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HISTOBIOAL AND LITEKAEY
CURIOSITIES,
CONSISTING OP
FAC-SIMILES OF ORIGINAL DOCUMENTS;
SCENES OF REMARKABLE EVENTS AND
INTERESTING LOCALITIES ;
BIRTH-PLACES, RESIDENCES, PORTRAITS, AND MONUMENTS,
EMINENT LITERARY CHARACTERS;
WITH A VARIETY OP
RELIQUES AND ANTIQUITIES CONNECTED WITH THE SAME SUBJECTS.
SELECTED AND ENGRAVED BT THE LATE
CHARLES JOHN SMITH, F.S.A.
LONDON:
HENRY G. BOHN, YORK STREET, COVENT GARDEN.
MDCCCXLVII.
S\o
DESCEIPTION OF THE PLATES.
No. 1. — View of the House, No. 10, High-street, Portsmouth, in which George Villiers, Dulse of
Buckingham, 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-
sented to Mr. Upcott, and in his possession it now remains. The two notes are in the hand-writing
of Evelyn ; one of them is the endorsement of the paper.
" That man is cowardly, base, and deserveth 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 his Countrie. Lette noe man commend me for doeinge of it
but rather discommend themselves as the cause of it, for if Ood had not taken away or harts for or sinncs, he
would not have gone so longe vnpunished. JOHN FBLTON."
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. 5. — A Letter from William Penn of Pennsylvania.
From the Collection of Mr. Upcott.
No. 6. — Part of a Letter from Matthew Prior the Poet, respecting his portrait painted by Richardson and
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 answer to the above-mentioned Letter from Smollett.
Both from the Collection of Mr. Upcott.
Ji DESCRIPTION OF THE PLATES.
No. 9. Extracts 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.
Tbe 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 " Queen 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 Sloane, respecting the alteration of the Calendar.
Add. MSS. Brit. Mus. No. 4052.
No. 17. — A Letter from Miles 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 FranHin, 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 Britiffe 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. lii
Part of a Letter from Bishop Atterbury to Trelawney, Bishop of Exeter, respecting the time of the
writing of St. John's Gospel.
Add. MSS. Brit. Mus. 5943.
No. 24.— View of the Cottage at Haverstock Hill, the residence of Sir Richard Steele, from 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.
Fac-simile Extract from Sir Isaac Newton's Letter to Dr. Briggs, respecting his " Theory of
Vision."
Add. MSS. Brit. Mas. No. 4237.
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.
The four preceding subjects are from Mr. Upcott's Collection.
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. 4803 and 4804.
No. 34. — View of the Residence of the Rev. James Granger, (Author of the Biographical History of
England) at Shiplake in Oxfordshire.
Extract of a Letter from Granger to the Rev. Mr. Cole, on the Mania for Collecting English
Portraits.
Add. MS. Brit Mus. No. 5992.
No. 35. — Extract of a Letter from Dr. Beattie to Garrick, presenting his poem of " The Minstrel,"
Part of a Letter from Sir William Jones, on the Study of English Law.
Add. MSS. Brit. Mus. No. 5996.
No. 36.— -The Agreement between De Lolme, and Robinson the publisher, for the Copyright of his
" Treatise on the English Constitution."
In Mr. Upcott's Collection.
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.
iy DESCRIPTION OF THE PLATES.
Signed by Thomas Cranmer, Archbishop of Canterbury ; Cuthbert 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, Bishop 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
afterwai ds, 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. 45.— 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 Hieroglyphical 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. V
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.
Though 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,
J» haue receaued yarn* letter by my LarfieV Maid, Yibelllng upon my Teacher, which?
was uery epainfull un [to] me, iecause / can doe the Book of Music, when I stand1 thinking in the
fireplace heref and leaveh the rest' <ok fortune and fools : meane time I remain1
Your lousing cossun,
ra.ffague, the 4 of January. LODISE.
Si vous m'aues ensaigne 1'ortografe Englise come 1'alphabet, i aurois escrit une lettre plus in-
telligible.
•Eye. b Ewer. cDice. d Witch. "Panes. 'A forest stand in a tree, for abooting deer from.
* Ear of wheat. h Leaf. ' A rest for a match-lock musket. k Toe. ' Mane. m Hay.
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
the Society of Antiquaries, in the hand-writing of Richard Gough, Esq. Director of the Society.
In the possession of John Bowyer Nichols, Esq, F.S.A.
No. 49. — View of the Residence of Abraham Cowley, the Poet, at Chertsey, in Surrey, with a Fac-similc
of part of his Autograph Poem of " The Garden ;" addressed to John Evelyn.
No. 50. — View of the House occupied by the Royal Society in Crane Court, Fleet Street, from 1678 until
about the year 1760.
No. 51. — View of the Residence of Sir Isaac Newton in St. Martin's Street, Leicester Square.
No. 52.— View of the Tomb of John Rich, at Hillingdon, the Founder of Covent Garden Theatre, with a
Fac-simile of his Autograph attached to an Agreement with Charles Fleetwood in 1735.
No. 53. — Illuminated Initial Letter L, from the commencement of the Editio Princeps of the " Historia
Naturalis" of Caius 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 Huntley,
probably about 1548.
No. 55. — Representation of the Bible used by King Charles I. on the scaffold, January 30th, 1649, and
presented by him to William Juxon, D.D. Bishop of London.
No. 56. — Fac-simile of the Calligraphic Exhibition-Bill of Matthew Buchinger, the Dwarf of Niirnburg,
sent by him to Robert Harley, Earl of Oxford, in 1717. From the Harleian MSS. in the British
Museum.
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. 58. — 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 Soraers, 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
Ivy 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 Harleian
Collection of MSS. in the British Museum.
Nos. 71 and 72. — Two Fac-Similes from the Prologues and Text of the celebrated Manuscript of Corpus
Christi Plays, or Sacred Dramatic Mysteries, performed at Coventry and other Cities, written
about the reign of Edward IV. From the Original preserved with the Cottonian MSS. in the
British Museum.
DESCRIPTION OP THE PLATES. vii
No. 73. — Frost Fair on the River Thames. From an Original Sketcn by Thomas Wyck, taken February
4th, 1684. With a Fac-Siraile 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 attributed 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.
Vlll DESCRIPTION OF THE PLATES.
No. 96. —Curious Memento- Mori Watch, presented by Mary Queen of Scots, to her attendant Mary
Setoun.
No. 97. — Exterior View of the Italian Opera House, before it was burnt down in 1789, from an original
drawing by i he 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.
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VIEWS.
View of the RESIDENCE of ABRAHAM COWLEY, at Chertsey, in Surrey, with a Fac-siMiLE of the com-
mencement of the Autograph Manuscript of his POEM of" THE GARDEN," addressed to John Evelyn, Esq.,
dated "Chertsea, August 16th, 1666," and originally prefixed to the Second Edition of his Kahndarium
Hortense.
The Autograph from the collection of Mr. Upcott.
VIEW of the HOUSE occupied by the ROYAL SOCIETY in Crane-court, Fleet-street, from 1678 until about
the year 1760.
Exterior View of the RESIDENCE of SIR ISAAC NEWTON, in St. Martin's street, Leicester Fields. A view
of the Interior of the Observatory in this house has been already published in the Third Part of the present
work.
View of the TOMB of JOHN RICH in the churchyard of Hillingdon in Middlesex ; exhibiting in the back-
ground an ancient mansion called " The Cedar House," from a celebrated cedar growing in the garden,
supposed to have been one of the earliest planted in England. A particular account of this ancient tree
will be found in the Rev. Daniel Lysons' Historical Account of those Parithes in the County of Middlesex,
which are not described in the Environs of London. London, 1800. 4to, pages 156, 157. On themonument
is engraven the following inscription, surmounted by the armorial ensigns assigned to Rich, impaling those
of his third wife, Priscilla, sister of Edward Wilford, Esq. ; namely, First coat, a chevron between
two lions passant Second coat three leopards heads Crest, out of a ducal
coronet a demi-lion rampant . .
Sacred to the Memory of
JOHN RICH, Esq.
who died November 26th, 1761, aged 69 years.
In him were united the various virtues
that could endear him to his
Family, Friends, and acquaintance :
Distress never failed to find relief in his bounty,
Unfortunate merit a refuge in his generosity.
Here likewise are interred Amy, his second wife,
With their two young children, John and Elizabeth,
who both died in their infancy.
The Residence of Rich in the parish of Hillingdon was at a place called Cowley Grove ; which is said
to have been the dwelling of Barton Booth, the celebrated tragedian of the early part of the eighteenth
century, the original performer of Cato.
Beneath the view is a FAC-SIMILE of an AUTOGRAPH Aon KEMENT between CHARLES FLEETWOOD and JOHN
RICH, for a division of the receipts of the Theatres Royal in Dairy Lane and Covent Garden, for the remainder
VIEWS.
of the season of 1735 — 1736, to commence on Saturday, December 13th. Rich was the founder and patentee
of the latter playhouse, his plan for the erection of which he appears to have brought before the public in
1730, by exhibiting the designs of Mr. James Shepherd, his architect, and stating the principal features of
his scheme. The building was raised partly by subscription, and was opened on Thursday, December 7th,
1732, with Congreve's comedy of The Way of the World. A copious account of the erection and opening
of the Theatre will be found in the Times newspaper, published on the hundredth anniversary of the opening,
December 7th, 1832, which was reprinted, with several curious notes, in the Supplement toThe Gentleman's
Magazine of the same year, volume en. part ii. pages 585 — 590.
The Autograph from the Collection of Mr. Upcott.
•4 f'/MtJffl *->/ •'/•//.> C '' 't'.if /,'/,,, ,// ,//,!/.////
7
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/ .
l~ J Smirk sadp.
C / d «.»'f/,M,f fyv€fo C \
-
PHtfishtd by TfiUioni, Pidcrrvi<t. ('kini"
fflemrf*"?v
^v^C ^'-f,
// ^-^
•//,/, I'Jt.i/lfftV Lin,
ANTIQUITIES.
ILLUMINATED INITIAL LETTER L, with part of the 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 JEWEL 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 Lues, 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 Yean of the reign of that unpa-
ralleled Prince of ever blessed memory King Charles I. London, 1702, 8vo. p. 129, in the following pas-
sao-e. "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 with 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 pound 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 BUCHINGEK, 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 hande
und fuss gedruct :
Anno 1709,
Niernberg.
Rare. In the Collection of Mr. J. FILLINOHAM.
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 21st, 27th, 130th, 146th, 149th, and 150th 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.andis 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 BUCHINGER'S WHITING.
Exhibition-Bill as engraven in the annexed Plate.
A paper dated February 2nd, 1732. " This was written by Matthew Buchinger, born without hands 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 ccmtainedin the HARLEIAN MSS. No. 7026, at the end.
Signature, &c. in English, dated Ludlow, Oct. 20, 1734. Copper-plate Fac-simile, Gentleman t Magazine for May 1791, vol.
Ixi. plate 2, page 417. This specimen of Buchinger's writing has been also copied on wood.
\
1
j!y Authority •
Lately arriv1 d, and to 6tfetn tit the Globe ana
^)u^e<y^MarIborougK'sH in FZeet-JTreet
A GermaabornwithohtHands, Feeb, or Thighs ,
y\Cthat never was in tKis Kingdom before,)
Who does fuck miraculous Actions as none elfe,
can do with Han-ds and Feet : He has had the
Honour to perform before ™oft Kings and,
princeS, particularly feveral Times bSore Kind
Georfft He maKeS a Pen, and Writes feveral
Hands as S"ick and as Well as any Vfritmg-
M after, and will write with any for a Wager;
He draws Faces to the Life, andOats ofArmes,
pictures, Flowers, £/&./ With a Pen, very curi-
oufly; He Threads a fine Needle Very <picks
Oiuffles a Pack of Cards, and deals them very
fwift He plays upon the Dulcimer as Well as .
any Mufician. : He does many furpruintf Things
with Cups and .Balls, and gives the Curious great
Satisfaction thereby : He pla^s at Skittles feveral
Ways very Well ; Jha.ves himfelf very dexteroully :
and many olher Things, too tedious to inferl.
&2fi> a tTritltn. l,ydlattfa.'vcBttJ>"'e'r at London. i7< f, torn Vfit/ioul //onds.
FAC-SIMILES OF OKIGINAL DOCUMENTS.
FAC-SIMILES 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.
From the date of 1GGO being inscribed on this Drawing, and from the following entry in Evelyn's Diary,
it is not improbable that it was presented to the Members of this Association on the day of Evelyn's election ;
when it already appears to have been placed under the Royal patronage. " 1660 — 1661. January 6th. I
was now chosen, (and nominated by his Majesty for one of y" Council,) by suffrage of the rest of ye members,
a Fellow of ye Philosophical Society now meeting at Gressham College; and where was an assembly of
divers learned gentlemen. This was the first meeting since the King's return, but it had been begun some
years before at Oxford, and was continued, with interruption, here in London during the Rebellion." The
principle on which the annexed sketches were designed, was evidently allegorical rather than heraldic, and
the mottoes were especially intended to -express the purpose for which the Royal Society was instituted,
that of improving Science by means of extensive communications verified by actual experiment only. The
first shield, therefore, bears a vessel under sail, with the motto Et Augebitur Scientia : and Science shall
be advanced. It is possible that these words, with the ship, have a reference to the passage in Daniel, chap,
xii. v. 4. "Many shall run to and fro, and knowledge shall be increased:" but there is not any resemblance
to the verse as it stands in the Vulgate Latin. The second escutcheon is parted per fesse, Argent and
Sable, issuant from clouds in chief a hand holding a plumb-line ; the motto being from the Vulgate tran-
slation of the New Testament, I. Thessalonians v. 21. Omnia probate : Prove all things. I;, this sketch
there appears to have been an intention of introducing the Royal Augmentation afterwards given to the
Society, upon either a canton or an escutcheon in the dexter chief. The third shield would be blazoned
Sable, two telescopes extended in saltire, the object glasses upwards; and on a chief Argent the earth and
planets : the motto is Quantum nescimus! How much we know not ! The fourth shield bears the sun in hia
splendour, with the motto Ad Majorem Lumen — To the Greater Light ; but on one side of this sketch is
written part of the verses 463 — 465 from the first book of the Oeorgics of Virgil, (Solem) Quis dicere Falsum
— Audeat? Who dares accuse the Sun of Falsehood ? As the succeeding shield bears a canton only, with
the motto Nulliiu in Verba — On the report ot none — as at present used by the Royal Society, it is probable
that this sketch was intended to shew the disposition of the Arms subsequently adopted. The last shield is
charged with a terrestrial globe, with a human eye in chief; and above is inscribed another motto from
the Georyics of Virgil, book 2nd, verse 490, Rerum cognoscere causas, To know the causes of things.
Beside these inscriptions appears the word Experiendo — By Experience, — with a repetition of the motto
adopted. The signature of Evelyn is added to these interesting sketches, and the originals of all are in
the possession of Mr. Upcott.
