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ning into murmuring rivulets, bordered with the softest grass enamelled with various flowers.

In placis sawe I wellis there w
In whichè ther no froggis were,
And faire in shadow was eche wel;
But I ne can the nombre tel
Of stremis smale, that by devise
Mirth had don com thorough condise”,
Of which the watir in renning,
Gan makin a noise ful liking.
About the brinkis of these wellis,
And by the stremes ovir al ellis
Sprange up the grasse as thick isett
And soft eke as any velvett.
On which man might his leman ley
As softe as fetherbed to pley.-
There sprange the violet all newe,
And freshe perwinkey riche of hewe; .
And flouris yalowe white and rede,
Such plenti grew ther ner in mede:
Full gaie was al the grounde and queint
And poudrid, as men had it peint,
With many a fresh and sondry floure

That castin up ful gode savoure. 2
But I hasten to display the peculiar powers of William de

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Lorris in delineating allegorical personages; none of which have suffered in Chaucer's translation. The poet supposes that the garden of Mirth, or rather Love, in which grew the Rose, the object of the lover's wishes and labours, was enclosed with embattled walls, richly painted with various figures, such as Hatred, Avarice, Envy, Sorrow, Old Age, and Hypocrisy. Sorrow is thus represented.

SorrowE was paintid next Envie:
Upon that wal of masonrie.
But wel was seen in her colour,
That she had livid in languour;
Her seemid to have the jaundice,
Not half so pale was AVARICE,
Ne nothing alike of lenenesse
For sorowe, thought, and grete distresse.
A s’rowful thing wel semid she;
Nor she had nothing slow ybe
For to bescrachin of hir face,
And for to rent in many place
Hir clothes, and for to tere her swire,
As she that was fulfilled of ire:
And al to torn lay eke hir here
About hir shoulders, here and there;
As she that had it all to rent
For angre and for male talent .

Nor are the images of Hatred and Avarice inferior.

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Amiddis sawe I Hate ystonde.
And she was nothing wel araide
But like a wode woman afraide:
Yfrowncid foule was hir visage,
And grinning for dispiteous rage,
Her nose ysnortid up for tenee
Full hideous was she forti sene,
Full foul and rustey was she this,
Her hed iwrithin was iwis,

Full grimly with a grete towaile, &c.
The design of this work will not permit me to give the por-
trait of Idleness, the portress of the garden of Mirth, and of
others, which form the groupe of dancers in the garden : but
I cannot resist the pleasure of transcribing those of Beauty,
Franchise, and Richesse, three capital figures in this genial

The God of love, jolife and light, %
Ladde on his honde a ladie bright,
Of high prise, and of gret degre,
This ladie called was BEAUTIE.
And an arowe, of which I told,
Full well ythewid h was she holde:
Ne was she darke ne browne, but bright,

And clere as is the monė light.-
Au milieu de mur je vy HAYNE. Ainsi comme une des cinque flesches
Si n'estoit pas bien atournée,

En ille aut toutes bonnes taiches :
Ains sembloit estre forcence

Point ne fut obscur, ne brun, Rechignéc estoit et froncé

Mais fut clere comme la lune.Avoit le nez et reboursé.

Tendre eut la chair comme rousée, Moult hydeuse estoit et souillcè Simple fut comme une espousée. Et fut sa teste entortilleè

Et blanch comme fleur de lis, Tres ordement d'un touaille,

Visage eut bel doulx et alis, Qui moult estoit d'horrible taille. 143. Elle estoit gresle et alignée

N'estoit fardié ne pignée, e anger, [grief. T.]

Car elle n'avoit pas mestier fv. 147.

De soy farder et affaictier. 8 Le Dieu d'amours si s'estoit pris Les cheveulx ent blons et si longs A une dame de liault pris,

Qu'ils batoient aux talons. v. 1004, Pres se tenoit de son costé

Having good qualities. See supr. Celle dame eut nom BEAULTE.

v. 939. seq.

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Her fleshe was tendre as dewe of foure,
Her chere was simple as birde in boure:
As white as lilie, or rose in rise,
Her face was gentil and tretisek;
Fetis' she was, and smal to se,
No wintrid m browis heddè she;

popped here, for't neded nought
To windir her or to peint ought.
Her tresses yalowe and long straughten P

Unto her helis down the raughten." Nothing can be more sumptuous and superb than the robe, and other ornaments, of RICHESSE, or Wealth. They are imagined with great strength of fancy. But it should be remembered, that this was the age of magnificence and shew; when a profusion of the most splendid and costly materials were lavished on dress, generally with little taste and propriety, but often with much art and invention.

