K ^ 3-+ 
 
 BOUGHT WITH THE INCOME 
 FROM THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 1S91 
 
 3 .■zi.'x^.ff 67^7. 
 
 y.37.^£ 
 
 .9963 
 
The date shows when this volume was taken. 
 
 HOME USE RULES. 
 
 JAN 7 1954 HV 
 
 All Books subject to Recall. 
 
 Books not used for 
 instruction or research 
 are returnable within 
 
 1 1. i Vl^ r-. , . . --.s^ 4 weeks. 
 
 I N r E h:' I I '^ri>^ Y L ®)»»Wes of periodi- 
 cals and of pamphlets 
 are held in the library 
 
 ; as , much as possible. 
 For special purposes 
 re given out for 
 , a limited time. 
 
 0&|-*He§?^nofre^Teir '^^ 
 privileges for the bene- 
 fit of other persons. 
 
 Books not needed 
 during recess periods 
 should be returned to 
 the library, or arrange- 
 ments made for their 
 ^ return during borrow- 
 
 er's absence, if wanted. 
 
 Books • needed by 
 more than one person 
 are held on the reserve 
 list. 
 
 Books of special 
 value and gift books, 
 when the giver wishes 
 it, are not allowed to 
 circulate. 
 
 K^eaders are asked 
 to report all cases of 
 books marked or muti- 
 lated. 
 
 Do not deface books by marks and writing. 
 
 Cornell University Library 
 Z1023 .K93 
 + 
 Early Florentine woodcuts : witti an anno 
 
 3 1924 029 555 574 
 olln Overs 
 
X 
 
 ?^/ 
 
 Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924029555574 
 
EARLY FLORENTINK WOODCUTS. 
 
*** '7"/'/-r edition is striBly linnted to 
 T'hree Hundred copies, of which 
 this IS No. °< « ' C^ 
 
EARLY FLORENTINE 
 WOODCUTS. 
 
 WITH AN ANNOTATED LIST OF 
 
 FLORENTINE ILLUSTRATED 
 
 BOOKS. 
 
 By PAUL KRISTELLER. 
 
 LONDON : 
 
 KEGAN PAUL, TRENCH, TRUBNER, AND CO. 
 
 MDCCCXCVII. 
 
t>2) 
 
 H 
 
 0^ 
 
 ^AV DWI D 
 
 CHISWICK PRESS : — CHARLES WHITTINCHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
PREFACE. 
 
 !HE list of Florentine illustrated books 
 printed between 1490 and the middle of 
 the sixteenth century, which forms a 
 principal part of this work, contains indi- 
 cations of all the Florentine books with 
 woodcuts which I have been able to examine per- 
 sonally in the libraries the names of which are given 
 at the beginning of it. The list is necessarily incom- 
 plete and defeftive, not only because I could not visit 
 all the libraries which contain Florentine books with 
 woodcuts, and because it would be difficult, indeed, 
 to avoid errors in the course of studying such a large 
 number of books in different places, but also because I 
 have found researches of this kind almost impossible in 
 many libraries. The Bibliotheque Nationale in Paris, 
 and most of the other French libraries, do not put cata- 
 logues of their books at the disposal of the public. Yet 
 a colledlion of books without the help of a catalogue is 
 useless to the student and seems to me hardly to merit 
 the name of a library. But I must complain also, as 
 I think it a duty, that in that library in which I 
 expedled to find the largest part of my materials, and 
 which, as " National " and as " Florentine," was more 
 especially bound to facilitate my researches on Floren- 
 tine art, I experienced — in despite of a special recom- 
 mendation from His Excellency the Italian Minister of 
 Public Instru6lion and of my repeated personal repre- 
 sentations — all the difficulties which bureaucracy is able 
 to throw in the way of a student's work. I am 
 
 v 
 
far from intending to put this forward as an excuse for all 
 the many errors which my monograph may contain, but 
 of course many of them I could easily have avoided if a 
 more liberal admission to the use of this library had 
 allowed me to compare different books and editions with 
 each other — a comparison which was made impossible 
 by the refusal to allow me to use more than three books 
 at the same time. I think the objedt of a public library 
 must be something different from this niggardly treat- 
 ment of those who use it, and for the sake of other 
 students I bring this charge against the administration 
 of the National Library at Florence. 
 
 On the other hand, I am very glad to have here the 
 opportunity of thanking the many librarians who have 
 had the kindness to aid my studies in different ways, 
 and especially I am pleased to thank the private posses- 
 sors of libraries for their liberal permission to study their 
 treasures and to take photographs of engravings. 
 
 For several reasons, fully set forth in the Introdu6lion, 
 it was not possible to arrange the list of books in an his- 
 torical or chronological series, and in default of this I 
 have followed the alphabetical order of the names of the 
 authors, or, where the author is not known, of the 
 principal person or subje6l named in the title in their 
 Italian form. Some novels — storie, canzoni, etc. — 
 which have no distindtive title, are arranged under the 
 words " novella, storia," etc. The rappresentazioni are 
 described always under the name of the saint, even when 
 we know the author of the play, since his name is gene- 
 rally given only in a few editions. In the middle of the 
 sixteenth century the Giunta published several volumes 
 of these rappresentazioni, with title-pages, indexes of the 
 plays contained in the volume, and a special lettering or 
 signature (A a, B b, etc.) affixed to each play. The objedl 
 of these volumes was to bring together editions of the 
 plays represented in preceding years, but it is quite 
 clear that these editions were for the most part the work 
 of other printers and publishers, and had been issued 
 separately at various dates, without any view to their being 
 
 VI 
 
colledled in a volume. This is shown by the fad: that 
 in many copies of these plays the signatures are want- 
 ing, and therefore must have been added only when 
 they were afterwards collefted in volumes. Generally 
 we find the editions of the rappresentazioni disunited, 
 and it is only from the signatures, always indicated in 
 our list, that we can guess that they have made part of 
 a volume. Two of these volumes with titles are pre- 
 served in the Museo Poldi-Pezzoli in Milan. They 
 were put on sale by the Giunta, and have titles of the 
 years 1555 and 1560.' But from the many different 
 signatures we can conclude that there must have existed 
 many other such colledlions. 
 
 The principal objeft of my book being the study 
 of the engravings, I have been obliged to limit my 
 attention to books which I could examine myself. I 
 preferred, as a rule, to avoid all quotations from the 
 bibliographies, whose indications as to these extremely 
 rare Florentine books are very inexadt and of little 
 use for the student of the illustrations. Of the books 
 with woodcuts issued up to about 1520 I have cited 
 all which I have been able to find ; of the later ones, 
 only those which contain cuts of the early style, or 
 which are reprints of earlier books. The original 
 engravings in books from the second quarter of the 
 sixteenth century show a style which is not in any 
 
 The title of the first volume runs (fol. 1°): 
 
 ET FESTE I di diuersi 
 
 M.D.L.V. 
 
 IL I PRIMO LIBRO | DI RAPPRESENTATIONI 
 
 santi e sante ... in firenze 
 
 2" : Lo stampatore ai lettori. ... 3° : Tavola della Opera. 
 
 Signatures A — Z, A A — P P. End. In Firenze nella Stamperia dei 
 Giunti. MD.LV. 
 
 Second volume : 1" : il secondo | libro di feste et | rappresen- 
 TATiONi I Di diuersi Santi e Sante ... in firenze | mdlx. 
 
 Signatures A a— Z z, A A A— K K K. 
 
 In the first volume of the rappresentazioni of the Poldi-Pezzoli 
 Museum there is to be found the title-page of a third volume : 
 
 IL TERZO LIBRO | DI FESTE, | RAPPRESENTATIONI, | Et Comedie 
 
 Spirituali | di diuersi Santi, e Sante. ... In Firenze 1578. 
 In another miscellanea volume of the same colleftion there is united a 
 title-page of a volume of 1 560 and another of a volume of 1 59 1 . 
 
 VII 
 
special manner Florentine, but is common to the whole 
 of Italy. 
 
 For bibliographical description, as a rule, there have 
 been given only such indications as are necessary to 
 identify a print or edition with one of those described in 
 the list. Thus a detailed description is given only of 
 books without date and place or printer's name, or not 
 exaftly cited in Hain's " Repertorium." For books with 
 date and name of printer, or for those fully described 
 by bibliographers, a summary note has been judged 
 sufficient. 
 
 In the case of the early editions I have given notes of 
 all the engravings. Whenever it could be ascertained, 
 cuts are described under the title of the book for which 
 they were originally made ; if not, under that in which 
 they occur for the first time. In later books a note is 
 given as to from which earlier one they are borrowed. 
 Of cuts in later editions detailed indications are given 
 only when they are not to be found in earlier books or 
 editions ; when the cuts are important it is indicated 
 from which books they are taken, but of poor or rude 
 cuts there is only a summary note. 
 
 If not indicated otherwise all the books are known to 
 be printed in Florence, because either this city itself, or 
 a Florentine printer, is named in the colophon, or repre- 
 sented by a printer's mark. When there is no inform- 
 ation in the books, as in those published sine loco et anno 
 (s.l.e.a.), they are ascribed to Florence on account of the 
 style of the engravings. 
 
 If not otherwise stated all the books are in 4°. 
 
 I desire to acknowledge, on behalf both of myself and 
 the publishers, the special kindness of Dr. Hermann Varn- 
 hagen in having lent more than twenty " zincos " made 
 for his important publication, " Uber eine Sammlung 
 alter italienischer Drucke der Erlanger Universitats- 
 bibliothek " (Erlangen, 1892). About a dozen others 
 have been obtained from other sources, and the rest, 
 over a hundred and fifty in number, are from my 
 own photographs, or from negatives specially taken 
 
 VIII 
 
from books in the British Museum. Part of my Intro- 
 duftion, with some of these illustrations, was first 
 printed in " Bibliographica," vol. ii. ; but the whole of 
 the list of books, and the great majority of the illustra- 
 tions, appear here for the first time. 
 
 Of books, besides Dr. Varnhagen's, which have been 
 of special use for my study, I may cite : 
 
 Dr. Friedrich Lippmann, "History of Italian Wood- 
 Engraving." London : Quaritch, 1888. 
 
 Delaborde, " Histoire de la gravure en Italic avant 
 Marcantoine." 
 
 A. W. Pollard, " Early Illustrated Books." (" Books 
 about Books.") London, 1893. 
 
 A. W. Pollard, ♦' Italian Book-Illustration " (" Port- 
 folio " Monographs, December, 1894). 
 
 Alessandro d'Ancona, " Rappresentazioni dei secoli 
 XIV., XV. e XVI." Firenze, 1872. 
 
 Milchsack e d'Ancona, " Due Farse del sec. XVI." 
 Bologna, 1882. 
 
 CoLOMB DE Batines, " Bibliografia delle antiche 
 rappresentazioni italiane sacre e profane stampate nei 
 secoli XV. e XVI." Firenze, 1852. 
 
 Passano, Gio. Batt., " I novellieri italiani in verso." 
 Bologna, 1868. 
 
 Passano, Gio. Batt., " I novellieri italiani in prosa." 
 2nd ed. Torino, 1878. 
 
 Gruyer, Gust., " Les illustrations des ecrits de J. 
 Savonarole." Paris, 1879. 
 
 Also the Catalogues of the Fisher, Huth, and Spencer 
 libraries, and of the Colleftions Libri (1859), Destail- 
 leur, and Maglione. 
 
 References to my own " Italienische Buchdrucker- 
 zeichen bis 1525" (Strassburg, Heitz, 1893) are marked 
 "It. Pr. M." 
 
 Note to page xl of the Introduction : In the Museo Correr in Venice 
 there is an edition of 1520 of the "Libro d'Abacco " with the same 
 cuts as in the later editions. 
 
 Paul Kristeller. 
 
 a* IX 
 
EARLY FLORENTINE WOODCUTS. 
 
 ^T is only from the time at which woodcuts 
 in Italy begin to be used as illustrations in 
 printed books, that we are able to follow 
 the development in that country of the art 
 of wood-engraving, so interesting not only 
 for its own sake, but for the insight which it gives us 
 into the minds and the hearts of the people who loved it. 
 The earlier monuments of Italian xylography are too 
 few, too dispersed and too little known, to enable us, 
 limited as we are in our study solely to the evidence of 
 style, to arrange them in a continuous chronological 
 series, or to assign any certain date, or precise local 
 origin either to the single cuts or to the groups into 
 which some of them fall. Solely because they show 
 great rudeness in their technical execution, single-leaf 
 woodcuts have been assigned by most writers to far too 
 early dates. From the few examples which have been 
 proved really to belong to the first period of Italian 
 xylography, we can confidently assert that rudeness 
 cannot be considered as proving the great age of an 
 engraving, but that on the contrary it sometimes shows 
 only the degeneration of technique. The oldest ex- 
 amples of a technical style are often also artistically 
 the most important, since a new style of working 
 attracts to itself men of real artistic individuality, after- 
 wards degenerating when it falls into the hands of mere 
 craftsmen. This is especially true in the case of Italy. 
 Thus both in Venice and in Florence the earliest book- 
 
 i b 
 
illustrations are the most important; thus, again, the 
 early art of copper-engraving degenerates in the hands 
 of the pupils of Mantegna and Pollaiolo, and in the 
 same way the art of etching after the first essays of 
 Parmigianino and Guido Reni. 
 
 We have to bear in mind also, that an art or 
 technique has not always a single continuous develop- 
 ment, but often branches off into different styles, each 
 of which has its rise and its decline, and is perhaps 
 still slowly waning, when another new manner has 
 already shown itself on the horizon. 
 
 When first adopted for the illustration of printed 
 books in the last decades of the fifteenth century, the 
 art of wood-engraving, on the one hand by the fresh- 
 ness and originality of its artistic feeling and by the 
 simplicity of its methods, on the other by the great 
 technical skill with which it was used, manifests itself 
 as the revival of an ancient technique. We know also 
 as a fa6t, from documents, that xylography had been 
 exercised throughout Italy at least since -the beginning 
 of the fifteenth century. A very important document 
 of the year 1441 tells us that the Venetian Senate, on 
 the demand of the woodcutters of the city, forbade the 
 importation from abroad of printed playing-cards and 
 images of saints, in order to prote6t the trade of the 
 wood-engravers, which was already old enough to be 
 experiencing a depression.' We may thus be sure that 
 as early as the beginning of the fifteenth century 
 xylography must have been a common craft at Venice, 
 and we can guess that this was the case also in other 
 parts of Italy from a declaration made in the year 1430 
 before the tax-office at Florence, by an artist who 
 states that he is the proprietor of many wood-blocks for 
 the printing of playing-cards and images of saints, 
 useful to him in his profession.^ 
 
 ' Bottari, " Lettere pittoriche," v., pp. 321 and 484 ; Passavant, 
 " Peintre-Graveur," i., p. 11. 
 
 " Archivio di Stato di Firenze, Dichiarazione agli ufficiali del catasto, 
 Gonfalone Nicchio (fol. 315") anno 1430, Sustanza di Antonio di 
 
 ii 
 
Unhappily, of all the many produ6tions of the art of 
 wood-engraving of which these documents give evidence, 
 there have been preserved but a very small number of 
 single-leaf woodcuts, and even these few can only be 
 conje6lurally assigned to any date or country. 
 
 In the R. Archivio di Stato in Rome there are some 
 fragments of playing-cards, found in a cover of a 
 register of 1465, which must be supposed contemporary 
 with the documents the binding contains. In the year 
 1465, therefore, these fragments, the waste from some 
 woodcutter's shop, were used for the fabrication of the 
 cover, and the cuts must be naturally earlier than this 
 date.^ Though in the most fragmentary condition, 
 these cuts can still be recognized as belonging technic- 
 ally to a group of cuts found in books of the Biblioteca 
 Classense in Ravenna,'^ and now exhibited there. A 
 number of these Ravenna cuts, though very different in 
 the care with which they have been executed, show in 
 drawing and engraving the same style as the cuts at 
 Rome. Two very rude cuts, both representing the 
 martyrdom of the Beato Simone of Trient (1475), pre- 
 served in the Biblioteca Angelica at Rome, have a 
 similar charadler. In every respedl the most important 
 cut of this style is the fine engraving of the Crucifixion, 
 found two years ago in the Palazzo Municipale at 
 
 Giovanni di ser Francesco. "Truovomj tante forme da naibj e da 
 santi di lengname chonche 1 formo Inaibj e fo larte mia ealtre al 
 mestiero di far naibj che vagliono ff (fiorini) 20." Milanesi (" L'Art," 
 1884, i., p. 72) has quoted the form of the document not quite exaftly, 
 for this reason I repeat it here. 
 
 ^ See "Jahrbuch der Kgl. Preuss. Kunstsammlungen," 1892, 
 Heft IV. (with reproductions). It is possible that Dr. Goldschmidt 
 of the Berlin University may be right in his supposition, which he 
 kindly communicated to me, that the inscription on the ace of the 
 " bastoni " is copied, rudely and so unintelligently that the words are 
 reversed in the impression, from the inscription of a German card, 
 " Sant Beaten lat us ok aten " (" S. Beata let us also get a trump," in 
 Low German dialed). In this case the Italian woodcutter must have 
 greatly changed the style of the originals. 
 
 " See Max Lehrs, "Archivio storico dell' Arte," 1888 (i.), p. 4441 
 Hirth und Muther, " Meisterholzschnitte aus vier Jahrhunderten," 
 Miinchen, 1893, Taf 35 and 36. 
 
 iii 
 
Prato.' The artistic resemblance of this woodcut to the 
 pidures of the Tuscan School cannot be overlooked, 
 but different observations lead us to suppose that these 
 cuts nevertheless were originated, not by Florentine, but 
 by Venetian artists. Whilst we can trace no relation 
 between these cuts and any Florentine engravings, not 
 only do we find in a book printed at Venice in 1487, 
 the " Meditazioni " of S. Bonaventura,^ a series of cuts, 
 in all probability of earlier date than the book, which 
 may be assigned to the same artist who executed the large 
 Crucifixion now at Prato, but we can also trace very 
 easily the further development of the manner of engraving 
 in books printed at Venice Muring the ten or twelve years 
 from 1480 onwards. Again, the artistic style of these 
 cuts stands in distind relation to contemporary Venetian 
 art, while such Florentine elements as can be found in 
 them may be explained by the influence which the 
 Florentine artists, such as Filippo Lippi, Paolo Uccello, 
 and Donatello, who were working in Venetian territory 
 about 1450, exercised on the artists of Venice. All 
 these reasons may confirm our belief that these single- 
 leaf woodcuts are to be attributed to a Venetian rather 
 than a Tuscan origin. 
 
 While it is thus possible to form some idea of the 
 development of the early Venetian wood-engraving, for 
 the study of this art in Florence, the subjeft of the present 
 book, we are entirely limited to the cuts used for book- 
 illustration. No earlier cuts have yet come to our notice, 
 and if any are hereafter to be found we must look for 
 them not among the cuts in the style of the Crucifixion 
 
 ^ See " Le Gallerie Nazionali Italiane. Per Cura del Ministero di 
 P. Istruzione," vol. ii., Roma, 1896, p. 184 and tav. xviii. 
 
 ^ See " Archivio storico dell' Arte," 1892 (v.), p. 104 (with reprod.). 
 Other copies of this important book, not known to me when I wrote 
 that paper, are in the libraries of Modena and Ferrara. 
 
 ' See the woodcuts in Cherubino da Spoleto's " Spiritualis vitae 
 compendiosa regula" (s.a. Venezia) ; Rivoli, "Livres a figures venitiens," 
 p. 73 (reproduced in "Arch. Stor. dell' Arte," 1892 (v.), p. loi), in the 
 "Fior di Virtu," printed at Brescia by B. Farfengo in 1491, a copy of 
 which is in the possession of Mr. Fairfax Murray and in the Brescia 
 " iEsop " of 1487 (Brit. Mus.). 
 
 iv 
 
at Prato and the other similar works mentioned above, 
 but among those, if such should come to light, which in 
 style and technique resemble three woodcuts, one of 
 which is found in use in a Florentine book of the year 
 1490. 
 
 These cuts have to be considered as the earliest 
 Florentine book-illustrations, not only because already in 
 the year 1490, the earliest date at which we have 
 Florentine books with cuts, one of them is printed in a 
 very damaged state, which proves that the block must 
 have been for some time in use, but also because alike 
 in their technical execution, their size, and the pattern 
 of the ornamental border, they differ entirely from all 
 other Florentine book-illustrations. And for this reason 
 they are mentioned in this place. 
 