None of these designs were adopted, the King himself proceeding in the very unusual manner of granting
the Royal Society a much more honourable Armorial Ensign in the Charter of Incorporation; the reason for
which appears to have been, that no member of the College of Arms would have considered himself autho-
rised in issuing the heraldic bearings assigned to the Association. The first notice of these Arms appears
thus recorded in Evelyn's Diary, August 20th, 1662 : — "The King gave us the Armes of England to be
borne in a canton in our Armes; and sent us a mace of silver-gilt, of the same fashion and bigness as those
carried before His Ma'^. to be borne before our President on meeting daies. It was brought by Sir Gilbert
Talbot, Master of His Ma1*'', Jewel-house." — Another entry in the same Diary, on September 17th in the
same year, states that, "We resolved that the Armes of the Society shod. be a field Argent, with a canton
of the Armes of England ; supporters, two talbots, Argent ; crest, An Eagle Or, holding a shield with the
like Armes of England, viz. three lions. The word, Nullius in Verba. It was presented to his Ma1* for
FAC-SIMILES OF ORIGINAL DOCUMENTS.
his approbation, and orders given to Garter King of Armes to passe the diploma of their office for it." At
the lower part of the annexed Engraving is given a reduced Fac-simile of the sketch of the Armorial Ensigns
thus ordered, as entered in the official volume of Royal concessions in the College of Arms, marked Second
D. 14. fol. 1. in which, instead of the usual form of a grant of heraldic bearings, issuing from the Principal
and Provincial Kings of Arms, the drawing is preceded by the following confirmation.
" Whereas His Ma'ie, by his Letters Patent under the Great Seal of England, bearing date at Westminster, the 22nd day of
April, in the 15th year of his reign, Hath ordained and constituted a Society, consisting of a President, Council, and Fellows,
called by the name of the President, Council, and Fellows, of the Royal Society of London for the advancement of Natural Science ;
to whom, amongst other things, His said Sacred Matie hath therein granted a Coat of Arms, Crest, and Supporters. The said
President, Council, and Fellows, being desirous to have the clause whereby the same are granted unto them, together with a trick
thereof, entered among the records of this office, — It was this day, being the thirtieth of June, Anno Domini 1663, in full Chapter,
upon the motion of Elias Ashmole, Esqre. Windsor Herald, and one of the Fellows of the said Society, (by whom the said request
was made, and the said Patent sent hither to be viewed,) agreed and consented unto, and thereupon ordered to be entered as
followeth : — " Damus insuper, et Concedimus per Prsesentes, Prtesidi, Consilio, et Sodalibus Regalis Societatis predicts,
eorumque in perpctuum succcssoribus, in favoris nostri Regij erga ipsos nostrseque de ipsis peculiaris cxistimationis praesenti et
*uturi8 cctatibus testimonium, hsec honoris Insignia sequentia ; videlicet, In parmce Argenteie angulo dextro, tres Leones nostros
Anglicos ; et pro Crista, Galeam Corona flosculte interstincta adornatum, cui supereminet Aquila, nativi coloris, altero pede
Scutum Leonibus nostris ineignitum tenens ; Telamones scutarios, duos Canes sagaces A Ibos, colla corona cinctoi ; (prout in
margine luculentius videre cst) a prtedictis Prceside, Concilio, et Sodalibus, ipsorumque succcssoribus, prout feret occasio, in per-
petuum gestanda, producenda, possidenda.
" Examined by Elias Ashmole, Windsor. 30th June, 1663."
Fac-simile of a LETTER from THOMAS BARLOW, D.D. Bishop of Lincoln, to the Rev. George Thomason,
dated Oxford, February 6th, 1670, 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.
The very interesting and remarkable history of the collection and preservation of those most important
books, is related in two papers inserted in the first volume of the manuscript catalogue of their contentu,
which appear to have been drawn up with the design of making the collection publicly known for sale. The
principal of these papers is .in manuscript, written in a very small law text by a copyist, containing many
errors, and was most probably composed by the original collector, the father of the clergyman to whom Dr.
Barlow's letter was written. The other paper forms a single printed page, in small folio, and consists of an
abridgment of the former, as if designed for a more extended circulation. A copy of it will be found in the
Rev. William Beloe's Anecdotes of Literature and Scarce Books, London, 1807, 8vo. vol. II. pages 248 — 251 ;
but as the manuscript statement is so much more copious and interesting, as it has never yet appeared in
print, and as it contains the annexed leter, with an account of the causes for which it was written, — a copy
of the whole paper is here inserted, including all the original peculiarities and errors.
Mr. Thomason' s Note about his Collection.
An exact Collection of all the Books and Pamphlets printed from the Beginning of the Year 1641, to the Coronation of King
Charles the Second, 1661, and near one hundred Manuscripts never yet in Print, the whole containing 30,0.00 Books and Tracts
uniformly bound, consisting of 2,000 Volumes, dated in the most exact Manner, and so carefully preserved as to have received
no Damage. The Catalogue of them makes 12 Vols. in Folio, they are so marked and numbered that the least Treatise may be
readily found, and even the very day on which they became publick, wrote on most of them.
This Collection cost great Pains and Expence, and was carried on so privately as to escape the most diligent Search of the
Protector, who, hearing of them, used his utmost endeavours to obtain them. They were sent into Surry and Essex, and at last
to Oxford, the then Library Keeper, Dr. Barlow, being a Friend to the Collector, and under his Custody they remained, till the
Doctor was made Bishop of Lincoln, as appears by the underwritten Letter from the Bishop to the Collector.
A Copy of the Bishop of Lincoln's Letter.
My good Friend,
Oxon, Feb. 6, 1676.
I am about to leave Oxford, my dear Mother, and that excellent and costly Collection of Books which have so long been
in my Hands ; now I intreat you either to remove them, or speak to my Successor, that they may continue there till you can
FAC-SIMILES OF ORIGINAL DOCUMENTS.
otherwise conveniently dispose of them. Had I Money to my Mind, I would be your Chapman for them ; bat your Collection li to
great, and my Purse BO 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 Repository, 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'i,
or some publick Library, for in such Places it might be most safe and useful! ; 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 Parlem' w* Begun Novemb' 1640, wch doth amount to a very greate Numb' of
Pieces of all Sorts and all sides from that time vntill his Majto happy Restauracion and Coronacion, their Numb7 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 p'sent 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 v/ch 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 Several! 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 Numb" aforesaid, wch is so many
that when they stand in Order according to their Numb1*, wliilest 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 Numb' 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 Collect' in-
tending them onely for his Majtie* vse that then was, his Majtie 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
of it, hee commanded a Person of honour (now) neere his Mojtie 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 Majtle being very well pleased with the Design w<* was a greate Encouragemt to the Undertaker, Els hee thinks hee should
never have been Enduced to have gon through so difficult a Worke, w<* 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, in wch time hee Buryed three of them, who tooke greate Pains both day and night wth him in that tedious Imploy.
merit.
And that hee might prevent the Discovery of them when the Army was Northward, hee Packt them vp in Seuerall 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
Westward, and feareing their Heturne 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 any 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 arid Clapt vp Close Prisoner att
Whitehall 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
Compase 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.
And if that Trayterous Vsurpcr 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 Burgaine, and haue Sent that Imediately
FAC-SIMILES OF ORIGINAL DOCUMENTS.
thither, and they to hare Challenged by virtue of that as Bought by them, who had more Power than hee had that Collected them
to have Contended wih him for them by the Power that they and their friends could have made.
All theis hard Shifts and Exigents hath hee been putt vnto to preserve them, and preserved they are (by Providence) for the
vse of Succeeding Ages, w^b will Scarce have ffaith to Believe that such horrid and most detestable Villanyes were ever Committed
in any Christian Comon Wealth since Christianity had a Name.
The following memorandum is annexed to the preceding : —
" This is erroneous. — The Collector, Mr. George Thomason, died in 1666. See his Will at Doctors' Commons, wherein a par-
ticular mention is made of the Pamphlets, and a Special Trust appointed, One of the Trustees being Dr. Barlow. George T. to
whom this letter was addressed, was eldest son of the Collector, and a Fellow of Queen's, Oxon.
"G. O. STONESTRKET, lineal descendant of the Collector."
A subsequent notice of the Collection of Tracts is contained in the following document,whichis also
preserved in the British Museum.
" At the Court at Whitehall, the 15th of May, 1684,
" By the King's Most Excellent Ma'X and the Lords of His Mati" most honourable Privy Councill.
" The humble petition of Anne Mearne, Relict of Samuel Mearne, His Ma'i" Stationer, lately deceased, being this day read at
the Board, setting forth that His Ma'y was pleased by 8r Joseph Williamson, the Secretary of State, to command the Petitioners
husband to purchase a collection of severall bookes, concerning matters of state, being above thirty thousand in number, and,
being uniformly bound, are contained in two thousand volumes and upwards; — and that by reason of the great charge they
cost the Pet" husband, and the burthen they are upon herself and family by their lying vndisposed of see long, — therefore most
humbly prays His Matie» leave to dispose of the said Collection of Bookes as being a ready way to raise money upon them to sup-
port herselfe and family :— His Maty jn Council was graciously pleased to give leave to the Pef to dispose and make sale of the
said Bookes as she shall think fit.
" PHI. LLOYD."
After the period therein mentioned, no further information appears to have been preserved concerning it,
excepting that it was bought by John Stewart, Second Earl of Bute, for a sum under ;£400, and again sold
to King George III. for the same amount in 1761, by whom the volumes were presented to the British
Museum, which had been then recently founded.
Part of a LETTER from CHARLES SPENCER, Third EARL of SUNDERLAND, to John Holies, Third Duke
of Newcastle. Dated August 9th, 1678.
Lansdowne MSS. Brit. MBS. No. 1236,
Part of a LETTER from THOMAS SECKER, D.D. Bishop of Oxford, afterwards Archbishop of Canterbury,
respecting the last illness of Martin Benson, D.D. Bishop of Gloucester. Dated August 17th, 1652.
Additional MSS. Brit. Mus. No. 4318.
Part of an ORIGINAL LETTER from JOHN, First BARON SOMERS, to Sir Hans Sloane, respecting the
admission of Count Lorenzo Magalotti, Councillor of State to Ferdinand (II.) De'Medici, Sixteenth Grand
Duke of Tuscany, a Fellow of the Royal Society. He was elected May 4th, 1709.
Sloane MSS. Brit. Mus. No. 4060.
Part of a letter from the Right Hon. HENRY ST. JOHN, First VISCOUNT BOLINGBROKE, to Jonathan
Swift, D.D.
Sloane MSS. Brit. Mus. No. 4805.
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VIEWS.
THE PULPIT OF JOHN KNOX, IN THE PARISH CHURCH AT ST. ANDREW'S, IN THE COUNTY op 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 building of a
private character now remaining in the City ; and, previously to the time of Knox, it was occupied by George
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 tLe 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 rayj 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 was 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
compellit 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)
and tremble, that I could not hold a pen to wryt. He was very weak. I saw him every day of his life
70 kulie and fear (hoolie and fairly— slowly and warily) with a furring of marticks (martins), about his
\i£WS.
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 ; and be the said Richart and another servant lifted
up to the Pulpit, whar he behovit (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 shivers)
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 1637. 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 all
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, llth, 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 McGavin. Glasgow, 1835. 8vo. Vol. I.
pages 56, 60, 61.
The Signatures engraven beneath the annexed View are those of the following Personages :
No. 1. JOHN KNOX. " Thus 1 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. £1, 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 MSS. Caligula B. x. Art 73, fol. 187 b.
3. The same, signed as Lord JAMES STEWART. From an Original Memorial, dated Stirling, July
18th, ]565, addressed to Queen Elizabeth, respecting the ill-treatment of the Scots Protestants by Mary.
Cottonian MSS. Caligula B. x. Art. 115. fol. 317.
4. The same, signed JAMES REGENT of Scotland. From an Original Letter, dated Edinburgh,
December 18th, 1509. Cottonian MSS. Caligula B. ix. Art. 236, fol. 395.
5. JAMES HAMYLTON, Second Earl of Arran and First Duke of Chatelherault. From the same Instru-
ment as No. 3.
6. Archibald Campbell, Fifth Earl of Argyll, signed ARCH. AROILL. From the same Instrument
as No. 3.
7. Robert, Fourth Baron Boyd of Kilmarnock, signed R. BOYD. From a Declaration and Petition
of the Protestant Lords of Scotland against the proceedings of the Queen Dowager, dated August, 1559.
Cottonian MSS. 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
HAMYLTONE. From the same Instrument as No. 7.
9. ALEXANDER GORDON, probably the second son of John, Lord Gordon, and grandson of Alexander,
Third Earl of Huntley. From the same Instrument as No. 7.
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 MK8. Caligula
C. ill. Art. 199,/o/. 434.
11. William RUTHVBN, Fourth Baron Ruthven and Dirleton, and First Earl of Cowrie. From an
Original Letter to Lord Burleigh, dated Holy rood House, December 29th, 1582. Cottonian M8S.
Caligula C. rn. Art. 71, /of. 68 b.
THE Exterior of Don SALTERO'S COFFEE HOUSE, CHEYNB WALK, CHELSEA: with the SIGNATURES of
JAMES SALTEH, 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
in 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 1664, 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 in the year 1667, which was a yard and three quarters long. If you will not believe me,
then 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 Royal Society at Gresham Col-
lege.
a -2
VIEWS.
It is not improbable that these and other examples, now altogether unknown, induced James Salter,
the 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 Taller, 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 Gentleman'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 employs I've past, —
A scraper, virtues', projector,
Tooth-drawer, trimmer, — and at last
I'm now a gimcrack-whim collector
Monsters of ull 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 sharer :
VIEWS.
Nay, that your pate may with my noddle tally,
And you thine 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.
Clithea Knackatory. Dos SALTERO."
The Signature of Suiter 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, Mineral?, 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,
which 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 entirely
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 SALTBR'S COPPER HOUSE IN CHELSBA. 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 Relicks 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 Kuights Templars — an Israelitish Shekel— and the Lord's Prayer in an ivory frame.
VIEWS.
to communicate with him by signs, not a -word being spoken by any of them whilst they remained in the
room. When the dinner was concluded, and the wine set upon the table, Macklin quitted his former
situation, and, walking gravely up to the visitors, expressed his hope that everything had been found
agreeable : after which he passed the cord of the bell over the back of the chair at the head of the
room, and retired, with a low bow at the door. To this establishment Macklin afterwards added another
feature, which he first introduced on November 21st, 1754, called "The British Inquisition;" which,
as his advertisement stated, was to be upon the plan of the ancient Greek and Roman, and modern
French and Italian, societies of liberal investigation. "Such subjects,'' he announces, "in Arts, Sci-
ences, Literature, Criticism, Philosophy, History, Politics, and Morality, as shall be found useful and
entertaining to society, will there be lectured upon and freely debated : particularly, Mr. Macklin
intends to lecture upon the Comedy of the Ancients, the use of their masks and flutes, their mimes
and pantomimes, and the use and abuse of the stage. He will likewise lecture upon the rise and pro-
gress of the modern Theatres, and make a comparison between them and those of Greece and Rome, and
between each other ; he proposes to lecture also upon each of Shakspeare's Plays." These discourses
and discussions were to take place on the evenings of Monday and Friday, at seven o'clock ; but the whole
establishment appears to have been declining from the very commencement, and on January 25th, 1755,
Macklin was declared a bankrupt.
