The second cut shows a pillory of bird-cage form, hexagonal, to accommodate twelve culprits. The cage turns on a pivot, and is in a lighthouse-shaped framework of half-timbered and whitened mortar-work. It is taken (inaccurately in Douce) direct from another valuable British Museum MS. (fol. 64 of Les Chroniques de Froissart, tom. iv. Part 1re, Harl. MS. 4379). Another of the Carcan, shows a woman confined to a pillar, by an iron collar: she stands on a circular table midway up the post or pillar, which is fixed in the ground. It is from Joh. Amos Commenius's Orbis sensualium pictus, the London edition of 1659, p. 524. It is a very small figure in this and the Noriberga editions, 1678; little more than a third of the present woodcut. She holds a palm branch. We suppose it to be in token of submission to her judicial sentence. Women seem to have been frequently exposed thus to the public view, the pillory being generally employed for libellers, perjurers, and persons of notoriously immoral life. Not many were befriended like Mrs. Cellier, with a chair and a screen (see our p. 986). About 1732, Mother Needham, a procuress, got such hurts from the 4 mob as caused her death. The pillory was abolished in 1837. Somewhat similar, except that the head is locked into an opening of the post, and the criminal stands on the ground, is the punishment of a forestaller of corn, or regrator, in the time of Henry the Seventh. It is from a table of the standard of ancient weights and measures in the Exchequer. (We have written a few words on the unpopularity of Engrossers and Regrators or forestallers of corn, on pp. 221, 491, 953, 1071, and 1087. Spenser writes, " By such engrossing and regrating, the dearth, that commonly reigneth in England, is caused.") From Fox's Book of Martyrs is a cut taken by Douce, representing Robert Ockam in the pillory for perjury; time of Henry VIII. He stands on a movable pedestal of small elevation, with his name written above him. The erection closely resembles that used for Oates and Dangerfield (our p. 706). BAGFORD. 3 U Lastly, we see an ancient pillory that formerly stood in the market-place of the village of Paulmy in Touraine.' It is copied from a view of the Castle of Paulmy in Belle-forest's Cosmographie Universelle, 1575. It is a prominent circular building, the basement of stone, with steps. within leading up to an open shed supported on timber posts, and, apparently, crowned by a steeple and market-cross. Under the pent-house roof of the shed are two concentric circles of wood or iron, with holes for the hands and necks of many victims simultaneously exposed. The number of persons pilloried, mutilated, and put to death (particularly by hanging), in the olden time, was atrociously large. The gibbet at Montfaucon (see Paul Lacroix's beautiful work on 66 Manners, Customs, and Dress during the Middle Ages," p. 423) accommodated twenty-four corpses simultaneously, without crowding two on one beam, which could be done if required. Douce also refers to (but does not copy) an engraving of a Parisian structure, formerly at the Section des Halles; shown in Millin's Antiquités Nationales, tom. iii. no. 34. (See Penny Magazine, 1842, xi. 108.) It is a three-story hexagonal Gothic stone tower with spire, in the upper part of which is the carcan or pillory. The Saxon name for it was halefang (literally catchneck). A better copy from Millin is among the illustrations of Punishment" in Lacroix's Middle Ages, p. 426. 6. 1 Le Pourtraict du Chasteau de Paulmy is a large and handsome copper-plate, giving an excellent view of the feudal mansion, one circular tower already in ruins, the extensive gardens and deer-park, with, on the opposite side, and nestling under the castle walls, the little village and its market-place, in the centre of which stands the permanent pillory, to repress any independent vilain who presumed to murmur. Douce enlarges this one building, omitting the other objects. We give it of the same size as the original. There is a close connexion between the Pillory, and the Plot-discoverers or Plot-witnesses, many of whom were punished in this way for their perjuries. 2 The original woodcut, on our p. 83, representing an Astronomer, belonged to Belle-forest's Cosmographie Universelle, 1575, i. 38. We reproduce it here, in compliment to John Gadbury, and in contrast to the Old London figures on p. 1016. They seem to possess an anti-papal significance, for on board of the vessel is seen the Pope himself. This, with many other blocks, perished in the Great Fire of London, 1666, after which date we find few of the worn French and German woodcuts used to adorn ballad-broadsides. Page 880, note 2. John Gadbury. Here is the full title of the book mentioned on our p. 666, note: "Nebulo Anglicanus: or, The First Part of the Black Life of John Gadbury. It is the same John Gadbury that was in the Popish Plot to murther Charles II., in the year 1678. It is the same John Gadbury that was accused of being in another Plot, to dethrone and destroy King William, in the year 1690. It is the same John Gadbury that at this time is so strait-laced in Conscience that he cannot take the oaths to their present Majesties, &c. By John] Partridge. I have fought with Beasts after the manner of Men,' &c. [sic] London, 1691." It has a portrait of John Gadbury, "Merlinus Verax," not ill-executed, representing him as a Romanist Pilgrim, with