A.
Æmylius, Geo. his verses, 84.
Alciatus, his emblems the earliest work of the kind, 180.
Aldegrever, his Dance of Death, 160.
Almanac, a Swiss one, with a Dance of Death, 76, 209.
Alphabets, several curious, 100, 214, 217.
Amman, Jost, a Dance of Death by him, 41.
Ars moriendi, some account of the last edition of it, 173.
Athyr, “Stamm-und Stechbuchlein,” a rare and singular book of emblems, 180.
B.
Baldinucci, a mistake by him corrected, 235.
Basle, destruction of its celebrated painting of the Dance of Death, 39.
engravings of it, 41.
Beauclerc, Lady Diana, her ballad of Leonora, 210.
Bechstein, Ludwig, his edition of the Lyons’ wood-cuts, 136.
Beham, Barthol., his Dance of Death, 190.
Bernard, le petit, his fine wood-cuts to the Old Testament, 173.
Berne almanac, a Dance of Death in one of them, 154.
Bock, Hans, not the painter of the Basle Dance of Death, 39.
Bodenehr, Maurice, a Dance of Death by him, 165.
“Boetius de consolatione,” a figure of Death in an old edition of it, 171.
Bonaparte, Napoleon, a Dance of Death relating to him, 167.
Books in which a Dance of Death is occasionally introduced, 168.
Borbonius, Nicolas, his portrait, 140.
his verses, 92, 94, 139.
in England, 140.
Bosman, Arent, a singular old Dutch legend relating to him, 183.
Bosse, a curious engraving by him, 196.
Boxgrove church in Sussex, sculpture in, 226.
Brant, Sebastian, his stultifera navis, 170.
Bromiard, John De, his “Summa predicantium,” a fine frontispiece to it, 183.
Buno, Conrad, a book of emblems by him, 181.
Burnet, Bishop, his ambiguous account of a Dance of Death at Basle, 79, 138.
C.
Calendrier des Bergers, 170.
Callot, drawings by him of a Dance of Death in the collection of Sir Tho. Lawrence, 223.
Camus, M. de, a ludicrous mistake by him, 169.
Catz’s emblems, 182.
Cavallero determinado, 174.
Centre de l’amour, a singular book of emblems, 182.
Chertablon, “Maniere de se bien preparer À la mort,” 177.
“Chevalier de la tour,” a singular print from this curious romance, 171.
Chodowiecki, his engravings relating to the Dance of Death, 153, 207, 208.
Chorier, his “AntiquitÉs de Vienne,” 48.
Cogeler, “Imagines elegantissimÆ, &c.” 173.
Coleraine, I. Nixon, his Dance of Death on a fan, 159.
Colman’s “Death’s duell,” 185.
Compan, M. his mistake about a Dance of Death, 237.
Coppa, a poem ascribed to Virgil, 3.
Cossiers, John, a curious print after him, 199.
Coverdale’s Bible, with initials of a Dance of Death, 217.
Coxe’s travels in Switzerland, some account in them of M. Crozat’s drawings, 134.
Crozat, M. De, account of some supposed drawings by Holbein in his collection, 134.
D.
Dagger, design for the sheath of one by Holbein, 133.
Dagley’s “Death’s doings,” 157, 210, 224.
Dance of Death, a pageant, 5.
Danish one, 159.
known to the ancients, 12.
one at Pompeii, 13.
the term sometimes improperly used, 81.
verses belonging to it, 17.
where sculptured and painted, 17.
Dance, Mr. the painter, his imitation of a subject in the Dance of Death in his portrait of Mr. Garrick, 137.
Dances of Death, with such text only as describes the subject, 160.
anonymous, 161, 162, 163, 164.
at the following places,
Amiens, 47.
Anneberg, 44.
Avignon, 221.
Basle, 36.
Berlin, 48.
Berne, 45.
Blois, 47.
Croydon, 54.
Dijon, 35.
