I have some suspicion that the maxim may be found, with probably a slight variation of expression, repeated in one of Burke's later tracts. But this is certainly its first appearance.
Sir Harris Nicholas, in his _Chronology of History_, p. 4, gives "annus Trabeationis" as one way in which the year of our Lord is designated in ancient documents. Would any of your readers favour me with the meaning of the word Trabeatio?
[Our correspondent will find, on referring to Mr. Hampson's useful work, _Medii Ævi Kalendarium_, vol. ii. s. v. Annus Trabentionis, "According to Du Cange, this is the year of the crucifixion--'Annus Trabeationis Christi (annus quo Christus _trabi_ affixus est);' but according to _L'Art de vérifier les Dates_, it is the same as the year of the Incarnation." Mr. Hampson adds, "the import of the word is the year of the Crucifixion, and cannot well be reconciled with that of the Incarnation." But, upon referring to Du Cange, s. v. _Trabeatio_, our correspondent will find that Du Cange regards it as the year of the Incarnation--"_Trabeatio_ autem, non a _trabe_, quà Crux intelligi posset, sed a _trabea_ togæ species, deducitur"--quoting, as his authority for this interpretation, a sermon of St. Fulgentius on St. Stephen, in which he says, "Heri enim Rex noster _Trabea carnis_ indutus."]
Sir,--Betterton's _Instructions on the Art of Playing and Public Speaking_, queried in your 5th Number, were published by the well-known dramatic critic, Charles Gildon, and form a portion of his _Life of Betterton_. As this work is little known, I shall quote the title at length:--"The Life of Mr. Thomas Betterton, the late eminent Tragedian, wherein the Action and Utterance of the Stage, Bar, and Pulpit, are distinctly considered; with the judgment of the late ingenious Monsieur de St. Evremond, upon the Italian and French Music and Operas, in a Letter to the Duke of Buckingham. To which is added, The Amorous Widow, or the Wanton Wife, a Comedy, written by Mr. Betterton, now first printed from the Original Copy. _London, Printed for Robert Gosling, at the Miter, near the Inner Temple Gate in Fleet Street_, 1710. 8vo." Gildon was intimately acquainted with Betterton, and he gives an interesting account of a visit paid to that great actor, the year before his death, at his country house at Reading. It was on this occasion that Gildon came into the possession of Betterton's manuscripts. Thirty-one years after the publication of Betterton's Life, Curll, the notorious bookseller, put forth a mutilated copy of the _Instructions on Playing_, in a work bearing the following title:--"The History of the English Stage, from the Restauration to the Present Time, Including the Lives, Character, and Amours, of the most Eminent Actors and Actresses; with Instructions for Public Speaking, wherein the Action and Utterance of the Bar, Stage, and Pulpit, are distinctly considered. By Thomas Betterton. _London, Printed for E. Curll, at Pope's Head in Rose-Street, Covent Garden_, 1741. 8vo." From this title it would appear (as indeed Curll wished it) that Betterton was the author of the entire work; but he is only accountable for the brief _Instructions for Public Speaking_, which, as before stated, were pillaged from Gildon.