INTRODUCTION.

“The Downfall of Robert Earl of Huntington” and “The Death of Robert Earl of Huntington"[147] were both formerly ascribed to Thomas Heywood, on the always disputable authority of Kirkman the Bookseller.  The discovery of the folio account-book of Philip Henslowe, proprietor of the Rose theatre on the Bank-side, enabled Malone to correct the error.[148] The following entries in Henslowe’s MSS. contain the evidence upon the subject:—­

  “Feb. 1597-8.—­The first part of Robin Hood by Anthony Mundy.

  “The second part of the Downfall of Earl Huntington, sirnamed
  Robinhood by Anthony Mundy and Henry Chettle.”

It is to be observed that what Henslowe mentions as “the second part of the Downfall of Earl Huntington” is in fact the play called on the printed title-page “The Death of Robert Earl of Huntington.”  Hence we find that Anthony Munday wrote the first part or “Downfall” alone, and the second part or “Death” in conjunction with Henry Chettle:  nevertheless there is a memorandum by Henslowe, by which it seems that Chettle had something to do also with the first part.  It is in these terms:—­

  “Lent unto Robarte Shawe the 18 of Novemb. 1598, to lend unto
  Mr Cheattle upon the mending of The First Part of Robart Hoode,
  the sum of xs.”

The loan here mentioned was perhaps in anticipation of “the mending;” and Malone subsequently met with the following notice:  “For mending of Robin Hood for the Corte;” which might be written after the improvements, considered necessary before the performance of the play at Court, had been completed.

Anthony Munday must have been born in 1553, for the monument to him in the Church of St Stephen, Coleman Street, states, that at the time of his death, 10th August 1633, he was eighty years old.  From the inscription we likewise learn that he was “a citizen and draper.”  In 1589 he lived in the city, and dates his translation of “The History of Palmendos” “from my house in Cripplegate.”  That he carried on the business of a draper, or had some connection with the trade as late as 1613, may be gathered from the following passage at the close of “The Triumphs of Truth,” the city pageant for that year, by Thomas Middleton:  “The fire-work being made by Maister Humphrey Nichols, a man excellent in his art; and the whole work and body of the Triumph, with all the proper beauties of the workmanship, most artfully and faithfully performed by John Grinkin; and those furnished with apparel and porters by Anthony Munday, Gentleman.”  The style of “gentleman” was probably given to him with reference to the productions of his pen.