Preservative against Melancholy. Gathered by Andrew Boord, Doctor of physicke, London. Printed by Francis Williams, 1626,’ 12mo (black letter). An abridgment (chap-book) was issued about 1680, and again by Caulfield in 1796. The full text is in Hazlitt's ‘Old English Jest-books’ (1864, ii. 37–161).
Numerous references to ‘Scoggin's Jests’ in sixteenth and seventeenth century literature attest their popularity. In 1575 the tract was in the library of Captain Cox. ‘Scoggin's Jests’ was coupled with ‘The Hundred Merry Tales’ as popular manuals of witticisms in the epilogue of ‘Wily Beguil'd,’ 1606 (written earlier). In 1607 there appeared a like collection of jests, under the title of ‘Dobson's Drie Bobbes, son and heire to Scoggin.’ ‘Scoggin's jests’ is numbered among popular tracts of the day by John Taylor, the water-poet, in his ‘Motto’ (1622), and in ‘Harry White his Humour’ (1640?), as well as in the comedy called ‘London Chaunticleers’ (1659). Fulk Greville, lord Brooke, versified a coarse anecdote of ‘Scoggin’ in ‘Caelica,’ No. xlix. In 1680, at the trial of Elizabeth Cellier, one of the judges, Baron Weston, indicated his sense of the absurdity of the evidence of a witness who confusedly related his clumsy search after a suspected person by remarking, ‘Why, Scoggin look'd for his knife on the housetop.’ The words refer to Scogan's account of his search for a hare on the housetop (State Trials, vii. 1043).
The frequent association of Scogan's name with Skelton's in popular literature is attributable to a double confusion, in that both Skelton and the elder Scogan were poets, and that on both Skelton and the alleged younger Scogan were fathered collections of jests. Drayton, in the preface to his ‘Eclogues,’ mentions that ‘the Colin Clout of Scogan under Henry VII is pretty’—a manifest misreading for Skelton. Gabriel Harvey describes ‘Sir Skelton and Master Scoggin’ as ‘innocents [when compared] to Signor Capricio,’ i.e. Harvey's foe, Thomas Nash (1567–1601) [q. v.]
[Doran's History of Court Fools, pp. 123–30; Hazlitt's Old English Jest-books, ii. 37 seq.; Shakespeare, ed. Malone and Boswell, 1821, xvii. 117–19; Chaucer's Works, ed. Tyrwhit; Ritson's Bibliographia Poetica; Warton's Hist. of English Poetry.]
SCOLES, JOSEPH JOHN (1798–1863), architect, born in London on 27 June 1798, was son of Matthew Scoles, a joiner, and Elizabeth Sparling. His parents were Roman catholics. Educated at the Roman catholic school at Baddesley Green, Joseph was apprenticed in 1812 for seven years to his kinsman, Joseph Ireland, an architect largely employed by Dr. John Milner (1752–1826) [q. v.], the Roman catholic bishop. During his apprenticeship, John Carter (1748–1817) [q. v.], through Milner's influence, revised his detailed drawings, and he thus had his attention directed at an early period to mediæval ecclesiastical art. Ireland, as was customary at that period, frequently acted as contractor as well as designer, and Scoles from 1816 to 1819 was resident at Hassop Hall, Bakewell, and in Leicester, superintending works for Ireland.
In 1822 Scoles left England in company with Joseph Bonomi the younger [q. v.] for further study, and devoted himself to archæological and architectural research in Rome, Greece, Egypt, and Syria. Henry Parke [q. v.] and T. Catherwood were often his companions. He published in 1829 an engraved ‘Map of Nubia, comprising the country between the first and second cataracts of the Nile,’ from a survey made in 1824 jointly by him and Parke, and a map of the city of Jerusalem; his plan of the church of the Holy Sepulchre, Jerusalem, with his drawings of the Jewish tombs in the valley of Jehoshaphat, was published by Professor Robert Willis [q. v.] in 1849. The plan of the temple of Cadacchio, contributed by Scoles to the supplementary volume of Stuart and Revett, was published without acknowledgment. Two sheets of classic detail, drawn by F. Arundale from sketches by Parke and Scoles in 1823, were published by Augustus W. N. Pugin [q. v.] in 1828. The illustrations to the article ‘Catacomb’ in the ‘Dictionary of the Architectural Publication Society’ comprise plans of a catacomb in Alexandria drawn in 1823 by Scoles, Parke, and Catherwood.
Meanwhile in 1826 he returned home and resumed his practice. In 1828 he planned and carried out the building of Gloucester Terrace, Regent's Park, for which John Nash [q. v.] supplied the general elevation. He showed his ingenuity by varying the internal arrangements behind Nash's elevation, and his artistic feeling by changing the proportions of Nash's details while preserving the contours of the mouldings. Nash passed the work with the observation that the parts looked larger than he expected. Gloucester Villa at the entrance to the park was solely due to Scoles; and about the same period he erected a suspension bridge over the river Bure at Great Yarmouth, which in 1845 gave way with fatal results, owing to concealed defects of workmanship in two of the suspending rods.
Scoles designed St. Mary's Chapel, South Town, Yarmouth (1830), St. Peter's Church,