 One of these interesting cuts ^ has been noticed already 
 by Dr. Lippmann ^ and by Mr. Pollard^ (see cut 2), but 
 there are two others of the same style. One of them 
 represents Christ in the sarcophagus with two angels, and 
 appears in Savonarola's " Trattato dell' umilita" (1492, 
 Miscomini, see cut 3), the other shows St. Francis 
 receiving the stigmata, and is used only in 1509 in 
 Bonaventura's " Legenda aurea maior beati Francisci " 
 (Filippo Giunta, see cut 4). The style of the drawing 
 is distinctly Florentine, as we may see in the pifture of 
 the Crucifixion, not only in the charadter of the city 
 in the background, but in the manner of composition 
 and in the style of the draperies, which are quite 
 typical of the Florentine art of the first half of the 
 fifteenth century. The execution of the cuts is too 
 skilful for us to regard them as the occasional work 
 
 ^ This represents Christ on the cross with Mary and St. John. It 
 is found in Cavalca's "Specchio di Croce " (March 27, 1490, Francesco 
 diDino); in Savonarola's "Trattato dell' Amore di Gesu " (1492, 
 Miscomini) ; and in Savonarola's " Trattato del Sacramento delJa 
 messa " (s.a.). 
 
 ^ Dr. Friedrich Lippmann, "History of Italian Wood Engraving," 
 London, Quaritch, 1888, p. 24. 
 
 ' Alfred W. Pollard, " Italian Book-Illustrations " (" Portfolio," 
 Monographs on artistic subjedls), No. 12, December, 1894, p. 55. 
 
of an unpradlised wood-cutter. In all probability they 
 represent the remnants of an earlier style of Floren- 
 tine engraving, used formerly for other purposes, and 
 adopted at this time in some of the earliest Florentine 
 illustrated books. 
 
 The very few single-leaf cuts which may be attributed 
 with certainty to the Florentine school are of no very early 
 date. One of them, preserved in the Berlin Print Room, 
 is a fine representation of St. John the Evangelist stand- 
 ing under an archway in the midst of the seven sym- 
 bolical candlesticks, with his eagle on a book, holding a 
 chalice with the dragon. It is a very interesting clean 
 cut with few hatchings, full of sentiment and character, 
 and corresponding perfectly with the forms of Florentine 
 art. While in this cut there is no resemblance in tech- 
 nique to Florentine woodcuts, either early or late, 
 another large single-leaf cut, representing the Last 
 Judgment (formerly in the possession of the late Cav. 
 Gio. Batt. Venturi in Reggio d'Emilia) is certainly to 
 be recognized as a rather rude and angular copy of a 
 Florentine cut of the end of the fifteenth century, of 
 which there has not been preserved any impression, but 
 which must have been executed by one of the wood- 
 cutters of that group of the earliest Florentine book- 
 illustrations which we shall soon characterize as the 
 early grave style. 
 
 I should not venture to date with anything like the 
 same certainty the two interesting cuts in the Print 
 Room at Paris, one representing Tobit and the Angel, 
 reproduced by Delaborde,^ as a very early specimen of 
 Florentine wood-engraving, the other of St. Jerome, re- 
 produced in W. L. Schreiber's " Manuel de I'Amateur " 
 (Berlin, 1893), vol. vi., table xxvi. The drawing, 
 indeed, has quite the chara6ler of Quattro-cento art, but 
 
 1 "Histoire de la gravure avant Marcantoine," p. 207. The en- 
 graving, a child sleeping on a death's head, reproduced by Delaborde 
 (p. 203), and by Hirth and Muther, " Meisterholzschnitte aus vier Jahr- 
 hunderten" (Munich, Hirth, 1893, Taf, 31), is not Florentine, but a 
 Venetian work of about 1500. 
 
 vi 
 
in the technical execution both cuts seem to me rather 
 very late than very early works. In a late edition of 
 the " Rappresentazione della Risurrezione " (see No. 
 1 79 c, about 1 5 50) , we meet with two cuts, Christ bearing 
 the Cross, and the Resurreftion, of a very similar style. 
 The S. Margaret, in the " Rappresentazione del Re 
 Superbo" (s.a. Firenze, Badia, No. 354 d, ii.), shows many 
 analogies. It is impossible to fix the date at which these 
 cuts may have been executed, but I think the style of 
 the engraving, with the long, uniform, thin hatching, 
 can hardly be considered very early. 
 
 Two other single-leaf cuts agree perfe6lly with the 
 styles found in Florentine book-illustrations about 1 500. 
 The first of these, a Madonna with the Holy Child and 
 the little St. John, preserved in the Print Room at 
 Hamburg,^ is quite in the manner of the cuts of the fine 
 thin-lined style (see cuts 126 following). The second, 
 now in the Print Room at Paris, representing the 
 Nativity and with some lines of text, is a very fine 
 specimen of that group of cuts which are characterized 
 by the soft and round manner of the technique (see 
 cuts 172 following). 
 
 From this survey of the Florentine single-leaf cuts, 
 we see clearly that the principal subject of any treatise 
 on Florentine wood-engraving must be sought for in the 
 book-illustrations to which we will now turn our 
 attention. 
 
 II. 
 
 As the painted vases of ancient Greece reflefted the 
 splendour of Greek art as shown in its sculptured 
 monuments, proving that a fine artistic taste had pene- 
 trated the whole nation, so in modern times the Italian 
 illustrated books of the Quattro-cento show us how in 
 
 * See reproduftion in Lippmann's " History of Italian Wood En- 
 graving," p. 37, and Hirth-Muther, " Meisterholzschnitte," Taf. 22, 23. 
 " Reproduced in Hirth-Muther, " Meisterholzschnitte," Taf. 42. 
 
 vii 
 
this golden age a fine artistic feeling was not the 
 privilege of a few persons only, but was common to all 
 but the very lowest. 
 
 Book-illustration, more than any other branch of 
 industrial art, is charaderistic of the taste of the people, 
 because the demand for it came from them, and it was 
 especially designed to catch their fancy. Here, then, 
 in the realm of popularized art, the taste of the people is 
 sovereign. 
 
 As the Athenian Lecythoi stand foremost amongst the 
 Greek vases, so amongst Italian book-illustrations stand 
 out the Florentine engravings used in books of the 
 Quattro-cento. Those relics of ancient Greek painting 
 owe their surpassing importance to the fad: that they 
 are all which remain to us to represent it, but the 
 beauty of the Florentine woodcuts is not, I think, less 
 attraftive because we may still enjoy the large frescoes 
 and other paintings of contemporary Florentine artists. 
 Never again, I am sure, has art, with all its refinements 
 of technique, reached in book-illustrations the same 
 pitch of artistic perfedlion which, with all their un- 
 pretentious simplicity, the best woodcuts in the Floren- 
 tine books of the Quattro-cento, the true " golden age " 
 of Italian art, never fail to exhibit. 
 
 Even in the first point we have to consider, the 
 class of books in which we may expe6l to find engrav- 
 ings, Florentine art shows its superiority over that of 
 the other Italian cities. In books printed at Florence 
 the use of woodcuts is almost exclusively confined to 
 popular poetical works and religious tra6ls. Florentine 
 printers of the fifteenth century had the good taste not 
 to adorn scientific or historical works with engravings 
 merely to attraft the public, a custom much abused by 
 printers of other towns and countries. In the " golden 
 age " Florentine printers possessed a refinement of feeling 
 which led them to a wise discrimination as to what 
 books might rightly have cuts and what not. In the 
 same way Florentine illustrated books of the best period 
 are distinguished by the economy with which cuts 
 
 viii 
 
were used. The original editions of the " Rappresenta- 
 zioni," of the Savonarola tra<5ls, or of popular poems, 
 have rarely more than one cut, that on the title-page, 
 but this is almost invariably expressly designed and care- 
 fully executed for the book, and is in artistic corre- 
 spondence with the size and form of the letterpress. It 
 was only at a later date, when the printers worked 
 solely to produce great numbers of books, when they 
 had at their disposal a large stock of earlier cuts, and 
 were content to produce mere copies or bad and cheap 
 novelties, that they began to overcrowd their books with 
 cuts of every kind and with unintelligently selected 
 copies. 
 
 We can easily observe what a serious matter the 
 question of book-illustration was to the great Florentine 
 printers. Only after a series of experiments did they 
 arrive at the system which they finally adopted — a system 
 which afterwards enjoyed so long a life. At first they 
 tried to make use of the fine technique of the copper- 
 engraving for the illustrations of printed books. Some 
 of these early books having copper-engravings, especially 
 the " Monte Santo di Dio" of Bettini (1477) and the 
 " Dante" (148 1), are celebrated enough. But apparently 
 the printers perceived not only that the difficulties of 
 inserting engravings into their book were too great, but 
 also that, for printed books, woodcuts, which are so 
 much more in harmony with the charafter of the type, 
 were the only proper means of illustration, whether 
 from an artistic or a technical point of view. A century 
 later, with the decline both of artistic taste and of the 
 art of xylography, copper-engravings again took the place 
 of woodcuts in printed books, but it is only in some of the 
 French illustrated poems and romances of the eighteenth 
 century that good taste, and this rather on the part of 
 the printer than of the engraver, has succeeded in 
 securing any real accordance between the type and the 
 plates. It is thus a true artistic instinft which has led 
 modern book-illustrators to return to the old fashion of 
 illustration, which, whether in the form of woodcuts 
 
 IX 
 
proper, or in some of the numerous methods of pro- 
 ducing the same effed by mechanical processes, once 
 more reigns supreme. But with all their technical 
 skill, even the best European and American wood- 
 engravers, although producing works of considerable 
 intrinsic artistic merit, have never succeeded in uniting 
 illustrations and letterpress in one artistic whole. The 
 old book-illustrators adopted for their purpose a distinct 
 style both in drawing and in execution ; modern artists 
 generally have tried to imitate the effe6ts of monu- 
 mental art or that of brush-work. The differences 
 are of the same kind as may be observed when we 
 compare old Italian " fayence " and modern painted 
 porcelain vases. 
 
 The good taste of the old book-illustrators told them 
 that for printed books simple outline drawing, light and 
 sketchy in execution, was more suitable than the heavy 
 and more minute work of the illuminated manuscript. 
 In Italian illustrated books we rarely find the woodcuts 
 coloured, nor can we trace any relation, either in design 
 or in execution, between woodcuts and the miniatures 
 of the same subjects in manuscripts. This is an im- 
 portant point, when we remember that the woodcuts in 
 printed books were the dired: successors of the illumina- 
 tions in manuscripts. 
 
 The secret of the charm in these old illustrations lies, 
 I think, not only in the simplicity of their execution, 
 but in the absence of pretension in the design. They 
 generalize the scene they had to represent as much as 
 possible ; they do not attempt minute portrayal of some 
 special event told in the text, but give only what is 
 essential to the main story. Here, then, the pi6lure is 
 no longer " the writing of those who could not read." 
 The reader knows all about the particular fa6l from the 
 text before him, he does not need it repeated in a 
 concrete form in order that he may understand it. The 
 woodcut therefore seeks, not to make an exadl repro- 
 du6tion of the scene told in the text, but to speak more 
 impressively to the religious feeling or to the imagina- 
 
tion of the reader than the words alone are able to do, 
 to lead his mind in a certain direftion, to stimulate his 
 imagination, not to bind or force it, as is the way with 
 modern illustrators. For this reason these woodcuts 
 could, without injuring the artistic impression, be used 
 for many similar scenes. 
 
 The Florentine artists of the fifteenth century have 
 been, — not by any conscious theory, but from pure 
 artistic feeling, — more successful in this point than any 
 other book-illustrators. We never, or only in extremely 
 rare instances, find in Florentine books inscriptions on 
 the cuts to enable us to identify the scene with the 
 special story of the text. Far from attempting this, 
 the Florentine artists endeavoured to make their cuts 
 into little pictures, each having an artistic value and 
 meaning of its own, well-rounded compositions, com- 
 plete in themselves, with backgrounds of landscape or 
 of architedlural interiors, calculated to give an impres- 
 sion of a perfeft picture. It is of special importance, as 
 bearing on this point, to note that nearly all Florentine 
 woodcuts are surrounded by a little border ; this border 
 is rarely to be found in other than Florentine work, and 
 when found elsewhere we notice that it is mostly used 
 only when the cuts serve as title-page ornaments. These 
 borders are so charafteristic of the Florentine wood- 
 cuts and form so intimate a part of them, that even 
 their variations are seen to follow similar variations in 
 the style of the cuts themselves. 
 
 We can hardly sufficiently admire the fine taste 
 by which the Florentine printers were guided in the 
 method of inserting these cuts in the printed text, 
 or in placing them on the title-page, thus securing 
 that the proportions of the cuts should be exaftly 
 suited to the type, and that the letterpress should 
 be arranged around them in an artistic manner. 
 
 The size of most of the cuts is about 70 by 100 
 millimetres (or vice versa), a proportion which is 
 very harmonious and well adapted to the size of the" 
 printed text, mostly a small quarto. In Florentine 
 
 xi 
 
books the cuts never break into the text perpen- 
 dicularly, as do the little cuts in many Venetian 
 books, but run the whole breadth of the letterpress. 
 We can cite but one important exception to this rule, the 
 " Epistole et Evangeli " of 1495, but it has to be noticed 
 that here the cuts are placed only at the beginning 
 of each chapter and side by side with each is placed 
 another little cut with the bust of an apostle, or 
 prophet, to fill up the space. 
 
 As a special group, showing in a very marked 
 manner all the charafteristics of Florentine book- 
 illustration, we may cite the " Rappresentazioni." 
 From the beginning of printing until the present 
 day, Florentine printers have been employed in their 
 produ6lion ; so that they may be traced through all 
 the vicissitudes of the printer's art in Florence. The 
 earliest editions of these trafts, which reproduce the 
 sacred plays represented on certain Saints' days, are 
 all undated and without cuts. The increasing demand 
 of the public for illustrated books induced the printers 
 to publish these little leaflets, consisting generally of 
 from four to six leaves, with the addition of woodcuts. 
 These illustrated editions of the last ten years of the 
 fifteenth century, all undated and without the names 
 of their publishers or printers, possess a classic beauty 
 and simplicity which have made them of late years 
 widely appreciated and sought for by amateurs. Like 
 most books of the time they have no title-page in our 
 modern sense of the word, but on the first page under 
 the title, consisting only of one or two lines printed in 
 the same type as the text, we see the figure of the 
 angel who announces the play, and under this cut 
 there is a second representing the saint of the play 
 in some charafteristic scene of his life. 
 
 Towards the turn of the century the printers some- 
 times illustrated the text with other cuts representing 
 different scenes in the life of the saint. Then they 
 began to use cuts from other plays or books and by 
 a rapid degeneration the text became overcrowded with 
 
 xn 
 
cuts of every description, some from old blocks, others 
 carelessly recut, and badly executed new ones. As late 
 as the seventeenth century, in the " Rappresentazioni " 
 we still meet with reprints and copies of the Quattro- 
 cento woodcuts ; fortunately these reprints are outside 
 the limits of this article. Of a considerable number of 
 " Rappresentazioni " we possess the original edition, 
 and these, of course, show us the original form and the 
 primitive design of the cuts. Where the original 
 editions (which in all cases are very rare) have not been 
 preserved, and the plays are known only in later 
 editions of the sixteenth century, the woodcuts in these 
 later editions show that earlier copies must have ex- 
 isted. Out of about eighty-five " Rappresentazioni," 
 most of which were reprinted many times, I know 
 about fifty in the original editions, and about thirty- 
 five in editions only of the middle of the sixteenth 
 century. These late editions of the " Rappresentazioni" 
 and other popular poems are of special importance for 
 our study because many early cuts survive only in 
 them, the books for which they were originally executed 
 having been lost, or at least not yet having come to 
 light. 
 
 To appreciate the artistic value of the Florentine 
 woodcuts, we must find the right point of view from 
 which to examine them. In the first place they serve 
 to adorn the printed text, to brighten the page by 
 breaking up the monotony of the letterpress, in books 
 designed not for study but for religious edification or 
 for amusement, and for the people, not for the refined 
 taste of the " Signori." The woodcut had to form 
 a point of repose for the eyes of the reader, where he 
 might stop and colleft his thoughts ; it was to a6t as a 
 help to his imagination to enable him to present to 
 himself in a concrete form the contents of the chapter 
 he was reading. 
 
 The woodcut therefore was not intended to have either 
 the finish or the artistic value of a pifture. Whilst 
 the Quattro-cento artist in general found his problem not 
 
 Xlll 
 
in the invention of new compositions but in the purely 
 artistic and formal elaboration of conventional types, the 
 designer of woodcuts sought to give effeftive, concise, 
 and telling representations of a variety of scenes for the 
 most part never attempted by the painters and sculptors. 
 The elaboration of single natural forms, the great prob- 
 lem of the Quattro-cento, could not be either intended 
 or attempted with the technique available to the wood- 
 cutter, nor within the limits of the space allotted to him ; 
 at least this could not form his chief objeft. In the 
 drawing of the single form, in detail, in the representa- 
 tion of movement, etc., the artists of our wood-engravings 
 for the most part are not independent, but follow the 
 conventional manner and traditions of the schools, de- 
 pidling nature as she had hitherto been depicted by the 
 great masters. But the skill and good taste which enable 
 them to use their knowledge in giving a clear and pre- 
 cise idea of the fafts represented in the scenes they 
 portray, is worthy of all admiration. As instances of 
 woodcuts in which the artists have undoubtedly borrowed 
 from older masters we may cite the cut in the " Epistole 
 et Evangeli," in which St. Thomas is represented feeling 
 the wounds of Christ, borrowed from the celebrated 
 group of Verrocchio in Or S. Michele in Florence 
 (see cut 84), and that of the decapitation of St. John, 
 copied from one of Pollaiolo's embroideries from the 
 Battistero in Florence. (See cut 82.) But even 
 in these instances the artist, though undoubtedly copy- 
 ing, succeeded in giving to these borrowed figures 
 the distinft touch of his own style, so that it needs 
 some skill to deteft their origin. But besides these 
 borrowed or conventional figures a great many of the 
 cuts reveal also quite a large number of figures, bits of 
 movement and composition which must be considered 
 the exclusive invention of the artist who designed them. 
 There were so many special points to be brought out, 
 to illustrate the special scene selefted, that the artist, no 
 doubt, had recourse to his own artistic fancy and powers 
 of observation. The designers in nearly every case 
 
 XIV 
 
showed themselves equal to their task and quite abreast 
 with the art of their time. 
 
 It may be useful if we again refer to examples. Thus 
 the design for the cut in the " Epistole et Evangeli," in 
 which the two apostles are hastening to the tomb of 
 Christ, must have been the work of a really fine artist. 
 One of the apostles has reached the tomb and with an 
 expression of astonishment perceives it is empty, the 
 other behind him is aware of the faft but must go and 
 see with his own eyes, and has not quite given himself 
 up to the surprise which is betrayed by the first. This 
 composition shows such originality of invention, and is 
 represented with such powerful artistic feeling, with 
 such dramatic simplicity and clearness of movement 
 and expression, that we may boldly call it a masterpiece 
 of art. (See cut 86.) 
 
 There is another cut which shows us Lucretia standing 
 proudly upright and driving the dagger into her breast 
 in the presence of her kinsmen, who with various ex- 
 pressions of terror are rising from their seats. The scene 
 is one of really great dramatic efFeft, heightened by the 
 vacant foreground, and even the fallen stool contributes to 
 give the impression of a sudden trouble. (See cut 62.) 
 
 As another characteristic example may be mentioned 
 the cut which represents the murder of Gian Galleazzo 
 Visconti. The different groups show minute observation 
 of nature and a great variety of dramatic motive. (See cut 
 63.) Or we may take again the scene, quite different 
 in character, but of special charm, in which two youths 
 and a boy are singing in a chapel before an image of the 
 Virgin, whilst some gallants are listening to them. 
 Through the open door we see across the street into a 
 tradesman's shop, where two men have stopped their 
 work to listen to the music, and the whole efFeft of 
 the little pidlure is that of a charming religious idyll. 
 (See cut 73.) 
 
 I cannot refrain from mentioning at least one other 
 cut of which the artistic value of the drawing is great. 
 It is a battle scene (from Pulci's " Morgante ") in which 
 
 XV 
 
we see a knight on horseback knocking down a giant 
 with his shield. The movement of the knight, as well 
 as of the horse (seen from behind in a complicated 
 movement), is given with a rare vivacity and truth and 
 should be noted as showing a very fine and artistic ob- 
 servation of nature (see cut 54). 
 
 We could instance quite a considerable number of 
 other cuts, all original and finished pieces of composi- 
 tion, of which we have given examples in our repro- 
 duftions from the " Rappresentazioni " and " Epistole " 
 to show that there is so much originality of motive, 
 such a wealth of imagination, so much spirit, vigour, 
 and sentiment in many of the groups or the single 
 figures, as must enable them always to hold a place in 
 the history of art. We should not forget that at the 
 time of which we are speaking, ways of looking at 
 Nature, which have now become commonplaces of art, 
 were then new, were in fa6l discoveries, possible only to 
 real artists. Our sense of this freshness of inspiration is 
 a distinft element in our enjoyment of art. To be 
 brought thus face to face with the first expression of an 
 artistic idea places us in personal contact with the artist, 
 and from our sympathy with his happiness in creation 
 we obtain a greater pleasure than from the technical 
 skill of the most successful imitators. 
 
