jection may be obviated in some degree by referring to the fact that small writing was often clearer and plainer than the more cursive hands. In the same plate of Mr. Nichols's collection which contains the signatures of Shakspere's Will, is a piece of Ben Jonson's writing in a very clear hand; and the lines written by Marston, Sylvester, and Davison, in the same plate, are also very clear and neat, and the last especially is small and not very different to the lines in question.

Above these two lines the name of Shakspere is again written, in a more compressed form than below, and apparently thus

Wil. Shakspere,

but considerably effaced. And, above that, near the top edge, in a large hand, the letters ber are to be distinguished, and it is not at all difficult to imagine faint traces of the whole name of

Herbert,

suggesting the possibility that the volume not only was once the property of Shakspere, but was also a present to, or from, the illustrious friend of his youth.

We are well aware that we have now said enough to raise the smile of incredulity upon the features of those who have not yet seen the book; to which we have only to reply that it has been examined by some of the best and most competent judges; and that they, though very naturally unwilling to stake their critical reputation in a field where so much deception has formerly been successfully practised, and where, on the other hand, such inadequate means of a fair comparison with remains of undoubted authenticity are available, are still inclined to give a favourable verdict to the present candidate.

So far as this is certain, that it is totally different to the Ireland forgeries. The name or signature of Shakspere which we have engraved is written in the style of his contemporaries, with a freedom which a modern hand could scarcely attain but after long practice. The signatures to the will and deeds are so cramped or infirm from the causes to which we have before alluded, that the name inscribed in the copy of Florio's Montaigne at

the British Museum is the only one with which the present can be properly compared. We must refer for this purpose to the fac-simile given in Sir Frederick Madden's Essay on that signature in the Archæologia.*

The chief difference, it has been observed, exists in the S and the k. The present autograph, if genuine, fully confirms Shakspere's own way of spelling his name; and this is one testimony very much in its favour, not only so far as the question of the orthography itself is concerned, but because the appearance and the history of the book alike prove that the forgery, if one, cannot be recent; and if it were a forgery of some standing, we think that mode of spelling the name would not have been adopted.

The history of the book is of only twenty-one years' extent. It contains the name of an earlier owner, "John Bowden," and also the mark supposed to be that of a dealer named Shott, who lived about forty years ago in Long Lane, Smithfield. It was purchased in the year 1824 by Mr. Taylort of Camden Town, at a book-stall for sixpence, and remained on his shelves until within these two or three years. Some time before the termination of that period, Mrs. Taylor, from motives of cleanliness, submitted this volume, with others bound in the same manner, to a salutary ablution, in the course of which the writing on the cover was first noticed, and the ink unfortunately considerably discharged. The remains were pointed out by Mrs. Taylor to her husband. That gentleman, aware of the scarcity of Shakspere's writing, was inclined to receive the discovery with the same incredulity which is prevalent elsewhere, and, without taking any active steps to ascertain the truth, he laid the book aside until an opportunity might arise to pursue the inquiry.

Not long after, the book with others was abstracted from his library, and he only heard of it again when it was announced for sale by Mr. Fletcher;

Or in Mr. Rodd's octavo reprint of that Essay.

At Marlborough-street, Mr. Taylor said, "nearly a quarter of a century ago," not "nearly half a century," as reported in the newspapers.

and Mr. Taylor further states that his first inducement at that moment to pursue his loss was rather in the hope of detecting the thief from whose roguery he had suffered, than from a conviction of the reality of the Autograph. However, finding the estimation put upon it by others, he brought forward his claim at the Marlboroughstreet police office on the 29th of May last.

On that occasion Mr. Howard, who had placed the treasure in Mr. Fletcher's hands for sale, was required to state how he came into possession; and he said that he had found it on the shelves of a bookseller at Hoxton, named Alexander. He purchased it with other books and some prints for seven shillings. Alexander himself was also brought forward, and stated that he had bought the volume, with a number of others, for a trifling sum, at either Hodgson's or Southgate's book auctions.

After this investigation, the two parties agreed to divide whatever sum might be produced by the sale. It was knocked down to Mr. Pickering for twenty-one guineas; and that bookseller, a few days after, sold it, at a fair advance, to Benjamin Dockray esquire, of Lancaster, who is the pre

sent owner.