Rosary of beads and Cross, and a label from his mouth, inscribed " Special Protestant." Underneath are the lines which follow: Ood People pitty me, for I'm half mad, Go Both Fool and Knave, and every thing that's bad: Go Swear, or Kill, I'll certainly obey it; My Crimes (Pox take my Fate) I can't disown, There's nothing vexeth me, but that they're known; Nay, many Vices more infect my Will: But my Discretion keeps them secret still; Well, pray for me (Romes Saints) 'tis that I crave, A poor fall'n Brother, but all over Slave; And in my good old Shape too, I'll appear, Your Thimble Prophet, and your Bodkin Seer. As connected with Prophetical Astrology, by the figure with a speaking-trumpet or a telescope, we here add the view of Old 1 The term refers to some danger incurred from the Oliverian "Thimble" Dispensation, from which Lilly rescued John Gadbury. See p. 756, note 3. In our p. 666, note, we wrote, mistakenly, "He, being a Roman Catholic, gave offence," &c. This should be: "He, although not avowedly a Roman Catholic, gave offence," &c. When summoned as a witness at Mrs. Cellier's trial, Gadbury expressly declared himself to be a Protestant. He was taunted by the lawyer, "You speak like a Papist." "Madame Cellier's Lamentation, standing in the Pillory," begins, "Hark to my lamentable Ditty." 1680. Printed for D. M[allet]: a copy is at the Bodleian, in "Ashm. 1677;" another in British Museum, "1892. d. fol. 50." London and the Thames, from an early exemplar of the "Waterman's Delight," at the Bodleian Library, mentioned on p. 955. Page 887. Having given the full-length illustration of feminine costume of James the First's time, on p. 887, we are glad to here insert a more graceful and modest walking dress. It is a variation of the cut already shown, with Rose, Sun and Moon, on our p. 995. To our interpretation the woodcut on p. 909 (which had earlier belonged to some one of the many little books satirizing feminine weaknesses) is intended to give four examples of thencontemporary costume. In centre we have the self-reliant strongminded woman, temp. Carol. I., in walking attire, with mascu line gauntlets, hat, and cane. Laughingly regarding her, in front, is the saucy baggage, against whose fair and unveiled breast so many satirical darts fall pointless: She has a bosom as white as snow, Take care! She knows how much it is best to show, Trust her not! she is fooling thee. Her dainty little muff is of choicest fur; her costly lace is not hid, or to be hidden. Those dancing ringlets of borrowed hair lend perfume to the printer's ink; her jewellery might befit a Court-ball, and if there be the least soupçon of rouge in the indictment against her, that gay young face only looks the saucier, and we have not the heart to doom her to worse punishment than for it to be kissed off-and volunteer to be her executioner. No wonder the prim Prude behind feels scandalized, and lifts her capacious fan as if to hide the horrible object, but still gazes on it, as at Medusa's petrifying head. What a model of propriety she is herself! What a dragon of virtue, such as nobody desires to corrupt. How angular her vestments, how clumpy her bandeaux, how twiggy her chignon flowers, and respectably forbidding her everything. We leave her, gladly, for the pretty slattern, who sits in noonday déshabille, admiring her own face in the glass, wishing for a rich lover to take her from dull household duties, and listening not unwillingly to any lustful satyr, who chucks her under the chin and reads amorous sonnets in praise of her eyebrow. As Claude Melnotte says, "Do you like the picture?" In the interesting but extremely rare volume by John Dickenson, entitled "GREENE IN CONCEIPT: new raised from his graue to write the Tragique Historie of Faire Valeria of London," 1598, he tells of the extravagance in costume, which is one token of her downward career : "She ware alwaies such ouersuptuous attyre, that many in desert and dignitie farre exceeding hir, were in this as farre behind hir. No common fashion could please hir fancie, but it must be strange and stately, drawing many eyes to gaze on hir, which aym'd wholly at singularitie, glorying to bee peerelesse in hir pompe. Neuer was any to hir power more lauish in variety of wastefull vanities: neuer any so peruerse in pride, and with such difficulty to be pleased: For were the least stitch in hir Attyre not as shee would haue it, though the garment most fayre and costly, the Tailor most rare and cunning, yet would shee furiously fling it from hir, with purpose neuer to weare it; so that the sillye workeman set at his non plus, lost both his custome and the creedit of his workmanshippe (p. 24). Evidently, Petruchio knew the expensive habits of ladies in regard to their dressmakers, and by his captious objections to the hat and the "sleeves curiously cut," reads Katharina a lesson. As to "Placket." Mr. Wm. Chappell thinks it is "the cross lacing which shows the petticoat beneath it. The opening which is now at the back of a petticoat is called the placket-hole, in contradistinction to the pocket-hole." As we wrote on p. 930. note 2, the placket being torn seems to convey an insinuation of immorality in the fair one. See "Joan's Placket is torn," in Second Index, p. 1082. Nares explains it as a petticoat, or under-petticoat, but we differ from him. It was evidently a slit in the dress, not unlike what Sterne mentions, |