 Though the character of the technique did not lend 
 itself to minute elaboration of single figures we still find 
 in the Florentine artists a special aptitude not only for 
 giving chara6ler to the figures by means of a few lines, 
 but also for making delicate and detailed drawings of 
 single parts of the whole, especially of the hands and feet. 
 Florentine woodcutters are sometimes particularly suc- 
 cessful in the drawing and cutting of the hands both as 
 to form and movement, overcoming a difficulty known 
 to all artists. On the other hand we must admit that, 
 in many cases, in a special group of cuts, too much im- 
 portance is given to detail, the engraver being too fond 
 of showing his technical skill in this way, and doing so 
 to the injury of the general effisd: of his work. 
 
 XVI 
 
If we try to pi6ture to ourselves the workshops of 
 the craftsmen who executed these admirable woodcuts, 
 and so find out their methods of working, the question 
 arises, in what relation did the woodcutters stand to the 
 printers ? A knowledge of the publisher and printers 
 should surely help us to distinguish and to chara6lerize 
 the different workshops and the different engravers who 
 worked in them. But the idea has to be given up. 
 There is in general no relation between the individual 
 printers and the various groups of engraver-artists. We 
 see cuts identical in style and clearly by the same hand, 
 in books printed by different printers ; we even see the 
 same cuts used by different printers and publishers. 
 Moreover, a very large number of the Florentine books 
 with woodcuts contain no mention of the printer's name, 
 or they note either the printer alone or the publisher 
 alone, so that we cannot be certain that a book signed 
 with the printer's name may not have been published 
 by some one else who lent the cuts, or that others, 
 giving only the name of the publisher, may not have 
 been printed by another printer. 
 
 A careful examination of all the cuts used by the 
 different printers who worked for a certain publisher, 
 or of those used by the publishers for whom these 
 printers worked, does not help us to form any conclusion 
 as to the relation of individual wood-engravers with 
 printers. So far from being able to state which en- 
 gravers worked for which printers, we cannot even, in 
 very many cases, say for which books the cuts were 
 originally executed. As we have already noticed, the 
 subje6ls of the engravings are treated in so broad a 
 manner that they could easily serve for many different 
 scenes. It is not possible, therefore, to decide for which 
 book a particular cut, or a particular series of cuts, was 
 originally designed, and yet such a decision would neces- 
 sarily play an important part in the artistic and biblio- 
 graphical study of book-illustrations. Sometimes we can 
 show that one state of a certain cut is earlier or later 
 than another by the better preservation or signs of 
 
 xvii d 
 
greater use of the block ; but, as Florentine books of 
 this period are extremely rare, we have seldom the 
 opportunity of examining together different examples of 
 the same cut. In most cases all we can do is to distinguish 
 between original prints and the worn impressions of the 
 middle of the sixteenth century. There is only one 
 publisher in Florence whose cuts are of a distinftive 
 type ; but he is far from being the best, and must be 
 considered as an exception, serving only to prove the 
 general rule. The numerous books from the press of 
 Francesco di Giovanni Benvenuto (who worked from 
 about 1511-1546) nearly all signed with his full name, 
 contain, for the most part, cuts of a certain stiffness of 
 drawing and smoothness of line, which we may attribute 
 to a single hand. But most of these are not original 
 compositions, but copies from earlier cuts. Benvenuto 
 clearly had among his workmen a careful but rather 
 weak cutter who worked exclusively for him. The 
 books of all the other printers show cuts of various 
 styles by various hands, so that we can but conclude 
 that there must have been different workshops of en- 
 gravers who executed cuts for different printers according 
 to their orders. 
 
 But even under these conditions the printer or pub- 
 lisher cannot be said to have had no influence on the 
 manner in which his book was illustrated ; he was 
 responsible at least for the choice of the office or artist 
 to which he entrusted the work, and for the way in 
 which he incorporated the cuts into his book. I think 
 that this influence of the paymaster on the illustration 
 of the book is shown in the case of Piero Pacini da Pescia, 
 the most energetic and careful of Florentine publishers. 
 As far as we can guess from the dates of his books he 
 worked from 1495 to 15 14, when his business was 
 carried on by his son, whose name is found in books 
 from 15 19 to 1523, and who used the cuts from his 
 father's books. Piero Pacini apparently took a special 
 interest in the artistic printing and in the illustration of 
 the books he published. Nearly all the important books 
 
 xviii 
 
with woodcuts came from his office, as for instance the 
 "Esope," the "Epistole et Evangeh," Pulci's " Mor- 
 gante," Frezzi's " Quadriregio," etc. No book was 
 issued from his house without adornment of some sort, 
 though in some cases the ornament consisted only of a 
 fine border to the first page or of his printer's mark, 
 which by itself is sufficient to stamp him as a man of 
 taste. In all his publications we meet with little or no 
 work which is not excellent, or at any rate very good, 
 and we never find in his books rude or badly executed 
 cuts, or cuts of the later and weaker type, or imitations 
 of the Venetian style, although he continued to work at 
 a time when cuts of this description had become preva- 
 lent. Thus, if we may not credit Pacini with any aftual 
 personal craftsmanship, we must at least be grateful to 
 him for having had the skill to choose the best artists 
 for his work. 
 
 The extent to which Florentine book-illustration is 
 indebted to the taste and intelligence of Piero Pacini 
 may be tested by comparing his books with those of 
 other printers. We have already mentioned Francesco 
 di Giov. Benvenuto, who only used cuts of small artistic 
 value. Not to speak of later printers who used old 
 blocks, worn or damaged by worms, there is at least one 
 of the most important Florentine publishers who did 
 but deface his nicely printed books by the few cuts 
 which he introduced into them. Quite in contrast to 
 his relatives in Venice, Filippo Giunta, who published 
 some illustrated books between 1500 and 15 19, used 
 only cuts of little artistic value, in some instances imita- 
 tions of the later Venetian style or copies of earlier 
 engravings, in other cases reprints from original blocks 
 used by earlier printers. 
 
 A comparison of this sort goes to prove that publishers 
 and printers played rather an important part in the 
 ornamentation of their books, and consequently in the 
 development of the art of wood-engraving. It will 
 therefore be helpful if I give here some notes on the 
 more important printers who published or printed books 
 
 xix 
 
with woodcuts in Florence in the fifteenth and the 
 beginning of the sixteenth centuries. 
 
 Francesco Buonacorsi printed from 1489 to 1496 
 nine illustrated books signed with his name. In 1489 
 he printed a book with initials only in conjunction with 
 Antonius Venetus, The four books of the year 1496 
 are all printed for Piero Pacini, of the others we do not 
 know if he printed them for a publisher or at his own 
 expense. His signature is always " per " (" stampato 
 per F. B."). All the cuts in his books are very fine and 
 of considerable importance. 
 
 Francesco di Dino printed only two books with 
 cuts ; one in 1490, the other 1493, both signed by him 
 with " per." 
 
 Lorenzo Morgiani and Giovanni di Piero da 
 Magonza printed between 1491 and 1497 seventeen 
 books with very fine cuts. They always signed with 
 "per." One of the three books printed in 1496 and 
 two of those dated 1497 are printed by Lorenzo 
 Morgiani alone. Two books of 1496 printed by them 
 together, and two dated 1495, as also one of 1497, were 
 executed for Piero Pacini. 
 
 Antonio Miscomini printed fourteen books with cuts 
 between 1492 and 1494 (one undated). There is no 
 indication in any of the books that it was printed for any 
 other publisher. He signs with " per." His cuts are 
 nearly all fine. 
 
 Piero Pacini da Pescia always called himself pub- 
 lisher. His books were printed by Francesco Buona- 
 corsi, Lorenzo Morgiani and Giovanni da Magonza, 
 Lorenzo Morgiani alone, Giovanni Stefano da Pavia and 
 Bernardo Zucchetta. We note forty-five books published 
 and signed by him. 
 
 FiLippo GiuNTA published fifteen books with cuts from 
 1500 to 1 5 19. After this date his eredi continue his 
 business. 
 
 XX 
 
Bernardo Zucchetta printed eleven books between 
 1505 to 1523 always for other printers, for Piero Pacini, 
 Bernardo Pacini, and for Francesco di Jacopo Libraio. 
 One of his books, undated and signed only with his 
 printer's mark (see Kristeller's " Italienische Buch- 
 druckerzeichen," No. 62), bears the enigmatic inscrip- 
 tion : " Neir inclita monarchia di terra rossa." Another 
 book (" Rappresentazione di Valentino e Giuliano ") 
 bears simply the words : " Stampata nella inclita monar- 
 chia di citta Rossa." 
 
 Francesco di Jacopo Libraio, vocato il Conte 
 Cortolaio, published nine illustrated books between 1 509 
 and 1533. These were printed for him by Bern. 
 Zucchetta and Antonio Tubini and Andrea de Ghir- 
 landis. 
 
 Antonio Tubini and Andrea de Ghirlandis da 
 Pistoia would seem by their signatures or by their mark 
 {op. cit. No. 56) to have printed nine books with cuts, of 
 which one (1509) is printed for Francesco di Jacopo 
 Libraio, another (dated 15 16) and two more dated 
 respeftively 15 17 and 15 18, as well as two others un- 
 dated, for Francesco di Giovanni Benvenuto. 
 
 Francesco di Giovanni Benvenuto has already been 
 mentioned. He is simply a publisher " (fece stampare)," 
 and brought out fifty-three illustrated books between 
 1 5 1 1 and 1 546. The names of the printers of these 
 books are not given, but in six of them we find the mark 
 of Antonio Tubini and Andrea de Ghirlandis. 
 
 Giovanni Stefano da Pavia was exclusively a 
 printer. We have ten books with his name printed 
 between 151 1 and 1520, of which one was executed for 
 Lionardo di Neri di Andrea Cartolaio (151 1), one for 
 Michele Caccini (15 12), one for " N" (15 12), three for 
 P. Pacini (1513, 15 14), one for " A " (1516), and one 
 for Bernardo Pacini (1520). 
 
 xxi 
 
Zanobi della Barba always called himself a publisher 
 (" fece stampare ") . In one of the twenty-two books 
 published under his name, we find the mark of Antonio 
 Tubini and Andrea de Ghirlandis. His books are un- 
 dated, but he is evidently a sixteenth century publisher 
 and uses only cuts of the later smooth and round 
 style. 
 
 We see that the number of books containing informa- 
 tion as to the publisher or printer is very small in com- 
 parison with the large number of illustrated books 
 printed in Florence without any indication of the printer. 
 Moreover, there must be a large number of old editions 
 either entirely lost or not yet discovered by us. Of 
 Boccaccio's " Ninfale Fiesolano," for instance, we know 
 only a later edition of 1568, with cuts evidently of the 
 fifteenth century. Of course there must have existed a 
 fifteenth century edition for which the cuts were made, 
 but no copy of this has as yet been found. Some of the 
 woodcuts of the " Fior di Virtu " of 1498, which by their 
 style would be considered as amongst the earliest Floren- 
 tine illustrations, occur in books printed some years 
 earlier ; proving the existence of an earlier edition. 
 Of the Rappresentazioni only a part are preserved in the 
 original editions, and in all probability this is the case 
 with many other works also. These fads are not sur- 
 prising when we remember that books of this class were 
 used by the people, who destroyed or negle6ted them, 
 and that until recently they have never been colle6ted 
 into libraries. Of old editions of the classics and of 
 scientific books many copies have been preserved, but of 
 the popular illustrated books (except in the cases where 
 their devotional charafter commanded a certain respeft) 
 the majority are known only in very few copies, while 
 many are unique. For the above reasons it is, as we have 
 said, difficult to make any classification of the cuts 
 according to the printers who used them. From our 
 notes of the printers, however, we can at least state that 
 the publishers who sign as publishers (with " fece stam- 
 pare," " ad instantiam," " a petitione," " impensis," etc.), 
 
 xxii 
 
and have their books printed by other printers, never 
 appear as printers in books published by other publishers. 
 We may conclude, therefore, that these printers were 
 exclusively publishers, and that by the end of the 
 fifteenth century the separation of printer from publisher 
 was an accomplished fa6t, though some books may have 
 been printed by printers at their own expense. 
 
 From the special character of the Florentine woodcuts 
 in books, differing from the few single-leaf cuts we know, 
 we may gather that there were in Florence some wood- 
 engravers' offices, or shops which worked especially for 
 book-illustration, and were quite independent of any par- 
 ticular printer, working for any one who gave orders 
 and would pay for their execution. In the same way as we 
 see, from the day-book of the printing-press of S. Jacopo 
 di Ripoli, that the monks ordered the miniatures for 
 their books from the studios of certain artists, so we have 
 every reason to believe that publishers or printers, when 
 printing a book, ordered the cuts destined for its adorn- 
 ment to be executed in an engraver's office, and did not 
 have them made by workmen employed in their own 
 printing-office. There are often great differences in the 
 technical execution of the different woodcuts published 
 in the same book and expressly designed for that book. 
 Even in a small series of cuts we can often distinguish 
 not only differences in the quality of the work, but dis- 
 tindlly different hands of different artistic skill. Further- 
 more, we notice series of drawings of which the style is 
 undoubtedly the same, but the execution different. From 
 this we conclude that, as a rule, the designer and the 
 cutter are different persons. We can observe, for in- 
 stance, that the cuts of the " Epistole et Evangeli " 
 of 1495 (except those taken from other books) are 
 all drawn in the same style, but there are such great 
 differences in the execution that we cannot suppose 
 these to arise only from the greater or lesser care 
 bestowed upon them by the cutter. In the same way 
 we notice great differences in the technique of the single 
 cuts in the '* Libro degli Scacchi," in the " Morgante," 
 
 xxiii 
 
and in other books. In the "Esope" of 1495 we can 
 easily distinguish three different styles belonging to 
 artists whose aims as well as their technique were alto- 
 gether different. Nothing that we have said, however, 
 makes it impossible to believe that, in some cases, the 
 engravers may have been also the designers of their own 
 work. 
 
 From this difference in the execution of cuts of the 
 same series and due to the hand of a single designer 
 there is one further conclusion, of some importance 
 for our subjed, to be deduced. The artists did not 
 themselves draw on the wood, as was done, for 
 example, by Albrecht Diirer, and thus reduce the task 
 of the cutter to the careful cutting along the lines given 
 him. The freedom with which the cutters appear to 
 have treated their designs makes it probable that they 
 worked only from the sketches of the artist, who lent 
 them his composition, which they had full liberty to 
 modify, according to the style of their technique. But 
 the continuous co-operation between artists and en- 
 gravers will of course have sensibly lessened the differ- 
 ences between the reprodudlions and the style of the 
 original drawings which served as their models. 
 
 III. 
 
 However highly we may appreciate the best of the 
 Florentine woodcuts as masterly examples of book- 
 illustration, as charming little pictures full of sentiment 
 and sometimes showing originality of conception and 
 skilfulness in execution, we must yet own that they do 
 not bear evidence of being the produftions of artists of 
 individuality in the full sense of the word. They show 
 a masterly adaptation to their own ends of the artistic 
 knowledge of the time, but they cannot be said to have 
 contributed to the progress of art. The name of any 
 
 xxiv 
 
particular artist, therefore, is of no importance to us, 
 because we do not distinguish artistic individuality. 
 We have, indeed, to beware of attributing even the 
 very best productions of this school to those great 
 artists whose style they may resemble. There are, for 
 instance, many cuts which are quite in the manner of 
 Botticelli, and in many respedls would not be unworthy 
 of that master, but we possess no proof that he lent 
 his drawings for the purposes of reprodudtion, as has 
 been so often stated. We may, it is true, easily recog- 
 nize his style in many of the woodcuts, but they do not 
 show his individuality as we have it in his drawings. 
 The Florentine woodcutters did not limit their work 
 to the exaft reprodu<5tion of a drawing line by line, still 
 less to the mere cutting out of the lines of a drawing 
 made upon the woodcut itself, but worked with great 
 freedom from the sketch itself It would be difficult, 
 therefore, if not impossible, to declare even of the best 
 engraving whether it was a drawing of Botticelli which 
 lay underneath, or only one by some other artist follow- 
 ing his style. Attributions of engravings to certain 
 artists have for the most part been made by those who 
 have examined only single examples out of the great 
 number of engravings of the same type. A wider 
 examination of the mass of cuts would have convinced 
 them of the impossibility of distinguishing the works 
 of a master from those of his school, or of detefting in 
 them his own peculiar style. The personality of a 
 really great artist must stand out, I think, with such 
 distindtness that a doubt of the originality of a work 
 amounts to a confession, either that we do not quite 
 recognize his artistic individuality, or that the work is 
 not from his hand. 
 
 There were in Florence at this particular time so 
 many good artists, some of them, perhaps, not even 
 known to us by name, that we do no wrong to a work 
 of art by thus refusing to attribute it to the greatest 
 amongst them. How many artists were there who 
 followed Francia or Perugino ? How many imitated 
 
 XXV 
 
Botticelli ? And of these some, at any rate, were not 
 far from reaching the perfeftion of their master. 
 
 In the failure, therefore, of any trustworthy evidence 
 of authorship we have to content ourselves with group- 
 ing our cuts according to charafteristic differences in 
 the style of drawing and execution, and with showing 
 the relations of these groups amongst themselves, and 
 their connexion with the various styles of the larger 
 forms of art in Florence at this period. 
 
 We do not know of any books with cuts having an 
 earlier date than 1490, and have no reason for sup- 
 posing that any of the undated books were printed 
 before that year. The woodcuts we meet with in these 
 earliest books are executed in a highly finished manner ; 
 they show no marks of being first attempts; on the 
 contrary, they must be considered as the culmination of 
 an artistic and technical development which lay behind 
 them. At the period at which the already highly 
 developed art of wood-engraving begins to be used for 
 the illustration of books, we notice that the style of the 
 drawing is greatly under the influence of the pidlorial 
 artist, and there is no doubt that it was the painters of 
 the various Florentine schools who supplied the drawings 
 for the book-illustrations. The different groups of 
 woodcuts which we are able to distinguish represent 
 not only different phases of a continuous development, 
 but also the development of the art in different artistic 
 diredtions, each one independent of the others. So 
 short, indeed, is the space of time in which Florentine 
 book-illustration unfolds its rich and manifold pro- 
 duftions, that we are induced to consider their various 
 groups as having existed side by side, rather than as 
 having developed one after the other. Dating only 
 from about 1490, we find that by the beginning of the 
 next century book-illustration is already in rapid de- 
 cline, and that in the second decade of that century 
 Florentine engraving has lost its originality, and begins 
 to imitate the Venetian style and to repeat itself. 
 
 We can distinguish, in the Florentine Quattro-cento 
 
 XXVI 
 
art in general, two different styles of poetical expression 
 in the composition and drawing of the subjefts, though 
 naturally we can draw no sharp division between them. 
 One group of artists seems to aim at a more dramatic 
 style of representation, the other to express its ideas in 
 a more epic form. According to the subjeft repre- 
 sented, the dramatic changes into the elegiac, the epic 
 into the novelistic. The leading artists of the first 
 group are Botticelli, Filippino Lippi, and, in the first 
 place, Donatello ; the other group is represented chiefly 
 by Ghirlandaio, Filippo Lippi, and Verrocchio. 
 
 In the examples we have before us, which, from 
 their number and the variety of the scenes they repre- 
 sent, give plenty of opportunity for observation, we can, 
 I think, perceive the differences which I have pointed 
 out in the poetical conception of the designs. 
 
 In studying the Florentine engravings we notice on 
 the one part a conciseness of composition, dramatic 
 vivacity, and energy of movement, or an expression of 
 exalted sentiment charafteristic of Botticelli and his 
 school. On the other side we have quiet story-telling 
 and detailed compositions accompanied by great free- 
 dom of design, as represented by Ghirlandaio and his 
 followers. 
 
 The group of woodcuts we have first to consider 
 must be looked upon as the earliest examples of the 
 use of wood-engraving for the illustration of printed 
 books,^ not only because the cuts in the earliest printed 
 books belong to it, but also on account of the sim- 
 plicity of the style both of drawing and execution which 
 they exhibit. 
 
 The compositions are very simple, consisting for the 
 most part of few figures (only just as many as are 
 necessary for the subjeft), in calm but expressive posi- 
 tions. The movements show all the restraint and quiet 
 but pointed energy, which is the special attribute of 
 Italian Quattro-cento art, and has never since been 
 
 ' For some cuts in Florentine books which may be of earlier origin 
 than 1490, see p. v. 
 
