Note 1 — Chapter I

Plin. Hist. Nat., lib. xxxv. c. 8.

[2] Panoska Terracotten des Museums Berlin, pl. lxi. p. 154.

[3] Given in Panofka, “Antiques du Cabinet Pourtalès,” pl. x.

[4] Arnobius (contra Gentes), lib. iv. p. 150. Carmen malum conscribere, quo fama alterius coinquinatur et vita, decemviralibus scitis evadere noluistis impune: ac ne vestras aures convitio aliquis petulantiore pulsaret, de atrocibus formulas constituistis injuriis. Soli dii sunt apud vos superi inhonorati, contemtibiles, viles: in quos jus est vobis datum quæ quisque voluerit dicere turpitudinem, jacere quas libido confinxerit atque excogitaverit formas.

[5] Pliny, Hist. Nat., lib. xxxv. c. 40.

[6] Pliny, Hist. Nat., lib. xxxv. c. 40.

[7] Engraved by Ch. Lenormant et J. de Witt, “Elite des Monuments Céramographiques,” pl. xciv.

[8] These intaglios are engraved in the Museum Florentinum of Gorius, vol. ii. pl. 30. On one of them the figures are reversed.

[9] It is said to have received its Latin name from this circumstance, persona, a personando. See Aulus Gellius, Noct. Att., lib. v. c. 7.

[10] “Simulacrum ... quod opponitur faciei ad terrendos parvos.” (Ugutio, ap. Ducange, v. Masca.)

[11] See, for allusions to the private employment of these performances, Pliny, Epist. i. 15, and ix. 36.

[12] Quintilian says, “Satira quidem tota nostra est.” De Instit. Orator., lib. x. c. 1.

[13] ἐπί των καπηλίων. Problem. Aristotelic. Sec. x. 7.

[14] On this subject, see my “History of Domestic Manners and Sentiments,” p. 65. The dancing bear appears to have been a favourite performer among the Germans at a very early period.

[15] Per totam noctem cantabantur hic nefaria et a cantatoribus saltabatur. Augustini Serm. 311, part v.

[16] Noctes pervigiles cum ebrietate, scurrilitate, vel canticis. See the Capitulary in Labbei Concil., vol. v.

[17] Ut populi.....saltationibus et turpibus invigilant canticis.

[18] The reader is referred, for further information on this subject, to my “History of Domestic Manners and Sentiments,” pp. 33-39.

[19] This curious Latin poem was printed by Grimm and Schmeller, in their Lateinische Gedichte des x. und xi. Jh., p. 129.

[20] On the character of the nuns among the Anglo-Saxons, and indeed of the inmates of the monastic houses generally, I would refer my readers to the excellent and interesting volume by Mr. John Thrupp, “The Anglo-Saxon Home: a History of the Domestic Institutions and Customs of England from the fifth to the eleventh century.” London, 1862.

[21] These will be found in M. Edélestand du Méril’s Poésies Populaires Latines antérieures au douzième siècle, pp. 275, 276.

[22] This, and the metrical story next referred to, were printed in the “Altdeutsche Blätter,” edited by Moriz Haupt and Heinrich Hoffmann, vol. i. pp. 390, 392, to whom I communicated them from a manuscript in the University Library at Cambridge.

[23] The text of this singular composition, with a full account of the various forms in which it was published, will be found in M. du Méril’s “Poésies Populaires Latines antérieures au douzième siècle,” p. 193.

[24] “Formam quandam villosam, hispidam, et hirsutam, adeoque enormiter deformem.” Girald. Camb., Itiner. Camb., lib. i. c. 5.

[25] An engraving of this scene, modernised in character, is given in Nichols’s “Leicestershire,” vol. i. plate 43.

[26] The Latin text of this and some others of the fables of Odo de Cirington will be found in my “Selection of Latin Stories,” pp. 50-52, 55-58, and 80.

[27] See the dissertation by M. Paulin Paris, published in his nice popular modern abridgment of the French romance, published in 1861, under the title “Les Aventures de Maître Renart et d’Ysengrin son compère.” On the debated question of the origin of the Romance, see the learned and able work by Jonckbloet, 8vo., Groningue, 1863.

[28] “Insultationes, clamores, sonos, et alios tumultus, in secundis et tertiis quorundam nuptiis, quos charivarium vulgo appellant, propter multa et gravia incommoda, prohibemus sub pœna excommunitationis.”—Ducange, v. Charivarium.

