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wrote The Marroco of Alchymy in two parts or poems in English verse, London, 1654, 8vo; that he gave his consent to Mr. Starkey for the printing of his works, who had separated his commentary upon Sir Geo. Ripley's twelve gates, and cut out the last six, saying that the world was unworthy of them, and that they were afterwards lost.” Cooper, at the end of this advertisement, gives a list of the author's works, of which fifteen were printed, and thirteen others were not known to be in existence. The work commences with “ The Author's Preface,” in which he gives an account of his own labours.

I have wrote several Treatises, some in English, but especially in Latine; one Englishe Treatise, touching the Stone, very plainly written, but not perfected, unfortunately slipt out of my hand, and perhaps may come abroad into the world ; if it do, I should be sorry. Two Latine Tractates, one intituled Brevis Manuductio ad Rubinum Cælestem, another Fons Chymicæ Philosophiæ, I wrote, which for especial reasons to me known I resolved to suppress. Two other Latine Treatises, the one intituled, Ars Metallorum Metamorphoseos, the other Introitus apertus ad occlusum Regis Palatium, lately I wrote (declaring the whole Secret), which perhaps thou may'st enjoy. Two English poems I wrote, declaring the whole Secret, which are lost. Also an Enchiridion of Experiments, together with a Diurnal of Meditations, in which were many Philosophical Receipts declaring the whole Secret, with an ænigma annexed; which also fell into such hands who I conceive will never restore it. This last was written in English, with many others which I wrote for mine own recreation, and afterwards burned. But now at length studying how to profit the Sons of Art to my utmost, I have rather resolved to unfold Ripley's Knots, and so thou may’st have two witnesses in one; for by the unfolding of him thou shalt both see the depth of man, and discern that both hee and I were truly, and not Sophistically, intrusted with this Divine Science and Art; in which it is not notional, as many men conceive the Art to be, but real Experiments of Nature, taught me by the only God and Master of Nature, that was my Guide; having seen and made the Secret Water of the Philosophers, and known the use of it by ocular experience, to the effecting of the admirable Elixir. These writings peruse, for they are not Fancies, and so with the help of the Most High, thou shalt attain thy wish.

The Preface is followed by an “An Advertisement" from the publisher, and a Table of Contents. From the former it appears that Ashmole had intended to publish a second volume of his Theatrum Chymicum Britannicum, “ which he had almost finished near twenty years since (as I had it from his own mouth) but hath lain asleep ever since, and likely so to lie ; for to the perfecting thereof he is now unwilling to be brought, unless some worthy friend of his can be wrought upon to prevail with him, before the sleep of death seizes him, and leaves those rare pieces of Antiquity to be inevitably lost, to the prejudice of all Philosophers, and great dishonour of the English Nation.". We know that the work was never completed, but this might probably be owing to the fire which took place in his chambers in the temple, and destroyed his library, which he had been more than thirty years in collecting, together with other antiquities.

The work contains only an exposition upon the first six gates, and each portion of the exposition has a separate title-page, with the date of 1677, and an engraved frontispiece, by Vaughan, before the general title of Domus Naturæ, with medallions emblematical of the twelve gates. At the end of the book is a short note by the publisher, explaining that Mart. Birrius, having printed a treatise of the author's, entitled Fons Chymicæ Philosopiæ, had left out one whole chapter, called Porta Prima de Calcinatione Philosophica, which, having a spare page or two, he here reprints, to prevent it being lost. A catalogue of books printed by Cooper, chiefly on magic and alchymy, closes the volume. The present is a duplicate copy from the British Museum.

In the original Calf binding.

ROWLAND, (SAMUEL.) - The Betraying of Christ. Ivdas in de

spaire. The Seuen Words of our Sauior on the Crosse. With other Poems on the Passion.

London. Printed by Adam Islip. 1598. 4to.

Neither Lowndes vor any other of our bibliographers have noticed the fact, that there were two editions of this work printed in the same year the present one being the first. The copy of the same date, described in the Bibl. Ang. Poet., p. 598, differs very materially from the one now under notice (which we believe to be the first edition of this very rare sacred poem), in having a dedication “ To his deare affected Friend Maister H. W. Gentleman,” and some stanzas addressed “To the Gentlemen Readers,” and also a poem, in four-line verses, entitled “The high Way to Mount Calvarie,” which are not in this edition. The title is ornamented with curious woodcut representations, or emblematic allusions to the betrayal of Christ and his crucifixion, the crown of thorns, the reed, the scourge, the cock, the lanthorn and sword, the nails, the cross, and other implements of torture and of death. On the reverse of the title is a woodcut representation of the arms and crest of Sir Nicholas Walsh, knight, “ Chiefe Justice of her

Maiesties Court of Common Pleas in Ireland, and of her Highnesse counsaile there,” to whom the work is dedicated. This was Rowland's earliest publication, and, with the exception of one other piece, is the only one on a subject of a sacred nature. As one of the minor poets of his day, Rowland was not without merit, and on some grounds it is to be regretted that he was afterwards induced to turn his talents to pamphleteering and works of a more humorous and satirical, but less reputable, nature, probably from finding them more popular and more easily saleable; but the latter are so extremely curious for the numerous allusions to the manners and customs of the times, that their literary merit and moral tendency need scarcely enter into consideration. The reader may compare the following list of the series of subjects of the poems comprised in this edition, with the one given by Mr. Park in his account of the volume in the Restituta, vol. iii, p. 355, from which he will at once see how greatly the two impressions vary from each other. 1. The betraying of Jesus. 2. Judas in despaire. 3. Peters teares at the Cockes crowing. 4. The Jewes mocking of Christ.