 XXVI 1 
 
attained. But in spite of this measured calmness of 
 movement, these compositions represent adtion con- 
 centrated and accentuated to a highly dramatic effeft. 
 I have already described (p. xv) some examples of 
 this type. Indeed, the cuts representing the suicide of 
 Lucretia and that of the murder of Gian Galeazo (see cuts 
 62 and 63), perfe6lly reveal this dramatic spirit. We have 
 but to imagine them transferred to a canvas of larger 
 dimensions and executed in a more detailed style to see 
 before our eyes complete pidlures. From amongst the 
 numerous cuts of this type w^e may cite as an example 
 " The Judgment of Solomon " (see cut 38). The true 
 mother by a rapid movement catches the arm of the 
 executioner, w^hilst the king, full of joyful satisfaftion, 
 rises from his throne, and the false mother is kneeling, 
 looking astonished at the scene. This composition is 
 absolutely original, and will sustain comparison with 
 any other earlier or later representation of the same 
 subje6t. It is not alone in the dramatic spirit of the 
 composition, but also in the style of drawing of the 
 faces, movements, draperies, etc., that these cuts approach 
 the art of Botticelli, the great draughtsman of the 
 illustrations of Dante's " Divina Commedia." The out- 
 lines of the figures are given with the greatest simplicity, 
 the accessories are subordinated to the main figures, the 
 background is indicated merely by a few lines, a moun- 
 tain or a town, a tree or some plant on the ground. 
 The aftual engraving consists almost entirely of outline, 
 there are but few lines to indicate detail, and " scratch- 
 ing " is scarcely used at all. There is no idea of " fine " 
 work in the execution, no tendency to indicate colour 
 or pictorial efFe6l. The single lines are not very thin, 
 but have a certain robustness, and the cutting is free 
 and rough, showing great skill and long pradlice. We 
 find already developed all the devices for the produftion, 
 by simple typical lines, of the impression of various 
 substances, such as hair, the folds of drapery, etc. As 
 we have already said, we have here not an elementary 
 technique, but a technique which has reached the 
 
 XXVill 
 
highest point of its development. On the other hand, 
 when we come to confront these cuts with those of 
 other groups, we find that they are indeed the earliest 
 types, but also artistically the most important. (See 
 cuts, 5 to jy^ 
 
 We can distinguish amongst these early cuts two 
 stages of development, of which the first shows the 
 charadieristics which we have mentioned above in all 
 their purity, while the second shows the beginning of 
 the style of the later groups. The lines become finer, 
 the details of the figures, the muscles, folds of drapery, 
 and general accessories are more distin6tly indicated, and 
 now and then the foreground and the mountains of the 
 background are left quite black, relieved only by some 
 white lines or points. But this is only the beginning of 
 methods quite common in the later cuts, and generally 
 considered as charafteristic of the Florentine school. 
 There is more animation in the outlines, and in the 
 drawing we cannot overlook the beginning of the pre- 
 dominance of the Umbrian element in the movements, 
 of a certain sentimentality and a somewhat sweet, timid 
 expression in contrast to the simple energy of the earlier 
 cuts. These characteristics we shall meet with in a 
 more pronounced manner in the later engravings ; here 
 they only mark a transition. 
 
 In investigating the differences in the groups of 
 Florentine engravings, we soon observe that the orna- 
 mental designs of the small borders which, as a rule, are 
 found on Florentine woodcuts, follow closely the varia- 
 tions in the style of the engravings. In this respedt the 
 first group shows great simplicity and uniformity in 
 contradistinction to the more complicated and richer 
 forms of the later cuts. In the earliest examples we 
 notice the repetition of the same border, which is com- 
 posed of simple leaves with groups of five points in the 
 corners on a black ground, as in many of the cuts from 
 Nos. 6 to 37. Those cuts which we have spoken of as 
 the later ones of this group keep the same border, but 
 the ornaments in the corners are changed, and are 
 
 XXIX 
 
surrounded also by a black line, both inside and outside 
 the border (see cuts 37 to 67). Sometimes we meet 
 with engravings without any border of their own, which 
 cuts generally were intended to be introduced in a 
 large full-page border. As one of the best examples of 
 this group we may cite the well-known engraving in 
 Jacopone da Todi's " Laudi " of 1490 (see cut 9).^ In 
 this the artist, in portraying a monk adoring the Virgin in 
 glory, succeeded not only in producing a very well- 
 designed figure, but also in expressing all the ingenuous 
 fervour of his devotion. The following are also very fine 
 specimens : one in " El modo di insegnare compitare," * 
 another in Granollachi's " Lunare " of 149 1 (see cut 1 1); 
 the nice little cuts in Calandri's " Arithmetica " of the 
 same year (see cut 1 2) ; those in " II Libro dei com- 
 mandamenti di dio" of the Fra Marco del Monte 
 (1494), and in the " Fior di Virtu " already mentioned 
 above (p. xxii, see cuts 6, 7, and 8), and others. 
 
 It has been already stated that the development of 
 Florentine engraving was so rapid that the diff^erent 
 groups have to be regarded rather as co-existent than as 
 following one after the other. Whilst some engravers 
 still continued to work in their old style, others had 
 already considerably changed their technique in the 
 same way as the character of the drawing had also 
 altered. Thus we already meet in the year 1495 
 in the " Epistole et Evangeli " ^ a large series of cuts 
 which (as far as they have been done for the book) may 
 be considered as representative of the second of the 
 principal groups of woodcuts, differing from the first 
 
 ' Reproduced also in Lippmann's " History of the Italian Wood 
 Engraving," and in A. W. Pollard's " Italian Book-Illustration." 
 
 ^ The only known copy of this book is now, I believe, in the pos- 
 session of the Due d'Aumale (reproduced in the catalogue of the Vente 
 Destailleur, No. 984). 
 
 ' Of the edition of 1495 there is known only one complete copy, 
 preserved in the Corsiniana in Rome, and another incomplete one in 
 the possession of Mr. Fisher of Midhurst (see his catalogue) ; of the 
 edition of 151 5 there is but one copy, now in the South Kensington 
 Museum in London. 
 
 XXX 
 
group, and undoubtedly of a more developed style. The 
 text of this book consists of portions from all parts of the 
 Bible, especially from the New Testament and from the 
 Prophets, and the tasteful and clever illustrator has very 
 ingeniously substituted, for an initial at the beginning of 
 each chapter, the half-length figure of the evangelist or 
 prophet from whom the reading is taken. In this manner 
 the illustrations are made to serve in a way as titles to 
 the chapters. It is on the whole a masterpiece of book- 
 illustration ; from the splendidly ornamented title-page 
 to the last leaf, the book abounds in simple artistic 
 grace in its arrangement, and each pidlure is full of 
 feeling. 
 
 Some of the cuts of the " Epistole et Evangeli " have 
 evidently served already as illustrations to other books, 
 as, for instance, the series representing the Passion, of 
 which we find earlier and less worn impressions in an 
 undated edition of Bonaventura's " Meditazioni " and 
 others, as those of " The Last Judgment," " The Judg- 
 ment of Solomon," " The Lost Son " (" Rappres. del 
 vitel faggiato"), etc. It would naturally be a hard task 
 to prepare in a short given time about one hundred and 
 fifty cuts, so that the printer may easily be imagined to 
 have taken from earlier books those cuts suitable to the 
 one in hand, and may also have somewhat hurried the 
 execution of the new ones. 
 
 We have no difficulty in distinguishing between the 
 cuts newly made for the " Epistole " and the earlier ones. 
 (For cuts from earlier books see the Annotated List of 
 illustrated books. No. 1 35, cuts 33, 38, 66 ; for cuts done 
 for the " Epistole," cuts 79-96). In the first place we 
 notice a much greater liberty and elaborateness in the 
 composition and in the drawing. The artist represents 
 biblical scenes with a certain arbitrariness, he does not 
 in the least follow the old conventional plan for sacred 
 subjefts. Sometimes he borrows figures from well- 
 known works of art, as in the " S. Thomas " borrowed 
 from Verrocchio, and the " Decapitation of S. John " 
 borrowed from Pollaiolo, mentioned above (page xiv) ; 
 
 XXXI 
 
but he also succeeds in representing the ofttimes repeated 
 scenes of the Bible in a manner so original and so 
 spiritual that it must be due to his own happy in- 
 spiration. 
 
 In the broad narrative style of the compositions of 
 many of these cuts, as well as in the types and move- 
 ments, and especially in the drapery of the figures, we 
 can recognize the style of Ghirlandaio, the great epic 
 painter of Florentine art. In contrast to the concise- 
 ness of the compositions of the first group we observe, 
 in these of the second, the numerous subordinate figures, 
 the quieter movements, the broad lines of the draperies, 
 the free sketchy chara6ler of drawing of detail. 
 
 But if in the formal resemblances of these cuts with 
 the manner of Ghirlandaio we cannot fail to remark 
 the influence of his style, even more in the general 
 intonation, in the " tempo " of the movements, do we 
 feel the spirit of his art. As a striking example of this 
 we may note the resemblance of the figure of the man 
 seen from behind in the cut representing Christ 
 threatened by his enemies (cut 79) with the man seen 
 from the back on the right in Ghirlandaio's fresco, 
 representing S. Joachim driven from the temple in 
 S. Maria Novella in Florence. We shall find the 
 continuation of this style of drawing in later cuts, and 
 we may best observe his charaderistics by confronting 
 these engravings with the earlier cuts drawn in the 
 Botticellian manner. 
 
 But the greater part of the cuts of this type, in the 
 " Epistole " as well as in many novels and " Rappre- 
 sentazioni," reveal even more manifestly the style of the 
 art of Filippino Lippi. As this artist was a pupil of 
 Botticelli and a continuator of his art, this kind ox 
 engravings can be considered as a further development 
 of the first Botticellian group of cuts. We see, there- 
 fore, the draughtsman of our engravings following closely 
 the development of the higher order of art. It is espe- 
 cially in, the somewhat hasty, violent, and affedted 
 movements of the figures, in the charaderistic move- 
 
 xxxii 
 
ments of their hands, in the exahed expression of the 
 faces, in the folds of the draperies, and also in the pre- 
 dominance of Umbrian influences that the style, the 
 temper of Filippino's art may be recognized. 
 
 The technique of this whole group of cuts in general 
 is somewhat sketchy, angular, and hard, but — especially 
 in the more carefully executed engravings — the lines 
 are thinner than in the first group, and the shadows for 
 the most part indicated by thin lines close together. 
 The backgrounds are of special importance. The 
 ground and the mountains which form the foundation 
 for the figures are black and are intended to give colour to 
 the general impression. The borders also differ from those 
 of the earlier cuts ; they are richer and more varied, 
 and we may notice the predominance of a design formed 
 of rounded leaves, rather resembling an acanthus. 
 
 A very fine pendant to the " Epistole et Evangeli " 
 is to be found in a less numerous, but not less im- 
 portant, series of woodcuts, which serve to illustrate 
 an edition of Boccaccio's graceful poem, the " Ninfale 
 Fiesolano." ^ 
 
 The composition and drawing show a charming 
 freshness and grace, and are full of feeling and frank- 
 ness. By a study of these illustrations, which so per- 
 fectly render the modern feeling which underlies the 
 sentimental poem in its antique disguise, we come to 
 understand Boccaccio as the " precursor " of the fifteenth 
 century. Here more clearly than in the " Epistole " 
 we see expressed the technical style peculiar to this 
 group. The movements already begin to show some 
 afFe6lations, and conventional forms are discoverable in 
 many details and accessories. As regards the execution 
 of the details, the cuts are rather angular and hard, a 
 charadteristic of this whole group. On the other hand 
 
 ' We only know the cuts in a later edition of 1568, not even a 
 single copy of the original fifteenth-century edition having been pre- 
 served. I suppose that even the edition of 1568 does not give us all 
 the engravings of the original edition, and that some cuts of the same 
 subjeft to be found in later editions of " Rappresentazioni " may origin- 
 ally have been intended to illustrate this book. (See cuts 102 and 103.) 
 
 xxxiii f 
 
we must not overlook the perfedt manner in which the 
 woodcutters, often by a few Hnes, are able to render 
 the character of the different materials (for instance, 
 the wood of the door and the pavement of the street in 
 cut 1 1 6), and of the localities as well as the movements 
 and the expression of the sentiments of the different 
 persons they are representing. We notice also a freer 
 use of "scratching" for the shadows, and the special 
 device of making the drapery of a figure or a part of the 
 background entirely black with inner lines of white. 
 We may observe here, especially with regard to the 
 later cuts, how innocently the artist allows the technique 
 of his work to be seen, not making any attempt to dis- 
 guise the traces of the knife. (See cuts 97 to 103, the 
 latter two known only in a late edition of a " Rappre- 
 sentazione," but belonging to an earlier edition of the 
 " Ninfale " or a similar poem, 1 16-120, which must 
 have belonged to an early edition of the life prefixed to 
 the " Esope " and cuts 121- 126.) From the same hand, 
 doubtless, are some of the cuts for the Savonarola tracts, 
 very different in their subjefts from those of the 
 " Ninfale," but exhibiting equal enthusiasm and the 
 same masterly style. (See cuts 1 04-1 11.) These 
 Savonarola cuts form a special group as far as their 
 subje6ls go, but they possess no special artistic or 
 technical charadler to separate them from other en- 
 gravings. 
 
 We have every reason to believe that artists of the 
 earlier style continued to work side by side with those 
 producing the second group of engravings ; indeed, we 
 find quite a large number of the earlier kind of cuts 
 used in a still later book printed at the very end of the 
 fifteenth century, Pulci's " Morgante Maggiore " '^ of 
 
 ' See Gruyer, " Les Illustrations dans les Ecrits de Savonarola." 
 ^ Of this illustrated edition of the " Morgante," we know only of a 
 single complete copy (in the Hofbibliothek in Vienna) and an in- 
 complete one (in the Print-room of the Berlin Museum). It is not 
 at all likely that an earlier Florentine illustrated edition existed, because 
 the book is too bulky and not sufficiently popular to have been printed 
 many times. 
 
 xxxiv 
 
1 500, which contains a large number of cuts in the style 
 of the first and second groups, no doubt expressly made 
 for the book (see cuts 24, 49, 52, 54-56, 74-76 ; in the 
 later style, 127, 128, 130-145). But these cuts are 
 interspersed with a number of others, partly borrowed 
 from other books, partly original designs which show a 
 different style and technique, and in all resped:s appear 
 to be of later workmanship than those of the two first 
 groups. 
 
 The most prominent charafleristic of the engravings 
 of this group consists in the roundness of the forms, in 
 the great fineness and delicacy of the lines, and in the 
 neatness and care of the execution, the cuts contrasting 
 especially in these particulars with the somewhat rude 
 and coarse work of the second group. Technically 
 these cuts must be considered as having reached the 
 highest point of development. It would scarcely be 
 possible for the technique of this kind of cut to attain a 
 greater delicacy of line or more elaborating detail. In 
 the expressions of the faces, the hands, the hair, and in 
 many other details, the artists have come near per- 
 feftion. There is great i-efinement in the shading, and 
 in the use of black in the backgrounds, and also in 
 some parts of the clothing, etc. Of course these cuts 
 are far removed, alike in technique, composition, and 
 drawing, from the simplicity of the earliest engravings, and 
 from the characteristic boldness of the second group, of 
 which latter, indeed, they must be reckoned a continua- 
 tion. There we recognized the style of Ghirlandaio and 
 Filippino Lippi ; here there seems to me to predominate 
 the style of those artists who transformed the broad 
 epico-fresco manner of Ghirlandaio into a novelistic 
 style. The influence of Piero di Cosimo is particularly 
 noticeable here. Piero rose above the art of Ghir- 
 landaio, and developed his own original and attractive 
 style under the influence of the school of Verrocchio ; 
 firstly of Lorenzo di Credi, and later on of Leonardo da 
 Vinci. The romantic element in his work is seen not 
 only in his fancy for illustrating romances, but also in 
 
 XXXV 
 
the richness and diffuseness of his compositions, which 
 seek, not to represent a single concentrated adion, but 
 to attraft by a great variety of rather incoherent groups, 
 of different scenes and motives. As an instance of the 
 resemblance to the style of Piero di Cosimo, I may cite 
 the charafteristically short proportions of the weak- 
 legged figures, and also in the drawing of the details. 
 In pointing out this I do not, of course, assert that 
 Piero furnished the drawings (in that case they would 
 probably have shown more distinft evidence of his 
 style), but I believe the designer to have been an artist 
 working in the same manner and in similar dirediions 
 to Piero. (See especially cuts 150-160.) Besides the 
 "Morgante" we find a number of these cuts in the 
 " Rappresentazioni " (especially in those later ones which 
 contain several illustrations), and in some novels, as, for 
 instance, in Giuliano Dati's " Magnificentia del Prete 
 Janni" (No. 122^, cut 147), " Rapp. di S. Paohno " 
 (No. 322 «, cut 149), " Storia di Maria per Ravenna " 
 (No. 227(2, cuts 162-165), the "Novella della figlia del 
 Mercante " (see No. 299, and cuts 166-168), etc. (See 
 also cuts 148 and 169.) in " Enea Silvio Piccolomini's 
 storia di due amanti " (No. 330^, cut 126). The loss 
 of so many of the popular novels may have deprived us 
 of more than one beautiful specimen of this art. 
 
 I need not say that this classification is but an 
 approximate one, that there are many cuts which must 
 be placed between the different groups we have distin- 
 guished, and also many others which show a mixture 
 of the chara6teristics of the different types ; sometimes 
 drawings alike in design are executed in different 
 manners, sometimes drawings in different styles are re- 
 produced in the same technique. It would be useless 
 to confuse the reader by giving details of all the little 
 groups of cuts which do not quite coincide with those 
 principal ones described above. There is, however, 
 one set of the fifteenth century which must be specially 
 mentioned as supplying the starting-point of the later 
 technique of the sixteenth. In 1496 Piero Pacini 
 
 xxxvi 
 
printed a richly illustrated edition of ^Esop's "Fables,"' 
 in which, besides woodcuts in the first and second styles 
 (see cut ']j), we find a number of cuts differing from any 
 of those hitherto mentioned. The figures are large in 
 proportion to the size of the pifture ; but stumpy, with 
 big heads and thin legs. In the drawing, which is 
 similar to that of the third group, and in technique, the 
 prominent charafteristic is that of a great rounding of 
 the forms and of the single lines. In the details, and 
 especially in the borders, there is an accumulation of 
 different motives, even in the same border. On the 
 whole these cuts are of no great artistic value, and the 
 execution is formal and careless, the drawing of the 
 animals is generally much better than that of the men. 
 (See cuts 173, 174.) A graceful specimen of this style 
 may be seen on the title-page of the " Rappr. di 
 S. Venanzio " (Pacini), which is surrounded by a pretty 
 border. (Cut 175.) Some of the cuts also of Cessolis' 
 " Giuoco degli Scacchi " of 1493 are very similar to 
 those of the " iEsop." (See cuts 1 1 3-1 1 5.) 
 
 In the beginning of the sixteenth century we find a 
 large number of cuts which show this same manner in 
 a still more developed form. There is a great softness 
 in the full rounded forms of the body, the draperies are 
 indicated by many long and rounded lines; long, 
 rounded parallel scratching lines and black spots abound 
 in the ground and in parts of the draperies, etc. (See 
 cuts ijo,seq.) The borders are mostly overloaded with 
 various designs of heavy ornament. We have a series 
 of cuts of this style in the " Passion of Christ," printed 
 in 1 5 1 1 by Benvenuto from blocks which are already 
 worn. Good examples of the same style also are the 
 
 ^ We only know of one complete copy of this book, preserved iii the 
 splendid library of Prince Trivulzio in Milan ; an incomplete one is to 
 be found in the Riccardiana in Florence. Of the two later editions of 
 1514 and 1520 we only know one copy of each, in the Angelica in 
 Rome and in the library of the Baron de Landau in Florence. In later 
 editions of " Rappresentazioni " we find some cuts which undoubtedly 
 belong to a life of iEsop, but are not in the 1496 edition. (See cut 116- 
 119, 120?.) 
 
 xxxvii 
 
cuts of the " Meditazioni della Morte" (see cut 177) 
 and a nice little cut of St. Peter (met with first in 1 5 1 3). 
 (See cut 172.) As a very fine specimen reproducing 
 exceedingly fine drawings, we may cite the cut of the 
 "Contrasto del Carnevale e della Quaresima," (See 
 cut 176.) 
 
 The illustrations of Frezzi's " Quadriregio " (Pacini, 
 1508), although differing from the other cuts in some 
 respeds, belong also to this group and help us to fix the 
 date of this style of engraving. Besides the border of 
 the frontispiece and one cut borrowed from Petrarca's 
 "Trionfi" (1499), there are 116 illustrations all drawn 
 in the same manner, although, perhaps, by different 
 hands. The book being in folio the cuts are somewhat 
 larger than most of the earlier Florentine engravings, 
 and nearly all of them have the same border, consisting 
 of a design composed of rows of clumsy conventional 
 leaves. The drawings have been attributed to Luca 
 Signorelli on account of the letters L V ' to be seen on the 
 first cut of the series. But there can be no longer any 
 doubt, from the analogy of the Venetian and other 
 signed cuts, that these monograms indicate, not the 
 artist who drew the design, but the woodcutter, or the 
 " bottega," or shop of the firm of engravers. 
 