[29] Cotgrave’s Dictionarie, v. Charivaris.

[30] r. Llewellynn Jewitt, in his excellent publication, the Reliquary, for October, 1862, has given an interesting paper on the encaustic tiles found on this occasion, and on the conventual house to which they belonged.

[31] See an interesting little book on this subject by M. Ed. de la Quérière, entitled “Recherches sur les Enseignes des Maisons Particulières,” 8vo., Rouen, 1852, from which both the above examples are taken.

[32] See my “Popular Treatises on Science written during the Middle Ages,” p. 107.

[33] Alexander Neckam, De Naturis Rerum, lib. ii. c. 129.

[34] See Girald. Cambr., Topog. Hiberniæ, dist. ii. cc. 21, 22; and the Itinerary of Wales, lib. ii. c. 11.

[35] “Uti me consuesse tragœdi syrmate, histrionis crotalone ad trieterica orgia, aut mimi centunculo.”—Apuleius, Apolog.

[36] See before, p. 41 of the present volume.

[37] See examples of these illuminations in my “History of Domestic Manners and Sentiments,” pp. 34, 35, 37, 65.

[38] People in the middle ages were so fully conscious of the identity of the mediæval jougleur with the Roman mimus, that the Latin writers often use mimus to signify a jougleur, and the one is interpreted by the others in the vocabularies. Thus, in Latin-English vocabularies of the fifteenth century, we have—

Hic joculator, Hic mimus, } Anglice jogulour.

[39] In a volume entitled “Lateinische Gedichte des x. und xi. Jh.” 8vo. Göttingen, 1838.

[40] Many of the Fabliaux have been printed, but the two principal collections, and to which I shall chiefly refer in the text, are those of Barbazan, re-edited and much enlarged by Méon, 4 vols. 8vo., 1808, and of Méon, 2 vols. 8vo., 1823.

[41] A collection of these short Latin stories was edited by the author of the present work, in a volume printed for the Percy Society in 1842.

[42] In the mediæval Latin, the word goliardia was introduced to express the profession of the goliard, and the verb goliardizare, to signify the practice of it.

[43] “Item, præcipimus ut omnes sacerdotes non permittant trutannos et alios vagos scholares, aut goliardos, cantare versus super Sanctus et Angelus Dei in missis,” etc.—Concil. Trevir., an. 1227, ap. Marten. et Durand. Ampliss. Coll., vii. col. 117.

[44] “Item, præcipimus quod clerici non sint joculatores, goliardi, seu bufones.”—Stat. Synod. Caduacensis, Ruthenensis, et Tutelensis Eccles. ap. Martene, Thes. Anecd., iv. col. 727.

[45] “Clerici ... si in goliardia vel histrionatu per annum fuerint.”—Ib. col. 729. In one of the editions of this statute it is added, “after they have been warned three times.”

[46] “Clerici ribaldi, maxime qui vulgo dicuntur de famila Goliæ.”—Concil. Sen. ap. Concil., tom. ix. p. 578.

[47] See my “Poems of Walter Mapes,” p. 70.

[48] The Latin Poems commonly attributed to Walter Mapes, collected and edited by Thomas Wright, Esq., 4to., London, 1841.

[49] “Anecdota Literaria; a Collection of Short Poems in English, Latin, and French, illustrative of the Literature and History of England in the Thirteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1844.

[50] In my edition I have collated no less than sixteen copies which occur among the MSS. in the British Museum, and in the libraries at Oxford and Cambridge, and there are, no doubt, many more.

[51] Poems attributed to Walter Mapes, p. 73. The stanzas here quoted, with some others, were afterwards made up into a drinking song, which was rather popular in the fifteenth and sixteenth centuries.

[52] “Gedichte des Mittelalters auf König Friedrich I. den Staufar, und aus seiner so wie der nächstfolgenden Zeit,” 4to. Separate copies of this work were printed off and distributed among mediæval scholars.

[53] “Carmina Burana. Lateinische und Deutsche Lieder und Gedichte einer Handschrift des XIII. Jahrhunderts aus Benedictbeurn auf der K. Bibliothek zu München.” 8vo. Stuttgart, 1847.

[54] “Early Mysteries and other Latin Poems of the Twelfth and Thirteenth Centuries,” edited by Thomas Wright, Esq. 8vo. London, 1838.

[55] Introduction, p. xl.

