of Hamlet, folio, London, 1796.” And subsequently, “Free reflections on the miscellaneous papers, etc., in the possession of S. Ireland, to which are added extracts from the Virgin Queen, a play.” The story of the country gentleman was told to silence the numerous inquiries as to where they came from. In conclusion, Mr. S. Ireland says, “I most sincerely regret any offence I may have given the world, or particular individuals, trusting at the same time, that they will deem the whole the work of a boy, without any evil or bad intent, but hurried on, thoughtless of any danger that awaited to ensnare him.” The drama of Vortigern, which formed one portion of the forgery, was brought out at Drury Lane theatre, and was unanimously damned. The art of counterfeiting old deeds and manuscripts has often been had recourse to for the purpose of fraud. Some curious evidence of such practices was given in the case of “Mossam v. Dame Theodosia Joy,” which may be found at large in the State Trials, vol. 7, p. 571. This lady was proved to have forged the title deeds of an estate to which she laid claim. Serjeant Stringer, in the course of the trial, inquired of Mrs. Duffet, one of the witnesses, “Pray what did they do to the deeds to make them look like ancient true deeds?” The witness replied, “For the making of the outsides look old and dirty, they used to rub them on the windows that were very dusty, and wear them in the pockets, to crease them, for weeks together. According as they intended to make use of them, when they had been rubbed and made to look dirty, and they were to pass for deeds of many years’ standing, it was used to lay them in a balcony, or any open place, for the rain to wet them, and the next clear day they were exposed to the sun, or placed before the fire, to dry them hastily, that they might be shrivelled.”