finished this work, no more than he has. There is a great ingenuity in discovering all history (though it has never been written) by etymologies. Nay, he convinced me that the Greeks had totally mistaken all they went to learn in Egypt, &c. by doing, as the French do still, judge wrong by the ear-but as I have been trying now and then for above forty years to learn something, I have not time to unlearn it all again, though I allow this is our best sort of knowledge. If I should die when I am not clear in the history of the world below its first three thousand years, I should be at a sad loss on meeting with Homer and Hesiod, or any of those moderns in the Elysian fields, before I know what I ought

to think of them.

Pray do not betray my ignorance: the Reviewers and such literati have called me a learned and ingenious gentleman. I am sorry they ever heard my name, but don't let them know how irreverently I speak of the erudite, whom I dare say they admire. These wasps, I suppose, will be very angry at the just contempt Mr. Gray had for them, and will, as insects do, attempt to sting, in hopes that their twelvepenny readers will suck a little venom from the momentary tremor they raise ;-but good night-and once more thank you for the prints.

Indeed Mr. Walpole seems to have a sort of antipathy against authors, as well as against periodical literature. He anathematizes the Newspapers, and exclaims against almost every writer who has not propitiated his feeling into an exception by personal acquaintance. Mr. Granger was one of these exceptions.

You will be concerned, my good sir, for

I am sorry Dr. E-n has got into such a dirty scrape. There is scarce any decent medium observed at present between wasting fortunes and fabricating them-and both by any disreputable manner; for as to saving money by prudent economy, the method is too slow in proportion to consumptions; even forgery, alas! * seems to be the counterpart or restorative of the ruin by gaming. I hope at least that robbery on the highway will go out of fashion, as too piddling a profession for gentlemen. We shall extract but one letter more from this amusing book, but we are sure our specimens are of that light and recommendatory class which will render our readers unwilling to be content with merely our "brief abstract and chronicle."

me.

having courage or presence of mind to desire it to be read, as he ought to have done.

These circumstances, which I solemnly assure you are strictly true, prove that my father neither advised, nor was consulted; nor is it credible that the King in oné night's time should have passed from the intention of disgracing him, to make him his bosom confident on So delicate an affair.

I was once talking to the late Lady Suffolk, the former mistress, on that extraordinary event. She said, "I cannot justify the deed to the legatees, but towards "his father the late king was justifiable; for

66

George the first had burnt two wills made "in favour of George the second." I suppose they were the testaments of the Duke and Duchess of Zell, parents of George the first's wife, whose treatment of her they always resented.

I said, I know the transaction of the Duke of N. The late Lord Waldegrave shewed me a letter from that Duke to the first Earl of Waldegrave, then Ambassador

at Paris, with directions about that trans-
action, or, at least, about payment of the
pension, I forget which.
I have some-

where, but cannot turn to it now, a memo-
randum of that affair, and who the Prince
was, whom I may mistake in calling Duke
of Wolfenbuttle. There was a third copy
of the will, I likewise forget with whom
deposited.

In the accounts of Lady Chesterfield's death and fortune, it is said that the late king, at the instigation of Sir R. W. burnt his father's will, which contained a large The newspaper says, which is true, that legacy to that his supposed daughter, and Lord Chesterfield filed a bill in chancery I believe his real one, for she was very like against the late king, to oblige him to prohim, as her brother, General Schulem-duce the will, and was silenced, I think, by bourg, is in black to the late king. The payment of 20,000. There was another fact of suppressing the will is indubitably legacy to his own daughter, the Queen of true, the instigator most false, as I can de- Prussia, which has at times been, and, I believe, is still claimed. by the King of Prussia.

monstrate thus:

speech, which was, in fact, asking, who
was to be prime minister; to which his
Majesty replied-Sir Spencer Compton.