[56] “Reliquiæ Antiquæ. Scraps from Ancient Manuscripts, illustrating chiefly Early English Literature and the English Language.” Edited by Thomas Wright, Esq., and J. O. Halliwell, Esq. 2 vols. 8vo. Vol. i., London, 1841; vol. ii., 1843.

[57] “Achille Jubinal, Jongleurs et Trouvères.” 8vo., Paris, 1835, p. 34; and “Nouveau Recueil de Contes, Dits, Fabliaux,” &c 8vo., Paris, 1842. Vol. ii. p. 208. In the first instance M. Jubinal has given to this little poem the title Resveries, in the second, Fatrasies.

[58] “Songs and Carols, now first printed from a Manuscript of the Fifteenth Century.” Edited by Thomas Wright, Esq. 8vo., London, 1847, p. 2.

[59] Both these poems are printed in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.” 8vo., London, 1838.

[60] “Anecdota Literaria,” p. 49.

[61] “Reliquæ Antiquæ,” vol. ii. p. 230.

[62] I have published from the original manuscripts the mass of the political poetry composed in England during the middle ages in my three volumes—“The Political Songs of England, from the Reign of John to that of Edward II.” 4to., London, 1839 (issued by the Camden Society); and “Political Poems and Songs relating to English History, composed during the Period from the Accession of Edward III. to that of Richard III.” 8vo., vol i., London, 1859; vol. ii., 1861 (published by the Treasury, under the direction of the Master of the Rolls.)

[63] “Receuil de Chants Historiques Français depuis le xii^e. jusqu’au xviii^e. Siècle, par Leroux de Lincy.... Première Série, xii^e., xiii^e., xiv^e, et xv^e., Siècles.” 8vo., Paris, 1841.

[64] “A Poem on the Times of Edward III., from a MS. preserved in the Library of St. Peter’s College, Cambridge.” Edited by the Rev. C. Hardwick. 8vo. London, 1849. (One of the publications of the Percy Society.)

[65] “The Vision and the Creed of Piers Ploughman;” with Notes and a Glossary by Thomas Wright. 2 vols. 12mo. London, 1842. Second and revised edition, 2 vols. 12mo. London, 1856.

[66] “Charlemagne, an Anglo-Norman Poem of the Twelfth Century, now first published, by Francisque Michel,” 12mo., 8vo., London, 1836.

[67] “Geschichte der Hofnarren, von Karl Friedrich Flögel,” 8vo. Liegnitz und Leipzig, 1789.

[68] The words of this charter, as given by Rigollot, are:—“Joannes, D G., etc. Sciatis nos dedisse et præsenti charta confirmasse Willelmo Picol, follo nostro, Fontem Ossanæ, cum omnibus pertinenciis suis, habendum et tenendum sibi et hæredibus suis, faciendo inde nobis annuatim servitium unius folli quoad vixerit; et post ejus decessum hæredes sui eam tenebunt, et per servitium unius paris calcarium deauratorum nobis annuatim reddendo. Quare volumus et firmiter præcipimus quod prædictius Piculphus et hæredes sui habeant et teneant in perpetuum, bene et in pace, libere et quiete, prædictam terram.”—Rigollot, Monnaies inconnues des Evêques des Innocens, etc., 8vo., Paris, 1837.

[69] For the drawings of these interesting carvings from the Cornish churches, I am indebted to the kindness of Mr. J. T. Blight, the author of an extremely pleasing and useful guide to the beauties of a well-known district of Cornwall, entitled “A Week at the Land’s End.”

[70] “A festis follorum ubi baculus accipitur omnino abstineatur.... Idem fortius monachis et monialibus prohibemus.”

[71] On the subject of all these burlesques and popular feasts and ceremonies, the reader may consult Flögel’s “Geschichte des Grotesk-Komischen,” of which a new and enlarged edition has recently been given by Dr. Friedrich W. Ebeling, 8vo., Leipzig, 1862. Much interesting information on the subject was collected by Du Tilliot, in his “Memoires pour servir à l’Histoire de la Fête des Fous,” 8vo., Lausanne, 1751. See also Rigollot, in the work quoted above, and a popular article on the same subject will be found in my “Archæological Album.”

[72] “Monnaies inconnues des Evêques des Innocens, des Fous,” &c., Paris, 1837.

[73] This earliest known version is in German verse, and was printed in 1515. An English version, in prose, was printed in 1620, and is reprinted in Thoms’s “Collection of Early Prose Romances.”

