LONDON, SATURDAY, OCTOBER 31, 1868.

CONTENTS. N° 44.

NOTES:- Jehan de Paris: the Kings of France and of England, 409-An Occasional Address, &c., 411-Palace of Henry VIII. and Cardinal Wolsey, 412- Gloucestershire Dialect- "L'Intermédiaire" - The Halifax and Rochester Peerages - The Cas Coinage and Derivation of the Word Cash Petition of Henry First Viscount Falkland to Charles I. - Printing in Sunderland - Cosmetics - Early Prices of Old English Books, 413.

QUERIES: Anonymous Poem-Author wanted-Samuel Bagster Bible - Broad Arrow - Cornish Primeval Remains Cocqcigrues Commonwealth "History of Dumfriesshire" Gorges and Bradbury Families - Inscription at Pfäffers - Archbishop King's Monument London Companies' Registers - Matricide - Sir P. Maule and R. B. - Mordue: Pardew Pied Friars - Mary, Duchess of Suffolk - Tauler and S. Fr. De Sales - Threshold-Window in St. Nicholas Church, Newcastle, 414

QUERIES WITH ANSWERS: -Sir John Davies - Polyglott Bible" Euphues and Lucilla" - Woodhill, Beds - Master of Lovatt, &c. - Westminster Hall, 416.

REPLIES:- Goldsmith's Epitaph, 418 - The Block Books, 421 Date of Sir Thomas More's 422 thornes, 423 The Earl of Orrery (Ossory) and the Hon. Capel Moore, 424 - Battersea Enamels Craven, Cray, &c. Spade Guineas - Volcanoes in Auvergne Raymondines - Who was the Duke of Orleans in the Reign of Louis XII.? - "Barbaric Pearl and Gold" Wed

ding Rings - The Holy Ghost - Chaucer's "Canterbury Tales" - Curious Inscription -Twat - Natural Inheritance - Northumberland Shilling - Bondman Socke: Socking: Tilt - "Sea Dreams," &c. - The Dialects of North Africa, &c., 425.

Notes on Books, &c.

Notes.

JEHAN DE PARIS: THE KINGS OF FRANCE AND OF ENGLAND.*

M. Jannet, whose Bibliothèque Elzévirienne attracted so much notice in Paris some ten or twelve years ago, has lately started a new collection of reprints, which deserve to be mentioned here because they interest not only French but English readers. His fresh series consists of two distinct classes of works: some, like Bernardin de Saint Pierre's Paul et Virginie, Prévost's Manon Lescaut, Amyot's version of Daphnis and Chloe, have been selected as masterpieces of imagination and taste, as productions which address themselves to every class of readers. Others are intended more especially for students of ancient lore-historians, archæologists for those, in short, who are fond of inquiring into the origins of literature, and of going back as far as the Renaissance and the Mediæval epochs. Fresh additions keep, month by month, rendering this second division of M. Jannet's Bibliothèque a curious treasure-house of recondite yet entertaining matter; and the cheap price at which each volume is issued forms an additional recommendation not slightly to be regarded. On the present occasion I would say a few words about M. Anatole de Montaiglon's edition of Jehan de

* " Le romant de Jehan de Paris, roy de France, revu pour la première fois sur deux manuscrits de la fin du quinzième siècle. Par M. Anatole de Montaiglon (nouvelle collection Jannet), Paris, Picard."

Paris, which is one of the latest instalments of the series.

This curious tale, printed for the first time, some suppose, about the year 1530, soon obtained the greatest popularity, and became one of the special favourites with the more intellectual portion of the community. It took, of course, its place in the collection so well known by the name of Bibliothèque bleue: the provincial press vied with the Paris one in multiplying copies of the much-prized book, and finally, it had the honour of being turned into an opéra comique, to which Boieldieu composed the music.

