vices=, p. 92. "Framed device of
a lion passant crowned and collared, a mullet for difference, on an
anchor; with =Desir n'a repos=, and the date 1586."

[35] =A Dictionary of Printers and Booksellers=, ed. R. B. McKerrow
(London, 1910), p. 151.

[36] Ibid., p. 199.

[37] Arber, =A Transcript=, IV, 149.

[38] Contributing to the unattractive appearance of the Bodleian copy
of =Mirrha=, which Grosart consulted, is the close cropping of its upper
margins.

[39] =The poems of William Barksted=, ed. Grosart (Manchester, 1876), p.
x.

[40] Barksted, p. xiv.

[41] Henry Plomer, =A Short History of English Printing= (London, 1900),
p. 163.

[42] The Oxford and Folger copies, of which only the first is listed
in the STC. There is a third, imperfect copy at Trinity College,
Cambridge, from the Edward Capell collection. According to Mr. L.W.
Hanson, Keeper of Printed Books at the Bodleian, the tipping of the
type in the Bodleian copy represents a fault at binding.

[43] Though the printer's name is not given, the printer's device, a
fleur-de-lis, no. 251 in McKerrow, was used by Okes about this time.

[44] Grosart, p. xiii, n. 17, stanza 20, line 7, which has
"adoration[e]" in both the original and Grosart's "corrected" version,
and p. xiii, n. 19, stanza 41, line 6, "graces" in both copies.

[45] The printer was Thomas Creede, as revealed by the printer's
device, no. 299 in McKerrow, p. 117: "Framed device of Truth being
scourged by a hand from the clouds. Between her feet the initials T.
C. The motto Viressit vulnere veritas."

[46] The presence of these dedicatory verses in the Huntington copy
has been noted by Franklin Williams in his =Index of Dedications and
Commendatory Verses= (London, 1962), p. 193.

[47] The Folger copy, here reproduced, is complete except for Sig. L4
(pp. 235-236), which have been supplied from another copy.

[48] This error goes back to the first entry in =A Catalogue of the
Library of Henry Huth= (London, 1880), which says the second edition is
the same as the first.

[49] The first word of the next stanza is changed from "And" in the
1613 edition to "Then" in the second impression.

[50] Rather surprisingly, in view of its silent emulation of Marlowe's
poem, =Philos and Licia= pays lavish tribute to Sidney. But since
tributes to Sidney were common in the period, this one may be no more
than a conventional recognition of his greatness.

[51] Occasionally, though, it introduces