After this failure he returned to the stage both in Ireland and England ; his last appearance on which
was at Covent Garden Theatre, on May 7th, 1789, when he attempted the part of Shylock for his own
benefit, but was utterly unable to proceed with the performance. But though Macklin had thus retired
from his professional labours through an incapacity of memory, he was far from feeling the infirmities of
his advanced age in the private habits of life. He lived much abroad, as usual, took his accustomed long
walks, related his anecdotes with tolerable recollection, and almost every evening frequented a public-
house in Duke's Court, Covent Garden, where numbers used to resort to hear the conversation of so
remarkable and aged a person. As his infirmities increased, he wandered feebly about the vicinity of
Covent Garden, sometimes visiting the Theatre there ; though going thither, apparently, rather from the
force of habit, than from receiving any gratification, being totally insensible of every thing, excepting
the music between the acts. On these occasions the audience always appears to have venerated his age
and to have compassionated his condition ; for, on his entrance to the pit, however full the house might
be, room was made for him in his accustomed seat, the centre of the last row next to the Orchestra.
From the Theatre he generally walked home by himself across the square of Covent Garden, to
No. 4, Tavistock Row, the North-west corner of Tavistock Court, the house represented in the annexed
'"late ; and there also he died on the llth of July, 1797, at the age of ninety-eight.
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Ivy COTTAGE, KENTISH TOWN, with SOME ACCOCN of the LIFE and GENIUS of the late CHARLES
MATHEWS, Comedian. Communicated by GEORGE DANIEL, ESQ. of Islington.
THE world is the stage ; men are the performers ; chance composes the piece ; fortune distributes the
parts ; the fools shift the scenery ; the philosophers are the spectators j — Folly makes the concert, and
Time drops the curtain ! . . . .
The " insatiate archer" has smote that prince of humorists, Charles Mathews ! How many pleasant
recollections are awakened by that name 1 The tear that we once paid to his pathetic impersonations,
we pay to his memory ; and now, when the voice of praise cannot reach him, let me throw a garland
on his tomb.
The hero should fall in the battle-field, if he would fall gloriously ; the actor's mortal exit should
follow hard upon his dramatic, if he would depart with his theatrical honours in full bloom. We lose, in
the Lethe of retirement, remembrance of the man ; and it is not until we are reminded by an announce-
ment of his death, that we inquire what have been his habits and occupations — what his joy or sorrow,
since the curtain finally dropped on our once-cherished favorite, and a crowded theatre sent back a joyful
response, mingled with sighs of regret, to his inspiring mirth. Gratitude is a plant of slow growth,
and quick dissolution !
We missed Charles Mathews, for one season only ; and then lost him for ever.
This ornament of the English stage was the son of the late Mr. James Mathews, who was for many
years a respectable bookseller in the Strand, where our comedian was born, on the 28th of June, 1776.
The father's principles would have directed the son to any other pursuit than that of the stage. Had
young Mathews followed parental advice, he might peradventure have stood " contagion?' to His
Majesty's subjects, and charged them on their "apparel" to touch a hair of his wig! But Mom us
claimed him for his own ; and who shall 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 Bowkitt, in the " Son-in-Law." This was as
an amateur. His professional bow was on the 19th of June, 1794, on the Dublin stage, in Jacob Oanhy
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 1 "
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,
Tall-hoys, 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 J 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 of 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 Lingo nothing?
Sir Fretful Plagiary nothing? Morlleu 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 Scotchwoman, 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 barbiere." He had the air, the
bienseance of the Chevalier who had danced a minuet at the " Cour de Versailles." His petit chanson,
" C'est I' 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, Quotem,
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,
f 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 lorn comedy ! "—and then " Your mouth's all on one side ; " with
Mathews's apt reply— (suiting the action to the word I) " Is it ? Now it's all on father ! " which
instantly procured him from the humorist an engagement of a guinea a week ! Many were his tricks of
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 whose 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 I) 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 flic-simile of Cooke in the entire part of
Sir Archy M'Sarcasm, 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. Maw worm, 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 ! 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 1 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! — 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.
" gambols, songs, and flashes of merriment," are passed away, as when making their lungs " crow like
chanticleer," with the drolleries of one in the zenith of his fame, admired by the public and liberally
rewarded ; anticipating a long and brilliant career, and, ere the curtain finally drops, an honorable
retirement in competence and peace.
A kindred taste for pictures, prints, and theatrical relics, often brought the writer into his company.
At his Tusculum — the pleasant Thatched Cottage at Kentish Town, rising in the midst of green lawns,
flower-beds, and trellis-work fancifully wreathed and overgrown with jasmine aud honey-suckles !
At this retired homestead was collected a more interesting museum of dramatic curiosities than had
ever been brought together by the industry of one man. Garrick medals in copper, silver, and bronze ;
a lock of his hair ; the garter worn by him in Richard the Third ; his Abel Drugger shoes ; his Lear
wig ; his walking stick ; the managerial chair in which be kept his state in the green-room of Old Drury ;
and the 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 sandala worn by that
great actor in Coriolanus on the last night of his performance, and presented by him to his ardent
admirer on that memorable occasion, were regarded by Mathews as a precious relic. He was glad of
his sandals, he wittily remarked, since he never could hope to stand in his shoes ! The Penruddock
stick and Hamlet wigs were also carefully preserved. So devoted was he to his art, and so just and
liberal in his estimation of its gifted professors, that he lost no opportunity of adding to his interesting
store some visible tokens by which he might remember them. These, with his collection of engravings,
autographs, and unique gallery of Theatrical Portraits, (the latter is now the property of the Garrick
Club,) 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
entertainment at his cheerful and hospitable board — where, surrounded by his books, pictures, and a
few select friends, he turned aside from mere ostentatious luxury, and exclaimed, with the Spectator,
" These are my companions ! " 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 the buffoon — the professional lion of a party, however exalted by rank. It was one of his boasts — i.
noble and a proud one too ! — that the hero of an hundred fights, the conqueror of France, the Prince of
Waterloo ! received him at his table, not as Punch, but as a private gentleman. He had none of the
low vanity that delights to attract the pointed finger ; — he knew the vast popularity that his eminent
talents 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
of public curiosity. He was content with his supremacy on the stage — an universal imitator, himself
inimitable !
• At his pressing invitation, and with no small difficulty on my part, (for the veteran was anything but
locomotive,) I once all but succeeded in bringing King George the Third's favorite comedian, Quick,
VIEWS.
to the cottage. I was however more successful with Mr. Mathewg, who, in my company, visited Tony
Lumpkin's snug retreat at Islington, to spend a day, " a summer's day, as Millttone 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 vit 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 uone 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 Pareons's
Old Doiley was for ever on his lips, and his " Don't go for to put 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 wife (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
face-maker, 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) Garroick, 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 characters —
Druggcr, Richard, Sir John Brute, Kitely, cheek-by-jowl with his own comic self in Sancho, Tony
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 have been writing from morning till night for three weeks. I
am hurried with my entertainment ; 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 np ? Do.
Very sincerely yours, in a gallop I CHARLES MATHEWS. — P. 8. 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.
f 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 !
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.
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ANTIQUITIES.
DESCRIPTION OF THE CASSOLETTE made from the Wood of SHAKESPEARE'S MULBERRY TREE,
Contributed by GEOROB 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 ycu 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 eyes
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 Jonsou ; and his 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 Greene, 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 — and
" Alleyn playing Faiutnt,
With the Cross upon his breast."
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 Gossan 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 wisdom ?
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 hit
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! Too soon it was to become his mausoleum 1 — 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 — when 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.
Garrick 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
was 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
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 professional 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 philosopher, 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, shall 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
of Aboan, 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 Gibber
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,
Mrs. Gibber, 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 had 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, big
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 strengthenttd 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 Douylat
and The Good Natured Man; and his patronage of the Stay-maker, and the school of 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 his 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!
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,
I 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
an actor ; 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
with tears for his love, joy for his fortune, admiration for his vast and unconfined 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 philosophy, 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 yonr 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 afford you some entertainment, and at the same time convince you that the inhabitants of Stratford
are worthy of your notice.
" Brick Court, Inner Temple, '' I am,
December 6, 1768. " Your obedient humble servant,
" FKANCIS 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 :— 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. The 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-ATon.
London, Southampton Street,
"Gentlemen, May 8, 1709.
" I 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 at to
mention my unworthy name with that of their immortal townsman.
" I am, Gentlemen,
Your most obliged,
ami obedient humble Servant,
"DAVID GARRICK."
Such was the happy Prologue to the " swelling scene," that opened to the lovers of Shakespeare, iu
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 were 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 m 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 Shakespean ! 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, the 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 something 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 f"
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.
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FAC-SIMILES
OF
MANUSCRIPTS AND HISTORICAL 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
LF CHAUVE, KINO 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
marked 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 Chanve, 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. The
a The peculiar character of this style of illuminating, is very happily and forcibly described by Giraldus Cambrensii, 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 translation. " 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 u
an eagle, there as a calf; now with the face of a man, and elsewhere as a lion ; with almost an infinity of other figure*. 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 u well u
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 Hiberniae, tivv de Mirabilibia Hibernbs ; Authore Sylvestro Oiraldo
Cambrense : lib. ii. cap. 38. apud Anglica, Normanica, Hibernica, Cambrica, 4 Veteribui tcripta, plerique nunc plurimum in
lucent 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 Book, or St. Cuthbert'i GotptU ;
which was probably written between A.D. 698, and A.D. 721, by Eadfrith, Bishop of Lindisfarn, in honour of St. Cutlibert. It
is now preserved in the Cottonian Library of MSS. and is marked Nero D. IT.
C
FAC-SIMILES OF MANUSCRIPTS.
leaves to which this specimen belongs are now numbered in a recent French hand from 408 to 420,
and formed a part of the spoils carried away from the Royal Library of France,* and from other places,
by M. John Aymon, a Protestant Divine, when he escaped to Holland upon the pretence of religious
persecution early in the eighteenth century. His depredations were even then, however, generally
believed ; and he was in particular known to have cut out from the Bible of Charles le Chauve the
Apocalypse, with the seven Canonical Epistles, and that addressed to the Romans ; the commencement
of which latter book is represented on the annexed Plate. Almost the whole of these manuscripts were
bought by Lord Harley ; who appears to have been desirous of procuring for his collection even imperfect
specimens of ancient and curious books and illuminations.)) Such is the history of this fine fragment of
literature and art, as related by Sir Frederick Madden. c
That portion of the manuscript here copied, exhibits the first few words of the Epistle only ; since it
was a frequent practice with the scribes and illuminators of the period, to decorate and display a part of
the opening sentence and title of a book, so as entirely to fill up the commencing page, the initial letter
extending the whole depth of it at the side. The two upper lines in the present specimen contain the
title, " iNciptT EpisroLA AD ROMauos," written in purely Roman capitals of gold, without any spaces
between the words, and contracted by the omission of the letters here inserted in small italics. Then
follows 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
continued Roman capitals of gold, the beginning of the Epistle, PAULUS SERVUS. 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 ; the capitals thereon being of the sort called French-Saxon, or Mixed-Saxon, united together with
great intricacy. The first three represent I H V ; the next character is a monogram of the name of Christ,
composed of the Greek letters x, p> ' interlaced ; and the last capitals are a u enclosing an o, and c and A.
In connection with the concluding line they express, by supplying the letters here inserted in small
italics, mesv cunisti UOCATVS APOSTOLVS. The whole of the words, therefore, contained upon this Plate,
are " INCIPIT EPISTOLA AD ROMANOS. PAULUS, SERVUS JESU CHRISTI, VOCATUS APOSTOLUS."
a 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 27th, 1700), by Mons. Aymone, who was Apostolic Prothonotary of that Court." A very
cirious account of " MSS. possessed by M. John Aymon," drawn up by Sir Frederick Madden, was published in The Gentle-
man's Magazine for January, 1832, volume CII, part i, pages 30—32. The fragments of the French Vulgate Bible are not the
only instances of manuscripts belonging to the Royal Library of France, being partly preserved in the Harleian collection, since
the splendid books numbered 4379, 4380, are described in the Preface to the Catalogue as copies " of the fourth and last part of
Froissart's Chronicles, in two folio volumes, finely written and illuminated, the other volumes of which are in the Royal Library
of France."
b The following instances of the Earl of Oxford's desire to procure literary fragments, occur in the very curious letter of instruc-
tions addressed by Wanley to Mr. Andrew Hay, on his departure to France and Italy, dated April 26th, 1720, inserted in a note
to the Preface of the Catalogue of the Harleian MSS* " In Paris Father Bernard Montfaucon has some Coptic, Syriac, and
other MSS. worth the buying. Among them is an old leaf of the Greek Septuagint. Buy these, and the leaden book he gave
to Cardinal Bouillon, if he can procure it for you or direct you to it." " Remember to get Defragments of Greek MSS. you left
with the bookseller who bought MafFeo's Library." " At Milan, in the Ambrosiau Library, is a very ancient Catullus; part of
Josephus, in Latin, written upon bark ; a Samaritan Pentateuch in octavo ; part of the Syriac Bible, in the ancient, or Estran-
gele, characters ; divers Greek manuscripts, being parts of the Bible, with other books of great antiquity. You may look upon
them and send me some account."
c The preceding particulars have been entirely derived from Sir Frederick Madden's two very elaborate and interesting papers
connected with illuminated manuscripts, printed in The Gentleman's Magazine ; one of which has been already referred to, and
the other consists of a descriptive list of Manuscript Bibles, which claim to be of the same age as that of Alchuine in the British
Museum. Ibid. December 1836, vol. vi. New Series, page 458.
FAC-S1MILES OF MANUSCRIPTS.
ILLUMINATED PAINTINGS of the SACRED VESSELS and FURNITURE of the TABERNACLE OP ISRAEL-
From a Spanish Hebrew Manuscript of the Fifteenth Century, preserved with the H arleian Manu-
scripts in the British Museum, No. 1628.
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 Haphlaroth, or sections of Scripture according to the Sab-
batical lessons of the Jews, which 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 Dom Augustine
Calmet's Dictionnaire 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 figure marked No. 1,
consists, in the original painting, of abroad border of embossed gold enclosing a silver ground, marked with two horizontal linei
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 ]1"1S Aron, or ARK of the COVENANT, described in Exodus xxv.
10—16, xxxvii. 1—5, in which the t~\TS 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 "IT 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 mS3 Capporeth, or Mercy-Seat, which name is derived from the word Caphar,
to overspread or cover ; 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.
"pnbH (nifT) 'OSS Aonichy Yehowah Aleheicho asher I am the Lord thy God who —
OTlbS ^"rPrP'S1"? La yeheyche lecho Aleheim aheereyem. There shall be to thee no other Gods.
tPrrS1^ La thisoa aeth sheem Yehowah Aleheicho. Take not the name of the Lord thy God —
D VTIN "iDt Zachur aeth yum hashaboth. Remember the Sabbath Day.
"piSVlN ~QD Caleer aeth Abicho veaeth Amicho. Honour thy Father and thy Mother.