The point, however, which interests us here is, the semi-historical character of Jehan de Paris. Was the work designed, indeed, as a kind of satire against the king of England? If so, what king did our anonymous author mean to turn into ridicule? In short, can we determine with some degree of accuracy the date of the composition, and identify the not unfrequently obscure allusions scattered over every page?

Until quite recently there was only one interpretation admitted by French savants; and it was considered so satisfactory, so unanswerable, that no doubt had ever been raised as to its truth. The catalogue of Guyon de Sardières, published during the eighteenth century, first started it in the following manner (No. 865, éclairciss. xx.) :

"Le roman de Jehan de Paris est un ouvrage moderne, composé depuis François ler. On y trouve beaucoup de cérémonies qui n'étaient pas en usage avant le règne de ce roi, qui est le héros du roman, que l'auteur marie à une infante d'Espagne."

Hence the conclusion, adopted by all critics and commentators, that the event intentionally described by the novelist was the marriage of Francis I. with Eleonora, sister of Charles V.

In 1842, M. Leroux de Lincy, one of the best of modern French critics, developed the proposition put forth by the compiler of the catalogue just quoted:

"This novel," says he, "the oldest edition of which, so far as I am able to ascertain, belongs to the year 1544, was evidently written some time before in a satirical spirit, at the period of the struggle between Francis I. and the two kings of England and of Spain, Henry VIII. and Charles V. Perhaps some of the allusions refer to the marriage of Francis I. and of Eleonora of Austria, which was celebrated in 1541. If we look at the account of the luxury displayed by the king of France in his dress, his furniture, in fact, in all his circumstances, we shall easily recognise Francis I. The etiquette observed on the occasion of the reception of Jehan de Paris is the same as that which the monarch had introduced at his court. Everything said about his youth and his handsome appearance exactly tallies with what history relates to us. The allusion, therefore, could easily be understood, and the popularity obtained by the tale from the time of its earliest appearance need not astonish us.... I must point out between the first text of Jehan de Paris and that given in the Bibliothèque bleue a slight difference. The former is not so concise, and we ascertain better from

it the connection of the real facts of Francis the First's history and the incidents related in the novel."

After this long quotation, I need not translate here the opinion expressed by M. E. Mabille in the preface to the edition of Jehan de Paris prepared by him for M. Jannet's Bibliothèque Elzévirienne. He indorses most thoroughly the view of M. Leroux de Lincy. The novel, he remarks, has been composed between 1525 and 1535. Jehan de Paris is evidently Francis I.

It might appear, at first, that the question as to the date of Jehan de Paris was settled for ever, and that no argument could possibly be brought forth against the conclusions of two critics so thoroughly competent to decide as Messrs. Mabille and Leroux de Lincy. M. de Montaiglon, however, thinks otherwise; and in support of his theory that the novel now under consideration belongs not to the sixteenth, but to the fifteenth century, he is able to appeal to a MS. formerly belonging to M. E. H. Gaullieur, and now to be found among the treasures of a private collection in Paris. This evidence, of course, disposes of the matter very satisfactorily. It is curious, at the same time, to determine whether the descriptions and scenes of can be applicable

the tale

such that they really are

to Francis I. alone.

In the first place, as M. de Montaiglon remarks, it is not true that of all the French kings, Francis I. was the only one whose court etiquette exhibited the sumptuous character which is reflected in the pages of Jehan de Paris. Godefroy's Cérémonial François is there to prove the contrary, even if the chroniclers of the fourteenth and fifteenth centuries did not, at almost every line of their works, show that long before the Renaissance period feudal lords and barons were fond of displaying, both at tournaments and on other festive occasions, all the splendour they could command. The court of Ann of Brittany was celebrated for the brilliancy of its appearance; and the curious pamphlet entitled Les Honneurs de la Cour explains how

and manners mentioned by M. de Montaiglon in his preface, and which render the identification still more easy.