MR. URBAN,

LAMENTING with many others the catastrophe which has happened to the Portland Vase, I cannot refrain from suggesting, as a great admirer of Greek art, what I conceive the best mode of restoring it partially to its original character and shape, so far as the remaining fractured parts will admit. It will be desirable, in order to effect this object, to obtain one of the late Mr. James Tassie's fac-similes; which are composed of plaster and gum, moulded from an original matrix made at Rome by the celebrated gem-engraver Pickler, for the late James Byres, esq. who was the first possessor of the vase after the Barberini family. He parted with it to Sir William Hamilton, the British envoy at Naples, from whom it passed into the collection of that most noble patroness of science and the fine arts, Margaret Duchess dowager of Portland, after whose decease a sale took place of her splendid museum in

1786, where there was nothing suffered to be intruded from the cabinets of others; every subject recorded in the catalogue came into her Grace's possession either by inheritance, the assistance of those who were honoured with her friendship, or by her own purchase and industry. The number of lots was 4516, and the Vase was the last but one.

After some correspondence with the late Mr. Josiah Wedgwood,* of the Etruria pottery, it was purchased for the present Duke of Portland, and is now the property of his Grace, who placed it under the care of the Trustees of the British Museum.

One of Tassie's vases being procured, turn off all the relievos, and reduce it to a smooth surface, it will then be in a proper state and size to receive the original fragments remaining, which can be easily secured with cement; afterwards cleaned and trimmed up, parts wanting can be added by any intelligent lapidary or gem sculptor, who is the best person to perform the operation. Ido not think it possible to put it together again without an interior, which, if not formed as now suggested, might possibly be turned out of wood.

The material of which the Vase is composed is the same as the Gemmæ Vitriæ of the ancients, emulating an onyx, the ground a rich transparent dark amethystine colour, and the snowy figures which adorn it are in basso-relievo, of exquisite workmanship, and such as cannot but excite in us the

highest idea of the arts of the ancients. Its dimensions are 9 in. high, and 21 in circumference.

Yours, &c. T. W.

* With the Duke's permission Mr. Wedgwood had the Vase in his possession twelve months to model from, which he executed to perfection. The distinction between his and Mr. Tassie's copy is this: the latter is moulded from the Vase itself, a veritable fac-simile; Wedgwood took a cast from the original, but as the material of his copy was to be clay, which shrinks in the fire, if he had used his cast as a mould, his copy would have been smaller than the original. He wanted it exactly the same size. He therefore modelled from the cast a mould a little larger than it, so as to allow for the shrinking in the fire, and in that mould his copy was made.

MR. URBAN,

21st May, 1845. IN the number of your Magazine for this month, p. 493, a correspondent says, in reference to the young Pretender, that "it will appear from a manuscript now in the British Museum, called a Prayer Book of Sigismond the First, King of Poland,' that his names at full were, Charles Edward Lewis Casimir Stuart.' He adds, that he had not himself seen this manuscript, but that in it are entered the births of the children of James and Clementina, the parents of Prince Charles. Having had an opportunity of examining the manuscript in question, I am enabled to correct the error into which your correspondent has fallen, by assuring him that there are no entries in it of a date later than the sixteenth century, and that they all refer to the Queen and family of Sigismond I. for whom the volume was executed in 1524.

As the manuscript itself is one of considerable value, perhaps a description of its contents, and a transcript of the more important entries alluded to above, may not be without interest. It is a small quarto volume, measuring at present 6 inches in height by 4 in width, but has been cut down from its original size, to the extent of at least two inches, and the illuminated borders in consequence have been most barbarously mutilated. It is difficult to say for what purpose this act of Vandalism was committed, unless it were to enable the owner to place the book conveniently in his pocket; an object, one would suppose, dearly purchased by the sacrifice of so beautiful a work of art, as this volume must have been when perfect; the remains of which even in its deteriorated condition excite admiration in all who be hold it.

The volume originally consisted of 203 leaves of vellum, and is written throughout in a fair Roman letter, each line of which is inter-ruled with gold, and with triple gold lines round each page. The larger initials and borders are elaborately wrought in gold and colours, and the smaller capitals and alineas are also elegantly designed in gold on various colored grounds. There are, in addition, four miniatures introduced, the size of the page, of admirable design and execution, and nuGENT. MAG. VOL. XXIV.

merous arabesque borders. The first of these miniatures is prefixed to the volume, and represents St. Jerome, writing his Psalter, at a desk, in a cardinal's habit, whilst his attendant lion crouches at his feet. A small crucifix is attached to the desk, and on the cushion beneath lies a velvet-bound volume, while others are placed in the recess of a window at the side, and above the holy father an hour-glass hangs suspended from the wall. The whole composition is full of dignity, and the coloring in this and in the other miniatures is rich and harmonious, and finished with a skill that is but seldom seen. The artist was clearly a follower of the German school of art, and a close imitator of Albert Durer; but he has evidently also studied the Italian school, as appears in the ornamental designs of the borders. His name I have been unable to ascertain, but the initials of it S. C. can be discerned by a keen eye in one corner of the miniature above described, and they occur a second time in the border of fol. 194°, with the addition of F. for fecit. As the date of 1524, at the end of the volume, fixes the period of the artist, perhaps some person may be more fortunate than myself in identifying him; and it may assist the inquiry to state, that another manuscript executed by the same artist in 1527, for Francesco Maria Sforza, Duke of Milan, and bearing also his initials, is preserved among Douce's MS. collection in the Bodleian library, No. 40.* In point of richness, and the