With the sixth line some confusion appears to commence in the inscription, since the writing is then continued for 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 amicho, and thy mother. The next line is written small again, and appears to consist of the
Sixth Commandment nT"in Kb La Thareetzah, Thou shall 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 F]S3n sb La thanetaph, Thou shall
not commit adultery. The remaining three lines are more legible, and are as follow :
La thageeneebi. Do not steal.
P\3J?n N1"? La Thaeegnaenhe bereegnacho. Answer not thy neighbour (falsely)
f"Q "pJinn S^l La thaheemad beth bereegnacho. Do not covet thy neighbour's house.
No. 2. Though there does not appear any Hebrew inscription upon this figure, it will be immediately recognised for the
mt021331 Vubamentorach, or SEVEN-BRANCHED GOLDEN CANDLESTICK commanded to be made for the Tabernacle, and par-
ticularly described in Exodus xxv. 31 — 38, xxxvii. 17 — 24; with the instruments and furniture belonging toil, which are probably
not to be found in any other representation. The candlestick of the Second Temple, is a part of the spoils exhibited on the Trium-
phal Arch of Titus, with the Trumpets and the Table of Shew-bread ; but Josephus declares that the trophy 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 of the 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 aflower; so in the six branches that come
out of the Candlestick." The first point which requires illustration in this passage, is the expression " bowls," the original
word for which is D'*'lJ722 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 strictest 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
Calmet or from the Arch of Titus, it is usual to find 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 five or six, the second four, the third three, and the centre only two. Nor do the usual figures of the Candlestick exhibit
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-8IMILE8 OF MANUSCRIPTS.
surmounting the lummtt of each branch enclosing the lamp ; the knop or bud ariilng out of the plain item of the brunch, and
the flower springing from it, having the leave* folded over. Jotephui calls the flowers by the name of lilies and pomegranates,
and it will be seen that In the present figure the flowers have 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 Cneep, a swelling or bud, and was most probably adopted by the first translators from the general use of the
synonymous terms knopfe la 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 l>e four bowls made like unto
almonds with their knops and tlictr 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 b«
therefore counted as four, with the three bowls on any of the branches taken separately.— Verse 36. " 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 Habbech,
" was eighteen hands-breadth high, which, according to the cubit of six hands-breadth, was a yard and an half. It had three
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 Bide, 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-breadth 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 flowering 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 S2~)37!!2 "13 Nar
Storaby, 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 J1Y737Q Maoloth, or the
steps, derived from a root signifying to ascend. Suspended from the outer branches of the Candlestick, appear the instrument;
belonging toil mentioned in J?xo</i«;xxv. 37, xxxvii. 23, called the rPnpvOI Vutnelekochohe, the Tongs or snuffers for trimming
the lights marked a, a; and nearer to the centre shaft are thennnQn Ahmichethoth, or Fire- pans of the English translation of
the Scriptures, marked b, b, 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 Scriptures these
vases appear to be comprised under the general expression of the "furniture" of the Candlestick, as it occurs in Ejcodiu xxxv.
14. The quality of the oil, " pure uil ulice, beaten for the light to cause the lamp to burn continually," Exodia xxvii. -J'J.
FAC-SIMILES OF MANUSCRIPTS.
Leviticus xxiv. 2, appears to be indicated by No. 5, which is perhaps intended to represent an olive-tree. It is nevertheless
possible that the plant may be 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.
PLATE II.
No. 1. The principal figure on the second of the annexed engravings, represents the TABLE OP SKEW-BREAD, described in Exodus
xxv. 23-30, xxxvii. 10— 15, and bears the name (Q'OSn) ]nbtZ7 Shuleachn Ahpanim, or the Table of the Faces, written on the
mass of gold in which it is shaped, in a small cursive Hebrew character. It is well known that the loaves placed upon this table,
were called Lechem Panim, or, literally translated, Bread of Faces, either because they were set before the presence or face
of 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 6, 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
account are as follows : " The lowest cake of either row, they (the priests) laid upon the plain table : and upon that cake they
laid three golden canes, at a distance one from another, and upon those they laid the next cake ; and then three golden canes again,
and 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
like reeds or canes perfectly round and hollow through, but they were like canes or kexes, slit up the middle ; and their reason
of laying 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 rnouldiness 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 lay 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
admitted 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. 16. These have also their names written upon them in small cursive Hebrew characters ; by which it
is shewn that Nos. 2, 2, are intended for two of the vessels, called, in the authorised translation of the Scriptures, " COVERS."
They are entitled mtPp Kesoth, and are supposed to have been large cups or tankards, in which pure wine was kept
ou 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 is of silver. Nos. 3, 3, are the vessels called " BOWLS" in the ordinary translation, which are also inscribed with the original
word n^pSlS Menakiyoth ; 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 in which these vessels are mentioned : since the words of the former are the " bowls thereof, to cover withal," and the
expression in the latter is " to pour out withal." Calmet, however, supposes that, as the name of these vessels is derived from
JVakar, 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 nbl5?n n2tl3 Mizbeach Haolah, The PLACE (or Altar) of SACRIFICE of the BURNT (or Ascending) OF-
FERING; which name was derived from the circumstance that the gifts placed upon it, being entirely consumed, as it were ascended
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
half, and then diminished one cubit in width. The fabric was then carried up five 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 offerings upon it. This space appears to be represented in the annexed figure, or the
FACSIMILES OF. MANUSCRIPTS.
vacancy may have a reference to the command given in Esoittu xxvii. 8, " hollow with boards (halt thou make it;" though that
passage is rather supposed to signify that the altar wa* simply an empty case. The Jews consider, however, that the altar was
filled within with earth or rough stones, consistently with the words in Exadut xx. 24, 25 ; " An altar of earth shalt thou make
unto me, and shult sacrifice thereon thy burnt-offerings and thy peace offerings, thy sheep and thine oxen. And if thon wilt
build me an altar of stone, thou shall 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 Scripture* as the
" Horns of the Altar," marked a a in the present Plate, which, the Rabbins state, were a cubit square, hollow, and rising straight
for five hands-lii 1'iiilth, or a cubit, in height, being pointed outward above like a horn. The representation of these hnrns 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 plane on
the south side called B723 Kibbeth, 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 Exodui 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 exitct identity of the vase, No. 5, 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 DpItlD Afizrekoth 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 JinniD Mnchthoth,
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 13
embossed in silver.
Nos 6, 6, evidently exhibit the V57^ 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 brtishei.
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 ilpb 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 original
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 robtQ Mizlegoth; the figures of which, here exhibited, evidently shew that the term forcipes, or fork, ia not
required for the proper understanding of the original word, though it is employed in the Vulgate and all the modern translations
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 D'"2U?n B7vJJ? jPTOtl 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 rightanglein
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. represent* one of the horn-shaped metal Trumpets called m212n 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 in the original illumination is of embossed gold, it does not appear to represent either of the large silver
trumpets described in 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
tlieir 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 figure
of the Jewish trumpet, as here represented, appears to have continued down to the time of Horatius, in the Lituut, the form and
name of which were derived from the curved staffs of the augurs.
FAC-SIMILES OF MANUSCRIPTS.
The original Hebrew title is fortunately yet legible on the urn marked No. 10 in the present illumint,:!i>n ; and not only at once
identifies the particular purpose of a vessel the name of which might otherwise have been extremely doubtful, but also distinguishes
the true figure of a vase concerning which considerable difficulties have been raised. The words on the plate are ]Bn n3!J3U
Tzentzeneth Neman, the Pot of Manna ; namely the Omer which was commanded to be filled with the miraculous food, and laid
up as a memorial before the Lord, Exodus xvi. 32, 83, in the Ark of the Covenant, and in the Most Holy place, as it is expressly
stated by St. Paul in the Epistle to the Hebrews, ix. 4. The shape of this vessel has been commonly derived from the represen-
tation of an open cup impressed upon those doubtful Hebrew coins called the Shekel of Israel, or the Shekel of Simon. Adrian
Reland, however, in the seventeenth century, shewed in his Second Dissertation on the Inscriptions of the Coins of the Samaritans,
that the Omer of Manna could never have been formed of such a shape ; and without having seen the present illumination, actually
described the vase represented in it. He stated that from the size of the cup exhibited on the coins, it was not capable of containing
the quantity of Manna commanded to be preserved, namely, an Omer, or about three quarts ; that from the nature of the contents
it could not be without a cover, as the manna would in all probability evaporate; and that, therefore, it was of greater capacity,
having a long neck, and a lid like that of the amphora used for wine. He supports this conjecture by observing that the Hebrew
name, which occurs only once in the Scriptures, is to be found in an Arabic word signifying to keep, and that it is rendered in the
Greek of St. Paul's Epistle as well as in the Septuagint translation of Exodus, by the term Sra/ivoc, which, in profane classical
authors, signified a vessel for holding wine, with two tall ears or handles. On some specimens of Hebrew medals exhibited by
Reland the vase is formed much more like the present figure, with a tall neck and a spreading foot. The circumstance of the
Omer of Manna occurring in these illuminations, is also one of the proofs that the paintings were intended to represent the furniture
and vessels of the Tabernacle, rather than of either of the Temples at Jerusalem ; sini-e it is with some reason supposed that, as
the Ark contained only the Tables of the Law, when Solomon placed it in the First Temple, 1 Kings, viii. 9, the Vase of Manna
was no longer existing, because it could never have been lawfully removed from the Most Holy place. The metal in which this
figure is illuminated agrees with the expression of St. Paul, " the golden pot that had manna."
No. 11 in the Plate represents the ALTAR OF INCENSE, and is inscribed with the words mitapn H3TD Mizbeach Cheketoyoreth,
the place of sacrifice, or burning of incense ; the deseription of which is contained in Exodus, xxx. 1 — 5, xxxvii. 25 — 28. The
Hgure is made square, mounted on a low base, and having the inclined plane for ascending it on one side : in the original illumina-
tion it consists of a mass of embossed gold, which accords with the title assigned to it in Numbers, iv. 11, where it is called " the
golden altar."
No. 12 is a delineation of the BRAZEN LATER for the priests to wash at, when they entered the Tabernacle or went to the altar
to minister, described in Exodus, xxx. 18—21 , xxxviii. 8. It is simply marked with the word ~l V3 Kiytr, which signifies a large
round vessel or basin, or a caldron, and it is also embossed in gold, but the name of the materials of which it was fabricated,
nfcOQ Maraoth, or " the mirrors of the women which assembled at the door of the tabernacle of the congregation," does not
appear. The figure is remarkable for shewing the foot of the Laver, so particularly mentioned in the Divine command for making
it, which seems to have been a feature of some difficulty to the illustrators of the sacred vessels of the Jews. The exhibition of
this foot is another proof that the present illuminations were intended to represent the furniture of the Tabernacle, and not of the
Temple, since the ten lavers in the latter edifice, as described in 1 Kings vii. 38, 39, were each capable of containing about two
hundred and forty gallons, and were set upon pedestals or bases instead of shafts or feet.
No 13 is unfortunately without any inscription to indicate the peculiar tree or plant which it is designed to represent ; but it
may with great probability be conjectured to be the H7S Allah recorded in Joshua xxiv. 26, as growing by the Sanctuary of the
Lord in Shechem, with the stone or Stones of Memorial erected by Joshua standing beneath it. The original Hebrew and the
Oriental versions, together with the Targum of Onkclos, read that this tree stood actually within the Sanctuary, which will perhaps
account for its introduction in the present picture ; for a custom of planting trees within the limits of holy places appears to be
alluded to in Psalm xcii. 12, 13. The Divine prohibition contained in Deuteronomy xvi. 21, being against the planting of " a
grove of any trees near unto the altar" of the Lord. In the English translation of the Scriptures the tree at Shechem is called an
oak, and it appears to have been the same as that under which Jacob deposited the heathen idols and ornaments of his household
about three hundred years before, as related in Genesis xxxv. 4. There is too much difficulty, however, in identifying the exact
kind of tree intended by the sacred historian, to state with any certainty what it really was; since some of the versions render the
word Allah a turpentine-tree, and Edmund Castell, upon Rabbinical authority, states it was that sort of fig of which Adam ate,
mid of the leaves whereof he made garments. The leaf here represented is nearly that of the Ficus Sycamorus, but is not quite
dissimilar to the leaf of some species of oaks.
In concluding these illustrative remarks, it remains only to be noticed that the back-grounds of the paintings are each com-
posed of six compartments of dark red and blue covered with flowery lines of white. The illuminations of the fifteenth century
continually exhibit this kind of ornament, and combination of colour, but it is perhaps possible that in the present instances the
variegated flowered divisions on which the vessels are delineated, are intended to represent the " hanging of blue, and purple, and
ecarlet, and fine twined linen, wrought with needlework," which was to be suspended at the gate of the Court of the Tabernacle
FAC-SIMILES OF MANUSCRIPTS.
u described In Exodut xxvii. 10, xxxviii. 18. It is also not improbable that In the choice of the colours of these back ground*
there might be tome reference to the blue and scarlet cloths with which the vessels and furniture of the Tabernacle were to be
covered whenever the camp of Israel set forward to travel, as commanded in the Book of Lcritlcui, Iv. 6—9, 11, 12.
FAG-SIMILES from the PROLOGUES and TEXT of the celebrated MANUSCRIPT of the COHPDS-CHRISTI PLATS,
or Sacred Dramatic Mysteries, performed at Coventry and other Cities ; preserved in the Cottonian
Library of MSS. in the British Museum.
The principal of the religious dramas exhibited in England in the fourteenth and fifteenth centuries,
appear to have been derived principally from two very much esteemed versions of them, annually per-
formed at Chester at Whitsuntide, and sometimes at Midsummer ; and at Coventry, at the feast of
Corpus Christ!, or June 14th. The Whitsuntide Plays are commonly called the " Chester Mysteries,"
both because they were translated by Randle Higden, a monk of the Abbey of St. Werburga, in that
City, about 1327 ; and because they were originally played there on the Monday, Tuesday, and Wed-
lesday, in the Whitsun week, so early as the year 1269. They were twenty-four in number, and com-
menced with "The Falling of Lucifer" and "The Creation of the World," and ended with "Anti-
christ" and " Doom's Day." There was considerable difficulty in procuring the Pope's permission that
they might be performed in English, and hence it has been presumed that all the previous Mysteries
represented in Britain were in Latin ; which circumstance gives to these pieces the merit of having been
the first interludes in the national language. A manuscript specimen of a Corpus-Christi Pageant
instituted at York, early in the thirteenth century, is yet extant in the records of that city ; and a series
of Mysteries, of the fifteenth century, written in the provincial English of the country, and designed
for the same festival, belonging to the Abbey of Widkirk near Wakefield, long preserved by the Towneley
Family, has been recently published by the Surtees Society. The most popular dramas exhibited on
this day, however, were generally entitled Ludus Coventrice, or the Coventry Play, because they were per-
formed there at that season, so early as 1416, under the direction of the Franciscan Friars of the City ;
to which fraternity their original composition has been attributed.
