Marquis Dorset, and William Lord Hastings, suddenly murdered and piteously mangled. The bitterness of which murder some of the actors after in their latter days tasted and essayed by the very rod of justice and punishment of God. His body was homely interred with the other simple corpses in the church of the monastery of Black Monks in Tewksbury. This was the last civil battle that was fought in King Edward's days, which was gotten the iii day of May, in the x year of his reign, and in the year of our lord Mcccclxxi then being Saturday. And on the Monday next ensuing was Edmund Duke of Somerset, John Longstrother, Prior of Saint John's, Sir Garveys Clifton, Sir Thomas Tresham, and xii other knights and gentlemen beheaded in the marketplace at Tewksbury."

It is unnecessary for us here to enter upon the disputed question as to whether Richard Duke of Gloster were the actual murderer of Henry VI. The following is Holinshed's account of this event:

"Poor King Henry VI., a little before deprived (as we have heard) of his realm and imperial

crown, was now in the Tower spoiled of his life by Richard Duke of Gloster (as the constant fame ran), who, to the intent that his brother King Edward might reign in more surety, murdered the said King Henry with a dagger, although some writers of that time, favouring altogether the house of York, have recorded that, after he understood what losses had chanced to his friends, and how not only his son but also all other his chief partakers were dead and despatched, he took it so to heart, that of pure displeasure, indignation, and melancholy, he died the three-and-twentieth of May. The dead corpse, on the Ascension even (the 29th), was conveyed with bills and glaives pompously (if you will call that a funeral pomp) from the Tower to the church of St. Paul, and there laid on a bier, where it rested the space of one whole day, and on the next day after, it was conveyed, without priest or clerk, torch or taper, singing or saying, unto the monastery of Chertsey, distant from London fifteen miles, and there was it first buried; but after, it was removed to Windsor, and there in a new vault newly inhu mulate."

THE Costume for 'The Third Part of Henry VI.' is in fact that of the reign of Edward IV., the principal characteristics of which were, in male attire, the exceeding shortness of the jackets, doublets, or pourpoints, and the padding out of the shoulders of them with large waddings called mahoitres, the sleeves being slit up the back or across the elbow to show those of the white shirt. This was the commencement of the fashion of slashing which became so prevalent in the next century. The hood had now disappeared entirely, except from official dresses; and bonnets of cloth, a quarter of an ell in height, were worn by the beaux of the day, who also, instead of cropping the hair all round, as in the last three reigns, suffered it to grow to such a length that it came into their eyes. The toes of their shoes and boots were at first ridiculously long and pointed, and towards the close of the reign as preposterously broad and round. These extravagancies were endeavoured to be checked by sumptuary laws in the third and twenty-second years of Edward's reign, but, as usual, with very little effect. In the female dress some remarkable changes also occur. The gowns have very long trains, with broad velvet borders. The waists are very short, and confined by broad belts buckled before. The steeple head-dress (similar to the Cauchoise, still worn in Normandy, and so called from the Pays de Caux) is a peculiar mark of this reign in England.

Of the historical personages in this play we have several representations. A portrait of Edward IV. is amongst those presented to the Society of Antiquaries by Mr. Kerrich, and, if not to be relied upon as an excellent likeness, it was at least executed during or shortly after his reign, and may be fairly supposed to convey an idea of his general appearance and costume. He wears a black cap with a rich ornament and pendant pearl. His outer dress is cloth of gold -the under one black. In the royal MS. marked 15 E 4 we see him on his throne receiving a book and surrounded by some of the principal oficers of his court. In a MS. in the Lambeth library also, he is depicted on his throne receiving a volume from the hands of Lord Rivers and Caxton his printer; and by his side stand his queen, the young Prince Edward, and another royal personage, similarly attired with the prince, who is supposed to be either Richard Duke of Gloster or George Duke of Clarence. The Monk of Croyland informs us that "the new fashion" Edward IV. "chose for the last state-dresses was to have very full hanging sleeves like a monk's, lined with the most sumptuous furs, and so rolled over his shoulders as to give his tall person an air of peculiar grandeur."

Of Louis XI. King of France there are several authentic portraits in Montfaucon. A drawing of the famous king-making Earl of Warwick exists in the Warwick Roll, College of Arms, as does also one of George Duke of Clarence,

Earl of Warwick in right of his wife, Isabel Nevil, eldest daughter and co-heiress of the king-maker. In the additional MSS. at the British Museum (No. 6298), presented by the late Miss Banks, is a most interesting drawing which we believe has been hitherto overlooked. It represents the tomb and effigy of King Henry VI., which were formerly in St. George's Chapel at Windsor, and destroyed, it is supposed, during the civil wars temp. Charles I., as Sandford in 1677 says, "He (Henry) was interred there under a fair monument, of which there are at present no remains." It is quite clear Sandford did not know of the existence of any drawing of it, or he would have caused it to be engraved for his 'Genealogical History,' or at least have alluded to it. The drawing in Miss Banks's collection, of which an engraving has been given, was made apparently in the year 1563, a memorandum affixed to another drawing by the same hand of some arms in the chapel being dated the 29th of August in that year. Over the tomb hang the tabard of arms, the sword, gauntlets, and shield of the deceased monarch, and underneath some later hand has written, "Quære, if not the figure of Henry VI. because of the angel?" alluding to the figure of an angel supporting the royal arms which appear on the

side of the tomb, as, although the royal supporters during this reign were usually antelopes, the arms of Henry appear supported by an angel on the counter-seal engraved in Sandford's General History,' p. 240, edit. 1677. At the same page in Sandford will be found the seal of Edward Prince of Wales, son of Henry VI., on which is the figure of the prince on horseback and in armour, his tabard, shield, and the caparisons of his horse, emblazoned with his arms, quarterly France and England, over all a label of three points argent.

In illustration also of the military costume of the time, we refer to the engravings which we give from the illuminations of a MS. in the library at Ghent, written by a follower of Edward IV. in 1471, and presented to Charles the Bold, Duke of Burgundy. The first represents the battle of Barnet. Edward IV. is seen on a white charger, with crimson caparisons, lined with blue and embroidered with golden flowers; his bascinet is surrounded by a crown, and he is in the act of piercing with his lance a knight, presumed to be meant for the Earl of Warwick. The second is the battle of Tewksbury, wherein Edward is depicted on a brown horse, a crown round his helmet, and the arms of France and England quarterly on his shield.