*This volume, containing the Office of the Virgin, is described by Sir F. Madden in Shaw's "Illuminated Ornaments," ," No. xxxviii. and a specimen (a very inadequate one) is given in that work of the decorative style of the MS. A shield of arms in the volume is quartered thus: I. Quarterly, 1 and 4, Or, an eagle displayed sable, 2 and 3, Argent, a contorted viper azure, swallowing a child gules, for Sforza Visconti; II. Masovia ; III. Lithuania; IV. also quarterly, 1 and 4. Arragon; 2 and 3, Paly of three, Hungary, Anjou of Naples, and Jerusalem. Query, by what right did Francesco, Duke of Milan, quarter Masovia and Lithuania? The first quarter, of the empire, was granted by the Emperor Adolph of Nassau in 1317, and confirmed to Louis Sforza Visconti by Maximilian 1. in 1494. See Imhof, " Genealogiæ illustrium in Italia familiarum," fol. Amst. 1710, ad calc.

E

number of illuminations, as well as preservation, the latter volume has greatly the advantage over the MS. in the Museum, although inferior to it in point of historical interest. In the border beneath the miniature of St. Jerome is the royal shield of Poland, bearing the white eagle, and on each side cherubs support a crown over it; a design which is introduced again on the opposite page, and on the upper part of the painting is a small tablet, inscribed in golden letters, "Salvum fac, domine, Regem nostrum Sigismundum.” Beneath this, in capital letters also of gold, is written, INCIPIT PSALTERIUM S. JERONIMI. This first portion of the MS. does not contain the entire Psalter, but a series of extracts from it, which is closed by a prayer at fol. 35. Then follows the Letania post psalterium, which extends from fol. 37 to fol. 52°, and concludes with another prayer. The second portion commences at fol. 53, and consists of Orationes de Passione Domini, which are continued to fol. 64", inclusive. Among these is inserted, at fol. 59, the second large miniature, which is of exceeding beauty and interest, representing the monarch Sigismond I. on his knees before the Saviour, who is drawn at full length, as if just descended from the cross, the crown of thorns still on his brow, and the drops of blood still pouring from his wounds, and offering to the royal suppliant bread and wine, the types of the Communion. The features of the King are admirably painted, and no doubt present us with a genuine portrait. He is habited in a scarlet robe, trimmed with fur, and over it is a rich collar of gold and gems.

The third portion of the volume embraces fol. 65-79, and contains the Oraciones ante et post Communionem, multum devotissime; prefixed to which is the third miniature, of richer execution even than the preceding ones, representing the Virgin, with the infant Jesus in her arms, standing on a crescent, in a graceful yet commanding attitude, and surrounded by a halo, regarding with benignity the monarch Sigismond, who kneels at her feet. This painting is in excellent preservation, and the figure of the Virgin, in its attitude, dishevelled hair, and drapery, resembles so much a well known etching of Albert Durer, as to

induce me to believe that the artist may in some degree have copied from it. 'The shield of Poland is repeated in the border, and in the following page another shield is introduced, bearing the arms of Lithuania, supported by two native soldiers, of very spirited design, but, unfortunately, somewhat mutilated.

At the close of this division are introduced in a later hand various prayers, which, as appears by a rubric prefixed, were transcribed after Sigismond's death, from another volume which had belonged to him. These extend from fol. 79 to fol. 85". The last portion, which embraces the remainder of the volume, from fol. 86 to fol. 197, is intitled CLIPEUS SPIRITUALIS, and has an address to Sigismond prefixed, written in blue letters, commencing in the following words: "Serenissimo domino Sigismundo primo, Regi Polonie. Qui hunc libellum tibi miserim, non oportet queri, Serenissime Rex. Mittitur enim ab ignoto, ob hanc unicam causam, quod precationes victorie in eo contente, a quodam devoto heremita, cum commemoracione vite et factorum Christi, composite, ad te maxime pertinent, et uni tibi inter alios Christianos Principes proprie conveniunt, cujus ensis non in diffundendo, sed in defendendo Christiano sanguine exercetur," &c. We have here, therefore, the testimony of the donor of the volume, that he caused it to be executed for the King, and presented it to him, without letting his name be known, and chiefly with the pious object that, through the efficacy of the prayers contained in it, Sigismond might be enabled to triumph over his enemies. In the border surrounding the first page of this address, is introduced a coat of arms, Gules, a ram passant argent, horned or, which is borne by the Franconian families of Vogt von Rienech and Tottenheim,* and may probably lead to the discovery of the donor. After the address follows the third miniature, which is intended as a frontispiece to the collection of prayers and litany. On it is drawn a large shield, supported by cherubs, and inscribed CLIPEUS SPIRITUALIS, etc.,

