imprints, often with superior woodcuts). We thus lose many that will be delayed from publication for a considerable length of time, owing to their being placed late in the Roxb. Coll. third and fourth volumes. The whole of the large second volume has earlier to be dismissed by its Editor. Consequently, in a few cases, where these duplicated Ballads were absolutely necessary for the completion of our own group, we have not scrupled to use our own property, leaving it open to our good friend Mr. Wm. Chappell to include them from his Roxburghe original when he comes to it in after-time.

The omission of so large a number of interesting old ballads from our pages depreciates the apparent value of the Bagford Collection. When compared with the Roxburghe, it may be deemed of a less miscellaneous character than it is. No doubt, as a whole, the two massive folio volumes of the latter surpass in antiquity, as they do in bulk, the whole three of the former. But a large part of the third Roxburghe folio (not originally belonging to the set, and never in Major Pearson's possession) is of a still later date than the most recent of ours, and much less rare are the Garlands and slip-songs which swell the volume to 918 leaves. We may also add, that the proportion of ballads connected with historical events is so immensely larger in our own collection, that there is absolutely no comparison to be made between them, in this respect. Accordingly, we have throughout treated them with marked attention, as materials for understanding the political movements of the time, as well as its social peculiarities.

John Bagford's First Volume seems to have been made a general receptacle for literary odds and ends: a scrap-book of loose pages saved from book-breaking, like planks from the shipwreck of some Old Temeraires; a palæontological museum, here the leg-bone of a fossil black-letter Megatherium cheek by jowl with the feathers plucked from some Early English songster, such as John Hilton's Catch that Catch Can, of 1652. No order or congruity prevails, at first. We travel far before we reach the special objects of our search Old Ballads. Few of them fall to our share, but they graced the Bagford Collection, nevertheless. There is the pleasant ballad of Tobias (apocryphal Tobit, on fol. 28); the Blind Beggar's Daughter; the King and Northern-man; the Wanton Wife of Bath; Chevy Chase; Queen Eleanor's Confession; Maudlin, the Merchant's daughter of Bristol; Lady Isabella's Tragedy; Little Musgrave and Lady Barnard (the original of Home's "Douglas"); and the Bride's Burial; all these occur before our first unduplicated Bagford, viz. Wade's Reformation, with which we began our task.

George Barnwell would next have followed to us, but for it occurring also in Roxb. Coll., iii. 26. Then the Rich Merchantman of Chichester; the London 'Prentice; Fair Rosamond; Poor Robin's Dream (which we give, in this Appendix, a few pages later, for reasons there explained); and thus we reach our "Devol's last Farewell" (p. 14). The Spanish Lady's Love follows; then the glowing praise of the Leather Bottle (sic, but elsewhere "Bottél "). It was hard to lose this, which comes not until Roxb. Coll., ii. 257. Then occur the Mad-Man's Morrice; Robin Good-fellow (again in our vol. ii. with much better cuts than the Roxb. copy); Mad Tom, both parts; Grim King of the Ghosts; the True Character of sundry Trades; the Gelding of the Devil (of which we are not sorry to get quit, it also occurred in Merry Drollery, 1661); the charming little song of Lullaby, (two superior copies to the Roxb.); Diana and Acteon; oddly followed by the London Cuckold, and by the Catalogue of Contented Cuckolds. These bring us to our nymph of the Spinning Wheel, p. 19, to which a second part comes in Roxb. Coll, ii. 13. A spirited group succeeds: Sir Andrew Barton; Sir Thomas Stukely; Lord Willoughby; Johnny Armstrong; Captain Ward and the Rainbow: in all which we might have revelled. Now ensues a group of twelve political ballads belonging to the Civil War series, which we postpone until such time as we may be invited to commence our promised work for the Ballad Society. These are: on the Old Parliament; an Exit to the Exit Tyrannus; Mardike; the Cloak's Knavery; the Rota; the Valour of Colonel Jermy; the Entertainment of Monk; two ballads on Hewson, a Hymn to the Gentle Craft, and the Cobler's Last Will; one on Prince Rupert (the Geneva Ballad being duplicated in iii. 33, we reserved for the later place). Then we keep possession of the volume, except fol. 81, the Knight and Beggar Woman; and two more of the Civil War series, a Use of Exhortation to the London Apprentices, and Bo-Peep. The Essex Ballad, of i. 86, we delayed till the recurrence of a duplicate in iii. 61. All the others belonged to us alone, and have been given. Thus ended the least important of the three original folios.

The Second Volume proved to be rich in old ballads, which were seldom to be found in the Roxb. Collection. If duplicates at all remained, they were only in the Pepys Coll., which is inaccessible to the public. On our pp. 247, 248, we told of the omitted ballads, until fol. 80. It was our fate to resign the Winchester Wedding; You Gentlemen of England; the Gallant Seaman's return from the Indies; the Sailor and his Love; the Honour of Bristol-an interesting naval group.

The next

omissions are, the Fair Maid of London and Edward IV.; London's Ordinary; the Jovial Tinker; the Bashful Batchelor; Cordelia's Lamentation for the absence of Gerhard, with his Answer; A Pattern of true Love; Fortune my Foe;1 the Masterpiece of Love Songs; Mother and Daughter; Lord Thomas and fair Elinor; (Old Man's Complaint, a long poem, repeated in iii. 92); the Fryer well fitted; the Forlorn Lover; the Welsh Fortune-teller; "Moggie, now rejoyce," the Answer to Moggie's Misfortune; Young Man's Counsellor; Languishing Young Man, with Maria's kind Answer; the Dubb'd-Knight of the Forked Order; Faithful Jemmy; the Pensive Maid; Merry Bagpiper; Love's Tyrannick Conquest; the [Wolverhampton] Maiden's Tragedy; the Virgin's A.B.C., and the Young Man's A.B.C. All the rest we give.

