sonnets and minor works, and that not merely by virtue of the general resemblance common to all the love poetry of the age, but in some very definite traits. Her surname of 'La belle Cordiere' came from her marriage with a rich merchant, Ennemond Perrin by name, who was by trade a ropemaker. Her poems have had their full share of the advantages of reprints, which have of late years fallen to the lot of sixteenth-century authors in France. [Sidenote: Mellin de St. Gelais.] Mellin de Saint Gelais[175], the last to be mentioned but the most important of the school of Marot, has been very variously judged. The mere fact that he was probably the introducer of the sonnet into France (the counter claim of Pontus de Tyard seems to be unfounded) would suffice to give him a considerable position in the history of letters. But Mellin's claims by no means rest upon this achievement. He was a man of higher position than most of the other poets of the time, being the reputed son of Octavien de Saint Gelais, and himself enjoying a good deal of royal favour. In his old age, as the representative of the school of Marot, he had to bear the brunt of the Pleiade onslaught, and knew how to defend himself, so that a truce was made. He was born in 1487, and died in 1558. His name is also spelt Merlin, and even Melusin, the Saint Gelais boasting descent from the Lusignans, and thus from the famous fairy heroine Melusine. In his youth he spent a good deal of time in Italy, at the Universities of Bologna and Padua. On returning to France, he was at once received into favour at court, and having taken orders, obtained various benefices and appointments which assured his fortune. It is remarkable that though he violently opposed Ronsard's rising favour at court, both the Prince of Poets and Du Bellay completely forgave him, and pay him very considerable compliments, the latter praising his 'vers emmielles,' the former speaking, even after his death, of his proficiency in the combined arts of music and poetry. Saint Gelais was a good musician, and an affecting story is told of his swan-song, for which, as for other anecdotes, there is no space here. His work, though not inconsiderable in volume, is, even more than that of Marot and other poets of the time and school, composed for the most part of very short pieces, epigrams, rondeaux, dizains, huitains, etc. These pieces display more merit than most recent critics have been disposed to allow to them. The style is fluent and graceful, free from puns and other faults of taste common at the time. The epigrams are frequently pointed, and well expressed, and the complimentary verse is often skilful and well turned. Mellin de Saint Gelais is certainly not a poet of the highest order, but as a court singer and a skilful master of language he deserves a place among his earlier contemporaries only second to that of Marot. [Sidenote: Miscellaneous Verse. Anciennes Poesies Francaises.]