 Although the monogram does not help us to guess 
 the name of the designer, from an artistic point of view 
 we cannot fail to recognize the forms of Umbro-florentine 
 art, much as it may be seen in the works of Signorelli 
 and his school ; a fadl which has been justly observed by 
 Dr. Lippmann. But the individual charafteristics of 
 Signorelli's style, especially in the outlines of the naked 
 bodies, the movements and the faces, are not to be found 
 in a single figure of the whole series. (See cuts 185, 
 186. For other similar cuts see 178-184). 
 
 Of course in these cuts the highest point in the 
 
 ' Whenever " L V " is to be considered a monogram of Signorelli 
 (Luca Venturae), the letters, in conformity to the custom of the period, 
 must not be interpreted as L(uca) V(enturae), but as an abbreviation 
 of L Vca. 
 
 xxxviii 
 
development ot wood-engraving in Florence, both in 
 drawing and in execution, has been passed. Whatever 
 their interest, they cannot charm us as do the earlier 
 Florentine engravings. In their conventional corre6l- 
 ness, in the lifelessness of the scratchy lines, in their 
 tedious repetitions of the same forms and movements 
 and of the background, these and other similar cuts are 
 very far removed from the simple illustrations of the 
 fifteenth century, which were full of spirit, character, 
 and artistic life. 
 
 This group is the last which retains an artistic import- 
 ance. The work produced in Florence afterwards can 
 hold our interest only as a technical continuation of the 
 earlier groups or as an imitation of other styles. We 
 may here call to mind again the group of copies executed 
 especially for the books of Francesco di Benvenuto men- 
 tioned above (p. xviii). In general they are nothing 
 more than clean smooth copies of earlier cuts, but in a 
 few cases the engraver succeeded in giving, or at least in 
 preserving to us, a fine figure or composition, as for 
 instance in the lutist on the title-page of Lorenzo de' 
 Medici's " Selve d'Amore " (see cut 1 87), or in the 
 engraving showing Amor shooting off^ his arrow at two 
 men looking at a girl who harmlessly plucks flowers in 
 a garden. (See cut 190.) In general these later cuts 
 do not even keep this cleanness and care in the technical 
 execution, and are not worthy of mention here. 
 
 About the middle of the sixteenth century, in good 
 and carefully printed books, these stragglers of the old 
 Florentine Quattro-cento wood-engravings are no longer 
 tolerated. The style of wood-engraving which had been 
 developed in Venetian distrifts in imitation of pen- 
 drawings, with an exceedingly refined and careful tech- 
 nique, rivalling copper-engravings in artistic impression 
 and pi(Sorial efFed:, had by this time been introduced 
 also into Florence. Not being an especially Florentine 
 one this group is outside the limits of this paper, but it 
 must be mentioned here because already in the beginning 
 of the sixteenth century the Venetian hatched woodcut 
 
 xxxix 
 
technique (maniere ombree) began to exercise a certain 
 influence on the declining art of Florentine wood- 
 engraving. 
 
 This imitation of the Venetian technique in the 
 beginning of the sixteenth century is evident in some 
 cuts to be found in later editions of " Rappresentazioni," 
 as, for instance, in the cut of the " Historia di S. Antonio 
 da Padova" (see cut 193), and again in the "Historia 
 di S. Stefano," in the " Rappr. dei Sette Dormienti," 
 " Istoria di S. Cosma e S. Damiano," etc. It is notice- 
 able that w^e find on some of these cuts signatures of 
 artists which occur also in Venetian cuts, as the " L " in 
 the cut of the " SS. Cosma e Damiano," and the mono- 
 gram "LA" va. the cuts of S. Anthony and S. Stephen, 
 so that we could be tempted to believe these also to have 
 been executed by Venetian engravers, if the Florentine 
 style were not so plainly recognizable in the drawing 
 and in some details of the drapery and the landscape, etc. 
 The monogram "LA" of some of these cuts can help 
 us to an indication of their author. We can recognize 
 the same style of engraving, imitating the Venetian 
 manner, but differing from it in the less rounded scratch- 
 ings in the drawing of the ground, the trees, etc., with all 
 its particularities of forms and movements in the cuts of a 
 very rare book, entitled " Libro d'Abacco," which contains 
 a great many little cuts illustrating the different operations 
 of calculation, and also ornamental borders. The last 
 leaf of this curious book has the xylographic signature 
 of the author of the cuts : " Opus lucha atonio de ubertife 
 I uenetia." The first dated edition of the book is of the 
 year 1541 (" Venezia, per Venturino Roffinello "), a 
 second of 1564 (" Venetia, Francesco de Leno ") ; but 
 there are three undated editions (of which two, as well 
 as the. editions of 1 541 and 1564, are preserved in the 
 Biblioteca Corsini in Rome, a third being one in the 
 British Museum), all evidently much earlier than the 
 edition of 1541. 
 
 There cannot be any doubt that this Lucantonio de 
 Vberti is the same engraver who generally signs his works 
 
 xl 
 
with the letters " L. A." (Luca Antonio). He is a 
 weak Florentine artist, who shows his Florentine origin 
 especially in the large round forms of the draperies and 
 in the little cuts in the " Libro d'Abacco " also by the 
 use of many different little borders round the cuts. 
 He must have gone to Venice probably about 1500, 
 and worked there, adopting the Venetian style of en- 
 graving, which he afterwards introduced at Florence. 
 He must be the same Lucantonius Florentinus who 
 printed at Verona in 1 503-1 504 alone and with 
 Bernardino Misinta of Brescia some books, among 
 others Maphaeus Celsius's " Dissuasoria " and " De 
 deliciis paradisi " adorned with a rather rude but charac- 
 teristic printer's mark, evidently his own work, as is 
 shown by the letters " L. A. F. F." (Lucas Antonius 
 Florentinus fecit),' and the history of Pyramus and 
 Thisbe (see No. 334^) with a Florentine cut. 
 
 Lucantonio degli Uberti was not only a printer and 
 woodcutter, but also tried with the same doubtful 
 artistic success the art of copper-engraving. Some 
 curious copper-engravings, signed with the monogram, 
 "L. A. F." or "L. A. F. F.," are well known to 
 amateurs and often alluded to. These engravings repro- 
 duce interesting drawings, evidently taken or copied 
 from different artists, in a hard and ugly, but charac- 
 teristic manner. Though the technical execution of all 
 the works of Lucantonio is very unequal, the peculiarities 
 of the technique and of the drawing of the faces, with 
 their large staring eyes, and of the hands, and the round 
 and heavy drapery, prove that they are all by the same 
 hand. 
 
 Four of these copper-engravings have been described 
 by Bartsch (xiii., p. 388) and Passavant (v., p. 62), and, 
 together with some wood-engravings with a similar mono- 
 gram, have been attributed by the latter to Lucantonio 
 Giunta, the well-known Florentine printer and publisher, 
 
 ' See " Italienische Buchdruckerzeichen," No. 345. Another similar 
 mark (No. 34.6) has the initial of both editors, but that of Lucantonio 
 without the F(ecit) (LAF). 
 
 xli g 
 
who worked at Venice for some twenty years, from about 
 1490 onwards. There is no reason to believe that the 
 wealthy and much-occupied publisher himself executed 
 these weak engravings, and there can be no doubt that 
 it was Lucantonio degli Uberti who produced the 
 engravings attributed to Lucantonio Giunta as well as 
 the Florentine cuts in the Venetian manner, I cannot 
 speak here of the six single-leaf cuts and of the many 
 cuts in the seven different books described by Passavant 
 and Nagler (" Monogrammisten," iv., No. 894, 895, 
 903, 908), to which I could join some other woodcuts 
 with the same monogram, not only because I have not 
 seen them all, but also because, as being used for Venetian 
 books, they stand outside my present subjeft. It need 
 only be mentioned that some of the books whose cuts 
 Passavant attributes to Lucantonio Giunta are not even 
 printed or published by him, and that the signature on 
 the cut representing St. Catherine and St. George (Pass, 
 v., p. 64, n. 7), in the collection of Copenhagen, 
 " OPVS • LVCE • ATONII • V • F," can hardly be 
 made to agree with the name of Giunta, whereas the 
 explanation, " Opus Luce Antonii Uberti Florentini" is 
 strikingly simple. 
 
 This fa6t is confirmed by some other engravings de- 
 scribed among the works of unknown artists, which we 
 can join to those enumerated by Passavant as the work 
 of Lucantonio Giunta. In the first place, we may 
 mention the interesting large copper-engraving, repro- 
 ducing the cenacolo of S. Onofrio in Florence (attributed 
 erroneously to Raffaello), spoken of by Passavant 
 (" Peintre-graveur," v., p. 104, n. 114), and by Schmar- 
 sow ("Jahrbuch der Kgl. Preuss. Kunstsammlungen," 
 V. (1884), p. 207 seq.), who gives a heliotype repro- 
 dudlion after the only perfedl copy known, that in the 
 museum at Gotha. The resemblance of the charac- 
 teristics and of the technique with the other copper- 
 engravings and with the cuts of the " Libro d'Abacco," 
 would be sufficient to prove it to be engraved by Uberti, 
 and there is also a material proof of his authorship in 
 
 xlii 
 
the inscription, " Lucantonio " (reversed), on a slip which 
 is held by a man on the little relief below on the left. 
 With no less certainty we can attribute to Lucantonio 
 degli Uberti some other engravings of the same tech- 
 nique, without signature : "The Adoration of the Magi" 
 (Bartsch, xiii., p. 73, n. i ; Passavant, v., p. 6), "The 
 Death of Virginia " (Bartsch, xiii., p. 1 08, n. 5 ; Passavant, 
 v., p. 10), " Crucifixion with Magdalena and Jerome" 
 (Coll. Trivulzio), "A S. Jerome in Penitence" (in the 
 same coll.), "The Madonna with two Saints" (Passa- 
 vant, v., p. 69, n. 67), the representation of the 
 sacrifice of a bull, after an ancient relief or cameo 
 (Passavant, v., p. 20, n. 40, Paris and British Museum), 
 four figures of ancient heroes (Troilus, Theseus, Pyrrhus, 
 and Achilles), two of which are described by Passa- 
 vant, v., p. 20, n. 28 b and 29, whilst the other two, 
 preserved in the National Print-room at Rome, are 
 undescribed. 
 
 Christ Church College at Oxford possesses two draw- 
 ings attributed to Mantegna, which by the charadteristic 
 drawing, especially of the eyes, noses, and the hands, are 
 shown to be also works of the same artist, who, to tell 
 the truth, did not merit the honour of being confounded 
 with Mantegna. One of them represents, among many 
 weapons, two naked men bound to a tree, while a woman 
 (Victoria ?) is writing on a shield, and a man (Hercules ?) 
 is leading a bull ; the other, an allegorical representa- 
 tion, is copied, as the inscription tells, from a relief on 
 stucco on the " palaco de Antoniano a Roma." ' 
 
 All these engravings and drawings show Lucantonio 
 degli Uberti to have been a feeble, ecledtic artist and en- 
 graver, but a man of great vivacity and versatility in his 
 interests and studies, a charadteristic type in this period 
 of the history of art. But Lucantonio shows us his skill 
 in another important Florentine wood-engraving of large 
 dimensions, which the affinity with the engravings we 
 have already mentioned enable us to declare his work : 
 
 ' This subje£t has been used also for the lower medallion to the well- 
 known border of the Venice Herodot. of 1494. 
 
 xliii 
 
the large view of Florence preserved in the Print-room 
 in Berlin. Dr. Lippmann/ v^ith his usual sagacity, suc- 
 ceeded in fixing the original date of this plan as belonging 
 to the period of i486 to 1490, from the fad: that v/hile it 
 includes and names all the important buildings in Florence, 
 its does not show the palace of the Strozzi, the building of 
 which was begun in 1489. But this settlement of the 
 date can have reference only to the origin of the draw- 
 ing, the technical execution of the cut, in the hatched 
 piftorial manner, not allowing us to assign it to so early 
 a date. 
 
 The hatched manner of wood-engraving {maniere om- 
 bree) began to be used at Venice only about 1500, in 
 succession to the outline engraving, according to the 
 usual process of development. Amongst the earlier 
 single-leaf cuts, or book-illustrations, we do not find any 
 analogy to this type of engraving. In Florentine en- 
 gravings, the hatched manner (which is to be seen only 
 in illustrations of books of very late date) is shown both 
 by similar peculiarities in the drawing and the types to be 
 without any doubt an imitation of the Venetian manner. 
 All these fads prove that the cut of the view of Florence 
 as well as the Florentine book-illustrations in the hatched 
 manner were not executed before the beginning of the 
 sixteenth century. 
 
 Though the fine quality of the drawing which was 
 used for the woodcut plan of Florence, and the greater 
 care employed by the engraver in this large work, make 
 this cut appear much superior to all the copper or wood- 
 engravings of the artist, I think there can be no doubt 
 that it is a work of Lucantonio degli Uberti. Not only 
 the style of the technique, with its long and narrow, not 
 very rounded hatchings, but also the style of the drawing, 
 which imitates Venetian forms, and some peculiarities 
 in the movements of men and horses, in the faces, in the 
 draperies, with their charadteristic pointed corners, in the 
 
 ' See Lippmann, " History of Italian Wood-Engraving in the Fifteenth 
 Century," p. 30 sqq. A reprodudlion of the view in original size is to 
 be had from the Reichsdruckerei at Berlin. 
 
 xliv 
 
ground and the trees, and even in the form of the letters 
 of the woodcut inscriptions, are quite the same as in the 
 other, less carefully executed cuts of Lucantonio. At 
 last, therefore, in the last period of Florentine xylo- 
 graphy, in the early Renaissance, we meet with an 
 engraver of known personality, and Uberti, though he 
 was no great artist, must be credited with his share in 
 the development of Florentine engraving. 
 
 I trust that this attempt at a classification of the 
 Florentine book-illustrations will not be useless as a 
 help to their study and artistic comprehension. I do 
 not believe that such minute study of the origin of a 
 work of art and of its relations to other works diminishes 
 or interferes with the enjoyment of the beauty of the 
 work itself. At any rate it is only by means of historical 
 study that we can so familiarize ourselves with the pro- 
 dud:ions of any period of art that, in place of a mass 
 of enigmatical monuments, allowing of every kind of 
 fantastic and arbitrary interpretation, a real process of 
 development begins to unfold itself before our eyes, help- 
 ing us in some measure to understand those charafteristic 
 beauties, which in their full extent may be felt, but can 
 never be explained in words. 
 
 xiv 
 
ANNOTATED LIST OF FLORENTINE BOOKS 
 WITH WOODCUTS. 
 
LIST OF THE LIBRARIES. 
 
 N.B. — The books in the libraries at Lucca, Palermo and Wolfenbilttel have 
 not been seen by the author. 
 
 Aless. : — Rome, Biblioteca Alessandrina (Universitaria). 
 
 Ambros. : — Milan, Biblioteca Ambrosiana. 
 
 Angel. : — Rome, Biblioteca Angelica. 
 
 B.M. : — London, British Museum. 
 
 Berlin: — Berlin, Kgl. Bibliothek. 
 
 Berlin K.: — Berlin Kgl. Kupferstich Kabinet. 
 
 Bodl. : — Oxford, Bodleian Library. 
 
 Bologna: — Bologna, Biblioteca Universitaria. 
 
 Brera: — Milan, Biblioteca Nazionale Braidense. 
 
 Capponi: — Rome, Biblioteca Vaticana, Capponi Colleftion. 
 
 Cas. : — Rome, Biblioteca Casanatense. 
 
 Cavalieri, Sgr. Giuseppe, Library of, Ferrara. 
 
 Cors. : — Rome, Biblioteca Corsiniana (R. Accademia dei Lincei). 
 
 D'Adda, Marchese, Library of the, Milan. 
 
 Darmstadt: — Darmstadt, Grossherzogl. Bibliothek. 
 
 Dresden: — Dresden, Kgl. Offentliche Bibliothek. 
 
 Ferrara: — Ferrara, Biblioteca dell' Universita. 
 
 See Cavalieri, Sgr. 
 
 Fisher, Mr. Richard C, Library of, in Midhurst. 
 
 Florence. See Landau, Baron de, Maruc, Mgl., Pal., Rice. 
 
 Genoa : — Genoa, Biblioteca Universitaria. 
 
 Landau, M. le Baron de, Library of, in Florence. 
 
 London. See B.M., South Kensington Museum (National Art Library), 
 
 Mr. Ch. F. Murray. 
 Lucca: — Lucca, Biblioteca Publica. 
 Maruc. : — Florence, Biblioteca Marucclliana. 
 
 Mgl. : — Florence, Biblioteca Nazionale Centrale (Fondo Magliabccchiano). 
 Midhurst. See Mr. R. C. Fisher. 
 Milan. See Ambros., Brera, March. d'Adda, Triv. 
 Modena : — Modena, Biblioteca Estense. 
 Munich : — Munich, Kgl. Hof und Staats-Bibliothek. 
 Murray, Mr. Ch. Fairfax, Library of, in London. 
 Napoli: — Napoli, Biblioteca Nazionale e Universitaria. 
 Oxford. See Bodl. 
 
 Pal. : — Florence, Biblioteca Nazionale Centrale (Fondo Palatino). 
 Palermo : — Palermo, Biblioteca Universitaria. 
 Paris: — Paris, Biblioth^que Nationale. 
 Paris B.M. : — Paris, BibliothSque Mazarine. 
 Pavia: — Pavia, Biblioteca Universitaria. 
 Poldi: — Milan, Museo Poldi-Pezzoli. 
 Rice. : — Florence, Biblioteca Riccardiana. 
 
 Rome. See Aless., Angel., Capponi, Cas., Cors., Vat., Vitt.-Em. 
 Siena: — Siena, Biblioteca Publica. 
 Stuttgart : — Stuttgart, Kgl. Offentliche Bibliothek. 
 Triv. : — Milan, Library of S. E. il Principe Trivulzio. 
 Vat. : — Rome, Biblioteca Vaticana. 
 Venice : — Venice, Biblioteca Marciana. 
 
 Venice, Corr^r;— Venice, Biblioteca del Museo Civico (Correr). 
 Vitt.-Em.: — Rome, Biblioteca Nazionale Centrale Vittorio Emanuele. 
 Wolfenbuttel : — Wolfenbuttel, Herzogl. Bibliothek. 
 
EARLY FLORENTINE WOODCUTS. 
 
 Abbataccio, Rappresentazione dell'. [i 
 
 a. 1547. per Lorenzo Peri. [Mgl.] 
 1°: Rapresentatione del | Abataccio. 
 
 Cut. I. Border with dolphins (190 x 128). ii. Angel. 
 
 b. 1572. Ad instanza di Jacopo Chiti. LLI of the volume. 
 
 [Mgl., Pal., Triv.] 
 I": Rapresentatione dell' Abbataccio | Nuouamente Ristampata. 
 
 Cut (74 X 97). An angel holding back a youth who is 
 falling in the water, a monk stands by. In the back- 
 ground a monk sitting at a table with an angel. (Early 
 grave style.) 
 
 Abele e Caino, Rappresentazione di. [2 
 
 a. 1554, Febr. O of the volume. [Mgl., Poldi, Triv.J 
 
 I": LA I Rapresentatione di Abel 7 di Caino: | Nuouamente 
 uenuta in Luce. 
 
 Cuts. i. Cain killing Abel zz Fior di virtu, 1498. ii. 
 A youth kneeling before a hill on which a sheep is burn- 
 ing zz ^ocf^cczo, Ninfale Fiesolano, 1568. iii. A repeti- 
 tionofii., with slight variants. (See cut 103.) iv. Awoman 
 showing Christ in glory to a kneeling youth =: Frezzi, 
 Quadriregio, 1508. v. (70 x 103). A woman crying, 
 with a boy, to whom a man on the 1. is speaking, on the 
 1. a warrior ascending the hill (smooth and round style), 
 vi. (90 x 125). A hunter cutting up a stag (style of 
 Frezzi, Quadriregio). vii. (76 x 103). The Devil, 
 with a paper, opposite to an angel who protedls a woman 
 (late rude cut). 
 
 b. 1568, Sept. [Pal.] Same cuts. 
 
Abramo e Agar, Rappresentazione di. [3 
 
 a. s.a. M.F.M. [Mgl., Pal.] 
 
 a r : C Rappresentatione quado Abram caccio Aghar sua ancilla 
 con Ismael suo | figluolo, etc. 
 