The dramatis personæ further claim our attention; and although it would be absurd to press this point too much, we cannot help being struck by certain coincidences which must be briefly noticed. When Francis I. ascended the throne, he was married; the sister of Charles V. of Spain, who subsequently became his wife, was a widow, and no regent presided over the destinies of the kingdom except during the monarch's captivity. Charles VIII., on the contrary, married a young girl, and the beginning of his reign was marked by the regency of his aunt Anne de Beaujeu.

The king of England introduced by the novelist amongst the characters of his book has only one personage of importance with him, namely the Earl of Lancaster, whose name disappears from history at the accession of the Tudors to the throne of England. On the side of the king of Spain we find the kings of Aragon, of Navarre, and of Portugal. Now, at the time of Isabella the Catholic, Aragon and Navarre did not form separate crowns. The enemy of the king of Spain is described as being the king of Grenada; whereas the town was taken in 1491. The account of the king of France and his relatives, whilst it tallies admirably with the circumstances of Charles VIII., bears, on the contrary, no relation whatever to the family and position of Francis I.

The marriage of Charles VIII. with Ann of Brittany is thus, according to M. de Montaiglon, the real subject of the novel of Jehan de Paris. There was, assuredly, a sufficient glow of romance over the historical fact to attract the notice of any writer of fiction. Ann had for a long time been married by proxy to the king of the Romans; the French monarch was then waging war against her; he presented himself before the walls of Rennes, and the duchess was prevailed upon to conclude a truce. Then, under the pretext of a pilgrimage,

the art of heightening the dignity of those in authority by surrounding them with every available manifestation of pomp and magnificence.

Let us consider, next, the localities named by the author of Jehan de Paris. As M. de Montaiglon observes, any historical novel of which Louis XIV. was the hero would represent the grand monarque keeping his court at Versailles or at Marly; if the action was a century later, the scene would be laid at Choisy or at Louveciennes; in the same manner, Chambord and Blois are the only two royal residences which a novelist would dream of in connection with Francis I.; for all the period anterior to that monarch's reign, the Louvre and the forest of Vincennes suggest themselves exclusively, just as they did to our anonymous conteur. There are, besides, numerous details of costume

manner as Jehan de Paris enters Burgos-in the threefold capacity of a traveller, a king, and a warrior. The next day he waited upon his fair enemy, with whom he had a long private conference; the betrothal took place three days afterwards in Our Lady's Chapel, near the gates of the city, and on December 6, 1491, almost immediately, the marriage ceremony was celebrated at the castle of Langeais, in Touraine. The personal appearance of the king, his youth and his accomplishments, contributed certainly, in a very great measure, to this union, which it was impossible for any one to anticipate.

In the tale, the events referring to the marriage of Jehan de Paris are exactly similar. To begin with, the daughter of the king of Spain has been besieged whilst quite young, and the circumstances related by the author bring back to our recollection the long wars which marked the troubled reign of the Duke of Brittany, Francis II. At the time of her marriage, the princess of Spain is fifteen years of age, and Jehan de Paris between eighteen and twenty. Now, in 1491, Charles VIII. was twenty years and six months of age, and Ann of Brittany sixteen - a very strange coincidence, says M. de Montaiglon, if it was due to chance alone.

Jehan de Paris, in the novel, has a rival who is represented in the most ridiculous light, and who, in addition to the pitiful part he is made to play,

becomes the butt of jokes and gibes of all kinds. Why should this unfortunate character be ascribed

to the king of England? Why should the rejected suitor, disqualified by age and infirmitiesMaximilian, in fact-become in the novel le roy d'Angleterre?

We may say, by way of answer, that considering the feeling of irritation which had so long existed between the French and the English, it was

not unnatural for a writer belonging to the former

nation to indulge in the very mild revenge of bantering à cœur joie his neighbours on our side of the channel. But, further, a marriage had actually been projected on behalf of the Duchess Ann with prince of the royal family of England, Edward V., son of Edward IV. Richard, however, soon settled that matter by murdering his two nephews in the Tower of London.

a

M. de Montaiglon, having thus with great ingenuity fixed the true date of the tale, and identified the events alluded to by the author, endeavours to ascertain who that author is. No satisfactory conclusion, let us say at once, has yet been arrived at on the subject, and it is a mere supposition which leads us to name Pierre Sala.