what I have this minute heard from his
When the news arrived of the death of
nephew, that poor Mr. Granger was seized
at the communion table on Sunday with an
George 1st, my father carried the account
apoplexy, and died yesterday morning at
from Lord Townshend to the then Prince of
five. I have answered the letter with a word Wales. One of the first acts of royalty is
of advice about his MSS. that they may
for the new monarch to make a speech to
not fall into the hands of booksellers. He the privy council. Sir Robert asked the
had been told by idle people so many gos-king who he would please to have draw the
siping stories, that it would hurt him and
living persons, if all his collections were to
be printed; for as he was incapable of tel-
It is a wonderful anecdote, and but little
ling an untruta himself, he suspected no-
body else-too great goodness in a bio-known, that the new premier, a very dull
grapher.
man, could not draw the speech, and the
person to whom he applied was the deposed
premier. The Queen, who favoured my
I shall not only (May 4, 1781) be ready to father, observed how unfit a man was for
shew Strawberry-hill, at any time he chuses, successor, who was reduced to beg assist-
to Dr. Farmer, as your friend, but to be ho-ance of his predecessor. The council met
noured with his acquaintance; though I am as soon as possible, the next morning at
very shy now of contracting new. I have great latest. There Archbishop Wake, with
respect for his character and abilities, and whom one copy of the will had been depo-
judicious taste; and am very clear that he sited, (as another was, I think, with the
has elucidated Shakspeare in a more rea- Duke of Wolfenbuttle, who had a pension
sonable and satisfactory manner, than any for sacrificing it, which, I know, the late
of his affected commentators, who only Duke of Newcastle transacted) advanced,
complimented him with learning that he and delivered the will to the King, who put
had not, in order to display their own. it into his pocket, and went out of council
without opening it, the Archbishop not

Dr. Farmer was another.

The following passage, written forty years ago, is prophetic:

* Alluding to Dr. Dodd,

Do not mention any part of this story, but it is worth preserving, as I am sure you are satisfied with my scrupulous veracity. It may perhaps be authenticated hereafter If ever true history does come to light, my by collateral evidence that may come out. father's character will have just honour paid to it. Lord Chesterfield, one of his sharpest enemies, has not, with all his prejudices, left a very unfavourable account of him, and it would alone he raised by a comparison of their two characters. Think of youth, leaving a system of education to one who calls Sir Robert the corrupter of poison them from their nursery! Chesterfield, Pulteney and Bolingbroke were the saints that reviled my father!

I beg your pardon, but you will allow me to open my heart to you when it is full. Yours ever.

ANTAR, a Bedoueen Romance, &c. (Continued.)

Antar having obtained the famous horse Abjer, at the price of the whole plunder, to only one fourth part of which he had a right, is challenged by Ghegadh

for this act of power, and it is curious to see how in all ages and all countries the strong resort to the same arguments to justify injustice. Antar avows that he bought his horse with the spoil, by which, says he,

"I have established your honour and credit in the tribe; because I saw the owner was a man of worth, and jealous of the honour of women, gracious and liberal minded: I was therefore anxious to equal him in propriety of conduct, and would not leave behind us in this land, the remembrance of a foul action, and be a scandal amongst Arabs. It is the most ignominious of deeds to take prisoners free-born women; and besides this, the spacious plain is open before us, and the Lord God is the bestower of all things, and the taker away; he is the distributor of every thing, and God forbid he should send us back without a reward."

This Rob-Roy-ish morality (which we confess we cannot defend even in our favourite, whose perceptions of right and wrong seem to have been oddly altered by the possession of the steed he so coveted)-this casuistry did not satisfyGhegadh, who got nothing by it. A desperate affray was about to ensue, in which the sword of our hero would have proved more convincing than his reasoning, but his terrible demeanour so frightened his adversaries that they thought it advisable

to flatter him in order to secure his assistance in other depredations. Their next exploit was to attack the escort of a bride, carried in her howdah," the daughter of Yezid, the son of Handhalah, surnamed the Blood-drinker, the chief of all the princes of Tey," and the betrothed of "Nakid the son of Jellah, a warlike and bold horseman, the protector of the race of Marah." Of the escort, Antar slew sixty, and five fled to the right, and five to the left.