Dresden, 44.
Erfurth, 44.
Fescamp, 47.
Hexham, 53.
Holland, 49.
Italy, 49.
Klingenthal, 42.
Leipsic, 44.
Lubeck, 43.
Lucerne, 46.
Minden, 35.
Nuremberg, 45.
Paris, 14, 33, 35.
Rouen, 47.
Salisbury, 52.
St. Paul’s, 51, 76.
Spain, 50.
Strasburg, 47.
Tower of London, 54.
Vienne, in DauphinÉ, 48.
Wortley Hall, 53.
Dancing in temples and churchyards, 5, 6.
Daniel, Mr. an unique print of a Dance of Death in his possession, 248.
Danse aux aveugles, 231.
Death and the Lady, 226.
how personified by the Ancients, 1.
not in itself terrific, 4.
to Dr. Quackery, 211.
De Bry, prints by him, 180, 183, 195.
Dedication to the first edition of the Lyons wood-cuts, 86.
mistakes in it, 87.
De Gheyn, prints by him, 198, 205.
De la Motte’s fables, 183.
Della Bella, 162.
De Murr, his mistake about the Dance of Death, 235
Dennecker, or De Necker, Jobst, Dances of Death by him, 40, 42, 85, 118.
De Pas, Crispin, description of a singular engraving by him, 196.
Descamps, his mistake about the Dance of Death, 235.
Deuchar, David, the Scottish Worlidge, his etchings of the Dance of Death, 135.
Deutch, Nicolas Manuel, the painter of a Dance of Death at Berne, 224.
Devil’s ruff-shop, 200.
De Vos, Martin, print after him of the Devil’s ruff-shop, 200.
Diepenbecke, Abraham, designer of the borders to Hollar’s etchings of the Dance of Death, 125.
Dialogue of life and death, in “Dialogues of creatures moralized,” 170.
Dominotiers, venders of coloured prints for the common people, 77.
Drawings of the Dance of Death, 222.
DrurÆi Mors, an excellent Latin comedy, 175.
Dugdale, his Monasticon, 129.
his St. Paul’s, 129.
Durer, Albert, some prints by or after him described, 188, 189.
E.
Ear, the seat of memory among the Ancients, 3.
swearing by, 3.
Edwards, Mr. the bookseller, the possessor of Hollar’s etchings of the Dance of Death, 128.
Elizabeth, her prayer-book with a Dance of Death, 147, 247.
Emblems and fables relating to the Dance of Death, 179.
Engravings on wood, the earliest impressions of them not always the best, 85, 90.
commendations of them in books printed in France, Germany, and Italy, 97.
Errors of miscellaneous writers on the Dance of Death, 236.
of travellers concerning it, 233.
of writers on painting and engraving concerning it, 234.
Evelyn, Mr. his mistake concerning the Dance of Death, 235.
F.
Fables relating to the Dance of Death, 179.
Faut mourir, le, 26.
Felibien, his mistake about the Dance of Death, 235.
Figeac, Champollion, his account of a Macaber Dance, 238.
Fleischmann, Counsellor, of Strasburg, drawings of a Dance of Death in his possession, 134.
Fontenai, AbbÉ, his mistake concerning the Dance of Death, 236.
Fool and Death in old moralities, 177.
Fournier, his mistake concerning the Dance of Death, 237.
Fox, John, “Book of Christian Prayers,” compiled by him, 147.
Francis I. an importer of fine artists into France, 92.
Francolin, a rare work by him described, 217.
Freidanck, 171.
Friderich’s emblems, 180.
Frontispieces connected with the Dance of Death, described, 183.
Fulbert’s vision of the dispute between the soul and the body, 32.
Fuseli, Mr. his opinion concerning the Dance of Death, 83.
Fyner, Conrad, his process or law-suit of Death.
G.
Gallitzin, Prince, some supposed drawings by Holbein of a Dance of Death in his possession, 134.
