May 18. 1850.] 
NOTES AND QUERIES. 
469 
in some of the provinces. — Obv. A bearded por- 
trait of the emperor: Leg., AvT. K. M. 0. Cc. Cc. 
MAKPINOC: Rev. An archaic s. c. in a laurel gar- 
land, above t and beneath c. I am anxious to 
know to what locality I may ascribe this coin, as I 
have not been able to find it described. E.S. T. 
QUERIES PROPOSED, NO. 2. 
When reflecting on my various pen-and-ink 
skirmishes, I have sometimes half-resolved to avoid 
controversy. The resolution would have been 
unwise; for silence, on many occasions, would be a 
dereliction of those duties which we owe to our- 
selves and the public. 
The halcyon days, so much desired, may be far 
distant! I have to comment, elsewhere, on cer- 
tain parts of the Report of the commissioners on 
the British Museum—which f hope to do firmly, 
yet respectfully ; and on the evidence of Mr. Pa- 
nizzi—in which task I must not disappoint his 
just expectations. I have also to propose a query 
on the blunder of Malone —to which I give pre- 
cedence, as it relates to Shakspere. 
The query is—have I “mistaken the whole 
affair”? A few short paragraphs may enable 
others to decide. 
1. The question at issue arose, I presume to say, 
out of the statement of Mr. Jebb. I never quoted 
the Irish edition. If C. can prove that Malone 
superintended it, he may fairly tax me with a 
violation of my new canon of criticism — not other- 
wise. What says Mr. James Boswell on that point? 
I must borrow his precise words: “ The only edi- 
tion for which Mr. Malone can be considered as 
responsible [is] his own in 1790.” [Plays and 
poems of W.S. 1821. i. xxxiii.] 
2. I am said to have “repeated what C. had 
already stated."—I consulted the Shakspere of 
Malone, and verified my recollections, when the 
query of “ Mr. Jess” appeared—but forbore to 
notice its misconceptions. Besides, one C., after 
an interval of two months, merely asserted that it 
was not a blunder of Malone; the other €. fur- 
nished, off-hand, bis proofs and references, 
3. To argue fairly, we must use the same words 
in the same sense. Now C. (No. 24. p. 386.) 
asserts that Malone had never seen the introduc- 
tory fragment; and asks, who forged it? He 
uses the word fabrication in the sense of forgery.— 
The facts are produced (No. 25. p.404.). He 
is informed that the audacious fabrication, which 
took place before 1770, was first published by 
Malone himself, in 1790 —yet he expects me to 
apply the same terms to the blunder committed 
by another editor in 1794. 
4. As an answer to my assertion that the Irish 
editor attempted to unite the two fragments, C. pro- 
ceeds to prove that he did not unite them. ‘The 
procedure is rather defective in point of logical 
exactness. It proves only what was not denied. 
Malone refers to the will of John Shakspere, 
Sound by Joseph Moseley, with sufficient clearness; 
and it is charitable to assume that the Irish editor 
intended to observe the instructions of his pre- 
cursor. He failed, it seems — but why? It 
would be useless to go in search of the rationale 
of a blunder. 
Have I “ mistaken the whole affair” ?—TI entreat 
those readers of the “Norrs AND QuERIES” who 
may take up the affirmative side of the question 
to point out my errors, whether as to facts or 
inferences. Botton Corney. 
AUTHORS WHO HAVE PRIVATELY PRINTED THEIR 
OWN WORKS. 
Can any of your readers refer me to any source 
whence I can obtain an account of “ JoHn Painter, 
B. A. of St. John’s College, Oxford?” He ap- 
pears to have been a very singular character, and 
fond of printing (privately) his own lucubrations ; 
to most of which he subscribes himself ‘‘ The 
King’s Fool.” Three of these privately printed 
tracts are now before me:—1. Fhe Poor Man’s 
Honest Praises and Thanksgiving, 1746. 2. An 
Oxford Dream, in Two Parts, 1751. 3. A Scheme 
designed for the Benefit of the Foundling Hospital, 
1751. 
Who was Rosert Deverett, who privately 
printed, in 4to., Andalusia ; or Notes tending ta show 
that the Yellow Fever was well known to the An- 
cients? The book seems a mass of absurdity ; 
containing illustrations of Milton’s Comus, and 
several other subjects equally incongruous. 
Epwarp F. Ruwsaurr. 
MINOR QUERIES. 
Seager a Painter.— Marlow’s Autograph.— In 
a MS., which has lately been placed in my 
hands, containing a copy of Henry Howard's trans- 
lation of the last instructions given by the Em- 
peror Charles V. to his son Philip, transcribed by 
Paul Thompson about the end of the sixteenth 
century, are prefixed some poems in a different 
handwriting. ‘The first of these is an eclogue, 
entitled Amor Constans, in which the dialogue is 
carried on by “ Dickye” and “ Bonnybootes,” and 
begins thus :—‘“ For shame, man, wilt thou never 
leave this sorrowe?” At the end is the signature, 
* Infortunatus, Ch. M.” Following this eclogue 
are sixteen sonnets, signed also “Ch. M.;” in two 
of which the author alludes to a portrait painter 
named Seager. One of these sonnets commences 
thus :— 
“ Whilest thou in breathinge cullers, crimson. white, 
Drewst these bright eyes, whose language sayth 
to me, 
Loe! the right waye to heaven; Love stoode by 
the (e), 
Seager! fayne to be drawne in cullers brighte,” &c. 
I should be glad to receive any information 