5. The seuen words of Christ vpon the Crosse, Pater ignosce illis, quia nesciunt quid faciunt. 6. Amen dico tibi, hodie mecum eris in Paradiso. 7. Mulier ecce Filius tuus. 8. Deus meus, Deus meus ut quid me dereliquisti ? 9. Sitio. 10. Consummatum est. 11. Pater in manus tuas commendo spiritum meum. 12. The death of Death, siunes Pardon, and soules Ransome. 13. The wonders at Christs death. 14. The Funerals of Jesus.

The whole of the volume, with the exception of one of the subjects, is written in six-line stanzas, that one being on “ The wonders at Christs death,” six stanzas of seven lines each ; from which, as an example of the author's serious style, we take the following extract:

That instant hower the worlds Redeemer di'de,
And breathed out his soule vpon the crosse,
Heav'ns glorious lampe, abating all his pride,
Bewail'd in blacke his murdred makers losse
Turning his splendant beames of gold, to drosse ;

The Moone like suted in a sable weed,

Mourned for sinnes outragious bloody deed.
When Josua (Israels valiant captaine) praid
And in his praier coniuring did command
The firmaments bright eie stand still, it staid
Till he was victor of the wicked band
Waighting vpon Gods battaile then in hand

Yeelding the richest treasure of his light
Lengthning the want of day with day-made night.

But here, reflecting light to darkesome change
Shaming to see what shamelesse sinne had done,
Was more admir'd to alter kind so strange,
Than when he ceas'd his posting course to run,
Loue to Gods forces, his bright staying wonne,

But now beholding Sathans power preuailing,

He turn'd the day to night, in darknesse wailing.
At death of Christ, appear'd foure signes of wonder
To evidence diuine, and God-like might,
The first : The temples vaile did rent in sunder,
Next, Sunne and Moone extinguisht both their light,
Affoording darknesse to blind lewish sight :

Then flintie stones deuiding, part in twaine :

And Saints from graues reuiv'd to life againe.
What faithlesse Iew or gracelesse Atheist can
With impious tongue, sound out blasphemous breath
Affirming Christ to be but only man,
Whose deitie wrought wonders after death,
Wonders in heauen, strange miracles on earth ?

Of each beholders heart, feare tooke possession

And taught the Pagan captain Truths confession.
Thou canst not say those works were Magickes art
From elaunders charge, Christs power diuine is free
His soule was fled, and did before depart
His liuelesse bodie euery eie did seo
No charming words by dead tongues vttred be

Thou must of force confesse true God-head by it,

Or say that Mallice wilfull doth denie it. The ensuing alphabetic enumeration of the evil qualities of the Betrayer of Christ, taken from the poem of “ Judas in despaire," is curious, and deserving of quotation :

postle once, increasing Christs eleuen
B agbearer, to the charge of purse assign'd,
Called to preach saluations path to heauen,
D estructions heire, the worst of wicked mind:

E nuying at good worke by others done,

Faithlesse to God, false hearted to his Sonne.
Greedy to gaine on earth, with heauens losse,
Hopelesse of mercy, in sin's most distresse,
I udas whose kisse presag'd Christs dying crosse,
K powledge contemner, errours foule successe.

L oiterer in holy haruest, place abuser,

M urdrer of life, mine owne damnation chuser. VOL. V. PART I.

D D

N aked of grace, the foulest ere defiled,
Offences actor, in the highest degree,
P rouoking wrath, from mercies throne exiled
Q uenching the sprite, that erst gaue light in me,

R enouncing glorios race to gaine the crowne,

$ eruant to sinne, whose hire pale death laies downe.
T raitor to God, that breathing earth deluded,
U nholy thoughted, full of bitter gall,
W oes querrister, from Angels quires excluded,
X pian the outward, inward not at all,

Y oaked by sinne, perpetuall, Sathans slaue,

Z eale in his seruice lost, that none can saue.
This register records the race I run,
By caracters spelling my future woe,
A tragedy by me must be begun,
On hels blacke stage, for there to act I goe,

Since eies of God, and all in heauen abhorre me,

I will descend, the pit hath consorts for me. It is possible that the religious poems of Robert Southwell, Breton and others, which had just then appeared, may have suggested to Rowland the style and subject of these sacred themes, which he afterwards abandoned for lighter and more profane subjects; and which, as far as we know, were not again reprinted by him. See Dibdin's Libr. Comp., vol. ii, p. 303; Restituta, vol. iii, p. 353; and Bibl. Ang. Poet., p. 598. Priced in the latter at 211.

Fine copy. Bound by Bedford.

Blue Morocco, gilt edges.

ROWLAND, (SAMUEL.) - The Famous History of Guy Earle of

Warwick. Written by Samuel Rowland.

London. Printed for Edward Brewster. 1667. 4to.

The romance of Guy Earl of Warwick, one of the most celebrated and popular of the series of this class, appeared along with Sir Bevys of Southampton, Rychard Cuer du Lyon and others, about the close of the thirteenth century. They are still extant in manuscripts, according to Ritson, of the fourteenth and fifteenth centuries, and were all of them originally derived from French or Norman poets, through our intercourse with those countries under the influence of our early Norman monarchs, and the consequent

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