In the Third and final Volume we come to a different class of broadsides, as already shown. Most of them are political, nearly all in white-letter, and without woodcuts. Those omitted here are either reserved for the Civil War series, or, being simply rhymed-poems, far removed from songs or ballads, were not necessary to be included. We made a few exceptions, where they were useful to complete our survey, and most of the others are briefly mentioned. One important group deserved special attention, if not reproduction: if not in the text, yet in this Appendix. We mean the Whore's Petition to the London Apprentices, 1668, beginning "Clear was the Day, though it proved blustering weather.' 2-The 'Prentice's Answer, of same date, "Sad was the day, although clear was the weather." 3-The Citizen's Reply to the two former, of same date, "Now that you two have made your grievance known." 4-dated 1672, but perhaps a reprint from some 1668 first issue: the Poor Whore's Complaint to the Apprentices of London, commencing, "We who descended from that noble dame." No. 4 of these, although latest dated, seems the earliest. They are in Bagf. Coll., iii. 45, 46, 47, 48. They tell, coarsely enough, the story of those raids made by the London Apprentices against certain houses of ill-fame, wherein resided any such dangerous temptress as Mistress Milwood. Concerning such “ strange women the grave citizens uttered warnings, while ballad-mongers and play-wrights enforced the moral by the trite example of George Barnwell. These poems. are curious, and need some day to be reprinted. We have been asked to add them, as a thin text, in 1879, and hope to do so, with Cranley's "Amanda."

We gave part of this on p. 318, and add the remainder on page 961.

We have a little Tinkering to do. First an Additional to page 5. JOHN WADE'S "Vinegar and Mustard, or, Wormwood Lectures for every day in the week," 1673, printed for Willm. Whitwood, has been reprinted (modernised in spelling) in Reeves and Turner's Old Book-Collector's Miscellany, vol. iii., 1873. It was a nearly-two-centuries' anticipation of Mrs. Caudle's Curtain Lectures. The woodcut is reproduced in J. P. Collier's Book of Roxburghe Ballads, 1847, p. 89. Our p. 5, line 10 should read "Another copy of Wade's 'Come, young men,' &c., is in Wood's Coll., E 25, fol. 131. P. 150 has his "Tis Money,' &c. We have ourselves examined the Douce Collection, i. 67, ii. 145, and find that The Maiden's Sad Complaint' is certainly not by Wade; for instead of being signed J. W., it is clearly L. W. These initials, L.W., are on John and Betty-Come, sit thee down, dear:' Rawl. 566. f. 96. (Wade's Reformation is fol. 151; and in Wood's Coll., E 25, fol. 57.) "

If we take from Wade one ballad, we now give him three others instead. In Wood's Coll., E 25, fol. 29, is " The West-Cuntry Crafty Maid, or the lusty brave Miller finely trapanned. By John Wade. Printed for W. Thackeray at the Sugar Loaf." To the tune, What should a Young Woman do with an Old Man? It

begins, "You Millers and Taylors, and Weavers each one." She gets chopped horse-hair and nettle-seed, strews them in a bed, to which she allures him while she stays away, and he gets punished for his evil designs. Another, signed in full John Wade, in the same vol., fol. 129, begins "O, what's the reason my Love doth complain?" To a new tune, or the Pinckt Pettycoat. It is entitled, The Young Man's Answer to the Faithful Maid. Another, fully signed "John Wade," is in Wood's Coll., E 25, fol. 2, and entitled "A Serious Discourse between Two Lovers." It begins," My pretty little Rogue, do but come hither." To the tune of, When Sol will cast no light; or, [I am so] deep in love. It was printed for Richard Hardy, at the Horshoo in West-Smithfield, who issued ballads in 1681.

We give "The Maid is best," &c., at end of this Appendix.

Page 28. "Bryng us in no browne bred" is given complete, with music, the same as a "Nowell," in Mr. Chappell's Pop. Mus., pp. 40, 41; earlier, in Percy Society's vol. xxiii. 63, Thomas Wright's Songs and Carols from MS. of the 15th century. The inferior version is on p. 102, from Ritson's Ancient Songs.

Page 33 (and p. 803). In the sentences of pillory-exposure mention was made of the culprit being placed to face certain places successively. In the woodcut introduced on p. 944, from Harman's Caueat or Warening for Commen Cvrsetors, 1567, we see the contrivance by which the pilloried delinquent could be shifted round, like the sails of a windmill, to receive fresh contributions of odorous gifts.

Page 34. We hope that we have found the black-letter ballad which gave name to the tune of "The Beating of the Drum." It was written by Abraham Miles, and is adorned with a book woodcut representing Dick Tarleton playing on pipe and tabor: (the same is in J. P. Collier's Book of Roxburghe Ballads, 1847, p. 54). It is entitled "A Wonder of Wonders; being A true relation of the strange and invisible Beating of a Drum at the house of John Mompesson, Esquier, at Tidcomb [i.e. Tidworth] in the County of Wiltshire. . . The first time it began to beat Roundheads and Cuckolds come dig come dig. Also the burning of a drum that was taken from a Drummer: Likewise the manner how the Stools and Chairs danced about the Rooms. The Drummer is sent to Glocester Gaol. Likewise a great conflict betwixt