It would be interesting to study from the historical point of view the various tales and novelettes which were written in France during the fourteenth and two following centuries. In more than one case we should find the trace of contemporary events, and interpret, as I have been attempting to do on the present occasion, history with the help of fiction. The excellent collection published by M. Jannet will enable me to discuss this subject again, and to see how the annals of England, its manners and its heroes, are treated by French poets. In the meanwhile, I would conclude this paper by a word of praise as to the way in which the series of volumes I am now examining is got up. The texts are always printed from the best editions; the biographical notices are short and to the purpose; no notes appear but those of a strictly indispensable character; and in the case of old works, such as Clément Marot, Villon, Rabelais, and Jehan de Paris, a glossary gives the explanation of obsolete grammatical forms, proper names, archaisms, &c. GUSTAVE MASSON.

Harrow.

AN OCCASIONAL ADDRESS,

SPOKEN AT THE BIRMINGHAM THEATRE BY MR. M'CREADY IN 1798, AND WRITTEN BY J. COLLINS, AUTHOR OF "TO-MORROW."

Mr. J. A. Langford, in the second volume of his interesting work, A Century of Birmingham Life, has mentioned the name of the elder Mr. M'Cready (father of the eminent tragedian, Macready) as manager of the Birmingham Theatre, and the zealous cultivator of the public taste in matters theatrical by the engagement of the most distinguished actors and actresses of the day. It may supplement his account of Mr. M'Cready's management of this most important provincial theatre, wherein Mr. Macready other celebrated performers made their first professional appearance, if I here transcribe an Occasional Address written

for Mr. M'Cready by John Collins, the author of "To-morrow," of whom mention has already been made in these pages (3rd S. iv. 445; v. 17, 204). It contains so many names of note, that it

possesses more than a local interest.

CUTHBERT BEDE.

"AN OCCASIONAL ADDRESS.* "As comparisons oft on our fancies will strike, When, in sporting a thought, we demand-What 'tis like?

So the stage to an ord'nary some may compare,
Where the guests but too often find ord'nary fare;
Yet the host unabash'd will still hang out his sign,
As he knows on coarse viands keen stomachs will dine.
But where delicate taste tempers appetite's call,
And forc'd-meat, of all things, unseason'd, will pall,
Even turtle itself will be deem'd a vile hash,
And we turn up the nose at a spoil'd calipash.
But as 1, for two years, your purveyor have been,
And with dishes dramatic have garnish'd the scene,
Stock'd my larder with plenty, and fill'd ev'ry part
With provisions from fam'd Covent Garden's rich mart,
And the choicest of game cull'd from Old Drury's stall,
Let it not be said, now, that I've drain'd Leadenhall.+
Some few birds of passage, 'tis true, will take wing,
And claim the same freedom to fly as to sing;
So, while Incledon spreads his wild pinions afar,
A Storace fills his place, like a wandering star;
And should she the next season like him baulk your

GLOUCESTERSHIRE DIALECT.--In the Saturday Review for Oct. 17 appears a most able critique of an interesting essay on the above subject. May I commend both to your readers? But I will venture to offer a few remarks on some points left open by the accomplished critic, who has handled the subject so well.

1. "Dormouse,' for bat, named as a novelty. This is obviously the German fledermaus, with the first syllable fle- dropped "per apocopen" as was the phrase in our boyhood.

2. "Millard," for miller? Why the final d? I fear this is less euphonic than the same vulgarism as in "scholard."

3. "Cotswold." Is it not a word compounded of the two equivalents coed (Celtic) and wald (Teut.)=wood? a combination of synonymes.