Here was fine work, and plenty of it, cut out for our friend; but he delighted in battle, and thus curiously sings on the

'occasion:

When my foes sue me for a debt, I settle the debt with the Redeinian spear :*

In succeeding conflicts, he defeats Ye- | tired, and perceiving that it lagged behind, zid with his Tayans, and Nakid at the I stretched out my hand and took up a head of 5000 of the tribe of Maan, stone, black in appearance, like a hard killing 900 of the latter, and cutting camel with it, and it hit the camel on the rock, brilliant and sparkling. I struck the their leader in two " as if by a scale"!! right side, and issued out on the left, and In the midst of this supernatural exploit, the camel fell to the ground dead. On his firm friend Prince Malik arrives, and coming up to it I found the stone by its tells him that King Zoheir has prevailed side, and the camel was weltering in its on his father Shedad to acknowledge blood. him, and give him a chieftain's name and place in the tribe of Abs: Antar conse-bolt, which Teba gave to a blacksmith quently returns home, covered with renown, and full of hope in his love for Ibla, of whom his song runs thus :

Slimly made is she, and the magic of her
eye preserves the bones of a corpse from
entering the tomb. The Sun as it sets,
turns towards her, and says, Darkness ob-
scures the land, do thou rise in my ab-

sence; and the brilliant Moon calls out to
her, Come forth, for thy face is like me
when I am at the full, and in all my glory!
She draws her sword from the glances of
her eye-lashes, sharp and penetrating as
the sword of her forefathers, and with it
her eyes commit murder, though it be
sheathed: is it not surprising that a sheath-
ed sword should be so sharp against its
victims! Graceful is every limb, slender
her waist, love-beaming are her glances,
waving is her form. The damsel passes the
night with musk under her veil, and its
fragrance is increased by the still fresher
essence of her breath. The lustre of day
sparkles from her forehead, and by the
dark shades of her curling ringlets night
itself is driven away. When she smiles,
between her teeth is a moisture composed
of wine, of rain, and of honey.

This song, with more of hyperbole and eastern imagery, wants the nature and poetry of some of the others; but we quote it rather as an example of the style of these compositions than as ascribing to it a foremost place. Antar is well received on his return home; but his inveterate enemies, still bent on his ruin, resolve to marry his beloved Ibla. But we must defer this part of the story to give an account of the sword which our hero obtained, and which cannot be read without strongly reminding us of similar matters, both in My scimitar's edge shall extirpate ye all, ancient mythology and in the earliest and shall justly decide between you and me. periods of Romance-almost proving I am exalted by my sword and spear far indeed the derivation of the latter from above the minutest stars of the two Bears. Foul wretches! ye know not iny power, Arabia. In one of his expeditions, Antar but the inhabitants of the two hemispheres sees two horsemen engaged in single shall feel it. The grasp of fortune has not combat: he interferes, and finding they destroyed my strength, and the fingers of are brothers, inquires into the cause of time have not been stretched out against strife, which the younger relates. They me. Many a horseman have I left sprawl- are descended from Teba, who questioning, his cheeks grovelling, his hands dyeding his herdsmen about a favourite camel in blood, whilst the birds of death hover which was lost, round him, and the magpies assemble One of them then said, Know, my Lord, over his corpse. this camel strayed away from the pasture; Redeini, the name of the wife of a famous I followed behind it, and it still continued Spearmaker.-Richardson. to run away, and I after it, till I became

This stone turns out to be a thunder

and ordered him to make a sword of it.

Well has it been said, there is nothing new under the sun: we have here the Arabs, a thousand years ago, like the Esquimaux discovered only a few months since by Captain Ross, the former making swords, and the latter knives of aerolites! The coincidence is singular. But to return to the sword, which the Artisan formed "two cubits long and two spans wide;" and, poor fellow! got ill rewarded for his labour, as the relator adds

pleased when he saw it, and turned towards My ancestor received it, and was greatly the Blacksmith and said, What name have you given it? So the Blacksmith repeated this distich: "The sword is sharp, O son of the tribe of Ghalib, sharp indeed, but where is the striker for the sword?" And my ancestor waved the sword with his hand, and said, As to the smiter, I am the smiter; and struck off the head of the Blacksmith, and separated it from his body. He then cased it with gold, and called it Dhami, on account of its sharpness.

