with which it ends. It is also worthy of notice, that, where this ink has the dark rich brown hue, it also seems, in the words of Professor Maskelyne, in his letter to the London "Times," dated July 13, 1859, to be "on rather than in the paper"; and it also proved in this instance, to use the phraseology of the same letter, to be "removable, with the exception of a slight stain, by mere water." But who will draw hence the conclusion of the Professor with regard to the fluid used on the Collier folio, that it is "a water-color paint rather than ink,"—unless "ink" is used in a mere technical sense, to mean only a compound of nutgalls and sulphate of iron?27
Now it should be observed, that, among all the fac-similes published of the marginal readings in Mr. Collier's folio, there are none either so modern or so antique in their character as the five fac-similes respectively given above; nor is there in the former a variation of style approaching that exhibited in the latter, which all surely represent the work of one hand. Neither do the fac-similes of the folio corrections exhibit any chirography more ancient, more "Gothic," than that of the account a specimen of which was published in our previous article upon this subject,28 and which could not have been written before 1656, and was quite surely not written until ten years later.
We have thus far left out of consideration the faint pencil-memorandums which play so important a part in the history of Mr. Collier's folio. We now examine one of their bearings upon the question at issue. Is it possible that they, or any considerable proportion of them, may be the traces of pencil-marks made in the century 1600? The very great importance of this question need not be pointed out. It was first indicated in this magazine in October, 1859. Mr. Collier has seen it, and, not speaking with certainty as to the use of plumbago pencils at that period, he says,—"But if it be true that pencils of plumbago were at that time in common use, as I believe they were, the old corrector may himself have now and then adopted this mode of recording on the spot changes which, in his judgment, ought hereafter [thereafter?] permanently to be made in Shakespeare's text."29
Another volume in the possession of the present writer affords satisfactory evidence that these pencil-marks may be memorandums made in the latter half of the century 1600. It is a copy of "The Historie of the Life and Death of Mary Stuart Queene of Scotland," London, 1636,—a small, narrow duodecimo, in the original binding. Upon the first one hundred and sixty-nine pages of this volume, within the ruled margin so common in old books, are annotations, very brief and sparse, rarely more than two upon a page, and often not more than one, and consisting sometimes of only two or three abbreviated words,—all evidently written in haste, and all entirely without interest. These annotations, or, rather, memorandums, like those in the Guazzo, explain or illustrate the text. At the top of the page, within the margin-rules, the annotator has written the year during which the events there related took place; and he has also paged the Preface. Now of these annotations about one half are in pencil, the numbering entirely so, with a single exception. This pencil-writing is manifestly the product of a period within twenty-five or thirty years of the date of the printing of the book, and yet it presents apparent variations in style which are especially noteworthy in connection with our present subject. Some of this pencil-writing is as clear as if it were freshly written; but the greater part is much rubbed, apparently by the mere service that the volume has seen; and some of it is so faint as to be legible only in a high, reflected light, in which, however, to sharp eyes it becomes distinctly visible.30 That ordinary black pencil-marks will endure on paper for two centuries may very likely be doubted by many readers, but without reason. Plumbago-marks, if not removed by rubbing, are even more durable than ink; because plumbago is an organic, insoluble substance, not subject to the chemical changes which moisture, the atmosphere, and fluids accidentally spilled, and solvents purposely applied, make in the various kinds of ink which are known to us. The writer discovered this in the course of many amateur print- and book-cleaning experiments, and has since found his experience confirmed by the high authority of M. Bonnardot, in his "Essai sur l'Art de Restaurer les Estampes et les Livres." Paris, 1858.31 Of the annotations in the "History of Queen Mary," many are in a strange short-hand, in which various combinations of simple angles, triangles, circles, semicircles, and straight lines play a conspicuous part, which we find, upon examination, is not written according to any system promulgated since the middle of the last century. Our present concern is, however, only with the writing which is in the ordinary letter, and in pencil. Of this there follow three specimen fac-similes, including the figures indicating the Anno Domini at the top of the page from which the words are taken. Three of the figures (4, 7, 8) by which the Preface is paged are also added.32
Of these, No. 1 ("ffer Ph: 2") explains that "the Emperour & the King of Spaine" of the text are Ferdinand and Philip II.; No. 2 ("ffr: 2 death") directs attention to the mention of the decease of Francis II. of France; and No. 3 ("Dudley Q Eliz great favorite") is apropos of a supposition by the author of the History that the Virgin Queen "had assigned Dudley for her own husband." Of the pencil-writing fac-similed above, the "1559" and the "e" in No. 1 and the "Dudley" in No. 8 are so faint as to be almost indistinguishable; the rest of it, though very much rubbed, is plain enough to those who have good eyes. As to the period when these annotations were written, there can be no doubt that it was between 1636 and the end of the third quarter of that century; yet the difference between Nos. 1 and 2 and the last line of No. 8 is very noticeable. There are many other words in pencil in the same volume quite as modern-looking as "favorite" in No. 3. Does not this make it clear that the pencil-writing on the margins of Mr. Collier's folio, the greater part of which is so indistinct that to most eyes it is illegible without the aid of a magnifying-glass, and of which not a few of the most legible words are incomplete, may be the pencil-memorandums of a man who entered these marginal readings in the century 1600? Who shall undertake to say that pencil-writing so faint as to have its very existence disputed, and which is written over so as to be partially concealed, possesses a decided modern character, when such writing as that of "favorite" above exists, both in pencil and in ink, the production of which between 1636 and 1675 it would be the merest folly to question? The possibility of the readings having been first entered in pencil need not be discussed. It is not only probable that they would be so entered, but that would be the method naturally adopted by a corrector of any prudence, who had not an authoritative copy before him; and that this corrector had such aid not one now pretends to believe. We shall also find, farther on, that pencil-memorandums or guides, the good faith of which no one pretends to gainsay, were used upon this volume. A similar use of pencil is common enough nowadays. We know some writers, who, when correcting their own proofs, always go over them with pencil first, and on a second reading make the corrections, often with material changes, in ink over the pencil-marks. Even letters are, or rather were, written in this manner by young people in remote rural districts, where an equal scarcity of money and paper made an economy of the latter necessary,—a fact which would have a bearing upon the pencilled Marston letter, but for one circumstance to be noticed hereafter.
But one point, and that apparently the strongest, made against another of Mr. Collier's MSS., we are able to set aside entirely. It is that alleged identity of origin between the List of Players appended to the letter from the Council to the Lord Mayor of London and the well-known "Southampton" letter signed H.S., which is based upon an imagined general similarity of hand and a positive identity of form in a certain "very remarkable g" which is found in both.33 The general similarity seems to us sheerly imaginary; but the g common to the two documents is undoubtedly somewhat unusual in form. That it is not peculiar to the documents in question, however, whether they were written by one hand or two, we happen to be in a position to show. Ecce signum!
No. 1 of the above fac-similes is the g of the H.S. letter, No. 2 the g of the List of Players, and in the name below is a g of exactly the same model. This name is written upon the last page of "The Table" of a copy of Guevara's "Chronicle conteyning the lives of tenne Emperours of Rome,"
The effect produced upon the brown ink on the margins of the Guazzo by the mere washing it for a few seconds with lint and warm water may be seen in the word "
See the
Some of our readers may be glad to know that writing so faint as to be indistinguishable even in a bright open light may be often read in the shadow with that very light reflected upon it, as, for instance, from the opposite page of a book.
Mr. Bonnardot says:—"
By a common mistake, easily understood, the fac-similes have been put upon the block in reverse order. The lines between the words represent the coarse column-rules of the margins. (Illustration)
See above, p. 266.