Gem, an ancient one, with a skeleton as the representative of Death, 206.
Gerard, Mark, some etchings of fables by him, 179.
Gesner’s PandectÆ, remarks on a passage in that work, 84.
Ghezzi, a figure of Death among his caricatures, 206.
Glarus, Franciscus À, his “Confusio disposita, &c.” noticed as a very singular work, 177.
Glass, painted, with a Dance of Death, 227.
Glissenti, his “Discorsi morali,” 112.
his “Morte inamorata,” 246.
Gobin le gay, a name of one of the shepherds in an old print of the Adoration, 69.
Gobin, Robert, his “loups ravissans,” remarkable for a Dance of Death, 146.
Goethe, a Dance of Death in one of his works, 178, 211.
Gole, a mezzotinto by him of Death and the Miser, 203.
Goujet, his mistake about the Dance of Death at Basle, 233.
Graaf, Urs, a print by him, and his monogram described, 189.
Grandville, “Voyage pour l’eternitÉ,” 157.
Gray, Rev. Robert, his mistake about the Dance of Death at Basle, 233.
Gringoire, Pierre, his “Heures de Notre Dame,” 172.
Grosthead, story from his “Manuel de PÉchÉ,” 7.
Guilleville, “Pelerin de
la vie humaine,” 175.
H.
Harding, an etching by him of “Death and the Doctor,” 211.
Hawes’s “Pastime of Pleasure,” two prints from it described, 173.
Heemskirk, Martin, a print by him described, 193, 199.
Hegner, his life of Holbein, 240.
Heymans, Mynheer, a dedication to him, 141.
Historia della Morte, a poem so called, 176.
Holbein, a German, life of him by Hegner, 240.
ambiguity with respect to the paintings at Basle ascribed to him, 81.
dance of peasants by him, 80.
engravings by him with his name, 95.
his Bible prints, 94.
his connexion with the Dance of Death, 78, 138.
his death, in 1554, 144.
his name not in the early editions of the Lyons wood-cuts, 92.
lives of him very defective, 143.
more particulars relating to him, 143.
not the painter of the Dance of Death at Basle, 38, 43, 144.
paints a Dance of Death at Whitehall, 141.
satirical painting of Erasmus by him, 221.
Hollar, his copies of the Dance of Death, 125.
Hopfer, David, his print of Death and the Devil, 191.
HorÆ, manuscripts of this service book with the Macaber Dance, 60.
printed copies of it with the same, and some similar designs, 72.
Huber and Rust, their mistake concerning Holbein, 236.
I.
Jacques, Maitre, his “le faut mourir,” 26.
Jansen, his mistake concerning the Dance of Death, 236.
Imitations of and from the Lyons wood-cuts, 137.
Initial letters with a Dance of Death, 213, 214, 217.
Innocent III. Pope, his work “de vilitate conditionis humanÆ,” 172.
K.
Karamsin, Nicolai, his account of a Dance of Death, 44.
Kauw, his drawing of a Dance of Death, at Berne, 224.
Kerver, Thielman, his editions of “HorÆ,” 174.
Klauber, John Hugh, a painter of a Dance of Death at Basle, 36, 42.
L.
Langlois, an engraving by him described, 198.
LarvÆ and lemures, confusion among the ancients as to their respective qualities, 4.
“Last drop,” an etching so intitled, 211.
a drawing of the same subject, 224.
Lavenberg calendar, prints by Chodowiecki in it, 153.
Lawrence, Sir Thomas, drawings by Callot of a Dance of Death in his possession, 223.
“Lawyer’s last circuit,” a caricature print, 209.
Le Blon, a circular print by him described, 197.
Le Comte, his mistake concerning the Dance of Death, 235.
Lubeck, a Dance of Death there, 163.
Lutzenberger, Hans, the engraver of the Lyons wo
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Sandrart, his notice of a work by Holbein at Whitehall, 145.
