Imágenes de páginas

son seigneur que ce quil avoit fait ne luy deuoit pas souffire sil ne racotoit lafin de ceulx dont il auoit fait mencion comēt ils moururēt Desquels il a raconte les proesses en son liure Et pource comensa il ceste derreniere partie Et quant ileut mis en semble il lapela lamort duroy artus pource q' vers lafin est escript cōment le roy artus fut naure en la bataille de Salibieres et cōmēt il se partit de girflet qui tat luy fist cōpaignie que apres luy ne fut home qui le vist viuant Si cōmenee maistre gautier en telle maniere ceste derreniere partie.'

"At the end it runs thus:


666 Asses me suis trauaille venir alafin de cest liure longuemēt y ay entendu et longuemēt ouure ladieu mercy qui lesens et lepouoir men adonne beaux dis et plaisans y ay mis amō pouoir. Et pour les beaux dis qui y sont que monsgr leroy henry dangleterre a bien veus de chief en chief et voit encores souueteffois Come celuy qui amerueilles scet delire Et je maistre gautier map en mercie moult leroy henry monseigneur de ce quil loe cestuy mien liure et de ce quil luy done si grant pris Et en lafin de cestuy mien liure mercie monsg le createur duciel et dela terre de ce quil ma donne force et victoire' le liure de galaad et la destrucion dela table ronde tout entieremēt si quil ny faille riens.'

"Explicit-of all which there is not a word in the printed edition. I send it you exact. It is not always easy to decypher, though the hand is a fine one, and there are no accents nor stops. I have found, too, one of the allusions of Dante, which is not to be found in the printed edition, in which I looked long in vain. It is this:

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'Onde Beatrice, ch'era un poco scevra

Ridendo parve quella che tossio

Al primo fatto scritto di Ginevra.' (Par‹, xvi, 13.)

"In this manuscript the whole is explained by a long passage, that is left out in the edition, and it is curious to see how the commentators have been at fault for want of it, and with what à-plomb they pretend to explain the meaning of it.

"But to return to the Morte Darthur: Caxton says in his preface, 'Whiche copye sir T. Malorye did take out of certayn bookes of Frenche and reduced it into Englyshe'; which proves that he did not translate a compendium already made, but compiled it himself from several books, which I suppose were the romances of Merlin, Lancelot, Tristan, S. Graal, and perhaps Percival de Galles. Southey is mistaken on this point and many others; Gyron le Courtoys and Meliadus belong to another generation. What a pity the French do not reprint these important works instead of the trifles they do! Why do not our own antiquaries and societies undertake them? They were written for our Henry II, whose court was at Caen. If I were rich, I would do them all as hand

1 A word wanting, perhaps d'ecrire. "Scat delire (sait lire)”.

somely as Southey did Caxton's. Cannot you engage your Association in such a patriotic enterprise? It was the Iliad of the middle ages, and it was English. The original sources from which the French derived their subjects still exist, which we owe to the patriotism of Mr. O. Jones. They are accessible only to a learned few. The Myvyrian Archaiology of Wales is still untranslated; the Mabinogion, by a lady, is not very exact: take the first line :

'Yr amherawdyr arthur oed ygkaerllion arwise.

King Arthur was at Caerlleon upon Usk.'

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Why not translate it the emperor' at once and correctly? There are many reasons, and it would mark its age and authenticity. The Britons were used to the name of emperor, the Romans having just left them. It was from the Welsh, not the Latin, that I think Mapes took his materials; and Lancelot, the Achilles of the Round Table, was a Welshman, though he makes him a Frenchman. En la marche de Gaulle et de la petite Bretaigne lived his father king Ban of Benoic, and bordering on the side of Berry, called the Terre Deserte, was king Claudas, sire of Bourges.'