At the times of these performances, great multitudes were drawn from all parts of England to Chester
and Coventry, to the great benefit of those cities ; and, as this advantage was perceived, and learning
increased and was more widely disseminated from the monasteries, — the acting of sacred plays extended
from them to the Universities and public-schools ; when students, choristers, school-boys, parish-clerks,
and companies of various trades, were employed in their representation. Beside the Mysteries
exhibited by the monks of Chester and Coventry, there were in both Cities certain sacred histories
regularly performed by, and at the expense of, the members of the trade-guilds established in them ;
each society generally retaining to itself a particular portion of Scripture for the subject of an annual
drama, to the support of which all the brethren duly paid. Thus, at Chester, the Tanners represented
The Fall of Lucifer, the Drapers The Creation, the Dyers The Deluge, etc. and at Coventry the Shearmen
played The Nativity, and the Cappers The Resurrection and Descent into Hell. The preceding particulars
relating to the Mystery Plays of England, have been thus minutely detailed, in order that the ensuing
remarks upon the Manuscript whence the present Fac-Similes have been taken, may be more easilv
and generally understood. These remarks refer to its contents, and to the place and party to which it
originally belonged; the discussion of the latter having been derived chiefly from Mr. Thomas Sharp's
very curious and interesting Dissertation on the Pageants, or Dramatic Mysteries, anciently performed at
Coventry by the Trading Companit* iff that City. Coventry, 1825. 4to. Pages 6,6—8.
d
FAC-SIMILES OF MANUSCRIPTS.
This celebrated volume is marked Vespasian D. vm. of the Cottonian MSS. in the British
Museum, and is entitled by Dr. Smith, partly in Latin, in his Catalogue of that Library "A Collection
of Plays in Old English metre ; that is to say Sacred Dramas, in which the Histories of the Old and
New Testaments are introduced in the manner of scenic personifications ; with which are connected
some passages devised by the ingenuity of the poet. They appear to have been formerly exhibited
before the people by the Mendicant Friars both for instructing and delighting them." Another descrip-
tion by the same hand, also in Latin, states that the volume contains " The New Testament scenically
expressed, and formerly acted by the Monks or Mendicant Friars : this book is commonlycalled Ludus
Comments, or Ludis Corporis Christi, and is written in English metre." The pieces comprised in the
series are Forty in number, and are derived from both the Canonical and spurious Scriptures, embracing
the two extremes of the history of the world. The manuscript is a small quarto volume of coarse thick
paper, consisting of 228 leaves having about 28 lines on each page ; the rhymes of which are con-
nected together by braces. The writing and language are those of about the middle of the fifteenth century ;
the names of the actors are commonly in Latin, but most of the very curious stage-directions, and
descriptions of the dresses, are generally in English, though there occasionally occur some Latin sen-
tences and texts from the Vulgate version of the Scriptures. The verse consists of long stanzas of alter-
nate rhyme, with many similar terminations ; and at the commencement is a long Prologue delivered by
three Vexillatores, or banner-men, alternately, announcing the several subjects of the ensuing pageants.
The whole of the Prologue is printed at length, though not very accurately, in John Stevens' Additional
Volumes to Sir William Dugdale's Monasticon Anglicanvm. Lond. 1772. Fol. Vol. 1. pp. 139 — 153.
The specimens from this very valuable Manuscript given in the ensuing Fac-Similes are taken from the
Prologue and text of the Twenty-sixth Pageant, which consists of the Examination of Christ before Caiaphas
and Annas, with the Denial of St. Peter. To assist in the reading and understanding of these Plates, a
literal copy of each is here added, with a modernised version placed beside it.
PROLOGUE. — From Fol. 6 6.
Than in ye xxvj" pagcnt
to Cayphas cryst xal be brouth
y« jewys fful redy yr xul be bent
Cryst to Accuse w' worde and tboutli.
Seynt petyr doth folwe w' good intent
to se w' Cryst what zuld be wronth
ffor crysts dyacyple 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 dotli take
Whan he doth aske mercye.
Tertlus Vexillator.
Then, in the Twenty-sixth Pageant.
To Caiaphas shall Christ be brought :
The Jews full ready there shall be bent
Christ to accuse with word and thought.
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 mercy.
PAGEANT. XXVI. From Fol. 139 a.
her xal annas shewyn hy' self in hit stage be seyn aftr a busshop
of ye hoold (old) lawejn a skarlet gowne. and ou' yl a Mew tabbard furryd
ict whyte Sf a myter on his hed after ye hoold lawe. y doctorys
standing by hy' in furryd hodys (hoods) and on' beforn hem (one before them) ui< his ttaff
of A ttat (estate ) £ eche of hem on her hedys a furryd cappe lot a gret
Tmop (flower) in ye croicne and on' standing beforn at a iarazyn ye wich
xal be hii massanger. Annas yusseying (thus saying)
FAC SIMILES OF MANUSCRIPTS.
ANNAS. — At a pMat am j p'paryd. tu p'vyde pe» Ai a Prelate am I prepared to provide peace ;
& of jewyi. jcwge. ye lawe to fortefyc And of Jews Judge, the Law to fortify ;
J Anna* be my power, xal romawnde dowteles I, Anna*, by my power shall command doubtless
Ye l.iwrs of moyscs. no man xal denye. The Laws of Motes no man shall deny,
hoo exccde my comawndement. A non ze ccrtcfye \Vlio exceeds my commandment, anon ye certify,
yfany erytykherreyn. tome ze compleyn If any herctick here reign to me ye complain ;
for In me lyth ye power, all trewthls to trye For in me licth the power all truths to try.
It pryncypaly our lawys. y° most j susteyn And principally our laws those must I sustain,
Zcf j may aspey. ye contraly, no wheyle xal yei rcyn If I may espy the contrary no while shall they reign,
but a non to me be browth & stondc p'seut But anon to me be brought and stand present,
be for her jewge, wich xal not fcyn Before their judge which hlmll not feign,
but after her trespace. to gefhem jugement But according to their trespass to give them judgment,
now serys for A p'fe. heryth my jntent Now, Sirs, for a proof hear mine intent,
ther is on" jh'us of nazareth. y' our lawys doth There is one Jesus of Nazareth that our laws doth
excede exceed ;
yf he p'ccde. thus we xal us all repent If he proceed thus we shall us all repent,
for our lawys he destroy t. dayly w1 his dede. Fur our law- he destroyetb daily with his deed.
PAGEANT XXVI. From Fol. 140 a.
her goth ye masangre forth and in ye mene tyme caypha» shewyth hi' self
in hit ikofkald. A rydlych to Annm nai-yng hii tabbard xal be red
furryd wt white ij doctorys to1 hy' a rayd w' pellya (sheep skins) uftyr y' oldgyte
Iffurryd cappyi on her hedyi. Cayphas yus seying.
CAYPHAS. — As A prmat mo§t preudent. j prsent her sensyble As a Primate most prudent I present here sensible
buschopys of ye lawe w'all yecyrcu'stawns Bishops of the Law with all the circumstance :
J Cayphas am jewge w' powerys possyble I, Caiaphaa, am Judge, with powers possible
to distroye all errors, y1 in our lawys make varyawns To destroy all errors that in our laws make variance.
All thyngs j convey be reson & temp'awns All things I convey by reason and temperance,
& all mail's possyble. to me ben palpable And all matters possible to me be palpable ;
of y* lawe of Moyses j haue A chef governawns Of the Law of Moses 1 have a chief governance,
to Seuer ryth & wrong in me is trmy liable To sever right and wrong to me is terminable.
but yr is on' Cryst y1 our lawys is vary able But there is one Christ that (saith) our Law is variable,
he p'verte ye pepyl w' his p'chy'g ill He perverteth the people by his preaching ill ;
We must seke A mene. onto hym reprvable We must seek a mean unto him reprovable,
fforyf he p'cede our lawys he wyll spyll For if be proceed our laws he will spill.
We must take good Cowncel in yis case We must take good council in this case
Of y« wisest of ye lawe y1 kan y* trewthe telle Of the wisest of the Law that can the troth tell.
Of ye Jewys of Pharasy. & of my cosyn Annas Of the Jews, of Pharisees, and of my cousin Annas,
For yf he p'cede be p'ssesse. our laws he wyl felle For, if he proceed by process, our laws he will fell.
prmf doctor cayfat. Fint Doctor of Caiaphat.
My lord plesyt zow to pardon me for to say My Lord, please it you to pardon me for to say
ye blame in zow. is as we fynde The blame in you is as we find ;
tolete Cryst contenue yus day be day To let Christ continue thus day by day
w1 his fals wichcraft ye pepyl toblynde. With his false witchcraft the people to blind.
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 Cottonion MSS. in 1638, and printed his Warwick-
FAC-SIMILES OF MANUSCRIPTS.
shire in 1650; wherein he mentions having conversed with old people who had been witnesses of the
Grey-Friars Pageants, a circumstance which might have happened between 1615 and 1620, when lie
•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 Coventria, 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 Coventry, 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 1456
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 expressly said to have
been performed by the Grey-Friars, and Dooms-Day being the usual concluding portion of the Corpus-
Christi 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 behe 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 y6 belle we gynne our play
In. N. town wherefore we pray
That God now be zour spede." — 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 played at Coventry in 1456, when the 14th 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 Mvstery 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 Bambrigce, Bishop of Durham
in 15'>7 ; who died at Rome, Cardinal-Priest of St. Praxedis and Archbishop of York, July 14il>, 1514.
re TABK
•. XAHERKA.CLE OF ISRAEL.
Sim* if- ofa.>Manu4iarif>l: /V (brpwt f'hr-i^t^
Century
JfysUryXffl. Folio U O, «•
VIEWS.
FIRST FAIR on the 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. Crowlc, Esq.
in the Print-Room of the British Museum. — A Fac-Simile of a SPECIMEN of PRINTIHO EXECUTED
ON THE ICE at the same Fair for KINO CHARLES TUB 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 until January 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 16th 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 printing-
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 £o 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 traffic 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 ;
the concluding four lines of which have been used in some of the verses produced at every Frost-fair, from that in 1684 down to
the last in 1814.
" 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 !"
Thameiif's Advice to the Painter, from her frigid Zone : or Wonderi on the Water. London •. Printed ly G. Croom on <*«
River of Thames. Small folio half sheet, 74 lines.
PART VII. d
VIEWS.
skip cut iu 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 want 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, with 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
Ihe paper are CHARLES, KING :— JAMES, DUKE (of York, his brother, subsequently King James II.)—
VIEWS.
KATIIERINE, QITEKN (Catharine, Infanta of Portugal, Queen of Charles II.) — MART, DUTCHESS (Mary
D'Este, sister of Francis, Duke of Moclena, 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 situation 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 Gentlentan's Magazine 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 Mapp or
Representation of Boothes and all the varieties of Shames and Humours upon the Ice on the River of Thames
by London, during that memorable Frost in the 35th Yeare of the Reigne of His Sacred Majesty King Charles
the 2nd. Anno Dni,M.DCLXXXIII. With an Alphabetical Explanation of the most remarkabkfigures."
It consists of a whole-sheet copper-plate, the prospect being represented horizontally from the Tern pie-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 Warier, 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 IL
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 CHCRCH-¥ARD :" 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
from that copious and excellent authority.
The first acquaintance of Gray with the spot which suggested his immortal lines, appears to have
taken place in June 1742, when he 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, concerning
which a memorandum in his common-place book states that it was "written at Stoke, the beginning of
June 1742, and sent to Mr. West, — not knowing he was dead!" To this extremely afflicting circumstance,
Mason traces the origin of the Elegy in a Country Church-Yard, in the following observations. "As
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 Adversity, both of them
written in the August following : for, aa 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 imputing
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, aa 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 Elegy,
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 unhonour'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 mo»t 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 days, 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 Letler from
the Author to the Hon. Horace Walpole, dated from Cambridge, February llth, 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. Yesterday
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 bands : 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 correxpondence, 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 Do<lsley do not do this t'mwe-
diately, he may as well Pet it alone."
In consequence of this arrangement, the Elegy was published in the same month by Cooper, " price
VIEWS.
sixpence," with 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 which 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 he 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 warble 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-Simile 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 your 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 will 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 would 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, anil
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 hud
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 by 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 ic 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
burying-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 Wai poie, "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 often 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 manjr more copies would amply recompense him for his additional disbursement. The thought
of having the head engraved was entirely Dodsley's own, and against my opinion, as I 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 poems, make the
edition less yours ? I am as 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.
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VIEWS.
Views of the EXTERIOR and INTERIOR of ASTLET'B RIDING-SCHOOL, in the Westminster Road, before
a permanent building was erected for Theatrical Performances. From Original Drawings by the late
William Capon.
THE inscription of a portrait of Philip Astley, published by himself, states that he was born on
January the 8th, 1742 ; and his attached follower, James DC Castro, adds that his birth-place was the
town of Newcastle-under-Lyne, in the County of Stafford, where his father was a cabinet-maker and a
cutter of veneers.* Astley's own advertisement of the certificate of his discharge from the army, and
of his services during the German war, published about 1783, states, that he was only seventeen years
old when he entered into Lieutenant-Colonel Sir William Erskine's troop of Light Dragoons, in the
fifteenth regiment, commanded by Lieutenant-Qeneral George Augustus Elliott. His discharge by
Sir William Erskine is dated at Derby, June 21st, 1766, and states that he " hath served for the space
of seven years and upwards, honestly and faithfully, much becoming a gentleman ;" and that " by his
own request he is hereby discharged." The motive which induced him to solicit his dismissal, accord-
ing to De Castro, was that " on the return of his regiment from the Continent, he heard of the great
success of three persons, famous men of that day as public performers, namely, Price, Johnson,1" and Old
Sampson, who had been exhibiting at the Three Hats, Islington, and other places round and quite con-
tiguous to the heart of the metropolis." Hence Astley sought and received his discharge, to which
General Elliott added the gift of a fine white charger, afterwards called " the Spanish Horse," which
lived in his service to the age of forty-two. During the time of his service in the Light Dragoons*
Astley had distinguished himself as an excellent horseman, and was appointed in consequence one of
the rough-riders, breakers, and equestrian teachers, to the regiment; and in his Case, published with
his certificate, he states that " on quitting the service at the conclusion of the war, and being deemed
peculiarly expert in the various management of horses, he accordingly invented new Equestrian
Amusements for the public eye ; in which he expended, in the course of three years, more than five
thousand pounds."
Perhaps the only authentic account of the original opening of Astley's equestrian entertainments, is
that written for Colbum's New Monthly Magazine and Humourist, by a most intelligent Veteran of the
Stage, under the title of " The Manager's Note Book ;"* whence several of the ensuing notices have
been derived, aided by other sources of contemporaneous information. The first part of the environs
of London in which Astley exhibited was a field near Wright's, or Curtis' s, Halfpenny Hatch, on the
spot where the White Horse public-house stands at the present time, in the Cornwall Road, near the
Waterloo Bridge, formerly at a short distance from the south-eastern corner of Cuper's Gardens. As
there was at the period now referred to no extensive public thoroughfare near this place, Astley was
easily enabled to exclude non-payers from witnessing his exhibition, by the erection of a slight and
partial fence ; and, that he might with greater certainty secure an audience in so retired a situation, on
the evenings of performing he was accustomed to place himself on his white charger at the end of
Pedlar's Acre, which led immediately to his riding-school from the Westminster Road, where he dis-
tributed his bills and pointed out the way to his premises. The following very curious and charac-
teristic advertisement of his entertainments, which is dated April 4th, 1768, furnishes a notice of the
• The Memoirt of J. Decaitro, Comedian. Accompanied by an analyrii of the Life of the latt Philip Attley, Big. Founder of
the Royal Amphitheatre, Wettmintter Bridge. Edited by R. Humphrey}. Lend. 1824. 12mo. pages 28 — 31.
b Johnson exhibited his horsemanship on a green at the Star and Garter, opposite the end of the Five Fields, Chelsea Row,
in the summer of 1762.