 Cut {^2 ^ 94)- Abraham with Isaac kneeling on the 
 r., and Ishmael going to the 1. with a devil. Below, the 
 words Superbia and Umilta on the sides of the arms of 
 the Medici z= Padre, Frottola d'un. (No. 315^.) 
 
 b. s.a. Francesco di Giovanni Benvenuto. {Antonio T'ubini 
 et Andrea de Ghirlandi. [Printer's mark.]) [Pal.] 
 
 i": <[ RAPPRESentatione quando Abraam | caccio Aghar sua 
 ancilla & | Ismael suo figgluolo. 
 
 Cuts. i. Angel. ii.Asin<3. Printer's mark, a a (dragon). 
 (Ital. Pr. M. No. 56.) 
 
 c. 1556, Sept. P p of the volume. [Pal., Poldi, Triv.J 
 
 I": La I Rappresentatione di Abraam e di | Sarra sua moglie : | 
 .... Nuouamente Ristampata. 
 
 Cuts. i. Angel (late). ii. As in a. iii. Savonarola, 
 Oratione Mentak, (No. 383, b. i, cut 107). iv. An old 
 man in long coat speaking to a young king (thin lined 
 style). V. (74 X 48). On the 1. a saint king enthroned, a 
 dove flying to him from the r. vi. {6^ x 49). The 
 virgin going to the temple, on the 1. the priest and two 
 others on the top of the steps, on the r, a beggar, vii. 
 An angel before a door, on the 1. a man lying on the 
 ground := Frezzi, Quadriregio. 
 
 d. 1589. Giovanni Baleni. [Pal., Poldi, Triv.] 
 Cut. Copy of a. 
 
 Abramo ed Isacco, Rappresentazione di. (By Feo 
 Belcari.) [4 
 
 a. s.l.e.a. (xv. cent.). Hain, 2748 ? [Vienna.] 
 
 a 1°: C Incomincia larapresentatione di Habraam et di Ysaac 
 a I*: C! Qui comlcia larepresetatioe di Ha | braam, etc. End. 
 a 6°: Finita lafesta dhabraam p Feo | Belchari ciptadino 
 Fiorentino. 
 
 Cuts. I. Border (161 x 107): above, monogram of Christ 
 and two masks ; below, four putti with garlands, can- 
 delabra on the sides, ii. (100 x 72). Abraham pre- 
 vented by the angel from killing Isaac. (Early grave 
 style.) 
 
b. s.l.e.a. (xv. cent.). [Mgl., Pal.] 
 
 a I": f[ La Rapresentatione di Ha | braam. Et Ysaac. | Lochio 
 si dice che la prima porta. . . . End. 34*:.... ciascun 
 siparta con nostra licenza | finis. 
 
 Cuts. i. Angel. \\.z^a 1. 
 
 c. s.l.e.a. (xv. cent.). [Cas.J 
 
 a 1°: |[ Incomincia la rapresentatione | di Abraham t di Isaac. 
 End. a 6* : Finita la festa di Habra | ham per feo belchari 
 cip- I tano (sic) Fiorentino. 
 
 Cut (102 X 84). (Roman copy after Florentine original.?) 
 
 d. s.a. M. Franco. Hain, 2749. (Vente La Valliere.) (?) 
 
 e. 1490, April I. Hain, 2750 (?). 
 /. 1536. [B. M. ii427d.](?) 
 
 g- 1 546(0- 
 
 h. 1550. [B. M. 1 1426 dd.J (?) 
 
 i. 1553. B of the volume. [B. M., Poldi, March. d'Adda.J 
 
 Cut zzi a 1. 
 
 k. 1556. [B. M.] 
 
 /. II, i566(?). 
 
 m. 1568 (?). 
 
 n. 1585. Giovanni Baleni [B. M. 2 copies]. 
 
 0. 1589. Giov. Baleni Q). 
 
 p. s.a. (ca 1600). [Poldi.] 
 
 l" : LA RAPPRESENTATIONE | DI ABRAHAM | ET ISAAC. | . . 
 
 Cut (131 X 102). Late rude cut of the sacrifice of 
 Abraham. 
 
 AccoLTi, Bernardo. Comedia, Capitoli et Strambotti. [5 
 
 1 513, Aug. 6. Alessandro di Francesco Rossegli 8° [B. M.J. 
 
 a I" : C COMEDIA DEL PRECLARis | simo messer Bernardo Accolti 
 Aretino, etc. End. O 3* : C Finita la Comedia . . . Stapata 
 in Firenze astanza | di Alexandro di Francesco | Rossegli. 
 Adi yi Dagosto. 151 3. | . + . 
 
 Cuts. i. Men playing at cards, ii. Ship. 
 
 Accolti, Bernardo. Ternale in laude della V. Maria. [6 
 
 s.a. Fece stampare maestro Zanobi dalla barba. [Rice, 
 B. M.] 
 
 1°: C! TERNALE IfJ LAVDE DELLA GLORIOSA VERGINE | MARIA / 
 COMPOSTA PER MESSER BERNAR | DO ACCOLTI SINGVLARISSIMO. 
 
 P. Ends. 2*. 
 Cut {62 X 2^). Madonna with Child, in border (89 x 
 60). (Smooth and round style.) 
 
 3 
 
AccoLTij Bernardo. Descrizione di una Caccia. See Caccia. 
 Advogarius. See Pietrobono. 
 Aeneas Sylvius. See Piccolomini, Enea Silvio. 
 Aesopus. See Esopo. 
 
 S. Agata, Rappresentazione di [7 
 
 a. s.l.e.a. (xv. cent.). (Cors., Mgl., Rice, Bodl.) 
 
 a I": <[ La festa di san£ta Agata uirgine & martyre. a 2° : C 
 La festa di safta agata quando gli fu | moze le poppe. End. 
 a 8*: Finita la rapresentatione di sanfta | Agata uergine & 
 martire. 
 
 Cuts. i. Border : above, two angels with the emblems of 
 the Passion ; below, a monk reading to two others, ii. 
 (99 X 77). Martyrdom of S. Agate (early grave style). 
 (See cut 29.) iii. Angel announcing. 
 
 b. s.a. (P. Pacini) [Mgl., Pal.] 
 
 a 1°: C La Rapresentatione di Santa Agata Vergine & Martyre. 
 End. b 4* : C finis. (Pacini's mark, It. Pr. M., No. 52.). 
 
 Cuts. i. Angel, ii. a ii. iii. (75 x 100). The saint led 
 before the judge by two soldiers (early grave style), 
 (See cut 31.) iv. and v. zz Margherita, Storia di, No. 
 261, « iii. and vi. 
 
 c. s.a. Fr. di Giovanni Benvenuto. [Pal.] 
 
 Cuts. i. Border z=. Cecilia, Rappr. di. (No. 980 i.) ii., 
 iii., iv., copies of ^ ii., iii., and v. 
 
 d. 1555, Aug. TT of the volume. [Poldi., Triv.] 
 Cuts zzi b ii. and iii. 
 
 e. 1558. _[B. M., Mgl., Rice, Triv., Berl. K.J 
 Cuts as in d. 
 
 f. 1 59 1. Appr. Giov. Baleni. [Triv., Mgl., Poldi.] 
 Cut. Copy of a ii. 
 
 g. 1 60 1. Rincontro a S. Appolinari. i + of the volume. 
 [B. M., Poldi, Triv.] 
 
 Cut. Copy of « ii. 
 
 S. Agnese, Rappresentazione di. [8 
 
 a. s.l.e.a. (xvi. cent). [Mgl.] 
 
 a I" : C RAPPRESENTATIONE DEVOTA DI SANCTA AGNESA. End. 
 
 a 8. FINIS. 
 
 Cuts. i. Angel in (ii.) ( 1 60 x 106) border; below, two angels 
 with shield in a circle ; above, knots, and sun in a circle, 
 candelabra on the sides, iii. (71 x 103). Martyrdom 
 
 4 
 
oi S. Agnes, s. agnes (reversed). (Careless, smooth 
 cut of the xvi. cent.) 
 ^. s.l.e.a. (xvi. cent.). [Cors., Mgl., Pal., Rice] 
 
 a I" : Rappresentatione di San£ta agnesa | • • ■ End. a 8* : il 
 capo aperto | finis. 
 
 Cut. Angel in border, zz: a ii. 
 
 c. s.a. (ca 1550). Tt of the vol. [Napoli., Triv.J 
 
 i": La Rapresentatione di Santa Agnesa Vergine | & Martire, etc. 
 
 End. 64°: IL FINE I IN FIORENZA. 
 
 Cuis. i. Angel, ii. = a iii. 
 
 d. 1558. Tt of the vol. [Mgl., Pal., Poldi, d'Adda, 
 Triv., B. M.] 
 
 Cuts. i. Angel, ii. = « iii. iii. =z Figliuolo frodigo, Rap- 
 present, di (Pulci, Antonia), No. 148(2, 2. iv. A saint 
 burnt (late, rude), v. A pilgrim kneeling at a tomb 
 (late, rude), vi. Resurreftion =1 Bonaventura., Medita- 
 zione sopra la passione (69a). 
 
 e. 1560. Siena. [B. M.] 
 
 f. 1584. Giov. Baleni. [Ambros., B. M.] 
 Cut. Copy of a iii. 
 
 g. 1588. Giov. Baleni. [Ambros.J 
 
 Cut. Copy after S. Agata, Rappr. di, 7^ iii. 
 h. 1588. Jacopo Pocavanza. 2 of the volume. [Mgl., 
 
 Triv., Poldi, B. M.J 
 
 Cuts. i. Angel (late) ii. Copy after S. Agata, Rappr. di, 
 y^^iii. 
 i. 1602. Appr. S. Appolinari per Zanobi Bisticci. [Cors., 
 
 B. M., Bol.] 
 
 Cut. Copy after S. Agata, Rappr. di, '^b iii. 
 
 Agnolo, Ebreo, Rappresentazione di. [9 
 
 a. 1554, April. X of volume. [Poldi, Triv., B. M.] 
 Cut = Chiarini, Libro di Mercatanzia. (No. 104) 
 ^.1568. [Pal., Triv., B. M., Bed. K.] 
 
 Cuts. i. Border with the two eagles = Landini, Formu- 
 lario, 1492. (No. 230^.) ii. (See cut 17). ii. Man 
 giving alms to a beggar. (Late rude style.) 
 c. s.a. (ca 1550). [Siena.] 
 
 LA I Rappresentatione t Festa : | Di Agnolo Hebreo | . . ■ 
 Cuts = b, with copy of border b i. 
 
 S. Agostino. Soliloquii. [10 
 
 a. 1491, Nov. 10. Hain, 2018. [Cas., Vat,, Cors, Venez., 
 ' Pal., Mgl., B. M.] 
 
 5 
 
a 1°: C Soliloquii di Sandto Augustino Vulgari. 
 
 Cut {ill X 831^). S. Augustine sitting in his study, 
 
 writing at his desk, to the left. (Early grave style. See 
 
 cut 20.) 
 
 b. 1^96, July 18. (P. Pacini.) [Vitt. Em., Pal, Mgl., 
 B. M.] 
 
 a 1°: C Soliloquii del diuo padre san6to Augu | stino uolgari, etc. 
 
 Ends. 6 4*: (Pacini's mark.) 
 Cuts. i. (28^ X 29). Half figure of the saint to the 
 
 right at his desk. ii. (repeated, 31 x 28). Christ as 
 
 judge. 
 
 c. 1505, June 7. Piero Pacini. [Vat., B. M.] 
 
 I"* C Soliloquii del diuo padre santSo Augu- | stino uolgari. . . . 
 Cut (56 x 53). The saint kneeling before the image of 
 
 the Virgin. Inscription : a | avgvs | tinvs. (Pacini's 
 
 mark.) 
 
 S. Agostino. Sermoni volgari. [11 
 
 a. s.a. [B. M.] 
 
 a I": j[ Sermoni Volgari del Venerado dodtore Safto & Aure | lio 
 Augustino. End. . . . . di | coloro che uogliono acquistare la 
 gloria del paradiso. 
 
 Cuts. i. Initial F. ii. (107 x 86). The saint sitting to 
 the right, at his desk, writing. 
 
 b. 1493, June 5. Francesco di Dino da Firenze. Hain. 
 2009. [Cas., Rice, Maruc, B. M.] 
 
 Cut (ji X 49). S. Augustine standing, with book and 
 crosier. 
 
 c. 1493, June 28. Ant. Miscominus. Hain, 2010. [Cas., 
 Mgl., Pal., Venez., Midhurst, Mr. Fisher.] 
 
 Cut zr a ii. 
 
 S. Agostino. Sermone della morte. [12 
 
 s.a. [Pal.J 
 
 1° : Sermone di SaiSto Augustino | Della morte. End. 6* : qui e 
 bndcus I in secula seculoru^. Amen. 
 
 Cuts. i. Border (99I x 80) with shield and two orna- 
 ments of cornucopias and vases with fruits, ii. 1= 1 1 b. 
 
 S. Agostino, S. Bernardino, S. Gregorio. Orationi 
 e versi. [i -i 
 
 s.a. [Triv.] 
 
 6 
 
a I": C; Lorationi di Sando Augustino & i ucisi di | sandto 
 Bernardino : _& Loratio, | ne di Sando Gregorio. End. a 4* : 
 Et dipoi fu cofermata da Papa Nicola Ouinto. 
 
 Cuts. i. — 1 1 a ii. ii. Christ on the cross to the right 
 (small cut). 
 
 S. Alberto, Historia di. [i^ 
 
 a. 1556. [Triv., Wolfenbiittel.] 
 
 Cuts. I. The saint holding the model of a church zz 
 S. Romoaldo^ Vita di, 1513, Firenze. No. 363. ii. A 
 man lying in his bed, angels playing. 
 
 b. 1576. E e e e of the volume. [Cors., Pal., Triv.J 
 Cuts zz a I. 
 
 Aldrobaldino. Philosomia. [ir 
 
 s.l.e.a. Hain, 627. [B. M.] 
 
 1°: C Philosomia de glihuoi fadle g Aldrobaldio philosopho di- 
 gnissimo. End. 4" : | per uirtu disua sanda passione | <[ 
 Finis. 
 
 Cuti=Gramnacbis,'Lund.re,ij^^i. (No. 2io«. Seecutii.) 
 
 Alessandro Papa, Storia di. [16 
 
 s.l.e.a. [Triv.] 
 
 1°: Incomenza la Historia De papa Alexan | dro. Et De 
 Federico Barbarossa. 
 
 Cut (141 X 117). The pope putting his feet on the 
 neck of the emperor. (Hard, rude, hatched cut.) 
 
 Alessandro Ciciliano, Storia di. [17 
 
 s.l.e.a. [B. M.] 
 
 I": Vna belissima historia di Miser Alexan | dro ciciliano elquale 
 aueua una sua fio | la che uolea esser ipregnada. . . . End. 
 4' I ... I Ouesto e compiuto per amor di uoy. 
 
 Cut (74 X 93). A father chastising his daughter. (Rude 
 cut.) 
 
 S. Alessio, Rappresentazione di. [18 
 
 a. 15 17, August 7. fece stampare maestro Francesco | di 
 Giouanni Benuenuto. (Antonio Tubini et Andrea de Ghir- 
 landi. [Printer's mark.]) [Mgl.] 
 
 Cut (88 X 108). The saint before the pope; the young 
 S. Alexius on the staircase. (Printer's mark. It. Pr. 
 M. No. s(>-) 
 
 7 
 
b. 1554, January. M of the volume. [Poldi, Triv., Pal.j 
 Cuts. i. Angel, ii. As in a. iii. := Abramo ed Agar 
 
 Rappr., 1556 (3 c, 4). iv. A man landing from a 
 ship in the diredtion of a youth standing on the 1. v. 
 A youth standing near a cupboard receiving a vase from 
 a woman (=: Giasone e Medea, 1557. 193 b. vi.) vi. 
 A monk sleeping in a cottage, five angels playing (=: 
 Alberto, Historia di, 1556, No. 14 a, ii. .''). vii. Pope 
 with many other priests by a cavern, where a man is 
 lying on thorns, viii. Pope enthroned, a priest and 
 nuns before him. 
 
 c. 1568. [Wolfenbuttel.] 
 
 d. 1570, November. M of the volume. [Cors., Pal., Triv., 
 B. M., Berl. K.] 
 
 Cuts as in b. 
 
 e. 1589. Baleni. [Mgl., Poldi, Pal.j Reversed copy of ^. 
 /. 1 6 10. Scale di Badia. [Triv.] 
 
 g. 16 1 8. Scale di Badia. [Mgl.] 
 h. 1627. Scale di Badia. [Triv.] 
 /'. s.a, Jacopo Pocavanza. [Pal., Triv.] 
 k. s.a. Scale di Badia. [Pal.] 
 
 S. Alessio, Storia di. [in 
 
 a. s.l.e.a. [Cas.] 
 
 a I": La storia i vita di Santo Alexio Romano. End. a 6 : <[ 
 Finita la historia di | santo Alexio Romano. 
 
 Cuts. i. Border (169 x 116). Tournament of putti on 
 pigs. (Copy.) See Buondelmonti, Ippolito e Dianora 
 Bardi. (No. 72 «.) ii. (loi x 82). Pope blessing a 
 saint, a youth under a staircase. 
 
 b. s.l.e.a. [Triv.J 
 
 1" : HISTORIA ET VITA DI | SANTO ALESSO. . . . 
 
 Cut. Copy of Rappres., 1517 (18 a). 
 Alexius. See Alessio. 
 
 Almieri, Ginevra degli, Storia di. (By Antonio or 
 Agosto Velletti.) ["20 
 
 a. s.l.e.a. (Wolfenbuttel) (r= Libri ?) 
 
 b. s.a. (ca 1550). [B. M. ; Berl. K.] 
 
 I": LA I HISTORIA DI GINEVRA | DEGLI ALMIERI 
 
 1. (78 X 70). Ginevra sitting in a grave near the dome 
 
 o 
 
and campanile of Florence, ii. Other cut of the same 
 subject, iii. and iv. From other books. 
 
 c. s.a. (ca 1550). Alle Scale di Badia. [Mgl.J 
 Cuts. Late cuts or impressions. 
 
 d. s.a.s.l. [Triv.] 
 
 i" : La Storia di Gineuera de Glialmeri che fu sotterata per Morta. 
 Cut — b\. 
 
 e. 1560. presso al Vescovado. [London, Mr. Murray.] 
 i. ■=. b\. ii. Round {^^2) ^-^ bust of a woman. 
 
 A. M. See Cassandra. 
 Altissimo. See Ravenna, Rotta di. 
 
 Amaestramento ovvero consiglio che fa un padre. [21 
 a. s.a. M. Zanobi dalla barba. [B. M.] 
 
 I" : <[ Carere debet omni uitio/ qui | in alium dicere paratus 
 est. I . . I*: j[ Amaestramento | o uero consiglio | che fa 
 uno padre a suoi figluoli | ■ • • End. 4* : C Fece stampare 
 Maestro Zanobi | dalla barba. 
 
 Cut (107 X 79). Parable of the beam and the mote in 
 the eye. invidia. 
 
 AngelusAnachoreta. EpistolaapapaAlessandroVL [22 
 
 s.I.e.a. [B. M.J 
 
 a 1° : |[ Epistola del romito di ualembrosa | ad Papa Alex- 
 andro VI. a i*: ANgelo peccatore Anachorita del heremo. . . 
 End. a 8* : . . . pridie | Chalendas Martias. mcccclxxxxvi. 
 
 Border with two eagles ^ Landini, Formulario 1492 (No. 
 230 b). Cut in Venetian style, of a monk writing. 
 
 Angelus Anachoreta. Epistola ai Fiorentini. [23 
 
 a. s.l.e.a. [B. M.] 
 
 a I*: ANgelo peccatore Anachorita dello | Heremo diualembrosa/ 
 desidera ch | Ii Magnifici signori & Populo flore | tino con- 
 seruino inuiolata unione . . . End. b 6" : . . . Kalendas 
 Januarii | m.cccclxxxxvi. 
 
 Border and cut as in 22. 
 
 b. s.l.e.a. [Maruc, Pal.] 
 
 I": 4r Frate Angelo peccatore Anachorita del heremo di Vallom- 
 brosa | exhorta Ii Magnifici. S, & Po. Fioretino ch' ^ . . 
 pseuerino nellamicitia del pricipe di dio Carlo Re di fracia. 
 End. 4' : xv. Kl. Junias. m.cccclxxxxvi. 
 
 Cut (74 X 57). The hermit giving the letter to a mes- 
 senger. 
 
 9 c 
 
S. Antonino. Confessionale. [24 
 
 1C17 4 March. M. Francesco di Giovanni Benvenuti. 
 (Printer's mark : a a. It. Pr. M., No. 56.) [Triv.J 
 Cut. A man kneeling before an altar (copy). 
 