RICHESSE a robe of purpre on had, s
Ne trow not that I lie or mad',



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on the bush ; or, in perfection; or, a budding rose. (On the branch. Sax. bris, virgulta.

k well-proportioned.
fetious, handsome, (well-made, neat,

a contracted. affectedly dressed. Properly, dressed up like a puppet.

to trim; to adorn. P stretched; spread abroad. 9 reached.

v. 1003.
* De pourpre fut le vestement

A RICHESSE, si noblement,
Qu'en tout le monde n'eust plus bel,
Mieulx fait, ne aussi plus nouvel:
Pourtraictes y furent d'orfroys
Hystoryes d'empereurs et roys.
Et encores y avoit-il
Un ouvrage noble et sobtil;
A noyaulx d'or au col fermoit,
Et a bendes d'azur tenoit;
Noblement eut le chief parè
De riches pierres decore

Qui gettoient moult grant clarté,

y estoit bien assortè.
Puis eut une riche sainture
Sainte par dessus sa vesture:
Le boucle d'une pierre fu,
Grosse et de moult grant vertu
Celluy qui sur soy le protoit
De tous venins garde estoit.
D'autre pierre fut le mordans
Qui guerissoit du mal des dens.
Cest pierre portoit bon cur,
Qui l'avoit pouvoit estre asseur
De sa santé et de sa vei,
Quant à jeun il l'avoit vei :
Les cloux furent d'or epurè,
Par dessus le tissu doré,
Qui estoient grans et pesans,
En chascun avoit deux besans.
Si eut avecques a Richesse
Uns cadre d'or mis sur la tresse,
Si riche, si plaisant, et si bel,
Qu'onques on ne veit le pareil :
De pierres estoit fort garny,
Precieuses et aplany,

For in this world is none it liche“,
Ne by a thousand dele w so riche,
Ne none so faire: For it full wele
With orfraies * laid was everie dele,
And purtraied in the ribaninges Y
Of dukis stories and of kinges;
And with a benda of gold tassiled,

And knoppis a fine of gold amiled b.
Qui bien en vouldroit deviser, Lemnoviticum, in Dugdale's Mon. iii.
On ne les pouvroit pas priser

310. 313. 331. And in Wilkins's ConRubis, y eut saphirs, jagonces,

CIL. i. 666. where two cabinets for the Esmerandes plus de cent onces : host are ordered, one of silver or of Mais devant eut par grant maistrise, ivory, and the other de opere LemoviUn escarboucle bien assise

cino. SynoD. WIGORN. A.D. 1240. And Et le pierre si clere estoit

in many other places. I find it called Que cil qui devant la mettoit

Limaise, in a metrical romance, the name Si en povoit veoir au besoing

of which I have forgot, where a tomb is A soy conduire une lieue loing, described, Telle clarté si en yssoit Que Richesse en resplandissoit

And yt was, the Romans sayes, Par tout le corps et par sa face

All with golde and limaise. Aussi d'autour d'elle la place. v. 1066. Carpentier (V. LIMOGIA.] observes, that t“ that I lie, or am mad." "like. it was antiently a common ornament of parts (a thousandth part).

sumptuous tombs. He cites a Testa* embroidery in gold.

ment of the year 1327, Je lais huit cent laces laid on robes ; embroideries. livres pour faire deur tombes hautes et le? band; knott. knobbs ; buttons. vées de l'EUVRE de LIMOGES.” The ori

enameled ;-enameling, and perhaps ginal tomb of Walter de Merton, bishop pictures in enamel, were common in of Rochester, erected in his cathedral the middle ages.

From the Testament about the year 1276, was made at Liof Joh. de Foxle, knight, Dat. apud moges. This appears from the accompts Bramshill Co. Southampt. Nov. 5. 1378. of his executors, viz. “ Et computant “ Item lego domino abbati de Waltham xll. vs. vid. liberat. Magistro Johanni unum annulum auri grossi, cum una sa- Linnomcensi, pro tumba dicti Episcopi phiro infixa, et nominibus trium regum Roffensis, scil. pro Constructione et car(of Cologne) sculptis in eodem annulo. riagio de Lymoges ad Roffam. Et xl s. Item lego Margarite sorori mee unam viii

d. cuidam Executori apud Lymoges tabulam argenti deaurati et amelitam, ad ordinandum et providendum Con. minorem de duabus quas habeo, cum Structionem dictæ Îumbæ. diversis ymaginibus sculptis in eadem. viii d. cuidam garcioni eunti apud LyItem lego Margerie uxori Jóhannis de moges quærenti dictam tumbam conWilton unum monile auri, cum S. litera structam, et ducenti eam cum dicto sculpta et amelila in eodem.” Registr. Mag. Johanne usque Roffam. Et xxiil. Wykebam, Episc. Winton. P. j. fol. 24. in materialibus circa dictam tumbam See also Dugd. Bar. i. 234. a.

defricandam. Et vii marcas, in ferra(A Miled is from the French Email, mento ejusdem, et carriagio a Londin, or Examel. This art flourished most usque ad Roff, et aliis parandis ad dicat Limoges in France. So early as the tam tumbam. Et xi s. cuidam vitriario year I 197, we have“ Duas tabulas æneas pro vitris fenestrarum emptarum juxta superauratas de labore Limogiæ.” Chart. tumbam dicti Episcopi apud Roffam." ann. 1197. apud Ughelin. tom. vii. Ant. Wood's MS. Merton Parers, Bibl. ITAI. Sacr. p. 1274. It is called Opus Bodl. Cop, BALLARD. 46. ADDITIONS.)


Et x s.

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