marks.’ See the Pleadings before the King at Westminster, in Easter Term, 6 Edward II., Roll 95. “After this very long, though curious document, I have nothing farther to observe on the connection of the Bridge Master of London, and his Mill and Bridge on the River Lee, than that, although he at first traversed, as the Lawyers say, or denied his right to repair them, yet, in 1315, the original claim was confirmed against his denial, as is asserted by Stow, in his ‘_Survey_,’ volume ii. page 25.” “Methinks, Mr. Barnaby Postern,” said I, “that before you entirely quit the connection of the Lee River and London Bridge, it would not be irrelevant to speak somewhat of that _Cantiuncula_, that little song, or, as I may properly call it, that _Lallus_, for it is truly a nurse’s song, in which they are both united.” “You say well, Sir,” answered my visitor; “and seeing that I have already spoken somewhat at length, ‘shall I,’ as Izaak Walton says, ‘have nothing from you, that seem to have both a good memory, and a cheerful spirit?’ Come, then, my honoured kinsman, do you relate what hath been written and collected concerning that same _Cantiuncula_; nor deem that any fragmenta, touching the history of London Bridge, can be uninteresting; wherefore, doubt not but your narrative will be to me like that which Adam made to Raphael:-- ‘Nor are thy lips ungraceful, Sire of men, Nor tongue ineloquent.-- But thy relation now; for I attend, Pleased with thy words no less than thou with mine.’” “After the deep reading and extensive knowledge,” returned I, “which you, Mr. Postern, have displayed in your discourse, it is unfortunate for me to have to speak upon a subject, where I am no less perplexed by the paucity of materials, than by my own ignorance of many which may be in existence. For you must know, my fellow-antiquary, that searching out the origin and history of a ballad, is like endeavouring to ascertain the source and flight of December’s snow; since it often comes we know not whence, is looked upon and noticed for awhile, is corrupted, or melts away, we know not how, and thus dies unrecorded, excepting in the oral tradition or memory of some village crones, who yet discourse of it. However, Sir, to proceed methodically, I will first give you the words of this very popular song; then the customs and history connected with it; and, lastly, the musical notation to which it is most commonly sung. “One of the most elegant copies of this ballad you will find in the late Joseph Ritson’s rare and curious volume, entitled, ‘_Gammer Gurton’s Garland: or the Nursery Parnassus. A choice collection of pretty Songs, and Verses, for the amusement of all little good children who can neither read nor run._’ London, 1810. 8vo. Part i., page 4; where it is called ‘The celebrated song of London Bridge is broken down;’ and is as follows: