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THIS drama appears in the original folio collection under the title of The Third Part of Henry the Sixt, with the Death of the Duke of Yorke.' In 1595 was published The True Tragedie of Richard Duke of Yorke, and the Death of good King Henry the Sixt, with the whole Contention between the two Houses Lancaster and Yorke, as it was sundrie times acted by the Right Honourable the Earle of Pembrooke his Servants.' This was reprinted in 1600, the publisher of each edition being Thomas Millington. Upon this drama is founded The Third Part of Henry the Sixth, in the form in which we have received it as Shakspere's. We print this original, as a Supplement, frorn the edition of Thomas Pavier, in 1619, which edition we have collated with the unique copy now in the Bodleian Library, having been purchased for that noble collection at the sale of Mr. Chalmers's books in 1842. This play, in Pavier's edition, is entitled the 'Second Part of the Contention of the Two famous Houses of York and Lancaster.' We indicate, in foot-notes, where this edition materially raries from the first copy of 1595.


THE Costume for the Third Part of King 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.

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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 pendent 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 We are told by Blackman that Henry VI. "would not wear the up-pointed horn-like toes then in fashion," and that "his dress was plain." Vide Collection printed by Hearne at the end of his Otterburne.

† An engraving of this picture from a drawing by Mr. Kerrich himself forms the frontispiece to the fourth volume of the

'Paston Letters.'

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surrounded by some of the principal officers 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

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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, (see

Part II., p. 127,*) 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 is given at p. 211, 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 'Genealogical 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.

* As the arms on the shield of that figure do not correspond with those we have given him in the heraldic border to the Dramatis Personæ in this Part, it may be necessary to explain that the latter, viz. gules, a saltire argent, a label of three points gobony argent and azure, are his paternal arms of Nevil; and that those on his shield, viz. quarterly Montacute and Monthermer, are the arms of his maternal grandfather, Thomas Montacute Earl of Salisbury, whose daughter and heiress, Eleanor, his father married, and through whom he became Earl of Salisbury, being already in right of his wife Earl of Warwick.

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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 Tewkesbury, wherein Edward is depicted on a brown horse, a crown round his helmet, and the arms of France and England quarterly on his shield. The subject of the third is the execution of Edmund Beaufort Duke of Somerset after the battle of Tewkesbury. The figure in the long black robe, with the white cross of his order, (now Maltese,) is that of John Lanstrother, Prior of St. John of Jerusalem, who suffered with the Duke.

The decoration bestowed by Edward IV. upon his followers was a collar composed of suns and roses, (badges of the house of York,) to which was appended the white lion of March. Vide Effigies of Sir John Crosby and Lady, engraved in Stothard's 'Sepul. Mon.'

[Execution of the Duke of Somerset.]


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