This heir-loom had come down to

the father of the combatants, who fore-
seeing the tyrannical and oppressive
conduct of his first-born son, gave the
him that if his brother seized on all, he
sword to the youngest to conceal, telling
would still find a treasure in the sword,
by presenting it to Nashirvan King of
Persia, or to the " Emperor of Europe."
The legatee had buried it, about the
spot where he was now fighting, and
not being able to find it again, the con-
test arose which Antar had interrupted.
Antar speedily dispatches the oppressor
"ten spans
by a thrust of his spear
through his back," and sends the younger

brother home in safety.

But Antar fixed his spear in the ground and dismounted from Abjer, and sat down to rest himself; and as he was moving the sand with his fingers, he touched a stone; on removing what was about it, behold! the sword the youth had been seeking.

Having thus obtained a sword, Dhami, "of the metal of Amalec, like a thunderbolt," as famous as his steed Abjer, our hero pursued his marvellous adven

tures.

The husband selected for Ibla is an

the House of Béarn or Clovis; the four | withstanding the efforts of several learned | empire of genius seemed to have been others are those of Moncade, Foix, Albret, and Bourbon; and the five books of his work correspond with these five series of Princes.

We think it needless to enter into any

farther account of this work, which, though
highly valuable to the Author's country-
men, and to those whose studies may lead
them to take an interest in the subject,
seems not to possess much attraction for the
general reader.

Art. VI. Fundgruben des Orients;—that is,
Mines of the East. Vol. V. Vienna.
Folio.

men, and even notwithstanding those
of M. Grotefende, we persist (says M. de
Sacy) in thinking that the veil which
covers these ancient writings is not yet
raised.

Art. VII. Storia della Scultura, &c. that is,
The History of Sculpture, from its rise in
Italy, till the 19th century; to serve as a
continuation of the Works of Winckel-
mann, and of D'Agincourt. Vol. III.
Folio. (See, for some account of the
two first vols. Literary Gazette, No. 8.)
(First Article.)

The second volume

When we see a great number of works, The articles composing this volume are so principally on the Arts, announced in magvery numerous, that, though many of them nificent prospectuses as works already afe highly interesting to the lovers of orien- finished, subscriptions obtained, aud, when tab learning, it is not possible for us to in- some numbers have been published, dropserton catalogue The Journal des Savans ped at once, and remaining incomplete in has given only a list of part of them, and a the portfolio of the amateur, we must be short account of some of the principal. As obliged to M. Cicognara for having coman analysis of this critique would be ex-pleted, and in so short a time too, the tremely dry and unsatisfactory, we shall three volumes, in folio, of his History of merely say, that among the contributors to Modern Sculpture. this volume we find the names of Baron brought down the history of Sculpture to Silvestre de Sacy, M. Joseph Von Ham- the end of the 16th century. The third mer, M. Jourdain, Dr. Munter Bishop volume begins with the 17th, and consists of Copenhagen, M. Gunther, Wall, M. of two books, divided into chapters. Grangeret de la Grange, Professor Frohn of Rostock, M. Quatremere, & Ainotig the principal articles are the Poem of Ascha," (Maimunn ben Kais,) with the translation and critical notes, preceded by an historical account of this f this poet by M. Silvestre de Sacy Fragment of the Turkish Book called "On the Dignity of Man," of which Lana is the author, with an in intro

The multiplicity of points of view presented by the vast subject which the Author has chosen, is such, that each of his chapters might form a work of itself, and if, in reading his remarks, we find them somewhat diffuse, if we sometimes think we meet with repetitions, it is because each of the periods which he goes through gives him occasion to enter into critical considerations, which