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"Several of the Cento Novelle Antiche relate to adventures of king Arthur's knights, and his name was famous all over Europe, then more than at present. I have old Italian translations in print of Merlin and Gyron, and I have seen those of Lancelot and Tristan. There is a sort of compendium in Italian something like that of Malorye in English. It has never been printed. I have seen three manuscripts of it in the public libraries, but they are all mutilated, so that I could not collect one complete copy from them all. The most perfect is in the Magliabecchian library, of which I have procured a copy. Another English romance, of less consequence, has been long known in Italian verse as well as prose, Sir Bevis of Hampton. Giovanni Villani, in the fourteenth century, mentions Buovo di Antona."

In the editions and manuscripts of Lancelot the fourth part is called Le Livre du Saintgraal, and the fifth part La Mort du Roi Artus.

Mr. Bennett sent a drawing of the porch of Chalk church, Kent, representing in its sculpture the Whitsun ale. Mr. Pettigrew observed that this subject had been copiously treated by the late Mr. Douce, in Carter's Specimens of Ancient Sculpture, in reference to St. John's church, Cirencester. The drawing was referred for further consideration.

Mr. Thurston, of Ashford in Kent, presented to the Association a cast of the dedication stone of Postling church, Kent, the building of which has been assigned to the time of Edward the Confessor. The stone is under the north window in the chancel, and reads thus: XIX. KAL. SEPTEMBRIS SANCTI EUSEBII CONFESSORIS, ETC. HÆC ECCLESIA FUIT DEDICATA IN HONORE SANCTE DEI MATRIS MARIE. See fac-simile, plate 21.

Mr. John Hay, of Brewood, Staffordshire, exhibited by Mr. Planché twenty-five deeds of, and relating to, the Morton family (earls of Ducie), of the fourteenth and fifteenth centuries. Many of the seals were very perfect, and the documents were referred for particular examination.

Mr. King exhibited a variety of excellent rubbings from brasses, of which the following are the principal :

Ringwood, Hants. Circa 1416. A priest habited in cassock, surplice, almice, and cope. The orphrey of the cope is embroidered with figures of saints, under canopies, in the following order, viz. :-St. Michael spearing a dragon, and holding a shield, with emblem of the Holy Trinity, in his left hand. St. John the Baptist with lamb on a book, and with tunic of camel's hair (?). St. Peter with key and book. St. Paul with sword. St. Margaret piercing a dragon with a long cross. St. Catherine with wheel and sword. St. Winifred holding a book in her left hand. This saint, not being represented as usual, viz., carrying her head cut off (see Husenbeth's Emblems of Saints), has the words "Sta Wefrida" written beneath her; the morse is ornamented with a head of our Saviour; the head of the priest rests on two embroidered cushions; the face is finished with more than usual care, and is doubtless intended for a portrait; above the figure is a portion of a fine single canopy: several shields and a marginal inscription are lost. This brass is much worn, and lies in the centre of the chancel.

St. Denys, Stanford Dingley, Berks. 1444. Margaret Dyneley, habited in a long gown, short waisted, with girdle and deep sleeves close at the wrist, and collar turned back; she wears also the horned head-dress;

'Subiacet hoc lapide. Mergret Dyneley tumulata

Quondm Willmi Dyneley. coniux vocitata

Armigeri regis, modo v'mibus esca parata

M. dni. C. quater. quater. x. quater. I. cadit illa
Romani festo. Jesus ergo sui memor esto.'

Beneath a shield bearing three lions rampant.

Circa 1460. St. Alban's Abbey. A demi figure of a monk; this brass lies loose in abbot Wheathampstead's chapel.

Circa 1470. Robert Beauner, a monk, habited in a vestment with surplice-like sleeves; he holds a heart, with six wounds; from his mouth proceeds a scroll containing these words: "Cor mundum crea in me Deus"; the inscription describes the various offices held by him in the monastery ; this brass remains apparently in its original position, viz. the choir, and is much worn; persons passing frequently over it on their way to an unsightly gallery in the north transept.

Circa 1470. St. Alban's Abbey. A civilian, in long gown, edged, and apparently lined with fur; from his girdle depends a rosary.

1480. St. Alban's Abbey. Sir Anthony Grey; he has long hair, and

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