« Volume 51, Notember 1837, pages 329—333.
VIEWS.
exhibition of Astley at this period. " ACTIVITY ON HORSEBACK by MR. ASTLEV, Serjeant-Major
in His Majesty's Royal Regiment of Light Dragoons, commanded by Lieutenant-General Elliott :
Near Twenty different Attitudes will be performed on One, Two, and Three Horses, every even-
ing during the summer, Sundays excepted, at his Riding-School, next Wright's Horse, or Half-
penny, Hatch, Lambeth Marsh. NOT THE DOG AND DITCK. N. B. Turn down on the left hand as
soon as over Westminster Bridge, or at the turnpike ; and over Blackfriars Bridge, by Christ Church
turn on the right, being situated between the two Bridges and near Cuper's Gardens. Doors to be
opened at four, and he will mount at five. Seats one shilling, Standing-places sixpence. Will be much
obliged to those ladies and gentlemen who will favour h;m with their company, and will do every thing
in his power to gain their favour."
In a short time Astley appears to have been so far successful as to be enabled to convert one of the
sheds or barns in the field into a room, whence the performances might be seen, the admission to which
was two shillings ; but perhaps it was designed equally as a waiting-room to his riding-school ; to which*
in some of his subsequent advertisements, he solicited the public attention, as well as to his entertain-
ments." At this time the whole of Astley's musical accompaniments consisted of a single drum and
fife, which were played in an elevated building, standing on pillars and resembling a pigeon-house,
erected in the centre of the ride, the ascent to it being by a ladder.
In the spring of 1769, Astley first engaged that situaiion with which his name has been so long and
so permanently connected. The ground on which his first place of entertainment at Stangate was
built, was at the period a timber-yard, and the freehold property of a person named Lawton, who had
formerly kept a preserve for pheasants on the same spot; but the whole character of the vicinity had
been altered by the formation of the great southern road leading from Westminster Bridge. Astley
advanced ^6200 to the owner of the land, who also had the timber and erections secured to him by
a mortgage ; but he soon afterwards left England, and was never again heard of. About the same time
Astley found a diamond ring on Westminster Bridge, which was never advertised nor claimed, and
which he disposed of for £70 ; and he then enclosed the timber-yard with a high paling, and erected a
wooden house in the situation of the entrance to the present Royal Amphitheatre. b The lower part of
this building was made into stables, and the upper part into a long room for superior visitors to the
riding-school, and subsequently for exhibitions. Behind the house was formed the ride, around which
were erected three rows of seats with a sort of penthouse covering ; and the bills and advertisements
stated, in consequence, that " a slight shower would not hinder the performance, as there are numbers of
dry seats ;" as also that there was " a commodious apartment for the nobility," and that proper music
was engaged. The hour for commencing the performances probably varied according to the season,
since the doors of the riding-school in 1770 were advertised to be opened at four, mount at five ; and
* "The true and perfect seat on horseback. There is no creature yields so much profit as the horse; and if he is made
obedient to the hand and spur, it is the chief thing that is aimed at. He (Astley) undertakes to break in the most vicious horse
in the kingdom for the road or field; to stand fire, drums, &c. and those intended for ladies to canter easy. His method,
between the jockey and the menage, is peculiar to himself. No gentleman need despair of being a complete horseman that follows
his directions, having had eight years practice in Lieutenant-General Elliott's regiment. For half-a-guinea, he makes known his
method of learning any horse to lay down at the word of command; and defies any man to equal it for safety and ease." An
advertisement, published in June 1775, announces " Astley's Method of Riding, a preventative of accidents on horseback, to be
had of him, price Is." June 1776. " Ladies and Gentlemen instructed, at 2*. 6d. per lesson." The time of instruction was
from eight until eleven o'clock every morning.
b It is affirmed that the timber with which Astley's first permanent building was erected, had formed the platform and covere-l
way leading from the Painted Chamber to Westminster Abbey, constructed for the funeral procession of Augusta of Saxe Gotlm
the Dowager Princess of Wales, who died February 8th, 1772.
VIEWS.
subsequently to be " opened at five, and begin at six." The prices of admission were two shillings to
the long-room, and one shilling to the riding-school.
At this perioilthd performances were principally by Astley alone, as they are stated in the ensuing
list, taken from a bill without a date, but evidently referring to about the year 1770. " Horsemanship.
This and every day at six o'clock in the evening, Sundays excepted, MR. ASTLEY, the Original
English Warrior from General Elliott's Light Horse, and Mrs. Astley, will exhibit the most surprising
performance, scarcely to be believed without seeing, on One, Two, and Three Horses, at the foot of
Westminster Bridge, Surry. Several new feats." 1. Mr. Astley makes his horse lay down at the
word of command. The horse actually appears dead. Here Mr. Astley speaks a comic prologue.11
2. He rides on full speed, with only the bridle in his hand, standing with one foot on the saddle.
3. He balances himself without holding the bridle, on full speed, in a most surprising manner. 4. He,
on full speed, picks up a number of different things from the ground, a shilling, a sixpence, etc. 5. He
springs from his horse to the ground, and, like a tennis-ball, which rebounds, flies on his horse again
several times ; then sweeps his hands on the ground for half a mile together, flies off his horse and
jumps clear over him in a most amazing manner. 6. He stands with one foot on each saddle, and
takes a flying-leap over the bar. 7. He sits on both saddles and takes a leap, his head on one horse
his feet on the other. 8. Mrs. Astley rides two horses with one foot on each saddle, and leaps over the
bar, etc. etc. etc. 9. He rides three horses, standing and sitting on all the saddles at one time.
10. Lays across the three horses on full speed, and in many more different positions. 11. The posture
of offence and defence, sword in hand, as in real action." 12. Makes his horse set up like a dog, in a
• These feats are represented on the bills issued by Astley about 1772, in a number of small wood-cut figures; and in an
advertisement of July 17th, in that year, he refers to his descriptive bills in the following terms, alluding to Hughes, who was
then opposing him in Blackfriars Road. " It being the practice of pretenders to horsemanship to insert in their bills and
represent on their show-cloths a number of feats they cannot do, in order to take-in the unwary and impose on the public ; Mr.
Astley therefore begs the nobility, gentry, and others, will ask for a bill at the door, and see that the number of Fifty different
feats are exhibited, without repetitions ; and it is well known that Mr. Astley's horses go on full speed, not a gentle amble
neither is he tied fast to the horse by a strap when he sweeps both hands on the ground." One of the small woodcuts, nu in-
hered 14, represents Astley in this part of his performance.
b The address referred to consisted probably of the following lines.
[Spoken by Mr. Astley as hit horse lays down imitating death.']
" My horse is dead apparent at your sight,
Bat I'm the man can set the thing to right :
Speak when you please, I'm ready to obey,
My faithful horse knows what I want to say ;
But first pray give me leave to move bis foot,—
That he is dead is quite beyond dispute.
The horse appears quite dead,
This shews that brutes by Heaven were designed
To be in full subjection to mankind :
Rise young Bill, and be a little handy
To serve that warlike hero Granby !
The horse of his own accord rises.
When yon have seen all rny bill exprest,
My wife, to conclude, performs the rest."
• " Mr. Astley," says an advertisement of April 6th, 1772, referring to this part of his performances, " has no concern with
any othtir place but Westminster Bridge ; and if any should puff off Astley's broad-sword as a real engagement, his deception
with the cards, the taylor, the shilling bUndfolded, &c. they are impostors ; because the broad-sword is on such a principle (th«
VIEWS.
droll attitude, with a cap on. 13. The humours of the little horse. 14. To conclude with that comic
piece called The Taylor riding to Brentford, in dress and character. Many more feats will be exhibited,
which cannot be inserted for want of room. — N.B. Several feats of horsemanship by Mr. Griffith, being
his first appearance."
For several years these performances constituted the principal features of the personal exhibition of
Astley ; but, as he appears to have been equally imitated and decried by his contemporaries and rivals,'
he increased the number and nature of his entertainments, and in August 1772 their extent and variety
are described in the following advertisement. . " Every Evening till further notice. Several of the
Nobility now in town having solicited Mr. Astley, at the foot of Westminster Bridge, to make a general
display of all his various amusements, and to exhibit the whole of them on one night ; — he, willing to
oblige them, gives the following notice that he will cause the whole of every performance to be exhibited
under the following titles : viz. Horsemanship or activity ; exhibition of Bees, by Mrs. Astley and Mr.
Wildman ; the broad-sword and heavy balances ; Comus's, Jonas' a, and Breslaw's tricks with cards,
watches, money, purses, letters, &c. by the Little Horse ; the Magical Tables, or the Little Military
Horse in his study,b in four grand changes; with a variety of other amusements, in order to make the
general night more complete. There never was an exhibition of this kind in one place in Europe.
Admittance on this occasion only one shilling in the Riding-school, though not the tenth part of the value
of such an extraordinary performance. To begin at a quarter past six precisely. Servants to keep places
for the general exhibition to be at the Riding-school at four, in order to secure places. Admittance in the
galleries as usual." In the season of 1772, " Master Astley, only five yeais old," made his first appear-
ance as an equestrian.
An advertisement issued by Astley in August 1771, announced that " as numbers of the Nobility
could not get admittance last Monday, Mr. Astley has been at a great expense in enlarging the ground
for the better accommodating them this evening ;" but it was probably not long before 1776 that the
riding-school presented the appearance exhibited in the annexed views. In June 1775, the advertise-
ments of Astley notice his " Automaton Figures playing on German-flutes," which were probably the
commencement of those mechanical performances which he afterwards displayed in the principal upper
room of his centre gallery. At this time Cox's Museum was in its highest celebrity, and Astley
appears, in some degree, to have imitated both the inflated terms in which that exhibition was described,
army excepted) that few, except taught by him, can defend themselves much more than their horse : and if a man never was
sword-in-hand in action, how can he tell what it means?"
» An advertisement, issued May 17th, 1772, from Hughes the inveterate opponent of Astley, declares that the latter " never
performed one capital feat at or near the metropolis. First, he never rode with his back to the horse's head ; secondly, he never
leaped back over one horse ; thirdly, he has never rode one horse with one foot on the horse's head, the other on the saddle ;
fourthly, he has never stood with one foot on a single horse, and in that position taken a leap, returning with only one foot on the
saddle, the horse in full speed. In short, Astley cannot mount a single horse with his feet on the saddle, without creeping up on
his knees and then on his feet, as the horse walks round. Mr. Hughes, with his other performance, exhibits the above four feats ;
also mounts a single horse with both feet on the saddle, the horse in full speed ; leaps over two horses as they leap a bar three
foot high : also leaps over three horses, and leaps over a single horse backwards and forwards, twenty times, without stopping
between the springs. Now if Astley can perform only the above feats in presence of any three men of character, Mr. Hughes
will give him a premium of £100." Two days after the appearance of this statement, an advertisement was published that
Hughes and Astley had consented to make up their disputes in an amicable manner.
b It is probable that this part of Astley's exhibition was introduced partly in ridicule of Breslaw's performances ut 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 off 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 his house, No. 60, in Houndsditch."
VIEWS
as well as some of the articles of which it was composed. He accordingly commenced one of his adver-
tisements with the words, " At the Riding-school, Westminster Bridge, the grandest exhibition that wa§
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 1776 advanced, Astley protracted
the hour of this 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, consisting 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
through 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 oi the
original drawings the artist lias added some descriptive particulars in writing, according to his usual prac-
tice ; with a copy of which the present notices may be appropriately concluded.
• Milititry Reminiscences. By Colonel James Welch. Land. 1830. 8vo. vol. 2, pages 135,136.
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 from the 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 stage -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 Ast ey'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 hornpipes, which
is more extraordinary than to make them vote at an election, or act the part of a magistrate, which animals
of Jess 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 persona to Paris."
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, lo the Company of Painter-Stayners of London, to buy them a peece of plate in
memoriall of mee, sixtcene pounds ;' the inscription upon which is directed to be — " GDIL. CAMDE.NUS
CLARENCEUX, FILIDS 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 fi tehee, 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.
W .'
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FAC-SIMILES
OF
MANUSCEIPTS AND HISTORICAL DOCUMENTS.
FAC-SIMILE of the COMMENCEMENT of the BOOK OP GENESIS, from the MANUSCRIPT called
" ALCHUINE'S BIBLE," in the BRITISH MUSEUM.
IN the very curious, interesting, and elaborate account of this Manuscript by Sir Frederick Madden,
inserted in The Gentleman's Magazine for 1836 (Vol. vi. New Series, October, pages 358—363;
November, pages 468—477.) there is expressed some doubt whether the copy were actually written by
the hand of Alchuine himself; or whether it was not rather produced by some of the students in the
Scriptorium of the Monastery of Tours, under the careful superintendence of the Abbot. The writing
of two hands, however, it is added, can be distinctly traced in it ; one of which is larger and not so
elegant as the other. An epistle written by Alchuine to Gisla, sister of the Emperor Charlemagne, and
to Richtrudis, otherwise called Columba,— the date of which is ascertained to have been A.D. 799, —
represents the Prelate as still occupied with the emendation of St. Jerome's Vulgate Latin of the Holy
Scriptures, which he had commenced by order of the Emperor, and which, he adds, had been corrupted
by the ignorance of transcribers. He appears to have completed his labours in the following year ; since,
on the day of Charlemagne's Coronation as Emperor of Rome, December 25th, A.D. 800,— at that time
regarded as the first day of the year 801, — he presented the Monarch with a copy of the revised text.
" After deliberating a long time," says the Latin epistle which Alchuine sent with the volume " what
the devotion of my mind might find worthy of a present equal to the splendour of Your Imperial
Dignity and increase of your wealth, that the ingenuity of my mind might not become torpid in idleness,
whilst others were offering various gifts of riches, and that the messenger of my littleness might not come
empty-handed before the face of Your Sanctity, — I found at length, by the inspiration of the Holy
Spirit, what it would be competent to me to offer and fitting for Your Prudence to accept. For to me,
thus enquiring and considering, nothing appeared more worthy of Your Peaceful Honour than the gift
of the Sacred Scriptures ; which, by the dictation of the Holy Spirit and the mediation of Christ God,
were written with the pen of celestial grace for the salvation of mankind ; and which, knit together in
the sanctity of one glorious body and diligently amended, I have sent to Your Royal Authority by this
your son and faithful servant, so that with full hands we may assist in the delightful service of Your
Dignity." Another letter from Alchuine discovers that the name of the messenger by whom this copy ol
the Scriptures was sent, was Nathanael, otherwise called Fridugis, a native of the same province in
Yorkshire as the Prelate himself, and his favourite pupil : he afterwards selected him to be his successor
as Abbot of Tours ; and he also became Abbot of Bertin, and Chancellor to Louis le Debonair.
