[80] See “The auncient order societie and unitie laudable of prince Arthure and his knightly armory of the round table . . . Translated and collected by R. R. London, Imprinted by John Wolfe dwelling in Distaffe-lane neere the signe of the Castle, 1583.” 4to, b. l. It appears from this publication that on the revival of London archery in Queen Elizabeth’s time, “the worshipfull socyety of archers,” instead of calling themselves after Robin Hood and his companions, took the names of “the magnificent prince Arthure and his knightly traine of the round table.” It is, probably, to one of the annual meetings of this identical society that Master Shallow alludes in the _Second Part of King Henry IV._ “I remember,” says he, “at Mile-end Green [their usual place of exercise],—I was then Sir Dagonet in Arthur’s shew,” &c. (See also Steevens’s Shakespeare, 1793, ix. 142.) The successors of the above “friendly and frank fellowship” assumed the ridiculous appellations of Duke of Shoreditch, Marquis of Clerkenwell, Earl of Pankridge, &c. See Wood’s Bowman’s Glory, 1682. [81] Meaning that his sole or chief employment had been in Christmas or May games, Whitsun-ales, and such like idle diversions. See Original Letters, &c., ii. 134. In an old circular woodcut, preserved on the title of Robin Hood’s Garland, 1670, as well as on that of Adam Bell, &c., printed at Newcastle in 1772, is the apparent representation of a May-game, consisting of the following personages: 1. A bishop. 2. Robin Hood. 3. The potter (or beggar). 4. Little John. 5. Frier Tuck. 6. Maid Marian. Figures 2 and 4 are distinguished by their bows and different size. The frier holds out a cross; and Marian has flowing hair, and wears a sort of coronet. But the execution of the whole is too rude to merit a copy. At Lord Fitzwilliams’s at Richmond there is, or lately was, a curious painting by Vinckenbooms, representing old Richmond palace, with a group of morris-dancers. It has been badly engraved by Godfrey, who reduced the figures to too small a scale. Mr. Douce has a tracing from the original picture with all the figures distinctly marked. See a poem at the end of Hall’s Downfall of May-games, 1661, 4to.