 S. Antonino. Trattato : curam illius habe. [25 
 
 1493, 23 May. Per Lorenzo de Morgiani ^ Janui di Piero 
 di' magdza. Hain, 1214. [Stuttgart; Siena (2); 
 Venezia ; Maruc. ; Midhurst, Mr. Fisher.J 
 a 1°: C Tradato uolgare di frate Antonino arciuescouo di | 
 
 Firenze che e intitolato curam illius habe. 
 i. = S. Agostino, Soliloquii, 1491 (10 a), ii. (98 x 74). 
 
 Monk in a chapel, confessing a young man, two men on 
 
 the r. (early finer style). 
 
 S. Antonino. Trattato: Defecerunt. [26 
 
 14 1 6, 22 Feb. J pet. Pier Pacini da Pescia per Lorenzo 
 Morgiani & Giov. da Maganza. Hain, 1211. [Pavia; 
 Siena (2 copies) ; Vienna.] 
 
 Tavola (2 ff.). a i": C Traftato uolgare di frate Antonio 
 Arcuescouo di | Firenze intitolato Defecerut I . - - 
 
 Cut — 25 (2). Pacini's three marks. (It. Pr. M., No. 51.) 
 
 S. Antonino. Somma. [27 
 
 a. 1507, Feb. 28. ^. Ser Antonio Tubini . . . ad instant ia 
 di Francesco cartolaio chiamato el conte. [Siena.] 
 
 a I : H Somma dello Arciuescouo Antonino | Omnis mortalium 
 cura. 
 
 Cut (75 X 100). S. Antonine on the 1., a penitent kneel- 
 ing before him ; on the 1. a monk in a door, above the 
 Virgin. (Ruder cut, imitation of the early finer style.) 
 Printer's mark of Fr. Cartolaio. (It. Pr. M., No. 59.) 
 
 b. 1507, May 20. A pet. Pietro Pacini da Pescia per 
 Lorenzo Morgiani ^ Giov. da Magonza. [Rice, Maruc, 
 Siena (imperfed), Midhurst Mr. Fisher.J 
 
 a 1°: Somma dello Arciuescovo Antonino. 
 
 Cuts. i. (125 X 86). Penitents confessing to priest in a 
 chapel (hard style). (See cut 108.) ii. Frame of four 
 ledges, with ornaments and a shield below. 
 
 10 
 
S. Antonino. Contrasto del nostro Signore col De- 
 monio. [28 
 
 a. s.l.e.a. (xvi. cent.). [Triv.J 
 
 1°: El Contrasto Del Nostro Signore | Idio Con El Dimonio 
 Infernale | Al Limbo, i*: C Contrasto che fece . . . Per il 
 . . . D. Antonio Archiepiscopo floren . . . End. 4*: finis. 
 
 Cuts. i. (112 X 114). Christ in limbus (hard late cut), 
 ii. Initial C (33 x 34), with the bust of a youth. 
 
 b. s.l.e.a. [B. M.] 
 
 a I" : El Contrasto Del Nostro Signore Idio con El De- | monio 
 Infernale al Limbo, a i* : ^f Contrasto . . . coposto per . . . 
 D. Antonio Archiepo florentino . . . End. ay': . . uscirono 
 fuora. I FINIS. 
 
 Cut (ill X 113). Christ in limbus (=:: a i ?). 
 
 S. Antonino, Storia di. (By Giovanni Maria Tolosani.) [29 
 1 557, Jan. [Cors. (C c c c of the volume), Triv.J 
 I": La Istoria di Santo Antonino | Arciuescouo di Firenze. 
 Cuts. i. (106 X 85). The saint giving the benedidlion 
 (copy), ii. (75 X 105). The saint in a church speak- 
 ing to a woman (rude cut). 
 
 S. Antonio Abbate, Rappresentazione di. [30 
 
 a. s.l.e.a. (xv. cent.). [Rice, Mgl., Pal., Midhurst Mr. 
 Fisher.] 
 
 ax': C La rapresentatione di Sanfto Antonio abbate. End. 
 a 10* : Finite le stanze di sa6to Antonio abbate. a 10* : Cut 3. 
 
 Cuts. i. Angel, ii. (105 x 74). S. Antony with the 
 pig. iii. (73 X 102). The temptation of S. Antony 
 (See cut 45). 
 
 b. 1 51 7, 29 April, Francesco di Giovanni Benvenuto. 
 [Cors.] 
 
 ai": C RAPPREsentatione Di Sanfto Antonio Abbate. End. 
 a 8* : <[ Fece stapare Maestro Francesco di | Giouani Ben- 
 uenuto I sta dal cato de | Biscari Adi .xxix. daprile m.d.xvii. 
 
 Cuts. i. Border with putti on a stag and a roe, and two 
 angels with a medallion with two busts. (Copy of 
 Bradiamante, No. 70^, i.) ii. (103 x 7i|-). S.Antony 
 with the pig (early finer style). 
 
 c. 1547, 8 Aug. per Lorenzo Peri. [Mgl., Rice, Pal.] 
 Cuts. i. Border : window-frame with two dolphins, ii. 
 
 Angel. 
 
 II 
 
d. 1555. [Pal., Poldi (Oo of the volume), Triv.] 
 
 i": La I Rapresentatione di Santo | Antonio Abate. | 
 
 Cuts. i. =: a 1. ii. (71 x 75). A hermit receives two 
 tablets from an angel (hard, late style), iii. (70 x 78). 
 A woman outside a house speaking to two hermits 
 (id.), iv. (74 X 78). A monk with three beggars 
 (id.). V. (75 X 80). Temptation of S. Antonio (id.), 
 vi. zz. a iii. 
 
 e. \c^li. Jacopo Chiti. [Cors., Siena, Triv., Midhurst 
 Mr. Fisher.] 
 
 i" : La j Rapresentatione di Santo Antonio Abate. | . . • 
 
 Cuts. i.-y. :=. d\.-v. vi. (6i|^ x 79!-). A monk speaking 
 to a woman and a youth (hard, late), vii. (75 x 78). 
 Monk sitting, opposite to him a devil, two devils on 
 horses in the air, in the background dead monk in bed 
 (id.), viii. =r a iii. 
 /. 1589. Giov. Baleni. [Triv., Poldi.] 
 
 Cut. Angel S. Antony. (From a French Hora.) 
 
 S. Antonio. Oratione. [31 
 
 s.l.e.a. (xvi. cent.). 8°. (Aless.) 
 
 A I": LA DEVOTA | ORATIONE DI | Santo Antonio. End. a 4': 
 . . . sa£ I cula sseculorum. Amen | finis. 
 
 Cut zz 2,0 b ii. 
 
 S. Antonio da Padova, Historia di. [32 
 
 1557, March. [Triv.j 
 
 1° : La Istoria di santo Antonio | da Padoua . . . . | Nuoua- 
 mente Ristampata. 
 
 C«/ (129 X 95). s. ANTONIO PADOVE Standing, padoa. 
 Signed A (see Introdudtion and cut 1 94) in the manner 
 of the Venetian scratched cuts. 
 Antonio di Guido. See Laude. 
 
 S. Apollonia, Rappresentazione di. [^3 
 
 a. s.l.e.a. (xv. cent.). [Mgl., Cors.J 
 
 a 1°: C LA RAPRESENTATIONE DIVOTA DI | SANCTA APOLLONIA. 
 
 a I*: <[ Incomincia la rapresentatione Di | Sea Apollonia. 
 End. b 4* : . . . Sea Apollonia in eielo | finis. 
 
 Cuts. i. Angel, ii. (102 x 76). Martyrdom of S. Apol- 
 lonia. iii. and iv. =z Fior di virtu (the two mice and 
 
 12 
 
the Phoenix), v. vi. and ix. zr S. Margherita, Storia di 
 (No. 261. a i., iii., vi.). vii. (72 x io2|-). A female 
 saint conduced before the judge, viii. (99 x 76^). 
 A female saint saved from her persecutors by the fall 
 of the building. 
 
 b. 1516(17 X 11). Franc, di Giovanni Benvenuto. [Mgl.J 
 Cuts. i. Copy of a ii. ii. Copy of « vii. iii. (99 x 73). 
 
 Beheading of a female saint, a pilgrim kneeling on the 
 r. (smooth and round style). 
 
 c. 1554, April. T of the volume. [Poldi.J 
 
 I": La I Rappresentatione di S. Apollonia | Uerginei Martire. | 
 Di nuouo Ristampata. 
 
 Cuts. i. Angel (late), ii. =: a ii. iii. Baptism of a 
 king and a queen, on the 1. servant with two horses, 
 iv., v., vi. rz Pulci, Morgante Maggiore. vii. (55 x 
 78). Martyrdom of a saint (late, hard), viii. zr « vii. 
 ix. := Pulci, Morgante. x. Statue of Diana on an altar, 
 before which a woman is kneeling (belonging to a lost 
 edition of Boccaccio's Ninfale .''). (See cut 122.) xi. Be- 
 heading of a female saint, a warrior kneeling on the r. 
 
 d. s.l.e.a. (ca 1550), [Rice, Siena, Triv., Berl. K.] 
 
 i": La Rappresentatione di S. Apollonia | Vergine, & Martire. | . . 
 
 Cuts. 1. = a ii. (copy), 
 viii., X., xi. 
 
 Apollonio de Tyro, Storia di. [34 
 
 a. s.a. Franc, di Giovanni Benvenuto. [Triv. J 
 
 a 1°: C APOLLONIO DI TIRO. End. d4*: <[ Finite Apollonio 
 di Tyro. Stampato ad petitione di M. F. Beuenuto. 
 
 Cut (77 X 103). A youth on the 1. playing on the violin 
 before some people. (Careless, smooth cut.) 
 
 b. s.l.e.a. [B. M.] 
 
 A I": HISTORIA I d'aPPOLLONIO DI TIRO ( NVOVAMENTE RIS- 
 TAMPATA. 
 
 i. = a. ii. = Pulci, Morgante. 
 
 c. s.a. Appr. le Scale di Badia. [Ricc.j 
 Cut zz a. 
 
 d. s.a. Giovanni Baleni. [Mgl.J 
 
 Cuts. 1. =: a ii. ii. A youth reading before a desk 
 (copy, rude). 
 
 13 
 
Aquilano, Seraphino. Opere. [35 
 
 1 517, July 4. B. Zucchetta, A. Pet. di Fr. di Jac. Lihraro. 
 8°. [B. M.] 
 
 I" : Opere Del | lo elegatissimo | Poeta Seraphino Aquilano | . . . 
 End. p. 4" : <[ Impresso in Firenze p Bernardo Zuchetta | 
 Apetitione . . . di Francesco di Jacopo Libra | ro Re . . . . 
 
 Border of title-page = Medici, Selve d'amore. (No. 281 
 a\. See cut 187.) Printer's mark. It. Pr. M. (No. 58). 
 
 Aquilano, Seraphino. Strambotti nuovi. [36 
 
 a. s.l.e.a. [Munich.] 
 
 I": Strabotti noui sopra ogni pposito CSposti ^ | . . . Seraphino 
 da Lagla. End. 4* : . . . . fin ala morte | finis. 
 
 Ca/(ii2 X 119). A man giving a roll to a woman, 
 whilst a cupid in the air shoots his arrow (scratched, 
 smooth manner). 
 h. s.l.e.a. [B. M.] 
 
 a 1° : Stramboti noui sopra ogni preposito : Com | posti per ... . 
 I Seraphino da Laquila. End. a 4* : .... fin ala morte | 
 Finis. 
 Cut (no X 116). Same subje6b as a. 
 See also Tebaldeo de Ferrara. 
 Araldi, Antonio. See Giudizio Universale, Rappresenta- 
 zione del. 
 
 Arias d' Avila, Pietro. Lettere. [37 
 
 s.l.e.a. 8°. [B. M.] 
 
 1°: ([ LETTERE DI PIETRO ARias | Capitano Generale dclla conqui 
 I sta del paese del mar Occeano | . • . mdxxv. End. 4*: 
 
 FINIS. 
 
 Cut (42 X 54). A horseman fighting two men in a ship. 
 
 Ariosto, Lodovico. Orlando furioso. [38 
 
 1528, 25 July. Eredi di Filippo Giunta. (Maglione Sale, 
 423-) 
 
 Arlotto. Motti e Facezie. [39 
 
 a. s.a. per Bern. Zucchetta Ad Instantia di Bernardo di 
 Bier da Pescia. Hain, 1792. [Mgl., Triv.] 
 
 1°: Motti Et Facetie Del | Piouano Arlotto Pre | te Fiorentino. 
 . . . End. M 6*: <[ Impresso in Firenze Per Bernardo 
 Zucchetta | Ad Instantia di Bernardo Di Ser Piero | Da Pescia. 
 
 14 
 
Border (170 x 106) with below a recumbent woman, a 
 
 man approaching her, and two putti. (Very fine cut of 
 
 the early finer style.) 
 b. s.a. per Gio. Stefano da Pavia, Ad Inst, di Bernardo 
 Pacini. 8°. [Florence, Baron de Landau.] 
 I" : Facetie : Piaceuoleze : Fa | bule : e | Motti del Piovan. End. 
 
 C Impresso in Firenze Per Giouanni Stefano | Ad Instantia 
 
 di Bernardo Di Ser Piero | Da Pescia. 
 
 Cut (87 X 65). A man on the I. speaking to two youths 
 (early grave style). Two marks of the printer. (It. 
 Pr. M., 49-51.) 
 
 Ars moriendi. [40 
 
 a. s.a. (ca 1490.''). [Spencer. Midhurst, Mr. Fisher.] 
 Hain, 4394 and 4395. See Dibdin, Bibl. Decamerone, 
 i., p. 140 (with 5 reprod.) ; Fisher, Catalogue, p. 28 and 
 
 153- 
 34 cuts (i I copied from the cuts of the German block-books). 
 
 b. 1513. [B. M., Rice] 
 
 a I" : C Incomincia elprohemio della arte del ben morire cioe .... 
 composto per lo . . . Cardinale di fermo. . . . End. c 6* : 
 .... 15 13 I 4[ Finito ellibro del ben morire | tuflo storiato 
 Deo graties. 
 
 34 cuts r: a. 
 
 ASPRAMONTE. [4 1 
 
 1504. A petitioue di Ser Piero Pacini. [Triv.] 
 
 I" : <r ASPRAMONTE di nuovo racconcio in lingua To | schana 
 ystoriato tucEto. 
 
 Cut (170 X 100). Ritratto di Re Almonte in piedi. 
 Three marks of Pacini. 
 S. Augustine. See S. Agostino. 
 
 Babilonia, Rotta di. [42 
 
 a. s.a. [Triv.] 
 
 A I": LA ROTTA DI BABILLONIA | QUANDO MORGANTE E ORLANDO 
 
 E Ri- I naldo presono la citta di Babillonia. End. a 8* : il 
 
 FINE. 
 
 Cut (no X 87). A giant breaking the walls of a town. 
 (Copy of a cut in Pulci's Morgante.) 
 
 b. 1582. Battista Pagolini. [Triv.] 
 Cut as in a. 
 
 c. 1605. Apresso Zanobi Bisticci. [Triv.] 
 Cut as in a. 
 
 15 
 
Baldovinetti, Ettore di Lionello di Francesco. Rinaldo 
 
 appassionato. [43 
 
 ^533y ^^ O*^- P^^ Michelangelo di Bart, di F. [Triv.J 
 
 a I " : Rinaldo appassionato | di Battaglie & d'Amore. End. e 6°. 
 
 Cuts. i. (167 X 128). A knight, his sword in his right 
 
 hand, galloping to the r., the hind feet of the horse 
 
 standing on clouds, the fore feet on a globe (smooth 
 
 and soft manner), ii. (71 x 105). A woman and a 
 
 youth standing, a king sitting on the r. (copy .?). iii. 
 
 = Pulci's Morgante. iv., v. Copies, vi.-ix. Copies 
 
 from Pulci's Morgante. 
 
 Barbara, Rappresentazione di. [44 
 
 a. s.a. Francesco di Giov. Benvenuto. [Mgl.J 
 
 I": C! RAPPRESENTATIONE DI SAN | CTA BARBARA NUOVA | 
 MENTE COMPOSTA. 
 
 Cuts. i. Border (174 x i23|-) below, Christ in sarco- 
 phagus between two angels ; above sudarium between 
 two cherubs, ii. (88 x 57). S. Barbara, with chalice 
 and palm, standing over a knight who is lying on the 
 ground (smooth manner), iii. =r Rafpr. di S. Apollonia, 
 
 ^S'^^ {33 ^. iii-)- 
 
 b. 1554. P of the volume. [Mgl., Cors., Poldi.J 
 
 I" : La I Deuotissima Rapresentatione | di Santa Barbara. 
 Cuts. i. (125 X 103). s. BARBARA Standing over a knight. 
 
 ii. = Dati, Giul. Del Prete Janni (No. 122, a ii.). iii. 
 
 (76 X 100). Baptism of a king and a queen, on the 1. 
 
 warrior with two horses (hard), iv. (55 x 79). A 
 
 female saint beaten with sticks (later, rude), v. (72 
 X 99), Beheading of a saint, his soul is carried to 
 
 heaven (smooth and round). 
 
 c. 1568. Badia. [Pal., Rice, Triv., Berl. K.] 
 
 Cuts, i., iii., V. rz ed. 1554. ii. (102 x 78). A student 
 sitting to the 1. at his desk (copy), iv. {^;^ x 78). The 
 mutilation of a saint's breasts (copy). 
 
 d. 1588. Appr. Giovanni Baleni. [Pal., Poldi, Triv., 
 Ambros., B. M.] 
 
 Cut z= a 1. 
 
 e. 1588. Badia. 
 See also Dati, Giuliano. 
 
 Barlaam e Josafat, Rappresentazione di. [45 
 
 a. s.l.e.a. (xv. cent). [Cors., Mgl, Triv., Bodl.j 
 
 16 
 
a I": 4[l.ARAPRESENTATI0NE DIVOTADI | BARLAAM ET lOSAFAT. 
 
 End. a 8*: . . . | che uidia gratia diseguir costoro | finita. 
 Cuts. i. Angel, ii. zz Gualtier e Griselda, Novella di 
 (No. 215(2, ii., cut 51). iii., iv., v.jviii. -zi Fior di virtu 
 (camels, hares, phcenix, bees), vi. (74 x 102). Baptism of 
 two men by a monk. vii. (100x75). A youth kneeling 
 receives a habit and rosary from a king. (See cut 47.) 
 
 b. 1 5 16, 24 March. Fece stampare Francesco di Giovanni 
 
 Benvenuto. [Mgl., B. M.] 
 Cuts i., ii., v., vi. Copies from a. iii. =: Fior di virtic. iv. 
 Copy. 
 
 c. 1588. [Pal., Poldi (Z z), Triv., Siena.J 
 
 I": Rapresentatione di Barlaam | et iosafat. | • . . 
 Cuts. i. Angel (copy), ii., v. ^1 a ii. and vi. iii. 1= Fior di 
 virtH (hares), iv. z= Pulci's Morgante. vi. Copy of a vii. 
 
 S. Basilio, Historia di. [46 
 
 a. s.l.e.a. Hain, 2699.-^ [Cas.j 
 
 I" : La historia di san Basilio. End. 2* : Finita la historia di 
 san Basilio Amen. 
 
 Cut (66 X 91). The saint protedting a woman and her 
 child against three devils (copy .''). 
 i>. s.a. (ca 1550). [Cors.] 
 
 I": La leggenda di San Basilio Abate: | neixa qvale libero 
 UN GiovANE I che s'era dato al gran Diauolo. End 2'': il fine. 
 
 Cut (75 X 100) copy of ^. 
 
 c. s.a. ylpresso Pietro Nesti. [Triv.] 
 Cut as in b ^ 
 
 d. 1 59 1. Giovanni Baleni. [Triv. J 
 Cut as in ^ ? 
 
 e. s.a. [Triv.] 
 
 A 1°: La istoria de sanfto. Basilio. | O Gloriosa Virgine Maria | 
 driza lo mio core . . . 
 
 Cut (98 X 116). The saint protefting a youth against 
 the devil ; burial of the saint. 
 Battuti, Compagnia dei. See Compagnia. 
 
 Basilius. [47 
 
 1505, 3 Jan. P. Pacini. [Angel.J 
 
 a 1°: <[ E MAGNO basilio LEONARDI ARRETINI I TRADVCTIO 
 
 AD coLvcivM. End. 8 4". (Pacini's three marlcs. ) 
 Cut (69 X 57). A monk writing, to the 1. =: Savonarola, 
 Epistola. s.a. No. 380*. 
 
 17 D 
 
Becco all' occa, Storia del. [48 
 
 a. s.l.e.a. (xvi. cent.). [B. M.] 
 
 a I": Historia noua pche se dice le fatto el becco a Loche cosa 
 
 bellissima. 
 Cut {j~j X 128). A goose drawn to the r. on wheels, 
 
 on the r. a king betrothing two young persons; two 
 
 trumpeters and two other men. 
 
 b. s.l.e.a. (xvi. cent.). [Triv.j 
 
 I" : HISTORIA PERCHE SI | DICE GLIE FATTO IL BECCO AL'oCA. 
 