Schauffelin, Hans, a carving on wood by him described, 226.
Schellenberg, I. R. a Dance of Death by him, 154.
Schlotthaver, his edition of a Dance of Death, 249.
Silvius, or Sylvius, Antony, an artist at Antwerp, account of a monogram supposed to belong to him, 115.
Skeleton, use made of the human by the ancients, 3.
“Spectriana,” a modern French work, frontispiece to it described, 187.
Stelsius, his edition of a spurious copy of Holbein’s Bible cuts, 97.
Stettler, his drawings of the Macaber Dance of Death at Berne, 224.
“Stotzinger symbolum,” description of a cut so intitled, 174.
Stradanus, an engraving after him described, 197.
Susanna, a Latin play, 18.
Symeoni, “Imprese,” 179.
T.
Tapestry at the Tower of London, 227.
“Theatrum Mortis,” a work with a Dance of Death described, 129.
Tiepolo, a clever etching by him described, 197.
Title-pages connected with the Dance of Death, list of, 183.
Tory, Geoffrey, HorÆ printed by him described, 172.
Tower of London, tapestry formerly there of a Dance of Death, 227.
Trois mors et trois vifs, 31, 33, 228.
Turner, Col., a Dance of Death by him, 207.
Turnham Green, some account of chalk drawings of a Dance of Death on a wall there, 210, 224.
Typotii symbola, 180, 182.
U.
Urs Graaf, his engravings noticed, 243.
V.
VÆnius, Otho, some of his works mentioned, 182, 204.
Valckert, a clever etching by him described, 201.
Van Assen, a Dance of Death by him, 158.
Van Leyden, Lucas, 189.
Van Meckenen, Israel, his Dance of Death in circles, 160.
Van Sichem, his prints to the Bible, 177.
Van Venne, prints after him, 157, 182, 199, 209.
Verses that accompany the Dance of Death, 17.
Von Menzel, 207.
“Voyage pour l’eternitÉ,” a modern Dance of Death, 157.
W.
Walpole, Mr. his mistake concerning the Dance of Death, 236.
Warton, Mr. his remarks on the Dance of Death, 237.
Weiss, Mr. author of some of the best lives in the “Biographie Universelle,” misled in his article “Macaber” by Champollion Figeac, 249.
Whitehall, fire at, 140.
painting of a Dance of Death there by Holbein, 141.
Wierix, John, some prints by him described, 194, 195.
Williams, Miss, her mistake concerning the Dance of Death at Basle, in her Swiss tour, 233.
Wolschaten, Geeraerdt Van, a Dance of Death by him, 130.
Wood, engravings on, the first impressions of them not always the best, C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
Footnotes:
[1] Iliad, and after him Virgil, Æn. vi. 278.
[2] Iliad IX. On an ancient gem likewise in Ficoroni’s GemmÆ AntiquÆ LitteratÆ, Tab. viii. No. 1, a human scull typifies mortality, and a butterfly immortality.
[3] Lib. ii. 78.
[4] Diarium, p. 212.
[5] Lib. xiii. l. 474.
[6] Epist. xxiv.
[7] Apolog. p. 506, 507. edit. Delph. 4to.
[8] Lib. iii.
[9] Leg. Antiq. iii. 84.
[10] Folio clxxxvii.
[11] Folio ccxvii.
[12] Bibl. Reg. 20 B. xiv. and Harl. MS. 4657.
[13] Contest.
[14] Q. Cowick in Yorkshire?
[15] Leader.
[16] Glee.
[17] Called.
[18] A name borrowed from Merwyn, Abbess of Ramsey, temp. Reg. Edgari.
[19] Took.
[20] Leafy.
[21] Place.
[22] Went.
[23] Places.
[24] A falsehood.