Just as in Bristol, Dol=mead is a local name now; and the Llong = ships, is found in sad notoriety on the coast of Cornwall, and (as I imagined a Gloucestershire combination to be) Potwell, from Pyt (Welsh)=well.

4. May I venture to offer the following hypothesis in solution of the origin of the curious word caddle-to make a clatter about a personsuch as we may hear from a laundry or kitchen? The reviewer rightly rejects the explanations in Mr. Huntly's book. Will he accept the following? Is not caddle the equivalent in sound not only of a common word, but of the existing German gackern or gackeln, and the Dutch and Swedish kakelen? Dandt are simply equivalents, indifferently used, and (1) brücke bridge; (2) πικρός= bitter; (3) snecken (Lowland Scotch)=schneiden (German)=to cut; (4) lectica litter; (5) begge (Dutch) beide (Ger.)=bade (Swedish)=both, readily illustrate, in these various cognate dialects, the easy transition from e and its equivalents to t and d, which is required for my humble attempt at solving this difficulty. T. J. O.

"L'INTERMÉDIAIRE." It is much to be re

gretted by all explorers of the byways of French history and literature, that this useful imitation of "N. & Q." has ceased to appear. The Bulletin du Bouquiniste is sometimes made the vehicle of notes and queries like those contained in the Intermédiaire, but on a much restricted scale.

J. MACRAY.

THE HALIFAX AND ROCHESTER PEERAGES. Anyone acquainted with the history of the English peerage must find it difficult to account for the rapidity with which titles have been transferred from one family to another. John Brown, Lord Dashaway, dies to-day, and if he leaves no heir in the male line to succeed him, another Lord Dashaway is created to-morrow in the person of John Robinson. Since we have such a variety of names and confusion of titles, it is no wonder that blunders are so frequently committed

by those who speak or write of the British nobility In the latter portion of the reign of Charles II. George Savile, Earl of Halifax, was one of the principal ministers and leader of the Government in the House of Lords. This lord was the most eloquent orator who took part in the debate on the Exclusion Bill in 1681. In the first year of the reign of George I. (1714) Charles Montague, Earl of Halifax, formed an administration in which he was First Lord of the Treasury. This Lord Halifax was the friend and early patron of Addison. Were these two Halifaxes related to each other? A colleague of the former Lord Halifax was Laurence Hyde, Earl of Rochester (son of the first Lord Clarendon). In the same reign, but a little earlier, we find John Wilmot, Earl of Rochester, the friend and favourite of Charles II.,

better known as a wit than as a statesman. Were these two Rochesters related to each other?

J. E. E.

THE CAS COINAGE AND DERIVATION OF THE WORD CASH. - Forty-one out of a list of fortynine copper coins* supposed to have been current during the Portuguese rule in Southern India are stamped with the word "Câs" in European letters. Can any better derivation than this be given for our word "cash," as exemplified in the coin sent with this, marked "XX Cash," the fortieth part of a fanâm, minted at Madras in 1838? The word "Câsa" in Portuguese means a house or family, as in Sancta Casa, the Holy Inquisition; which, if the above statement is correct, would tend to show that the different chiefs by whom they were minted acknowledged subjection to that diabolical institution, established at Goa in the early part of the sixteenth century.

Starcross, near Exeter.

R. R. W. ELLIS.

PETITION OF HENRY FIRST VISCOUNT FALKLAND TO CHARLES I. - The following is from an early MS. The petition is printed in Cabala, and thence in the Life of Lucius Lord Falkland by Lady Theresa Lewis; but the present appeared to be a more genuine and contemporary copy. The son mentioned here is generally supposed to have been Lucius, afterwards second viscount; but of this the proof is not particularly clear:

"To the Kings most excellent Matte The humble petition of ye Vicount ffalkland one of yor Mesties most Honorble privie Counsell.