lady he calls Lithocardia with "some better poem." These names probably have all an individual application, and in one of his sonnets Craige unequivocally tells us that Penelope is Lady Rich. Although he here and there speaks diffidently of his own powers, it is evident that he thought he was destined to immortality, and to give immortality to those whom he celebrates: a "Sonuet to Idea" begins,

"My Muse shall make thy boundless fame to flie
In bounds where yet thy selfe was never seene ;
And were not for my songs thy name had beene
Obscurelie cast into the grave with thee."

His notion of addressing a real or imaginary female under the name of "Idea" he had from Michael Drayton, who had done the same thing ten or twelve years before. On Sign. K. i, we come to a new prose dedication "To my honorable good Lord and maister (the true Mæcenas of my Muse) George Earle of Dunbar, Lord Barwick, high Tresurar of Scotland," ending with these words: "What I haue heere set downe is for your sollace; and so I beseech your Honor to accept from the table of my Chamber, at your liberall charge and allowance, the 5 day of November 1606." In this part of the volume we meet with those imitations and enlargements of Christopher Marlow's well-known ballad, "Come live with me and be my love," and the answer to it by Sir Walter Raleigh, which the Rev. H. J. Todd has pointed out, in his edition of Milton, v. 68. They consist of four poems between Alexis and Lesbia, the first beginning,

"Come be my love and live with me,"

the second, in reply:

"If all were thine that there I see."

The third is "a new persuasion:"

"Once more I pray thee be my love,"

and the fourth,

"Oft have I pray'd thee be my love."

Few imitations can be less like the original, excepting in mere form, for all the natural and pastoral simplicity of Marlow is lost in trite and tedious allusions to Parnassus, Castalian drops, Hippocrene, Aganippe, &c. The

subsequent portion of " a new perswasion to Lesbia" will illustrate this state

ment:

"Once more I pray thee be my Love.

Come live with mee, and thou shalt prove

All pleasures that a Poets vaine

Can find on mould, or in the mane.

Wilt thou upon my Parnas walke,

And tread the flowrs with leavie stalke
Which bud on my biforked tops,
Bedew'd with sweet Cactalian drops?

On Thithorea wilt thou go,

Or Hyampeus to and fro ?

Or wilt thou with Pierid Nimphs

Drinke of these ever-flowing limphs
From Hyppocrene which divall,
Or springs of Aganippe wall?
Wilt thou repose thee in the shade
Which Nature hath divinely made?
Apolloes laurell thou shalt see,
And lovely Venus myrtle tree;

Alcides popler full of state,

The Palme which thrives in spight of hate,

Minervaes olive, and the Mirr,

And of great Mars the warlike firr." &c.

The first address of Alexis to Lesbia is certainly better than the preceding, especially in the commencement, but even there Craige cannot do without Vesta and Neptune, and he afterwards calls in the aid of Flora, Daphne, the Nereids, Apollo, and Cynthia. It opens thus:

"Come be my Love and live with mee,

And thou shalt all the solace see,

That glassie gulfs or earth can bring

From Vesta's wealth, or Neptuns reigne.

For we shall on the mountains go,

In shaddie umbers to and fro;

In vallies low, and on the bray,

And with thy feet the flowrs shall play."

The printer often does injustice to the author, who probably had no opportunity of correcting the errors of the press. The volume ends on Sign. L. iiii,

L

with an English Sonnet "to the Author," subscribed I. M., and two copies of Latin verses, Cragio Suo, and De Alexandro Rupæo, the first signed Robertus Aytonus, and the last Arthurus Gordonus.

CRIES OF LONDON.-The Manner of Crying Things in London. 4to. 32 leaves.

This is a series of thirty-two copper plates, without date or engraver's name, and the above title is given to them in the hand-writing of the second Earl of Bridgewater. They were perhaps by some foreign artist, and probably proof impressions, for on the margin of one of the plates is a small part of another, as if it had been taken off for a trial of the plate. It is impossible to assign a date to them with any exactness, but assistance may be derived from a blackletter ballad by W. Turner, called

"The Common Cries of London Town,

Some go up street & some go down."

Under the title is a wood cut of a man with a basket on his head. The only known copy of it is dated 1662, but it contains internal evidence, in the following stanza, that it was written in the reign of James I.

"That's the fat foole of the Curtin,

And the lean fool of the Bull:
Since Shanke did leaue to sing his rimes
He is counted but a gull.

The Players on the Banckeside,
The round Globe and the Swan,
Will teach you idle tricks of love,

But the Bull will play the man."

Shanke, the comic actor here mentioned, was one of Prince Henry's players in 1603; and Taylor, the Water-poet, informs us that the Swan Theatre, mentioned above, had been abandoned by the players in 1613. The Curtain Theatre had also fallen into disuse before the reign of Charles I. The Globe and Bull were employed until after the Restoration. Several of Turner's "Cries of London Town" are so similar to those represented in the engravings before us, that we may conclude they were nearly contemporary.

As this is the earliest known series of the kind, an enumeration of the

Cries," illustrating very curiously the manners of our ancestors, will not be unacceptable:

1. Lanthorne and a whole Candell light: hange out your lights heare!

2. I have fresh Cheese and Creame.

25. Some broken Breade and meate for ye poore prisoners: for the Lords sake

pittey the poore.

26. Buy my dish of great Smelts.

27. Have you any Chaires to mend.

28. Buy a Cocke, or a gelding.

29. Old showes or bootes: will you buy some Broome.

30. Mussels, Lilly white Mussels.

31. Small Cole a penny a peake.

32. What Kitchen-stuffe have you, Maides.

The figures, male and female, in the engravings are all three-quarter lengths, and they are furnished with the implements of their various trades, or with

the articles in which they deal. The subsequent is an excellent fac-simile on wood of the first plate, which forms the only title-page to the work.

Lanthorne and a whole Candell
Light, hange out your lights heare

The inscription above the head of the Watchman proves that the owners of houses were not allowed to hang out the relic of a candle, but required to produce "a whole candle" for the purpose of lighting the street.

A few specimens from Turner's ballad, before quoted, will almost serve to show that it was written with a reference to these plates: thus he says of the Chimney Sweeper:

"The man that sweeps the chimnyes

With the bush of thorns,

And on his neck a trusse of poles

Tipped all with horns."