Such is the account of one of Chatterton's intimate friends. And how is this decisive proof of his abilities to imitate ancient English handwriting, and his exercise of those abilities, evaded? Why truly, we are told, “the contraction of the parchment is no discriminating mark of antiquity; the blackness given by smoke appears upon trial to be very different from the yellow tinge which parchment acquires by age; the ink does not change its colour, as Mr. Ruddall seems to apprehend.” So, because these arts are not always completely successfull, and would not deceive a very skilful antiquary, we are to conclude, that Chattetton did not forge a paper which he acknowledged to have forged, and did not in the presence of Mr. Ruddall cover a piece of parchment with ancient characters for the purpose of imposition, though the fact is clearly ascertained by the testimony of that gentleman!—The reverend Commentator argues on this occasion much in the same manner, as a well-known versifier of the present century, the facetious Ned Ward (and he too published a quarto volume of poems). Some biographer, in an account of the lives of the English poets, had said that “he was an ingenious writer, considering his low birth and mode of life, he having for some time kept a publick house in the City.” “Never was a greater or more impudent calumny (replied the provoked rhymer); it is very well known to every
