re. cf. Panard (1694-1765);
_Oeuvres_ (1803), Tome III, p. 355:--

Que les plumets seraient aimables
Si leurs feux etaient plus constants!

p. 401 _Cannons_. Canons were the immense and exaggerated breeches,
adorned with ribbons and richest lace, which were worn by the fops of
the court of Louis XIV. There is more than one reference to them in
Moliere. Ozell, in his translation of Moliere (1714), writes 'cannions'.
cf. _School for Husbands_, Vol. II, p. 32: 'those great cannions
wherein the legs look as tho' they were in the stocks.'

Ces grands cannons ou, comme en des entraves,
On met tous les matins ses deux jambes esclaves.
--_Ecole des Maris_, i, I.

cf. Pepys, 24 May, 1660: 'Up, and made myself as fine as I could, with
the linen stockings on and wide canons that I bought the other day
at Hague.'

p. 403 _The Count of Gabalis_. The Abbe Montfaucon de Villars (1635-73)
had wittily satirized the philosophy of Paracelsus and the Rosicrucians
and their belief in sylphs and elemental spirits in his _Le Comte de
Gabalis ou Entretiens sur les sciences secretes_ (Paris, 1670), which
was 'done into English by P.A. _Gent_.' (P. Ayres), as _Count Gabalis,
or the Extravagant Mysteries of the Cabalists, exposed in five pleasant
discourses_ (1680), and thus included in Vol. II of Bentley and Magnes,
_Modern Novels_ (1681-93), twelve volumes. It will be remembered that
Pope was indebted to a hint from _Gabalis_ for his aerial machinery in
_The Rape of the Lock_.

p. 406 _Iredonozar_. This name is from Gonsales' (Bishop Godwin) _The
Man in the Moone_: 'The first ancestor of this great monarch [the
Emperor of the Moon] came out of the earth ... and his name being
Irdonozur, his heirs, unto this day, do all assume unto themselves
that name.'

p. 407 _Harlequin comes out on the Stage_. This comic scene, _Du
Desespoir_, which affords such opportunity for the mime, although not
given in the first edition of Le _Theatre Italien_, finds a place in the
best edition (1721). The editor has appended the following note: 'Ceux
qui ont vu cette Scene, conviendront que c'est une des plus plaisantes
qu'on ait jamais jouee sur le _Theatre Italien_.'

p. 408 _a Man that laugh'd to death_. This is the traditional end of
l'unico Aretino. On hearing some ribald jest he is said to have flung
himself back in a chair and expired of sheer merriment. Later days
elucidate his fate by declaring that