Besides, so voluminous a work is not des-
tined to be perused at once; this is an
observation which deserves to be impressed
upon the reader, who, then, far from con-
found in the whole, will be charmed, when
plaining of the redundancy which may be
confining himself to a partial reading, to
find each part treated as a whole. *

transferred to France; that in Italy the human mind took another direction, namely, that of philosophy and the mathematical sciences; that at this time Galileo, Toricelli, Viviani, Borelli, Cassini, flourished; not easily allied with that of the Arts and that the spirit of the abstract Sciences is of Literature, because, as much as it is in the nature and interest of the first always

to aim at new discoveries, so is this search cial to the second; that hence is introduced after novelty in an equal degree prejudi into Literature the mania of bel esprit of Concetti, of which Marini, the most celebrated in this age, gave the models; lastly, that in this period there were fewer and less important occasions to employ the Arts in

a manner favourable to them.

The Author, however, does not fail to

praise the merit and the glory of the Bolognese School, which was formed about this epoch; but as the taste of this school, less pure, less learned, more remote from the models and the style of antiquity, gave. more scope to the freedom of the pencil, and by degrees favoured the inventions peculiarly adapted to that licentious, brilliant, and bold manner of painting, which was so much in vogue in this era, he finds in it also the germ of the corruption of taste in Sculpture.

In antiquity, and in the first age of art among the moderns, Sculpture, the style of composition in that art, and the simplicity of invention which nature seems to have imposed on it as a law, had always served to regulate Painting. Michael Angelo had begun to give to his sculptured

duction, and a translation in German. By resemble each other in kind, though very figures, whether naked or draped, someM. Von Hammer Specimens of a transdifferent in their species and applications. lation of Scluth-name, German, with the Persian teab, and critical and historical notes, by M. SiFr.: Gunther Wahl, M. Wahl (says M, Silvestre de Sacy, the reviewer has long been employed on a com plete translation of the Schah-name au assuredly there are few persons possess, in a higher degree than he does, the literary qualifications necessary for such an undertaking:The Doctrine of the Lower World among the Egyptians, by M. Von Hamarsi As we have given our readers (in Nos. 55 and 36 of the Literary Gazette) a-complete translation of this most interesting, and ingenious Essay, we shall merely add that M. de Sacy remarks, that

thing of the broad and rather bizarre taste of his paintings. The imitators of that great man excelled him only in his defects. The School of Bologna soon widened all the roads which were to carry painting out of Maratti, Luca Giordano, soon dazzled s its ancient limits. Pietro da Cortona, Carlo eyes by prodigies of facility, by composi This view, may be applied to the first tions, in which the pencil, as rapid as the and second chapters, entitled, On the Pen of the writer, seemed to extemporize the most vast subjects. It was a general State of Italy, and of Study, from the enchantment, and all the arts felt the "On the 16th to the 17th century;" and effects of this species of magic. Italian Sculptors who flourished at the end 17th century, and observations on the prinof the 16th and the commencement of the cipal causes of the decline of the Arts."

he

In these two chapters, M.Cicognara passes M. Von Hammer, respecting the gencral in review all the causes which may explain meaning and the ensemble of the pictures, the changes that took place in Italy, in the though, in the details, some of the expla- state of Taste, and in the cultivation of the different Arts. nations are liable to dispute. Explicatio Among these causes tabulae characteres cuneiformes ex tertiu reckons the passive situation to which Italy quartaque scriptura recensentis The Au-active a part in the preceding age; a proof was reduced, after having performed so ther of this Memoir proposes principally that a state of peace is not always favourto shew, that of the five sorts of cunciform able to the genins of the Arts. He shews, writing hitherto observed, viz. three on the Ruins of Persepolis, and two ou the that in those countries of Italy, where the Babylonjan Monuments, the third Perse- Arts had flourished in the 16th century, politan sort differs hut little from the first the Sovereigns were not such zealous and ardent lovers of them; that in this Babylonian. Hence he deduces inferences, age the which it were to be wished that some happy. chance might enable us to appreciate. Not--ED.