[25] Whoever may be desirous of inspecting other authorities for the story, may consult Vincent of Beauvais Speculum Historiale, lib. xxv. cap. 10; Krantz Saxonia, lib. iv.; Trithemii Chron. Monast. Hirsaugensis; Chronicon Engelhusii ap. Leibnitz. Script. Brunsvicens. II. 1082; Chronicon. S. Ægidii, ap. Leibnitz. iii. 582; Cantipranus de apibus; & CÆsarius Heisterbach. de Miraculis; in whose works several veracious and amusing stories of other instances of divine vengeance against dancing in general may be found. The most entertaining of all the dancing stories is that of the friar and the boy, as it occurs among the popular penny histories, of which, in one edition at least, it is, undoubtedly, the very best.
[26] Lib. i. Eleg. iii.
[27] Æn. lib. vi. l. 44.
[28] Millin. Magaz. Encycl. 1813, tom. i. p. 200.
[29] Gori Mus. Florentin. tom. i. pl. 91, No. 3.
[30] Hist. Engl. Poetry, vol. ii. p. 43, edit. 8vo. and Carpentier. Suppl. ad Ducang. v. MachabÆorum chorea.
[31] Id. ii. 364.
[32] Hist. des Ducs des Bourgogne, tom. v. p. 1821.
[33] Hist. de RenÉ d’Anjou, tom. i. p. 54.
[34] Dulaure. Hist. Physique, &c. de Paris, 1821, tom. ii. p. 552.
[35] Recherches sur les Danses des Morts. Dijon et Paris, 1826, 8vo. p. xxxiv. et seq.
[36] Mercure de France, Sept. 1742. Carpentier. Suppl. ad Ducang. v. MachabÆorum chorea.
[37] Bibl. Reg. 8 B. vi. Lansd. MS. 397.
[38] Madrid. 1779, 8vo. p. 179.
[39] Bibl. Med. et Inf. Ætat. tom. v. p. 1.
[40] Recherches sur les Danses de Mort, pp. 79 80.
[41] Passim.
[42] Modern edition of the Danse Macabre.
[43] Journal de Charles VII.
[44] Lansd. MS. No. 397—20.
[45] Peignot Recherches, p. 109.
[46] MÉlange d’une Grande BibliothÈque, tom. vii. p. 22.
[47] Bibl. Instruc. No. 3109.
[48] Catal. La Valliere No. 2736—22.
[49] Vasari vite de Pittori, tom. i. p. 183, edit. 1568, 4to.
[50] Baldinucci Disegno, ii. 65.
[51] Morona Pisa Illustrata, i. 359.
[52] Du Breul Antiq. de Paris, 1612, 4to. p. 834, where the verses that accompany the sculpture are given. See likewise Sandrart Acad. PicturÆ, p. 101.
[53] Peignot Recherches, xxxvii-xxxix.
[54] Urtisii epitom. Hist. Basiliensis, 1522, 8vo.
[55] Peignot Recherches, xxvi-xxix.
[56] Travels, i. 376.
[57] Travels, i. 138, edit. 4to.
[58] Heinecken Dictionn. des Artistes, iii. 67, et iv. 595. He follows Keysler’s error respecting Hans Bock.
[59] Peintre graveur, ix. 398.
[60] Essai sur l’Orig. de la Gravure, i. 120.
[61] Heinecken Dictionn. des Artistes, i. 222.
[62] Recherches, &c. p. 71.
[63] Heller Geschiche der holtzchein kunst. Bamberg, 1823, 12mo. p. 126.
[64] Basle Guide Book.
[65] Recherches, 11 et seq.