[74] The title of this English translation is, “Here beginneht a merye Jest of a man that was called Howleglas, and of many marveylous thinges and jestes that he dyd in his lyfe, in Eastlande, and in many other places.” It was printed by Coplande, supposed about 1520. An edition of Eulenspiegel in English, by Mr. Kenneth Mackenzie, has recently been published by Messrs. Trübner & Co., of Paternoster Row.

[75] It was reprinted by Von der Hagen, in a little volume entitled “Narrenbuch; herausgegeben durch Friedrich Heinrich von der Hagen.” 12mo., Halle, 1811.

[76] I am obliged to pass over this part of the subject very rapidly. For the history of that remarkable book, the “Cent Nouvelles Nouvelles,” I would refer the reader to the preface to my own edition, “Les Cent Nouvelles Nouvelles, publiées d’après le seul manuscrit connu, avec Introduction et Notes, par M. Thomas Wright.” 2 vols, 12mo., Paris, 1858.

[77] A neat and useful edition of these two jest-books, with the other most curious books of the same class, published during the Elizabethan period, has recently been published in two volumes, by Mr. W. C. Hazlitt.

[78] “Infinitus jam erat numerus qui victum ex Lutheranis libris quæritantes, in speciem bibliopolarum longe lateque per Germaniæ provincias vagabantur.”—Eck., p. 58.

[79] Several editions of the writings of Hrotsvitha, texts and translations, have been published of late years both in Germany and in France, of which I may point out the following as most useful and complete—“Théatre de Hrotsvitha, Religieuse Allemande du x^e siècle....par Charles Magnin,” 8vo., Paris, 1845; “Hrotsvithæ Gandeshemensis, virginis et monialis Germanicæ, gente Saxonica ortæ, Comœdias sex, ad fidem codicis Emmeranensis typis expressas edidit.... J. Benedixen,” 16mo., Lubecæ, 1857; “Die Werke der Hrotsvitha: Herausgegeben von Dr. K. A. Barack,” 8vo., Nürnberg, 1858.

[80] See p. 191 of the present volume.

[81] This singular composition was published with notes by M. de Montaiglon, in a Parisian journal entitled, “L’Amateur de Livres,” in 1849, under the title of “Fragment d’un Dialogue Latin du ix^e siècle entre Terence et un Bouffon.” A few separate copies were printed, of which I possess one.

[82] To judge by the number of copies found in manuscripts, especially of the “Geta,” these dramatic poems must have enjoyed considerable popularity. The “Geta” and the “Querulus” were published in a volume entitled, “Vitalis Blesensis Amphitryon et Aulularia Eclogæ. Edidit Fridericus Osannus, Professor Gisensis,” 8vo., Darmstadt, 1836. The “Geta” and the “Babio” are included in my “Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries.”

[83] “Hilarii Versus et Ludi,” 8vo., Paris, 1835. Edited by M. Champollion Figeac.

[84] “Interdum ludi fiunt in ecclesiis theatrales,” &c—Decret Gregorii, lib. iii. tit. i.

[85] “Item non permittant sacerdotes ludos theatrales fieri in ecclesia et alios ludos inhonestos.”

[86] “Juniores fratres in Heresburg sacram habuere comœdiam de Josepho vendito et exalto, quod vero reliqui ordinis nostri prælati male interpretati sunt.”—Leibn., Script. Brunsv. tom. ii. p. 311.

[87] The acts of this synod of Worms are printed in Harzheim, tom. iv. p. 258.

[88] The editions of the three principal collections of English mysteries are—1. “The Towneley Mysteries,” 8vo., London, 1836, published by the Surtees Society; 2. “Ludus Coventriæ: a Collection of Mysteries, formerly represented at Coventry on the Feast of Corpus Christi,” edited by James Orchard Halliwell, Esq., 8vo., London, 1841, published by the Shakespeare Society; 3. “The Chester Plays: a Collection of Mysteries founded upon Scriptural Subjects, and formerly represented by the Trades of Chester at Whitsuntide,” edited by Thomas Wright, Esq., 2 vols. 8vo., London, 1843 and 1847, published by the Shakespeare Society.

[89] “Hic transit Noe cum familia sua pro navi, quo exeunte, locum interludii subintret statim Lameth, conductus ab adolescente, et dicens,” &c.