It is likewise a point of much uncertainty whether Alchuine wrote with his own hand even the
volume presented to Charlemagne, though he is known upon contemporaneous authority to have copied
out the books of the Evangelists. M. J. H. De Speyr Passavant, however, the late possessor of the
Manuscript whence the present Fac-Simile is taken, assumed that this was written by him, and was also
the very book given to the Emperor ; from whom it passed into the possession of his grandson and suc-
cessor in the Empire, Lothaire ; being the identical Bible, " having figures and large capital letters of
gold at the beginning of each book," which that Monarch gave in a Charter to the Benedictine Abbey of
Pruen, in the Diocess of Treves, about the middle of the ninth century. After the dissolution of that
Religious House in 1576, and the appropriation of its revenue to the Elector of Treves, — the Benedictines
PART vii. b
FAC-SIMILES OF MANUSCRIPTS.
conveyed the Emperor's book to Switzerland, and deposited it in the Monastery of Moutier Grand Val,
near Basle, the Chapter of which was transferred to the town of Delemoiit, in the Canton of Berne.
The only authority on which this statement is founded, is a Latin note written on the reverse of the last
leaf of the Manuscript, containing an Act of the Chapter of Grand Val, declaring that the volume was
the property of the Saints Germanus and Randoabdus, and of their College and Church, whence it was
never to be alienated nor otherwise carried away. This act is authenticated by the names of Johannes
Henricus Mollifer, the Praepositus, and of Paulus Des Boys, Archidiaconus, of the Fraternity, with the
consent of the whole Chapter. The former of these officers is stated to have been elected in the year
1589, and to have died in 1607 ; within which time, therefore, the act must have been written, and the
Bible appears then to have been in the Monastery of Grand Val. It is further said to have remained
thereuntil 1793, when the French army occupied the Episcopal territory of Basle, and sold the possessions
of the brethren, by which means the volume became the property of M. Bennot, Vice-President of the
Tribunal of Delemont, from whom it was bought by M. De Speyr Passavant. After many ineffectual
attempts to dispose of the Manuscript to the French Government, it was first brought to England in
January, 1836, and offered to the Trustees of the British Museum for the immoderate sum of .£12,000. ;
but was at length procured for that establishment for £750., and now forms No. 10,546 of the Additional
Manuscripts.
The text of this stately volume, as will be seen by the Fac-simile, is written in the small and elegant
German characters improved by Charlemagne, and thence called the Caroline Minuscules, extremely
distinctly and beautifully formed, with very few and simple contractions : every page being of the largest
folio size, measuring 20 inches by 14f, and containing two columns of fifty lines each. The whole book
comprises 449 leaves of remarkably fine vellum, and is adorned with several large illuminations, rich
initial letters, and titles to the several divisions in Roman capitals of gold: of these ornaments, however,
a most minute description will be found in the last of the papers of Sir Frederick Madden, already
referred to, whence also the materials of this account have been derived. The part represented in the
present Fac-Simile is the left-hand column of the seventh page of the Manuscript, and commences with
the words " INCJPZ* Liaer GENESEOS," in Roman capitals of gold, the letters expressed in small Italics
being omitted. Immediately above this title is the Greek Monogram of 1H2OYS XPISTOS placed between
the symbolical letters A and O, (to) expressing that Jesus Christ is the Alpha and the Omega, the first and
the last of the Holy Scriptures. Down the whole length of the left hand of the page extends a very
large initial letter I, elaborately decorated with the ornaments of leaves, flowers, and wreathed fretwork,
•which are peculiarly characteristic of illuminations executed between the eighth and twelfth centuries.
The text contained in this column consists of the first thirteen verses of the first chapter of the book of
Genesis, according to the Vulgate Latin, of which the following is a copy printed line for line with the
Fac-Simile, but having all the contractions supplied in Italics, to assist the reader in perfectly understand-
ing the original.
(Verse 1.) IN PRINCIPIO CREAVIT DJSUS
caelum et terram. (2) Terra autem erat in-
anis et vacua, et tenebrae super faciem abyssi,
et Spirits Dei ferebatur super aquas. (3) Dixitqwe Deus:
Fiat lux. Et facta est lux. (4) Et vidit Dews lucem
quod esset bona : et divisit Deus lucem a tenebris.
(5) Appellavitqwe lucera diem, et tenebras noctem :
Factumque est vespere et mane dies unus.
FAC-SIMILES OF MANUSCRIPTS.
(6) Dixit quuque Deus : Fiat firmamcntum in me-
dio aquarum ; et dividat aquas ab aquis. (7) lit fe-
cit Dews finnamcntum, Divisitque aquas quae
erant sub firmamento ab his quae erant su-
per firmamcntum. Et fiiotum ett ita. (8) Vocavit-
que Dens firmainontuin caelum : Et factum est
vcspcru et mane dies secundus.
(9) Dixit vero Dews : Congregentur aquae, quae
sub caelo sunt, in locum unum ; et appareat
arida. Factumque est ita. (10) Et vocavit Deus aridam,
terram ; congregationesque aquarura appellauit
maria. Et vidit Deus quod esset bonum. (11) Etait:
Germinet terra herbam virentem et facienfent
semen, et lignum pomiferum faciens fructum
juxta genus euum, cujus semen insemet ipso sit super
terram. Et factum eft ita, (12) Et protulit terra herbam
virentem, et ferentem semen juxta genus suum lig-
n unique faciens fructum, et habens unumquodque semen
secundum speciem suam. Et vidit Deus quod esset bonum.
(13) Factumque est vespere et mane dies tertius.
The text of this version varies in a few particulars from the Vulgate Latin published by the authority
of t!ie Pontiffs Sixtus V. and Clement VIII., as in the following passages. Verse 2, for tenebrts super,
read tenebrce erant super. Verse 9, for factumqne est ita, read et factum est ita. Verse 12, for et ferentem
semen, read et facientem semen. Verse 13, for Factumque est, read Et factum est.
The very beautiful and accurate manuscript of this volume, is to be attributed not less to the careful
superintendance which Alchuine bestowed upon the Scriptorium, or writing-chamber, attached to his
school and monastery at Tours,— than to the general improvement which Charlemagne had effected in
the German characters of the period. In particular, Alchuine appears to have required from the scribes
a close attention to the words of the copy before them, with a due separation placed between each, and a
careful insertion of the points proper to the subject ; the latter of which appear to have been greatly
neglected in his time, since, in an epistle addressed to the Emperor, he has the following remarks
concerning them. " The force of expressions is most excellently set off by the distinctions and small
differences of the points which should be employed ; but yet, by reason of the rudeness of ignorance,
their use has almost entirely disappeared from our writings. All the graces of wisdom, however, as
well as the wholesome ornaments of learning, Your Nobility has diligently begun to renew ; so that the
use of those points is to be seen restored in the hand-writings of the best manuscripts." Some of the
directions of Alchuine for the transcription of books, are still extant in one of the metrical Latin
Inscriptions which he composed for the Monastery at Tours ; and as it is so far connected with the
Manuscript Bible forming the subject of these notices, that the volume was in all probability copied in
the very chamber wherein that poem was suspended, — an imitation of it in English verse is here
subjoined.
FAC-SIMILES OF MANUSCRIPTS.
INSCRIPTION LXVII.
For the Museum for the Writing of Boohs.
Here, as thou readesl, those Transcribers sit,
Whose pens preserve the words of Sacred Writ ;
And to the Sainted Fathers lore divine
This quiet chamber also we assign.
Let them that write those holy truths beware
Their own vain words that they insert not there ;—
Since, when frivolities the mind engage,
They lead the hand to wander from the page
But let them ask of learned studious men,
And cross the hasty fault with faithful pen.
Distinct and clearly be th« sense convey'd,
And let the points in order be display'd.
Nor falsely speak the text when thou shalt be
Reader before the good Fraternity;
When to the Church the pious Brethren come,—
And for a casual slip with shame be dumb.
Write then the Sacred Book, — 'tis now a deed
Of noblest worth which never lacks its meed.
'Tis better in transcribing books to toil,
Than vines to culture, and to delve the soil :
Since he who lives to meaner works confined
May serve his body, but that feeds his mind.
Yet whatsoe'er thou writest, old or new,
Some master-work should be brought forth to view
The praise of numbers on such labours fall,
The Fathers of the Church are read by all.
FACSIMILES OF MANUSCRIPTS.
IittJMiNATBD DiiAwirnis of Two BANNERS attributed to ST. EDMUND, Krxa of the W»»t
with Fxc-SiMtLBs of a POETICAL DESCRIPTION of the device* 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, art the national standards of the English Array, is
roost 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 thecustody 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 1415, 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.*
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 in 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 notice* hag been derived from a very curious and original paper '' On the Banners inert in the
English Arm;," printed in the Second Series of The lietroipective Review, Part I. volume I. for October, 1827, page* 90 — 117,
by Sir Nicholas Harris Nicolas; and also from his Hittory of the Battle of Agincourt, and of the Expedition of Henry the f\flh
into France in 1415. Second Edition. London, 1832. 8vo. page 115, Note c. An ancient representation of the Standard
displayed by Stephen, will be found In Roger Twysden's Hitlerite AnyluniHC Scriptoret Decent. 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 yearby computa tion, —
When Sixte Kerry in his estate royal,
With his sceptre of England and of France, —
Held at Bury the Feast principal
Of Christevnas, 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 ; ana a very
curious original account of the Royal visit, from All Saints day, November 1st, to St. George's day,
April 23rd, 1834 — will be found in The Rev. Richard Yates' Illustration of the Monastic History and
Antiquities of the Town 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, * 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. <> 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 arrows
m A copy of this illumination is engraven in Joseph Strutt's Regal and Ecclesiastical Antiquities of England. Lond. 1793. 4to..
Plate xli. page 81.
b 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
Vicars of Beverley College, the bearer receiving eight pence half-penny per diem tor carrying it after the King, and one penny
per diem for 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 be paid to the Prior of Durham " for Saincte Cutberd'e banner."
FAC-SIMILE9 OF MANUSCRIPTS.
in saltirc, Argent, in memory of the manner of St. Edmund's martyrdoms It will hence be observed,
if 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 Lydgato connected with them, may be regarded of equal importance from 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-Sirailes, is the ordinary
Gothic running-hand of the fifteenth century, with few contractions, and having the lyric measures of the
stanzas generally indicated by a small and light diagonal line to point out the breathing-place. The
character is large and distinct, but the following copy of the entire poem descriptive of St. Edmund's
banners is inserted that the text of the Engravings may be made completely intelligible.
B
PLATE I.
Manuscript folium 2 a.
lyssyd Edmund, 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 (wise),
Eet off an appyl of flesshly fals pleasance ;
Which thre figures Edmund by gret auys (great advice)
Bar in his baher for a remembrance.
Lyk a wys kyng peeplys (peoples) to gouerne,
Ay (aye — always) vnto reson he gaff the souereynt6
Figure of Adam wyssly to dyscerne
To oppresse in Eua sensnalite :
A lamb off gold hygh vpon a tree,
An heuenly signe, a tokne offmost vertfi,
To declare how that humylite
Above alle vertues pleseth most Jh«u.
Off Adamys synne was wasshe away the rust
Be (by) vertu only off this lambys blood ;
The serpentys venym and al flcsshly lust
Sathan outraied (outnrayed — displayed) ageyn man most wood (mad)
Tyme 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 liiest aloffte in his standard.
« Jfotitia Hfonattica. By Thomas Tanner, D.D. Bishop of St. Asaph. Edit, by the Rev. James Nasmith. Cambridge, MAT .
Folio. Notes on the Arms of the Monasteries, page xxiii. No. clfl.
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 cleer;
And wher that euere he iourneyde, nygh or ferre,
Ay in the feeld with hym was this baneer.
Which, be infl&ence off our Lord Jh&su, —
As it hath be preued (been proved) offte in deede,
This hooly Standard hath power and vertu,
To Blanche f> res, and stoppe flawmys rede (flames red)
By myracle ; and who that kan take heede :
God grantyd it hym for a prerogatyff;
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, dau/He 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 registered among the worthy nine.
PLATE II.
Manuscript folium 4 a.
T
his other Standard, feeld stable off colour Ynde*
In which off gold been notable crownys thre ;
he firste tokne in cronycle men may fynde
Grauntyd to him for Royal dignyte ;
And the seconde for virgynyte ;
For martirdom the thrydde in his suffryrig,
To these annexyd feyth, hope, and chary te
In tokne he was martyr, mayde, and Kyng.
• A permanent unfading fiokj of the colour of ludia or Azure.
FAC-SIMILES OP MANUSCRIPTS.
These thre crownys Kyng Edmund bar certeyn.
Whan he was sent be grace of Goddis bond
At Geynesbnrnh (Gainsborough) for to slen Kyng Sweym
By which myracle men may vndi.-stond
Delyuered was fro trybut al this lond,
Mawgre Danys in ful notable wyse ;
Por the hooly martyr dissoluyd hath that bond,
Set this regiou» ageyn in his franchise.
Applicacio.
These thre crownys historyaly t' aplye,
By pronostyk notably souereyne, —
To Sixte Herry, in figur signefye
How he is born to worthy crownys tweyne
Off France and Ingland, lynealy t' atteyne
In this lyff heer ;— afterward in heuene
The thrydde crowne to receyue in certeyne,
For his meritis aboue the sterrys seuene.
PART vn.
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 Cattle 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 ; 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 Howard, 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.
Sr.
I haue taken paines in yor 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
yor 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
Sr
Y- Affecte. Ser*
June 30th Titus Otes.
81
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a^ £i*-/&~ &vl^ wvi-l*tA. Uov. t&J^UeM£,Jt
tfikvvJ- fank*1^ fi*^**^jt* &*>&^
y ' - 19 '^™dt^^
HEAD-QUARTERS OF PRINCE RUPERT, AT EVERTON,
During the Siege of Liverpool, in 1G44.
PRINCE RUPERT, assisted by the Earl of Derby, having taken Bolton by storm, and refreshed his army
there for some days, advanced on Liverpool, where the Parliament had a strong garrison under the command
of Colonel More of Bank-hall ; and finding on his approach to the town, the high ground near it favourable
to his 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.
The siege began about the 2nd of June, and the view exhibits his head-quarters from that time till the
reduction of the place. His main camp was established round the beacon, about a mile from the town, and
his officers were placed in the adjoining villages, from whence a detachment marched every day, being
relieved every twenty-four hours, to open trenches and erect batteries. From these advances Prince Rupert
frequently attacked the besieged and their works in the way of storm, but was constantly repulsed with great
slaughter of his men. At length, Colonel More finding the town must of necessity surrender, and desirous 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 royalists entered
the town at three o'clock in 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.
Nicholas's Church, and other places of security ; but the Parliament-army, soon after the siege, repossessed
themselves of the Castle, and appointed Col. Birch as governor.
