Mi 4^7P *i *,u \‘- <■ ■*.. Tt m iL-t.l- -i: Ift' '^rh ^.4-. <'.>> .4( 7) if't ’M, \ 4j .>‘>i;; V?y, iT •» .^. -i f 1 . 1. . f£. a » 'u: 'M ,»Vv -A !»,-s'i 4'" r.' r ii.,,)'.r-4’ i- ’^t# i •■ VlfJ tA’ '"f . '% Fa»?, Ji^.T € '.V4 '8i (• **••< } ;v . Jf ii- . « '*>«■' i W « h-v — »> ;,i ti'''v*4;' ? '41.’ '!'''■' jM .»*• i'* *. T. f ■ . ■» >,^. .i? /S' . d ■ ..ii •♦r fi !•• ' t . «> I .71 >Jr‘ < ^ ■vi Nn' •'JsS' >:K\(y!i' 't'i ’■>”!. '.v;v -.- •’ i. 'I ivi 4■>1 f •'^■'’libll?!'. su-- ■ ■▼.» >i m r*i rfihk UNIVERSITY OF ILLINOIS- 3011205^2784