The first of the blank leaves at the end is covered with Latin anagrams on the names ‘Carolus Geddeius,’ ‘Carolus Geddie,’ or ‘Carolus Geddee,’ with this heading, ‘In nomen venerandi et annosi Amici sui Caroli Geddei Anagrammata,’ and ends with the couplet: ‘Serpit amor Jonathæ (Prisciano labe) Chirurgo Mephiboshæ pedibus tam manibus genibus,’ which is not very intelligible, but is perhaps meant to indicate the name of the composer of the anagrams. In the right-hand top corner of the next leaf there is written in what might be a fifteenth-century hand, ‘Will Sanders vn Just’ (the rest cut away). As to the statement made by Fairfax that this book, meaning apparently this very copy, was presented by the author to Henry IV, it is hardly likely that he had any trustworthy authority for it. The book must evidently have been arranged for some such purpose; on the whole however it is more likely that this was not the actual presentation copy, but another written about the same time and left in the hands of the author. The copy intended for presentation to the king, if such a copy there were, would probably have been more elaborately ornamented; and moreover the Latin lines on the last leaf, ‘Henrici quarti’ &c., bear the appearance of having been added later. The poet there speaks of himself as having become blind ‘in the first year of king Henry IV,’ and of having entirely ceased to write in consequence; and in another version of the same lines, which is found in the Glasgow MS. of the _Vox Clamantis_, he dates his blindness from the _second_ year of King Henry’s reign. In any case it seems clear that his blindness did not come on immediately after Henry’s accession; for the _Cronica Tripertita_, a work of considerable length, must have been written after the death of Richard II, which took place some five months after the accession of Henry IV. It would be quite in accordance with Gower’s usual practice to keep a copy of the book by him and add to it or alter it from time to time; the Fairfax MS. of the _Confessio Amantis_ and the All Souls copy of the _Vox Clamantis_ are examples of this mode of proceeding: and I should be rather disposed to think that this volume remained in the author’s hands than that it was presented to the king. As to its subsequent history, if we are to regard the signature ‘Rychemond’ on the second leaf as a genuine autograph of Henry VII while Earl of Richmond, it would seem that the book passed at some time into royal hands, but it can hardly have come to the Earl of Richmond by any succession from Henry IV. After this we know nothing definite until we find it in the hands of the ‘aged Charles Gedde’ of St. Andrews, by whom it was given, as we have seen, to Fairfax in 1656, and by Fairfax in the same year to his friend and kinsman Sir Thomas Gower, no doubt on the supposition that he belonged to the family of the poet. He must have been one of the Gowers of Stittenham, and from him it has