mation, but for the Diversion of the Populace." Cf. also Macaulay's History of England, ed. 1864, i. 182. "Bouquet of pinks.”—PAGE 27. "Another curious custom observed at this Church [St. Sepulchre's] was that of presenting a nosegay to every criminal on his way to Tyburn" (Wheatley and Cunningham's London, 1891, iii. 229, 230). When, as a boy of eight [1774], J. T. Smith watched the notorious John Rann, commonly called "Sixteen-string Jack," on his road to Tyburn, he noticed that the robber (who was gallantly clad in bright pea green) was equipped with an immense nosegay which had come to him in this way (Book for a Rainy Day, 3rd ed., 1861, pp. 29-30). "Flagon of ale at Holborn Bar."-PAGE 27. Holborn Bar, or Bars, marks the boundary in Holborn of the City Liberties. It was on the official route from Newgate to Tyburn. · Friends (in mourning) to follow his Car."-PAGE 27. "He [Richard Turpin, alias John Palmer, hanged at York, 7th April 1739] gave 34. 10s. to 5 Men who were to follow the Cart as Mourners, with Hatbands and Gloves to them and several others" (Gentleman's Magazine, 1739, vol. ix. 213). "Topsman."-PAGE 27. i.e. the hangman. In the Tyburn Scene of Hogarth's Apprentice Series (Plate XI.) he may be seen sitting at the top of the triple tree. “An Incident in the Life of François Boucher."— PAGE 34. See Boucher by Arsène Houssaye, Galerie du XVIII Siècle (Cinquième Série; Sculpteurs, Peintres, Musiciens). The "incident" is, however, thus briefly referred to in Charles Blanc's Histoire des Peintres de toutes les Écoles:— "Une fois cependant Boucher se laissa prendre à un amour simple et candide. Un jour, en passant dans la Rue SteAnne, il aperçut une jeune fruitière dont la beauté l'éblouit. C'était au temps des cerises. Le peintre la regarda et elle se laissa regarder sans songer à ses paniers. Ses lèvres parurent plus belles que ses cerises. Un amour naïf et tendre naquit de cette échange de regards; Boucher y trouva quelque jours de délices; Rosine y trouva la mort après une rapide bonheur." "The scene, a wood."-PAGE 34. The picture referred to is Le Panier Mystérieux by F. Boucher; engraved by R. Gaillard. "He thinks she thinks he thinks she sleeps,' in fact.”— PAGE 34. This, as well as another reference (in The Misogynist) to the Angel in the House, led the author of that book at first, I am afraid, to doubt whether I was an entirely sympathetic student of his works. But when, in the later years of COVENTRY PATMORE'S life, I had the advantage of his personal acquaintance, it was not difficult to convince him that he had no more devoted admirer than myself. "And far afield were sun-baked savage creatures.” — See Les Caractères de LA BRUYÈRE, De l'homme, 128. "Whose greatest grace was jupes à la Camargo.”— "C'était le beau temps où Camargo trouvait ses jupes trop longues pour danser la gargouillade.”—ARSÈNE HOUSSAYE "The grass he called too green.' "—PAGE 36. "Il trouvait la nature trop verte et mal éclairée. Et son ami Lancret, le peintre des salons à la mode, lui répondait · 'Je suis de votre sentiment, la nature manque d'harmonie et de séduction.""-CHARLES BLANC. "Fresh as a fresh young pear-tree blossoming."—Page 37. "She was wel more blisful on to see Than is the newe perjenete tree." -CHAUCER, The Millere's Tale. PROVERBS IN PORCELAIN.- Page 45. A pleasant memory connected with the appearance in 1873 of Vignettes in Rhyme is that the little book procured me the friendship of the author of London Lyrics. My second volume of verse, with the title prefixed to this note, was dedicated to him in words which-as they have not been recently reprinted-may be here preserved : "TO FREDERICK LOCKER. Is it to kindest Friend I send Or is it more to Critic sure, To Singer clear and true? I know not which, indeed, nor need; "Tout vient à point à qui sait attendre."-PAGE 49. According to a correspondent of the Times, 6th February 1903, this proverb, on a carving in the Tower of London, dated 1571, runs-" Tout vient a poient, quy peult attendre." Littré, however, gives it as given here. "Nay,-'twas a song of SAINT-AULAIRE."-PAGE 50. It is but just to the octogenarian Marquis, whom the Duchess of Maine surnamed her "vieux berger," to say that he is guiltless of the song here ascribed to him. For it, and for the similar pieces in these Proverbs, I am alone responsible. In the Secrets of the Heart, however, I have, without attempting to revive the persons, borrowed the names of the charming heroines of À quoi rêvent les Jeunes Filles. Sing me of Her, whose name may not be told."—Page 84. "Dicat Opuntia Frater Megillæ, quo beatus Vulnere, qua pereat sagitta."-HOR. i. 27. How this stanza originally stood escapes me; but as I well remember-it owes its final turn to the late ANTHONY TROLLOPE,-kindest and most capable of Editors,-who referred me to the foregoing quotation. "I am a Shade: a Shadowe too arte thou."-PAGE 140. A motto in this spirit occurs at Stirling. THE CHILD-MUSICIAN.-Page 146. These verses originated in an "American story" told me orally by a friend who had found it copied into some English paper. I "romanced" it after my own fashion. After it was published, by the courtesy of one of the most graceful and finished of Trans-Atlantic poets, I was furnished with a more accurate version of the facts. Those who wish to read the true and authentic story of poor little James Speaight must do so in the pathetic prose setting of Mr. THOMAS BAILEY ALDRICH. The Cradle.—Page 147. The leading idea of these lines is taken from a French Sonnet,-Le Berceau, by Eugène Manuel. "Some moneyed mourner's love or pride.""-PAGE 150. Thus much alone we know-Metella died, The wealthiest Roman's wife: Behold his love or pride! 66 Huddling they came, with shag sides caked of See the picture of Circe by Mr. BRITON RIVIERE, R.A. 66 66 A bolder rider than Bellerophon."-PAGE 175. Eques ipso melior Bellerophonte.”—HOR. iii. 12 "The Thefts of Mercury."-PAGE 175. "Te, boves olim nisi reddidisses Risit Apollo."—HOR. i. 10. "Have I not writ thy Laws?"—Page 191. The lines in italic type which follow, are freely paraphrased from the ancient Code d'Amour of the XIIth Century, as given by André le Chapelain himself. "To brandish the poles of that old Sedan chair!”— A friendly but anonymous critic, whose versatile pen it is, nevertheless, not easy to mistake, recalls, à-propos of the |