THOMSON THE POETS ALCOVE.
THOMSON lived and died in a small cottage, now part of Rosedale House, the residence of the Earl of
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 sang 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, audits place in the alcove is supplied by one of rustic form;
and on a board, 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
teiulerest 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."
THE BIRTH-PLACE OF THE REV. JAMES HERVEY, A.M.
HAKDINGSTON, 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-
shire, from 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,
and great-grandfather of the author of the Meditations, were also buried there.
The rural building 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
burst upon the world.' The register of the Church of Hardingston, whose embattled tower is seen in the
distance of this pleasing sketch, records his baptism in these words: — "James, son of William Hervey,
Rector of Collingtree, was baptized March 7, 1713 ;" and here his mother, the first person in the village of
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
was capable of reading, when he was sent at the age of seven years, as a day-scholar, to the Free Grammar
School in Gold-street, Northampton. From this house, in his seventeenth year, he set out for Lincoln
College, Oxford, and here his father, the Rev. William Hervey, died on May 8, 1752.
UPPER FLASK TAVERN, HAMPSTEAD HEATH.
Subsequently the Residence of George Steevens, Esq.
THE Upper Flask, formerly a place of public entertainment, situated near the summit of Hampstead-hill,
when Hampstead Wells drew many visitors from London, was the rendezvous of Pope, Steele, and other
members of the celebrated Kit-Cat club, during the summer months. Richardson also refers to its popu-
larity, by mentioning it as a place of refuge adopted by Clarissa, after one of her escapes from Lovelace.
With the decline of the attractions of the amusements at Hampstead, the business of the house appears also
to have ceased, and the Tavern became a private residence, and here the distinguished Shakespearian
editor George Steevens, passed nearly thirty years of his life, in unvisitable retirement, seldom mixing in
society, beyond his calls at booksellers' shops, the Shakespeare-gallery, or the Morning Conversazione of Sir
Joseph Banks. Here, rich in rare books and prints, he expended upwards of two thousand pounds in
the embellishments of the house and grounds, which presented a coup d'ceil of surprising beauty and elegance.
Steevens, who had studied the age of Shakespeare, and possessed that knowledge which pre-eminently quali-
fied him for the illustration of England's dramatic bard, here evinced his superior powers in the preparation
and completion of his celebrated edition of Shakespeare's Plays, in 1793. To this work he devoted, almost
exclusively, a period of eighteen months, and during that time, left his house at one o'clock every morning,
with the Hampstead patrole, proceeding, without any consideration of the weather or season, to call up the
compositor, and awaken his devils, for the sheet requiring correction, which he usually read at the chambers
of his friend, Isaac Reed, in Staples Inn : this nocturnal toil greatly accelerating the printing of the work, as
while the printers slept, the editor was awake. Steevens died at this house, Jan. 22, 1800.
GARRICK'S CUP,
CARVED FROM *H AKSl'K \ Hr.'s MULBERRY TREE.
THIS celebrated Shakspearian relic was presented to David Garrick by the Mayor and Corporation of
Stratford-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, in 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
Gastrcll, 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 I
All shall yield to the Mulberry tree,
Bend to thee,
Blest Mulberry,
Matchless was he
Who planted thee,
And tliou like him immortal be!"
After the death of his widow, the cup was, by a decree of Chancery, sold at Christie's Auction
Rooms, 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.
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 ao remarkable.
Living at a time when the crown was overawed by a bold and powerful nobility, and when it wonW 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 any one 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 place 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 ; 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
King 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 fbundationa of the ancient
one, the scene is now in all probability almost exactly the same as it was in the year 1488.
TOMB OF EDMUND WALLER, AT BEACON8FIELD.
THE life of Waller affords more materials for the biographer than that of most literary men. Descended
from an ancient family, enjoying a large fortune, and possessed of superior, though not first-rate abilities, he
entered upon public life with every advantage. He was returned to Parliament as early as his sixteenth or
eighteenth year, and maintained both there and in society a great reputation for wit, which was not, however,
supported by originality or profundity of thought. Lord Clarendon says of him, that "having a graceful
way of speaking, and by thinking much on several arguments, (which his temper and complexion, that had
much of melancholic*, inclined him to,) he seemed often to speak upon the sudden, when the occasion had
only administered the opportunity of saying what he had thoroughly considered, which gave a great lustre to
all he said ; which yet was rather of delight than weight." Bishop Burnet's account of his parliamentary
abilities agrees with that of Lord Clarendon.
His poetry has still strong claims on our admiration, and his works are ranked in the list of standard
English literature. His first poem " on the Prince's escape at St. Andero," was written at eighteen ; and
the critics remark that his style was as perfect then as at any period of bis life, nor did he afterwards
materially alter it. He had the merit of smoothing our versification ; and though too fond of conceits, and
according to the tase of the times, always ringing changes on the heathen deities, yet there are frequent
examples of nervous sentiment and high poetical conceptions. Waller continued to write till his death,
which happened 21st October, 1687, in his eighty-second year. He died at Hall-barn, and was buried at
Bcaconsfield, where a handsome monument was erected by his son's executors, which is in good preservation
and tolerable taste. It consists of an obelisk of white marble, resting on a basement, the upper part of which
represents a pall or drapery executed in gray stone, with a vase at each corner. The whole is about sixteen
feet and a half in height, and being grouped with a venerable tree, some other tombs much enriched, and the
church, forms an exceedingly picturesque and interesting monument. The inscriptions are by Rymer, the
compiler of the Foedera.
EDMUNDI WALLER Hit JACET ID QUANTUM
MORTI CESSIT; ftUI INTER POETA8 8UI
TEMPORIS FACILE PRINCEPS, LAUREAM, QUAM
MERUIT ADOLESCENS, OCTOGENARIU8 BAUD
ABDICAVIT. HUIC DEBBT PATRIA LINGUA
QUOD CREDAS, SI GREECE LATINEdUE
INTERMITTERENT, MUS.X LOQUI AMARENT
ANGLICE.
HEUS VIATOR! TUMULATUM VIDES
EDMUNOUM WALLER QUI TANTI NOMINI8
POETA, ET IDEM AVITIS OPIBU8, INTER PRIMOS
8PECTABILI8, MUSIS SE DEDIT, ET PATRICK
NONDUM OCTODECENALIS, INTER ARDUA
REGNI TRACTANTE8 SEDEM HABUIT A
BURGO DE AGMONDE8HAM MISSUS, HIC Mil.
CUR8U8; NEC ONERI DEFUIT 8ENEX ; VIXITQUE
SEMPER POPULO CHARU8, PRINCIPIBU8 IN
DELICIIS, ADMIRATIONS OMNIBUS.
TROTTON, SUSSEX,
TIM: BIRTH-PLACE OP OTWAT.
A decent village spire, resting on the substantial tower of a church of fair proportions, though moderate
size, which rises favourably above the meadows through which the Arun pursues its unruffled course,
<< tardli flezlbui errant,"
indicates the birth-place of a genius not altogether akin to the spirit of the scene — whose imaginings were
rather of a bold and unquiet character, — the famed OTWAY.
We should, however, do him injustice, if we only assigned to him the meed of exciting the passions in the
wild and tragic walks of humanity. His muse was often attuned to tender pity, and it is in this light that
Collins has delighted to view him ; who has celebrated the scenes of his birth in those well-known
stanzas, which will cause the traveller through this part of Sussex, to think not less of Collins, than of
Otway ; and to think with more pleasure of the latter, because he has given rise to the mild sympathy
of the former.
" Wild Arun, too, has heard thy strains,
And Echo, 'midst my native plains,
Been sooth'd by Pity's lute.
There 6rst the wren thy myrtles shed
On gentlest Otway's infant head,
To him thy all was shewn ;
And while he sung the female heart,
With youth's soft notee unspoiled by art,
Thy turtles mixed their own."
THOMAS OTWAY was born at Trotton, in the Parsonage House, March 3, 1651-2 ; and died in 1685
after a short and chequer'd, though very distinguished career of thirty-four years. His father, the Rev.
Humphrey Otway, was Curate of Trotton; and, after the Restoration, Rector of Woolbeding, a small and neat
village, about three miles distant from Trotton, and also beautifully situated above the Arun. Otway was
educated at Winchester, and Christchurch, Oxford ; but his father dying in 1670, he was compelled to forego
his University pursuits, from the failure of pecuniary means. He then attempted the profession of an actor,
(1672); but, proving incompetent to the living representation of the drama, still pursued his reading bias,
by settling into the character of a dramatic author.
Otway was one of those unhappy persons who are taken up by roues of high rank, for the mere purpose of
" making them sport;" and who have no sympathy for them beyond the hours of their convivial meetings; —
a class of men certainly much more prevalent in that day than our own. Hence the life of Otway was always
uncertain and unhappy, — alternating between luxury and misery. As one exception, the Earl of Plymouth,
a natural son of Charles II., procured for him a cornet's commission in a regiment in Flanders; but this not
suiting him, he gave it up in the same year. A certain Captain Syraonds, a vintner, is said to have been a
better benefactor to him than any of his noble acquaintances, as he died in his debt to the amount of £400,
One account of Otway's death, relates it to have occurred from his pursuit of a thief who had robbed a
friend, whilst he was himself recovering from sickness. But the following is the most generally received tra-
dition : " He went out almost naked in a rage of hunger, and finding a gentleman in a neighbouring coffee-
house, asked him for a shilling. The gentleman gave him a guinea; and Otway, going away bought a roll,
and was choked by the first mouthful."
The traveller, in casting a parting glance at the spire and antique bridge of Trotton,* will breathe a sigh
on the erratic course and miserable end of Otway; and will wish that these picturesque scenes had originated
in him the domestic and virtuous excitement of his kind commentator, Collins, and had secured his
attachments against that gross and heartless court, which first ruined, and then abandoned him.
• The church and bridge were both erected by Thomas Baron Camois, in the early part of the fourteenth century.
LOCHLEVEN CASTLE,
THE PRISON OP MARY QUEEN OF SCOTS.
LocntKVEN — a name which is never pro-ounced in Scotland without exciting emotions of deep interest,
is now mainly worthy of attention on account of the island fortress, the prison, in 15G7, 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
rince, 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, and 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 flat. 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
relief 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 of
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.
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
iiern composed at the time when the incidents which they describe, happened— some are very ancient ; but
the major part are probably of the ICth and beginning of the 17th 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
\vitliinafewmilesofPerth. 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 beck against the sun."
Allan Ramsay, in the additional stanzas which he composed, has introduced various images from Heathen
Mythology, (PhcebuB, Tbetff, Pallat, andJoTe I) which but ill accord with the simplicity of the original.
•^
A MEMENTO-MORT WATCH,
PRESENTED BY MARY STUART, QUEEN OF SCOTS,
TO HER MAID OF HONOUR MARY 8ETOUN.
THIS curious and interesting relic is now in the possession of Sir Thomas Dick Lander, of Orange and
Fountain Hall, Baronet, who inherited it through the Seaton Family, from which he is descended; it having
been given by Queen Mary to Mary Seaton, of the house of Wintoun, one of the four celebrated Maries,
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't Marie."
The drawing from which the present plate was engraved was made by the late Mr. Hugh Irvine, «on 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 niors ajquo pulsat pede pauperum tabernaa
Begumque 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 cdax rernm 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 justitiac 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 cocli 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 the 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
ezcelsis Deo, et in terra pax hominibus bonae 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 tbe brains in the skull itself, the dial plate being on a flat 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."
LiAing 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
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."
N-
>s
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 Ridant'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, Signer Ranzzini'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. Slingsby, 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. Hu 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.
MARGARET WOFFINQTON is said to have been a native of Dublin ; and, according to the inscription on
her tomb, was born October 18th, 1720. Her histrionic talent appears to have been displayed, even in
childhood ; as in 1728, being one of Madame Violante's Lilliputian company, she obtained great applause
by enacting the part of Polly, in the Beggar's Opera. Her first speaking character on the Dublin stage was
Ophelia, which she performed on February 12th, 1737; and on November 6th, 1740, she made her debut in
London, at Covent Garden Theatre, in the part of Sylvia, in Farquhar"8 comedy of the Recruiting Officer.
The following season she performed at Drury Lane Theatre, and was pre-eminently distinguished in the
higher walks of comedy : in some characters, particularly in that of Mrs. Loveit, she surpassed Mrs. Oldfield.
In tragedy she had also considerable merit ; but had not the power of touching the passions equal to Mrs.
Gibber or Mrs. Pritchard. Among her best characters were Cleopatra, Roxana, and the Distressed Mother.
Having in her youth been taught by Madame Violante all that a dancer of first-rate reputation could teach
her, she had accustomed herself to French society ; and upon a visit to Paris, Dumesnil willingly imparted
to her all the manner she professed of the dignified passion of the French drama, and this infected Mrs.
Woffington with the prevailing pompous mode of elocution, which preceded Garrick's style, and in which she
was confirmed by Gibber, who at seventy was delighted to fancy himself her gallant. She maintained a
decided preference to male society, and is said to have more than once presided at the meetings of the Beef
Steak Club. Her acting in male attire, in which she was fond of displaying herself, was unequalled ;
and Sir Harry Wildair was one of her most admired characters. In 1757, being then engaged at Covent
Garden, she rendered her last acknowledgments to her friends, in the character of Lothario, for her benefit ;
and took her farewell leave of the public on May 17th as Rosalind, one of her most favourite parts, in male
attire, in which she at the close resumed the female costume just to " make curtesy and bid farewell."
While speaking the epilogue she was seized with an indisposition, from which she never recovered ; though
she retained the unrivalled beauties of her face and person to the last. She died March 28, 1760, and was
buried on April 3rd at Teddington ; in which church, on the wall, near the pulpit, is a marble monument,
with this inscription —
Near this
Monument lies the Body of
MARGARET WOFFINGTON,
Spinster, born October 18th, 1720,
who departed this life, March 28tb, 1760.
Aged 39 years.
Arms — Or, three leopard's faces, gules.
On the lower compartment, shewn in the plate, is another inscription — " In the same grave lies the body of
Master HORACE CHOLMONDELEY, son of the Honourable ROBERT CHOLMONDELET and MART CUOLMONDELET,
sister of the said MARGARET WOFFINOTON, aged 6 months." A reference to Collins' Peerage of England,
continued by Brydges, vol. iv. p. 35, shews Master Horace to have been born February 18tb, 1753, and
baptized March 16th following, at St. George's, Hanover Square. The date of this sepulture was therefore
August 1753.
. //..-.
,* //,
MONUMENT TO CHARLES HOLLAND.
CHARLES HOLLAND was the son of John Holland, a baker of Chiswick, where he was baptized April 3rd,
1733. He was apprenticed to a turpentine merchant, but strongly cmbucd 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
Chiswick church-yard on the 15th of the same month, and his funeral was attended by most of the performers
belonging to Drury Lane Theatre. In the church, on the north wall of the channel, is raised a marble
monument, on which is engraved the following inscription, in a circular compartment, surmounted by an
admirable bust : —
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 whom 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, 1703,
dy'd December 7, 1769,
and was buried near this place.
D. Oarrick.
^^' // '
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Smith, Charles John
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