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‘Nimis avarus est is, cui non sufficit Deus!’ Dated at London.

Richard Mynsterley, one of the messengers of the Queen’s Chamber, asks for an allowance of 26s. 8d. for riding at the command of the Lord High Treasurer (the Marquess) from the Treasurer’s place at London to deliver letters to Mr Dawbeny (probably Christopher Daubeney) at ‘Shyryngton’ (Sharrington), twenty miles beyond Norfolk—and perhaps for returning to London; the text is unclear. Mynsterley asks for an allowance for his charges and pains to be rated by the Treasurer at 2s. 8d. a day and paid by one of the tellers of the Receipt. ‘I was owt In thys Jorney x days.’

(Marked ‘fiat Alloc[atum]’, and signed by the Marquess of Winchester.)

Two ballads on one sheet.

Japanese characters (signature and date?) to bottom right. Annotation below: 'This gentleman is a Japanese studying in Law in England. His name is Yoshiyama'. A portion of a letter, probably from C. W. King, has been pasted below: '... the Japanese autograph carries double. The endorsement being the writing of Prof. Vernon Harcourt, the celebrated 'Historicus' of the Times newspaper'.

(i) Untitled verses (author unknown).
Three eight-line stanzas. First line: ‘To daunten me to daunten me’.

(ii) Untitled verses, by Henry Birkhead (adapted by another writer?).
In Latin. First line: ‘Dum Capitolinæ reservassem Nubila Turres’. The variations from the printed version are probably later alterations.

(iii) ‘Epitaph upon Moliere’ (author unknown.
In French. First line: ‘’Cy git Celuy qui parut dans la Scene’.

(iv) Untitled verses, by Archibald Pitcairne (adapted by another writer?).
In Latin. First line: ‘Tellurem statuere Dii, sua littora Belgæ’. The variations from the printed version are probably later adaptations.

—————

Transcripts

1
To daunten me to daunten me
I thought nothing cou’d daunten me
When I was wanton young and free
I thought nothing cou’d daunten me
But Eighty eight and Eighty nine
And all the weary years since syne
With sicknes age and poverty
Alace have o’r sair daunten’d me.

2
Seck was the drink in fortie nyne
When Presbitry had right Divine
And now again the time is come
When all our drink is Seck and Mum
And so into the chair we see
Is mounted Mr. John Presbitry
And banish’d is all Christian Liquor
With Bishop, Curate, Dean, & Vicar.

3
Claret’s the only liquor can
Be said to chear the Heart of Man
And when a better sett of Starrs
Shall put a right end to our Wars
Then banish’d shall be Seck and Mum
And every thing that breeds humdrum
And with good claret we shall see
Restor’d our Prince and Prelacy.

——

Dum Capitolinæ reservassem Nubila Turres,
Ausæ prærupta pandere Jura Polo;
Paruit Oceanus Tibri, subservijt Urbi
Orbis: Cultricem Dij coluere suam.
Ab Dijs condi vulgare; Hæc gloria major,
Ponere Jura Dijs, quam posuisse Deos.

——

Epitaph upon Moliere

’Cy git Celuy qui parut dans la Scene
Le Sienge de la Vie Humain
Qui n’aura jamais son egale.
Mais se jouant de la Mort, ainsi que de la Vie
Elle trouva si belle sa copie
Q’elle en fit un originall.

——

Tellurem statuere Dij, sua littera Belgæ,
Immensæque fuit molis uterque labos:
Dij vacuo sparsas glomerarunt æthere terras,
Nil ubi, quod ceptis posset obesse, fuit.
At Belgis maria, et cæli, naturaque rerum
Obsidit; Obstentos sic domuere Deos.

Engraved by William Watts from a drawing by J. Carter. A similar print faces p. 473 of Harrison’s History of London (1775).

(Cf. the loose leaf after f. 96.)

The extracts commence, (i) ‘Nobody ever suffered insignificance …’; (ii) ‘The stream of time …’; and (iii) ‘Je touche quelquefois …’ Numbered 22.

The numbers of royalists, immigrants, and Chouans have grown. Asks that solutions should be found in order to fight against them.

(Headed, ‘Extrait d’une Lettre de lisieux adressée au Comm[issai]re du D[irectoi]re Executif près l’adm[inistration] Dep[artement]ale de Calvados’. Certified as a true copy by Lévêque.)

Two ballads on one sheet.

First line: ‘With other Countrymen, one Day’. For the attribution see the Dictionary of National Biography, under Charles Hamilton.

(The illustration, which depicts skeletons playing musical instruments, is a copy of one of the woodcuts of the ‘Dance of Death’ series made by Hans Lützelburger from designs by Hans Holbein the younger.)

Addressed to 'Madame Charles Rollin, 27 Haymarket, London, England.' Note below: 'Sent by Baloon [sic] post from Paris., Jan 11/71. The writer is shut up in the Besieged City'.

‘Aeterna sequamur.’ Dated at Jena. Numbered 143.

Two ballads on one sheet.

Numbered 21.

(Certified as a true copy by Pierre-Jean Lévêque.)

Latin text, with English translation.

Two ballads on one sheet.

(It is unclear which edition this is from.)