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, from 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.

COSTUME OF HENRY VI., PART III.

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.

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.'

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

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