Gower's next work was a Latin production, entitled, "Vox Clamantis," of which there are many copies still extant. The unfortunate reign of the poet's royal patron, and the rebellion of Wat Tyler, furnished Gower with ample materials for this publication.--The "Confessio Amantis" was first printed in the year 1403, by Caxton. There is a MS. in Trinity College, Cambridge, consisting of several small poems by Gower; but they are nearly destitute of merit. The French sonnets, however, of which there is a volume in the Marquess of Stafford's library, are spoken of by Mr. Warton, who has given a long account of them, with specimens, as possessing more merit. The "Boke of Philip Sparrow," by the witty, but obscene Skelton, who wrote towards the close of the fifteenth century, says that "Gower's Englishe is old;" but the learned Dean Collet, in the early part of the succeeding century, studied not only Gower, but Chaucer, and even Lydgate, in order to improve and correct his own style. By the close of that century, however, the language of these writers was become entirely obsolete. The "Confessio Amantis" was printed, a second time, by Barthelet, in the year 1532; a third time in 1544; a fourth in 1554; and, lastly, in a very correct and worthy manner, in the year 1810, under the judicious inspection of Dr. Chalmers. It were ungrateful to withhold from Gower some acknowledgment of the share he had in producing a beneficial revolution in the English language; as it would be absurd and untrue to attribute to him any great degree of praise, as an _inventor_ in that important work. * * * * * The church of St. Saviour was founded before the conquest, but was principally rebuilt in the fourteenth century, since which time it has undergone many extensive reparations at different periods. The tower, which is surmounted by four pinnacles, was repaired in 1818 and 1819; and the choir has been recently restored in conformity with the original design, under the superintendence of that indefatigable architect, Mr. George Gwilt.[2] The dramatists, Fletcher and Massinger were buried in this church in one grave; and from the tower, Hollar drew his Views of London, both before and after the fire. [2] Only the tower and the choir have yet been restored; but the fidelity with which these portions have been executed, heightens our anxiety for the renovation of the whole structure. The repairs of the south transept will, we believe, be shortly commenced, but the fate of the nave and aisles is not yet decided. These are in a dilapidated condition.