• This seems a curious apology for repetitions.

of Raphael was reputed to he that of the
to be only weakness and timidity; the style
The taste of antique Sculpture appeared
for their models the style of drapery, of
infancy of the art. The Sculptors took
design, and composition, of the fashionable
Painters. They pretended to make pictures
with bas-reliefs: hence the picturesque
groups, the distorted attitudes, the forced
characters, the hard draperies, and that
the true expression of nature.
execution where effect was substituted for

Cicognara attributes, with great reason
It is to this unhappy imitation that M.
the decline of Sculpture in the 16th and
17th centuries; a decline which was com
mon to all the other Arts, and was sensibly
remarked in Architecture. The vast church
of St. Peter appears to him a striking evi-
dence of this theory, as it is in itself almost

a complete epitome of the history of the Art. Commenced by Bramante in the 16th century, it was finished in the 17th by Charles Maderne, and it was Bernini who in some measure, by the great works with which he adorned it, finally impressed upon it the character of his taste.

M. Cicognara employs the greatest part of his third chapter on the life and works of this celebrated artist. It would be too long, and perhaps superfluous to follow the details of this critical history. Nothing is better known than the great works of Bernini, and no criticism is to be offered upon

them, which is not to be found in all works

on the subject, and in the mouth of every body conversant with it. M. Cicognara, as an historian, was of course obliged to expatiate on every thing that the interest of the Art required of him, and we acknowledge with pleasure that he has perfectly succeeded in judging of this important period, in shewing the influence of the revolution effected by Bernini, and in analysing the genius of a man, whom nature had endowed with all the qualities which would have made him the greatest of all Statuaries, had he not had the ambition to be an innovator, and in some measure the

head of a sect rather than of a school.

The most celebrated sculptors of this period are those reviewed by M. Cicognara, and judged of with much discernment from their principal works.

At their head is Algardi, with his famous bas-relief of Attila, the largest without doubt that ever was made; but which, after having passed in his own times for the greatest effort of the art, for the ne plus ultra of what it can do, has long been considered as the best demonstration of what it ought not to attempt.

After Algardi comes Francis Flamand, so well known for his models of children. But the two great works on which his repatation is founded, are his St. Susannah, and his colossal figure of St. Andrew, in one of the four great niches in the dome of St. Peter, which is considered as the best of the colossal statues in St. Peter's Church.

These two celebrated Sculptors, though they participated in the taste of their times, must not be considered as followers of the manner of Bernini; they were rather his rivals, and even his antagonists. There is a sensible difference between their tastes and that of Bernini, though they cherished in common the false principle of the imitation of painting. This difference resulted from the manner and style of the painters whom these several Sculptors chose for their models. Algardi and F. Flamand were far from adopting the caprices of a strange and licentious style of painting. Unhappily, they were eclipsed by the prodigious splendour of the reputation of Bernini, who filled Europe with his disciples, and whose school became universal. M. Cicognara defers the history of it to the following chapter; and we also defer to our next article, the remainder of the extract from

this part of the History of Sculpture in the 3. Hagen returns to his own country. 17th Century.

(To be concluded in our next.)

ACCOUNT OF AN ANCIENT

GERMAN POEM.