[66] More on the subject of the Lubeck Dance of Death may be found in 1. An anonymous work, which has on the last leaf, “Dodendantz, anno domini MCCCCXCVI. Lubeck.” 2. “De Dodendantz fan Kaspar Scheit, na der utgave fan, 1558, unde de Lubecker fan, 1463.” This is a poem of four sheets in small 8vo. without mention of the place where printed. 3. Some account of this painting by Ludwig Suhl. Lubeck, 1783, 4to. 4. A poem, in rhyme, with wood-cuts, on 34 leaves, in 8vo. It is fully described from the Helms. library in Brun’s Beitrage zu krit. Bearb. alter handschr. p. 321 et seq. 5. Jacob À Mellen Grundliche Nachbricht von Lubeck, 1713, 8vo. p. 84. 6. Schlott Lubikischers Todtentantz. 1701. 8vo. 7. Berkenmeyer, le curieux antiquaire, 8vo. p. 530; and, 8. Nugent’s Travels, i. 102. 8vo.
[67] Biblioth. Med. et inf. Ætat. v. 2.
[68] Travels, i. 195.
[69] Recherches, xlii.
[70] Pilkington’s Dict. of Painters, p. 307, edit. Fuseli, who probably follows Fuesli’s work on the Painters. Merian, Topogr. HelvetiÆ.
[71] Peignot Recherches, xlv. xlvi.
[72] Rivoire descr. de l’Église cathÉdrale d’Amiens. Amiens, 1806. 8vo.
[73] Recherches, xlvii.
[74] Recherches, xlviii.
[75] Recherches sur les antiquitÉs de Vienne. 1659. 12mo, p. 15.
[76] Dr. Cogan’s Tour to the Rhine, ii. 127.
[77] Travels, iii. 328, edit. 4to.
[78] Survay of London, p. 615, edit. 1618, 4to.
[79] In Tottel’s edition these verses are accompanied with a single wood-cut of Death leading up all ranks of mortals. This was afterwards copied by Hollar, as to general design, in Dugdale’s St. Paul’s, and in the Monasticon.
[80] Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the remembrance of Death, has these words: “But if we not only here this word Death, but also let sink into our heartes, the very fantasye and depe imaginacion thereof, we shall parceive therby that we wer never so gretly moved by the beholding of the Daunce of Death pictured in Poules, as we shal fele ourself stered and altered by the feling of that imaginacion in our hertes. And no marvell. For those pictures expresse only ye lothely figure of our dead bony bodies, biten away ye flesh,” &c.—Works, p. 77, edit. 1557, folio.
[81] Heylin’s Hist. of the Reformation, p. 73.
[82] Cotton MS. Vesp. A. xxv. fo. 181.
[83] Leland’s Itin. vol. iv. part i. p. 69.—Meas. for Meas. Act iii. sc. 1.
[84] Hutchinson’s Northumberland, i. 98.
[85] Warton’s H. E. Poetry, ii. 43, edit. 8vo.
[86] And see a portion of Orgagna’s painting at the Campo Santo at Pisa, mentioned before in p. 33.
[87] From the Author’s own inspection.
[88] Recherches, p. 144, and see Catal. La Valliere, No. 295.
[89] Herbert’s typogr. antiq. p. 888.
[90] TraitÉ hist. de la gravure en bois, i. 182, 336.
[91] Letters containing an account of what seemed most remarkable in Switzerland, Italy, &c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.
[92] Travels through Germany, &c. i. 138, edit. 4to.
[93] Relations historiques et curieuses de voyages en Allemagne, &c. Amst. 1695, 12mo. p. 124.
[94] See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.
[95] Remarks on several parts of Europe, 1738, vol. ii. p. 72.
[96] Peignot places the dance of peasants in the fish-market of Basle, as other writers had the Dance of Death. Recherches, p. 15.
[97] Manuel de l’Amateur d’estampes, ii. 131.
[98] Manuel des curieux, &c. i. 156.
[99] Some give it to the AbbÉ Baverel.
[100] Lib. ult. p. 86.
[101] The dedicator has apparently in this place been guilty of a strange misconception. The Death is not sucking the wine from the cask, but in the act of untwisting the fastening to one of the hoops. Nor is the carman crushed beneath the wheels: on the contrary, he is represented as standing upright and wringing his hands in despair at what he beholds. It is true that this cut was not then completed, and might have undergone some subsequent alteration. He likewise speaks of the rainbow in the cut of the Last Judgment, as being at that time unfinished, which, however, is introduced in this first edition.
