To prove that this is not a mere point of speculative criticism; but, on the contrary, stands on evidence very different from conjecture, I need only cite the words of William Baldwin himself, the original editor: “Whan the printer (he says) had purposed with himselfe to printe Lidgates booke of the fall of Princes, and had made pryuye thereto many both honourable and worshipfull, he was counsailed by dyuers of them to procure to haue the storye contynewed from where as Bochas left, vnto this present time, chiefly of such as Fortune had dalyed with here in this ylande: which might be as a myrrour for al men as well nobles as others.”[4] From this suggestion the printer, John Wayland, importuned Baldwin to undertake the task; but he describes himself as declining so weighty an enterprise without assistance. On the other hand Wayland, “earnest and diligent in his affairs,” procured, shortly after, divers learned men to consent to take upon them part of the 'travail;’ and early in the year 1555, the _Mirror for Magistrates_ was partly printed in folio, but the proceeding hindered by the Lord Chancellor that then was.[5] In that suppressed edition the interlocutory parts are given in running lines across the page, and the poems in double columns, the type corresponding and the page imposed of the same size as Wayland’s edition of Lydgate’s translation; wherein the roman numericals have an unusual stop at the end of the seventh book with “leaf clxiij,” and the prologue of the eighth book commences with “fol. 1,” which continues to the end at “fol. XXXVII,” as if it was projected to add to the last portion the _Mirror for Magistrates_, making a second part or volume in continuance of the work which gave it origin. From the time of first establishing the English press to the reign of Queen Mary, when the folio, or suppressed, edition was printed, our typographical annals do not show any works in equal estimation with the domestic chronicles. The Fruit of Times, or St. Alban’s Chronicle, Polychronicon, and those others compiled by Fabyan, Grafton, Hall, Harding, Lanquet, &c. were in general repute and extensive circulation, and for that reason fixed upon as fit materials for poetry by Baldwin and his coadjutors. The influence and demand for the chronicles also occasioned the sudden revival, after a lapse of twenty-seven years, of _The boke of Iohan Bochas descryuing the fall of Princes, Princesses, and other Nobles_, translated by John Lydgate. That work was first printed by Pynson in 1494, also in 1527,[6] and then remained unnoticed until 1554, when Richard Tottell reprinted it under a new title,[7] with the incidental wood-cuts, and appending thereto the singular dance of Machabree.[8]