4. He marries Hilde, and has by her a daughter, who is likewise named Hildé, and whom he will give to nobody who is weaker than himself. 5. Hettel, King of Hegelingenland sues for the hand of Hilde. The have within these few years paid great are hospitably received. It is well known that the German Literati ambassadors, Wate, Horant, and Frute, giving themselves out for rich merchants, attention to the ancient treasures of their excellent singer, contrives secretly to pro6. Horant, an literature, and that several MSS. of ancient cure access to the fair Hilde, and to make poems have been brought to light partly her acquainted with Hettel's love. 7. The more perfect than those before known, and ambassadors, under pretence of shewing partly poems which were never before heard of. We mean to give our readers their rich goods, try to intice the King with an account, which has been communicated succeeds. While the King's attention is his daughter to their ships. The stratagem to us, of one of the latter, which was dis- taken up with the rich goods displayed on covered at Vienna. The Imperial Ambras the beach, the fair Hilde is quickly sepaCollection, as it is called, possesses a parch-rated from her mother, and conveyed on ment MS. of a poem, of the beginning of board the ship: the strangers sail away the 16th century: it is in perfect preserva- with their booty. The incensed father tion, and is adorned in the margin with flowers and figures painted with extraor-ravishers. Hettel receives the bride with arms with the greatest speed to pursue the dinary care. That the MS. is of the 16th her twenty women, among whom is Hildecentury is proved partly by the form of the burg of Portigal. 8. Now Hagen also lands letters, and partly by the inscription 1517 with his Irish. After a severe battle, in on one of the pictures. The first letters which Hagen first wounds Hettel, and is are gilt, each page contains three columns, the beginning of each stanza is marked then wounded in his turn by Wate, who has alternately by a red or blue letter. This and the Kings, being reconciled, celebrate hastened to the spot, peace is concluded, MS. contains, besides several other old the marriage in Hettel's country, after German poems, already known, an epic which Hagen returns home. 9. Hettel has poem, which is inscribed by his wife two children, a són Ortwein, and a daughter Chautrum. The fame of the extraordinary beauty of the Princess, induces Seyfried of Morland, 10. and Hartmuth of Normandy, but without success, to sue for her hand. 11. Herwig of Sealand, a neighbouring Prince, also seeks the hand of the fair Chantrum, which is refused to him as well as to Hartmuth. 12. Herwig collects a little army, and attacks Hettel's fortress. His bravery excites the admiration even of the King. At the request of Chautrum, who is as much in fear for the handsome enemy as for her father, an end is put to the combat. The name of the heroine first occurs in The King recognises the inclination of his the 9th adventure, and is written in the daughter, and Herwig obtains her hand, sequel in various ways: Chautrum, Chau- but on the condition that he shall first make trun, Chautrumb, Chutrun, Chutron, &c. himself worthy of the crown. Seyfried of It is certainly of Northern origin, as well Morland now arms against Herwig of Seaas the whole story, the scene of which is land. The latter is already in the greatest laid in Ireland (Eyerlandt,) Norway (Nor- danger of sinking under the superiority of wage,) Denmark (Tennemarche,) Nor- the enemy, when the wished-for aid of the mandy (Ormanielandt, also Normandie.) | Hegelingians arrives, and blocks up the Many of the other proper names are well enemy in the fortress. 13. Meantime known, such as Ger, Hagene, Vte, Sey-Hartmuth and his father Ludwig (Lewis) fried. Instead of the dry superscriptions of the adventures, we subjoin briefly the contents of the poem.

Ditz puch ist von Chautrun.
This book is about Chautrun. It entirely
fills 27 folio leaves, and is therefore longer
than the " Nibelungen," which fills only
22 leaves of the same codex, written in the
same character, and with blank spaces for
the passages left out. The language and
measure of the verse resemble those of the
Nibelungen," only the form of the words
and the orthography in Chautrun, as well
as in the "Nibelungen" (in this MS.) are
for the most part modernised, and such as
were usual in the 15th century. The poem
itself is however undoubtedly much older.

I. Sigeband in Ireland marries a Princess of Norway. She bears him a son, whom he calls Hagene. At a tournament, a griffin carries off young Hagene. 2. And bears him through the air to its nest and to its young, one of which lets the boy fall. Being thus delivered, he comes happily to three royal Virgins, who (also carried off by griffins) dwell in a cavern, and subsist on roots. Hagen becomes uncommonly strong. A ship reaches the neighbourhood, and at their request takes them on board.

take advantage of the absence of King Hettel and his army, to fall on the defenceless Hegelingians. 14. The city (Matalane) is burnt, and Chautrun, with Hildeburg, and many women, carried off. 15. Hettel concludes peace, and an alliance with his blockaded enemy, Seyfried, to pursue the ravishers. 16. The Hegelin gians and their ally Seyfried overtake the ravishers. Battle on the shore, (on the Volpensand.) 17. Ludwig kills Hettel in single combat. Favoured by the night, Ludwig and his people continue their return home. 18. Hettel's death, and the great loss of men, render it impossible to