[102] It would be of some importance if the date of Lutzenberger’s death could be ascertained.
[103] “An enquiry into the origin and early history of Engraving,” 1816, 4to. vol. ii. p. 759.
[104] “An Enquiry,” &c. ii. 762.
[105] The few engravings by or after Holbein that have his name or its initials are to be found in his early frontispieces or vignettes to books printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in Cranmer’s Catechism. In the title-page to “a lytle treatise after the maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius, &c.” Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same style of art of Christ attended by his disciples, and pointing to a fugitive monk, whose sheep are scattered, and some devoured by a wolf. Above and below are the words “John x. Ezech. xxxiiii. Mich. v. I am the good shepehearde. A good shepehearde geveth his lyfe for the shype. The hyred servaunt flyeth, because he is an hered servaunt, and careth not for the shepe.” On the cut at bottom HANS HOLBEIN. There is a fourth cut of this kind in the British Museum collection with Christ brought before Pilate; and perhaps Holbein might have intended a series of small engravings for the New Testament; but all these are in a simple outline and very different from the cuts in the Dance of Death, or Lyons Bible. It might be difficult to refer to any other engravings belonging to Holbein after the above year.
[106] Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where the letter from De Mechel is given.
[107] Essai sur l’origine de la gravure, &c. tom. i. p. 260.
[108] Id. p. 261.
[109] Dict. de monogrammes, &c. tom. i. pp. 418, 499.
[110] Enciclop. metod. par ii. vol. vii. p. 16.
[111] Enciclop. metod. par. i. vol. x. p. 467.
[112] All the above prints are in the author’s possession, except No. 7, and his copy of No. 5 has not the tablets with the name, &c.
[113] Edit. Javigny, iv. 559.
[114] This edition is given on the authority of Peignot, p. 62, but has not been seen by the author of this work. In the year 1547, there were three editions, and it is not improbable that, by the transposition of the two last figures, one of these might have been intended.
[115] Foppen’s Biblioth. Belgica, i. 363.
[116] That of 1557 has a frontispiece with Death pointing to his hour-glass when addressing a German soldier.
[117] Tom. i. p. 238, 525.
[118] Dict. de Monogrammes, col. 528.
[119] Biblioth. Belgica, i. 92.
[120] See p. 40.
[121] This is the same subject as that in the Augustan monastery described in p. 48.
[122] See p. 34.
[123] It has been stated that they were in the Arundelian collection whence they passed into the Netherlands, where forty-six of them became the property of Jan Bockhorst the painter, commonly called Long John. See Crozat’s catalogue.
[124] On the same dedication are founded the opinions of Zani, De Murr, Meintel, and some others.
[125] Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.
[126] P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.
[127] NugÆ, lib. vi. carm. 12.
[128] Baldinucci notizie d’É professori del disegno, tom. iii. p. 317, 4to. edit. where the inscription on it is given.
[129] Norfolk MS. 97, now in the Brit. Museum.
[130] Harl. MS. 4718.
[131] Acad. Pictur. 239.
[132] Strype’s Annals, I. 272, where the curious dialogue that ensued on the occasion is preserved.
[133] Catal. de la bibliothÈque du Roi. II. 153.
[134] These initial letters have already been mentioned in p. 101-102. The elegant initials in Dr. Henderson’s excellent work on modern wines, and those in Dr. Nott’s Bristol edition of Decker’s Gull’s horn-book, should not pass unnoticed on this occasion.
[135] See before in p. 97.
[136] Zani saw this alphabet at Dresden, and ascribes it likewise to Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.
[137] See before, in p. 46.
[138] Biblioth. Franc. tom. x. p. 436.
[139] Sandrart Acad. Pict. p. 241.
[140] Obs. on Spenser, II. 117, 118, 119.