[90 The most remarkable collection of these early farces, sotties, and moralities yet known, was found accidentally in 1845, and is now in the British Museum. These were all edited in Paris as the first three volumes of a work in ten, entitled “Ancien Théatre François, ou Collection des Ouvrages dramatiques les plus remarquable depuis les Mystères jusqu’à Corneille, publié ... par M. Viollet le Duc,” 12mo., Paris, 1854. It is right to state that these three volumes were edited, not by M. Viollet le Duc, but by a scholar better known for his learning in the older French literature, M. Anatole de Montaiglon.

[91] This is the date fixed by Meaume, in his excellent work on Callot, entitled “Recherches sur la Vie et les Ouvrages de Jacques Callot,” 2 tom. 8vo., 1860.

[92] Meaume appears to be doubtful of the meaning of this word; a friend has pointed out to me the correction. It was the title of a song, so called because the burden was an imitation of the crowing of a cock, the singer mimicking also the action of the bird. When Bacchus, in Redi’s “Bacco in Toscana,” is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him “sulla mandola la Cucurucù,” “on the mandola the Cucurucu.” A note fully explains the word as we have stated it—“Canzone cosi detta, perchè in esse si replica molte volte la voce del gallo; e cantandola si fanno atti e moti simili a quegli di esso gallo.”

[93] The materials for the history of Della Bella and his works, will be found in a carefully compiled volume, by C. A. Jombert, entitled, “Essai d’un Catalogue de l’Oeuvre d’Etienne de la Bella.” 8vo., Paris, 1772.

[94] “Pasquillorum Tomi duo.” Eleutheropoli, MDXLIIII.

[95] Pasquil and Pasquin became, during the latter part of the sixteenth and the whole of the seventeenth centuries, a well-known name in French and English literature. In English popular literature he was turned into a jester, and a book was published in 1604 under the title “Pasquil’s Jests; with the Merriments of Mother Bunch. Wittie, pleasant, and delightfull.”

[96] The great authority on the history of Macaronic literature is my excellent friend Monsieur Octave Delepierre, and I will simply refer the reader to his two valuable publications, “Macaronéana, ou Mélanges de Littérature Macaronique des differents Peuples de l’Europe,” 8vo., Paris, 1852; and “Macaronéana,” 4to., 1863; the latter printed for the Philobiblon Club.

[97] This style differs entirely from the macaronic. It consists merely in using the words of the Latin language with the forms and construction of the vulgar tongue, as illustrated by the directions of the professor who, lecturing in the schools, was interrupted by the entrance of a dog, and shouted out to the doorkeeper, Verte canem ex, meaning thereby that he should “turn the dog out.” It was perhaps from this, or some similar occurrence, that this barbarous Latin gained the name of dog-Latin. The French call it Latin de cuisine.

[98] A cheap and convenient edition of the “Cymbalum Mundi,” edited by the Bibliophile Jacob (Paul Lacroix), was published in Paris in 1841. I may here state that similar editions of the principal French satirists of the sixteenth century have been printed during the last twenty-five years.

[99] i.e., was drunk.

[100] Knightsbridge, as the principal entrance to London from the west, was full of inns.

[101] The method of engraving called mezzotinto was very generally adopted in England in the earlier part of the last century for prints and caricatures. It was continued to rather a late period by the publishing house of Carrington Bowles.

[102] It was translated into English by Richard Haydocke, under the title of “The Artes of Curious Paintinge, Carvinge, Buildinge,” fol. 1598. This is one of the earliest works on art in the English language.

[103] His death is usually placed, but erroneously, in 1732.

[104] Sandby etched landscapes on steel, and in aquatinta, the latter by a method peculiarly his own, besides painting in oil and opaque colours. But his fame rests mainly on being the founder of the English school of water-colour painting, since he was the first to show the capability of that material to produce finished pictures, and to lead the way to the perfection in effect and colour to which that branch of art has since attained.

[105] In the library of the British Museum there is a collection of John Kay’s works bound in two volumes quarto, with a title and table of contents in manuscript, but whether it is one of a few copies intended for publication, or whether it is merely the collection of some individual, I am not prepared to say. It contains 343 plates, which are stated to be all Kay’s works down to the year 1813, when this collection was made. “The Craft in Danger” is not among them. I have before me a smaller, but a very choice selection, of Kay’s caricatures, the loan of which I owe to the kindness of Mr. John Camden Hotten, of Piccadilly. I am indebted to Mr. Hotten for many courtesies of this description, and especially for the use of a very valuable collection of caricatures of the latter part of the eighteenth century and earlier part of the present, mounted in four large folio volumes, which has been of much use to me.