[77] Malone's Shakspeare, vol. i. part ii. p. 301.
[78] Plate II. fig. 4. Plate IV. fig. 1.
[79] Plate IV. fig. 1.
[80] Plate II. fig. 2.
[81] Coryat's Crudities, p. 9. edit. 1611, 4to. Brand's Observ. on popular antiquities, p. 176.
[82] See the notes on a passage in King John. Steevens's Shakspeare, viii. p. 79, edit. 1793. "The scribe claims the manor of Noverinte, by providing sheep-skins and calves skins to wrappe his highness wards and idiotts in."—Gesta Grayorum, 1688, 4to.
[83] See the quotation from Tarlton's Newes out of purgatory given in a preceding page (509). The portrait of Tarlton in Hardinge's Biographical mirror, and a print in the title of Greene's Tu quoque, or the cittie gallant, show the costume of the purse and feather. See likewise Plate IV. fig. 2; and the centre fig. in Plate II.
[84] Rabelais, book iii. ch 45.
[85] This picture is very well engraven in Caulfield's Portraits of remarkable persons, vol. ii. There is a beautifully illuminated psalter preserved among the royal manuscripts in the British Museum, 2 A xvi, written by John Mallard the chaplain and secretary of Henry the Eighth, with several marginal notes in the king's own hand-writing, some of which are in pencil. Prefixed to psalm 52, "Dixit insipiens," according to a very ancient custom, are the figures of king David and a fool, in this instance evidently the portraits of Henry and his favourite Will Somers. That of the latter person is here copied in Plate IV. fig. 2, but rather enlarged. The countenance bears a strong resemblance to that of the figure in Holbein's picture of Henry the Eighth and his family, already noticed in p. [336].
[86] Archæologia, ix. p. 249.