*See Sibmacher, "Teutsche Wappenbuch," 4to. 1655, th. i. pl. 103; th. ii. pl. 79.

On

with the arms of Poland and Lithuania in each lower corner, and sentences from the Psalms inscribed around. a tablet suspended from the top is the invocation, Domine, salvum fac regem nostrum Sigismundum, as at the commencement of the volume. Many of in this and the preceding the prayers portions of the volume breathe a tone of the deepest humility and devotion; and that the royal personage for whom they were intended, or his successors, have constantly meditated on them, we have the strongest proof in the thumbworn leaves, the writing on which, in some instances, is now completely obliterated by use. At the end of this portion is written in capital letters of gold, Laudans invocabo Dominum, et ab inimicis meis salvus ero. 1524.--S. After this are inserted in the volume, as now bound, some later additions on paper, extending from fol. 198 to fol. 219, written in an Italian hand of the close of the 16th century. These commence with a prayer, "Ad recte obeundum munus regium," which is followed by other orations and psalms, evidently drawn up for the use of one of the royal possessors; and these are succeeded by a series of prayers to Saints, accompanied by drawings, among which figure St. Michael, the archangel Raphael, St. Christopher, St. Roch, St. Sebastian, St. Leonard, and St. Anthony. Many of these prayers are directed against an epidemic disorder (pestis epidimia), and were composed probably on some particular

occasion.

I now come to the entries relating to the family of Sigismond, which occur on the fly-leaves of the manuscript, at the beginning and end. They are all nearly contemporary with the events recorded, and of much value, as affording fixed dates, on which reliance can be placed. Several of these are in the handwriting* of Queen Bona, second wife of Sigismond I. (daughter of Giovanni Galeazzo Sforza, Duke of Milan,) who was married in 1518; and

*Compare the Queen's signature in MS. Cott. Nero, B. II. fol. 108, to a letter congratulating Mary I. of England on her marriage, dated 8 July, 1554. In the same volume are the autograph signatures of Sigismond I., Sigismond II. Augustus, and Sigismond III.

Varsovia il pmo giorno di Febru. La Serma Reina Bona si parte de che fù di Sabbato dell' anno 15 [55] et arrivò in Bari, nel porto, alli . . . di Maggio del medesimo anno. Qu.. la sua felicissima

intrata dentr.

di det

Città di Bari, alli xiii.

mese, che fù di Mercordi.

This entry refers to the period when Queen Bona retired from Poland to her duchy of Bari, where she remained until her death, which took place in less than three years afterwards. Two other entries relating to this lady, one written while she was living, and the other after her decease, appear on the last fly-leaf of the manuscript.

Die iia mēsis Februarii, 1494. hora 13a m'. 30. Vegenolis + nata est Serma Dna Bona Sfortia, Regina Polonie, etc. Quam fata felicme servēt, dum fluvii in freta current, convexa polus dum sidera pascet.

Die 19 mēsis Novēbris, 1557. hora quinta noctis Serma dna Bona Sfortia Regina Poloniæ e vita discesist, in castro Bari, ubi stetit usque diem quartu mēsis Octobris anni sequentis 1558, et ipso die sepulta fuit archiepiscopali, in civitate

Bari, et illic jacet.

It would hence seem that Anderson is in error in placing her decease in 1558, as also is Padre Antonio Beatillo, in assigning it to the year 1556.‡ It appears from the last-named writer that the Queen's body was removed in 1593 from the cathedral to the church of St. Nicolas, where a superb monument had been erected to her memory by her surviving daughter Anna, widow of Stephen Bathori, King of Poland from 1575 to 1586; and in the inscription Queen Bona's age is stated at 65 y. 7 m. 10 d., which does not, however, agree with the dates entered in the manuscript.

The entries which succeed in point

+ Probably Vignola, near Modena. Historia di Bari, 4to. Nap. 1637, p. 209. A great deal of curious information relative to Bona, the benefits conferred by her on the city of Bari, etc. is to be found in this work.