 Cut as in a. 
 
 c. 1580. [Triv.j 
 
 I": historia PERCHE SI DICE | GLIE FATTO IL BECCO ALOCA. 
 
 Cut {ji X 93). A dragon led to the 1. by a man (smooth 
 and round). 
 Belcari, Feo. See Abramo ed Isacco, Rappr. di ; S. 
 
 Giovanni Battista, Rappr. di ; S. Panunzio, Rappr. 
 
 di. 
 Belfiore, Caccia di. See Caccia di Belfiore. 
 Belladini, Mariano. See S. Romolo, Rappr. di. 
 Benci e Belcari. See S. Giovanni Battista, Rappr. di. 
 
 Benedetti, Gabriello dei. Via del paradise. [49 
 
 1 517, 8 Nov. per Bernardo Zucchetta. [Triv., B. M.] 
 Cuts. i. Border of four ledges. ii. =: Basilius (47). 
 iii. (71 X 80). A monk kneeling to the 1. before an 
 altar with image of the Virgin (rude cut). 
 
 S. Benedetto. Regola. [50 
 
 s.a. 8°. [Cors.] 
 
 a I": <[ Regola di Sanclo Benede<5lo nuoua | mente uulgarizata. 
 End. f 8* : Fine della regola del nostro Sane | tissimo Padre 
 Benede6lo. | . . . . humile. 
 
 Cut zr Kempis, Imitatio, 1493, Miscomini. (227*.) 
 
 Benetus, Cyprianus, Aragonensis. De fortitudine <j per- 
 
 fed:a arte militari. [51 
 
 s.a. (Rome.?) [Aless. ] 
 
 ax": Ad Illustrissimuj x Reueren | dissimum dnm dfim Juliu dc 
 I medicis. . . . 
 
 Border (i-^i x 123). A dog chasing a hare; below, 
 knots of ribbon and twelve birds. (Copy composed of 
 the upper part of 72" (i) and the lower of 227".) 
 
 18 
 
Benivieni, Domenico. Tradtato in defensione della 
 do6lrina di Savonarola. [52 
 
 1496, May 28. Francesco Bonacorsi (P. Pacini). Hain, 
 2784. [Cors., Capponi., Maruc, Pal., Mgl., Stuttgart, 
 Midhurst Mr. Fisher.] 
 
 Cuts. i. (75 X 98). A monk speaking to another 
 monk and five men. ii. (179 x 126). Adoration of 
 the Crucifix, firenze — roma — yervsalem. (Repr. 
 Fisher Catalogue, p. 129; Gruyer, Les ecrits de Savona- 
 rola^ 
 
 Bernardino. Le bellezze e casati di Firenze. [53 
 
 s.a. [B. M.J 
 
 1°: |[ Le bellezze & chasati di Firenze. End. 4*: . . . Ber- 
 nardino I el qual p nostro amor ha raccontato | . . . . Firenze 
 
 I FINIS. 
 
 Cut (i04|- X 1252-)- View of Florence. (See cut i.) 
 
 S. Bernardino, Vita di. [54 
 
 a. s.a. (xv. cent.) 8°. [Triv.] 
 
 I": C[ Lauita di San Bernardino. End. 4": . . . | uiue contento 
 & poi saluato more | finis. 
 
 Cut {\o6 X 74). The saint carried to heaven by two 
 angels (early, grave style). (See cut 10.) 
 
 b. 1576. Ad instant ia di Giouanni Vuolfio Inglese. Dddd 
 of the volume. [Cors.] 
 
 1°: HISTORIA ET | VITA DI SANTO | BERNARDINO. 
 
 Cuts. i. zr as in a. ii. =z S. Francesco, Fioretti, 1497, 
 
 (No. I55^iii.). 
 
 S. Bernardino, Confessione di. [55 
 
 s.a. 8°. [B. M., Mr. Murray.] 
 
 a 1° : Confessione utile & deuota di Sanfto Bernardino uolgare. 
 End. c 8* : ... materia un poco piu graue | & piu lunga | 
 
 FINIS. 
 
 Cut zz Bernardino, Vita di (54 a). 
 S. Bernardino. See also S. Agostino, S. Bernardino e 
 S. Gregorio, Orationi e versi. 
 
 S. Bernardo. Sermoni volgari. [56 
 
 1495, Jan. 27. Lor. Morgiani & Giov. da Maganza. ad 
 instantia di Ser Piero Pacini. [Vat., Ven., Munich, Paris, 
 B. M.] 
 
 IQ 
 
Cut (77 X no). The foremost of four monks gives a 
 book to a nun kneeling before him (hard style). 
 1508, March 17. Venezia. Pietro de ^arengi. [B. M., 
 
 Vitt. Em.] 
 
 Cut (98 X 107I). A monk preaching before a large con- 
 gregation, on the r. a group of men standing. (Floren- 
 tine ?) 
 
 S. Bernardo. Versi. \_S7 
 
 s.a. Fece stapare ser Zanobi dalla barba. 8°. [Munich.] 
 I" : C Versi di Sandto Bernardo & | altre deuotissime orationi | . . . 
 Cut (77 X Sd). S. Bernard writing to the 1. at his desk 
 sees an angel, the devil behind him (late, smooth cut). 
 
 Bernardo, Pietro, da Firenze. Predica. [58 
 
 1 500 .^ [Paris.] 
 
 a i': C Antonio Buonsignori dsidera alii Magnifici & excelsi 
 Signori Fioren | tini. . . End. c 8" : Pridie Kalendas Augusti. 
 Anno. M.ccccc. 
 
 Cuts. i. (168 X 104). A man reading to eight persons 
 kneeUng below the crucifix. Inscription : lavd | ate 
 I p I vERi I DOMi I NVM. (hard style), ii. (100 x 85). 
 The nativity of Christ. 
 
 Berti, Giuntino d' Antonio. Storia di S. Paolino. [59 
 
 s.l.e.a. (xv. cent.). (Cas. impf.) 
 
 a I wanting ; a 2" : Sol per saper la parola gratissima | padre. . . . 
 End. a 8* : ([ Finita la historia del martirio di | San£to paulino 
 composta 5 Giun | tino dantonio Berti | C Incomincia loratione 
 
 .... AMEN. 
 
 Cuts i.-iii. == Paolino, Rappr. di. (No. 322. a iii.-v.) 
 
 Bettini, Antonio. Libro del monte di dio. [60 
 
 149 1, March 20. Lorenzo de Morgiani & Giouanni da 
 Maganza. Hain, 1277. [Cors., Mgl., Siena, B. M.,Dresd., 
 Vienna, Paris.] 
 
 Cuts. i. (182 x 123). A youth about to climb a ladder 
 leading to Christ in glory, ii. (183 x 124). Christ in 
 glory, iii. (183 X 123). Hell in seven circles. (Copies 
 after the copper-engravings of the edition of 1477.) 
 S. BiAGio. See Dati, Giuliano. 
 
 20 
 
BiAGio coNTADiNo, Rapprcsentazione di. [6i 
 
 a. s.a. [Cors.] 
 
 I" : C RAPPRESentatione di Biagio contadino. Langelo dice. 
 End. 4* : ... I ristoretenui : habiate patienza. Finis. 
 
 Cut (yi X 105). Biagio looking in astonishment at a devil 
 climbing a tree (smooth, round style). 
 
 b. s.a. Jd Instantia di M. F. di G. B. . . . (Maestro 
 Francesco di Giovanni Benvenuto.) [Mgl.] 
 
 Cut as in a. 
 
 c. s.a. [Pal.] 
 
 a I": Comincia la Rapresentatione di Biagio cotadino Et prima. 
 . . . End. a 4* : ristorerenui [sic) habbiate patienza : finis. 
 
 Cut (68 X 100). A man lying under a tree between 
 devils, SATAN I PRiNCEP | s. . . . (Hard, hasty cut.) 
 
 d. 1553, July. [Poldi, (OO), Triv.] 
 Cut as in t2. 
 
 e. 1558. [Triv., Berl. K.] 
 Cut as in a. 
 
 f. 1585. Giov. Baleni. [Poldi. J 
 Reversed copy of cut of a. 
 
 g. 1590. Giov. Baleni. [Poldi, Triv.] 
 Cut as in /. 
 
 BiANCA e la Bruna, Storia della. [62 
 
 s.l.e.a. (ca 1500.) [Erlangen.] .? 
 La storia dela Biancha e la Bruna. 
 See Varnhagen p. 28, with reprodudlion. 
 
 Border. A dog chasing a hare. (Copy of Buondelmonti, 
 Storia di. No. 72" i.) 
 S. Blasius. 6^1?^ Biagio, and Dati, Giuliano. 
 
 Boccaccio. Decamerone. [63 
 
 1516, July29. Philippo di Giunta. [Berlin.] 
 
 106 cuts. i. (74 X 93), the others (44 x 70) (hard and 
 rude cuts). Pubhsher's mark. (See It. Pr. M., 42.) 
 
 Boccaccio. II corbaccio. [64 
 
 s.a. [Pal., Stuttg., B. M.] 
 
 a I": C Inuedtiua di Messer Giouanni Boccaccio. . . . De<3o 
 laberinto damore & altrimenti il Cor | baccio. End. e 10°: 
 ... per mis | ser Giouane Bochacci poeta fiorentino. | finis. 
 
 Border. 
 
 21 
 
Boccaccio. Florio e Biancefiore. [65 
 
 a. s.a. appetitione \ di ser Piero da peseta. [B. M.] 
 
 Cut {i\c^ X 136). A woman letting down a man in a 
 basket, on the 1. a knight on horseback. 
 
 b. s.a. Alle Seale di Badia. [B. M.] 
 
 a 1°: LO INNAMORAMENTO DI | FLORIO, ET BIANCIFIORE. 
 
 Cui (104 X 85). Same subjecfl as in a (late, smooth). 
 
 c. s.a. [Triv.j 
 
 I": LO INNAMORAMENTO | DI FLORIO, ET BIANCIFIORE. 
 
 Similar cut. 
 
 d. s.a. Allato a S. Apollinari. [Triv.j 
 
 Cut (loi X 84). Same subject (rude, smooth). 
 
 e. 1606. Siena., alia Loggia S. Papa. [Cors.J 
 Cut (100 X 73). Reversed copy of a. 
 
 f. 161 2. Alle Scale di Badia. [Triv.j 
 Cut as in b (?). 
 
 Boccaccio. Ninfale Fiesolano. [66 
 
 1568. appresso Valente Panizzi. [Paris, Aless., Mid- 
 hurst Mr. Fisher.] 
 
 Nuouamente corretto et con le Figure ristampato. 
 Cuts. i. (107 X 80). Diana with five nymphs. (See 
 cut 34.) ii.-xvi. (104-107 X 70-72). Scenes of the 
 poem. (See Introduction, cuts 97-101 and 102, 103.) 
 
 BoDDi, Girolamo, Aretino. Capitolo della Fede Cato- 
 
 lica. [67 
 
 s.a. Siena ? [Triv.] 
 
 1" : C Capitulo in Terza Rima dela | Fede Catholica .... per 
 Girolamo Boddi | Aretino . . 
 
 Cut {^6 X 39). Christ on the cross, with the Virgin and 
 S. John, in border of Sienese style. 
 
 S, BoNAVENTURA. Aurea legenda maior beati Fran- 
 cisci. [68 
 
 1509, 15 Kal. Mai (April 17). Phil. Giunta. 8°. [Vitt. 
 Em., Cas., Brera, B. M., Berlin.] 
 Cut {%\ X 70). Stigmatization of St. Francis. (See cut 4). 
 
 S. BoNAVENTURA. Mcditazioni sopra la passione. [69 
 
 a. s.a. per Maestro Antonio Mischomini. [Cors., Mgl., 
 Maruc] 
 
 11 
 
8 cuts {loi -io(^ X 82-86): V. (86-^- X 108): Raising of 
 Lazarus, Last Supper, Christ on the Mount of Olives, 
 Betrayal, Scourging, Mocking, Crucifixion, Resurredtion. 
 (Very fine cuts, fine thin-lined style.) (See cuts no, 
 146.) Earlier impressions than those in Efistole et 
 Evangeli, 1495. 
 
 b. s.a. [Cors.,Ricc. (different edition ?) , Midhurst Mr. Fisher. J 
 
 a I": <[ Incominciono lediuote meditationi so | pra lapassione del 
 nostro signore chauate | & fondate originalmente sopra san£to 
 Bo- I nauentura . . . End. £4': ^ Finite sono lediuote medi- 
 tationi delnostro signor Giesu xpo. 
 
 Cuts. i. (21 X '^(>). Christ on Cross, ii., iv., v., vii., ix., 
 X., xi., xii. as in a. iii. Christ entering into Jerusalem, 
 vii. Christ bearing his cross, viii. Christ before Pilate. 
 Later impressions than in a., and in Efistole et Evangeli. 
 
 Bradiamonte, Sorella di Rinaldo. [70 
 
 a. s.l.e.a. (xv. cent.) [Erlangen.] 
 
 I" : Bradiamonte sorella di Rinaldo. End. 8. Finito ilcantare di 
 Bradiamonte. (Varnhagen, p. 31.) 
 
 Cuts. i. Border (173 x 113): below, four putti playing 
 with a stag and a roe, above two angels with medallions, 
 with two busts. ii. (106 x 80). Bradiamonte on 
 horseback, sword in hand, before her a knight falling 
 down wounded with his horse. (Early grave style.) 
 (See cut 15.) 
 h. s.a. Alle Scale di Badia. [Triv.J 
 
 A 1°: La Historia di | Bradamante | Sorella di Rinaldo | da Mont- 
 albano. 
 
 Cuts. i. (85 X 108). Copy of a. ii. A knight un- 
 horsing his antagonist. (Copy of cut of Pulci's Mor- 
 gante. ) 
 
 c. s.a. Alle Scale di Badia. [Cors., Triv.] 
 Cut. zr b ii. 
 
 d. 1558. al Vescouado. [March d'Adda.j 
 
 RucoLicHE di diversi (Bern. Pulci, Francesco de Arsochi, 
 
 Girolamo Benivieni, Jacopo Fiorino de Bonin- 
 
 segni). [71 
 
 1494, April 19. Antonio Miscomini. [Mgl., Siena, imper- 
 
 fed.] 
 
 Cut. A student at his desk = Cessolis, Libro degli scacchi. 
 (No. ioi,iv. See cut 113.) 
 
 23 
 
BuoNDELMONTi, Ippolito & Dianora Bardi, Storia di. [72 
 
 a. s.a. [B. M.] 
 
 ai"- C Ypolito Buondelmonti & Dianora de Bardi ciptadini 
 fiorentini. End. a 8* : <[ Finite ypolito bu5delmoti & Dia ] 
 nora de Bardi ciptadini fiorentini. 
 
 Cuts. i. Border (176 x 121): below, two putti on pigs 
 fighting, four others behind them ; above, a dog chasing 
 a hare (early grave style), ii. (106 x 86). Dianora 
 embraces Ippolito, who is led to execution (very fine cut 
 of early grave style). (See cut 25.) 
 
 b. s.a. [Erlangen]. 
 
 I": Ipolito Buondelmonti & Dianora de Bardi ciptadini fiorentini. 
 
 Cuts as in a. 
 
 c. s.a. J pet. di Bartolomeo Castelli. [Pal. J 
 Cut. Copy of ^ 2. 
 
 d. s.a. [Triv.J 
 
 1°: LA 1 HISTORIA d'hIPOLITO | BVONDELMONTI, ET DIANORA 
 DE I BARDI . . . 
 
 Cut. Copy of fl 2. 
 
 e. 1605. Zanobi Bisticci. [Triv.] 
 Cut. Copy of a 1. 
 
 Buovo d'Antona, Morte di. [73 
 
 a. s.l.e.a. [Mgl.j 
 
 A I": LA MORTE DI BVOVO | d'aNTONA ] CON LA VENDETTA DI 
 
 siNiBALDO ET | Guidone . . . 
 Cuts. Two copies (or late impressions) of cuts of Pulci's 
 Morgante. 
 
 b. s.l.e.a. [Triv.J 
 
 1°: LA MORTE DI BVOVO | d'aNTONA, CON LA VENDETTA | di 
 
 Sinibaldo, & Guidone . . . 
 Cuts. Three copies of earlier engravings. 
 
 c. 1568, Sept. 17. [Triv.] 
 Cuts as in b. 
 
 BUSOTTO, AQUAROLO ROMANO, NoVclla di. [74 
 
 s.a. (Catalogue Libri) ? 
 
 Caccia, descrizione di una. [By Bernardo Accolti ?] \y^ 
 s.a. (beginning of the xvi. cent). 8°. [Triv.] 
 
 a 1° cut, a 1*: |[ SONETTO del SVBIECTO I DELLA OPERA. 
 
 ail": fl DEscriptione duna Caccia di piu | nobilissime Donne 
 
 '^4 
 
Florentine & | lamorameto di Veneie . . . End. p. 4' ; . . . per 
 me che tato tatna. | C Con gratia & Priuilegio. 
 
 Cuts. i. (128 X 85). Diana appearing to a youth sleep- 
 ing under a tree. ii. (123 x 84). A youth sitting 
 under laurels, while Amor is shooting his arrow against 
 a goddess in clouds. (Good, smooth cuts.) 
 
 Caccia di Belfiore. [76 
 
 a. s.a. (xv. cent.). [Triv., B. M.] 
 
 1°: C La Chaccia di bel Fiore ( (cut) EGliera ilsole amezo 
 luniuerso | . . . End. 4* : C Finita la chaccia di bel Fiore. 
 
 Cut (82^ X 108). Three men on horseback and three on 
 foot hunting a roe. (Very fine cut of the early grave 
 style.) (See cut 72.) 
 
 b. 1553 (July). [Triv.] 
 Cut as in a. 
 
 Calandri, Filippo. Arithmetica. \yy 
 
 a. 1 49 1 (Jan. i). Lor. Morgiani & Giov. da Magonza. 
 8°. Hain, 4234. [Vat., Mgl., Ven., Palermo, Spencer.] 
 Cuts. i. (114x78). Master and scholar (see cut 12). ii. 
 
 (118^ X 8i)andiii. (122 x 84). Drawing of different 
 hands. Different borders and ledges ; border (119 x 80) 
 with two prophets and busts in the corners ; another 
 (119 X 81) with triton and nymph and angels; and 
 (118 X 80) with candelabra with sirens. Large number 
 of little cuts (37 X 37). (All in the early grave style.) 
 
 b. 1518 (July 20). per Bernardo Zucchetta 8° [Berlin.] 
 Cuts as in a. 
 
 Camaldulensis Ordinis, Reformatio. [78 
 
 1513 (Dec. 29). Phil, de Giunta, impensis uero totius 
 
 Camaldulensis ordinis. [Berlin.] 
 Cut (84 X T04). The pope, Leo X. p.m. enthroned, 
 
 with the arms of the Order of Camaldoli. (Smooth, 
 
 thick cut.) 
 
 Campriano, Historia di. [79 
 
 a. s.a. (Wolfenbiittel.) .'' 
 
 b. s.a. (ca 1550). (Libri =: Passano, p. 54 }) 
 
 c. 1579(0 
 
 25 E 
 
Canuntius, Frater Petrus. Regule florum musice. [80 
 
 1 5 1 o, May 1 8 . per Bernardum diSfum Zuchettam impensa 
 
 di5fi fris petri caniltii. [Berlin.] 
 Cuts. i. (177 X 126). A monk teaching another, ii. 
 
 (83 X 108). Orpheus playing a violin before the 
 
 animals. 
 
 Canzone. Non aspetto gia mai con tal desio. [8 1 
 
 s.a. [B. M.] 
 
 1°: NON ASPETTO GIA MAI | CON TAL DESIO. 
 
 Cut (105 X 104). A woman shooting an arrow against 
 Amor, who is flying over a youth chained on a tree. 
 
 Canzoni diverse. [82 
 
 s.a. Fece stampare M. Francesco di Giovanni Benvenuto. 
 [Berlin K.j 
 
 zi„: C TV Ti LAMENTi ATORTo C Canzone della ingratitu- 
 dine | ^ Capitolo cotro alia speranza . . . 
 
 Cuts. i. =:8ifl. ii. (25 x 21). A knight on horseback = 
 Calandri Arithmetica (No. ']'] a)^ 
 
 Canzone a ballo composte da diversi autori. [83 
 
 1563, July. [Triv.J 
 
 I" : Canzone a ballo composte da diuersi Autori .... 
 
 Cut (109 X 86). Four youths playing before the house 
 of a lady. (Florentine .?) 
 
 Capitolo, oratione et laude divote. [84 
 
 s.a. Fece stampare ser Zanobi della barba. 8°. [B. M.] 
 1°: Capitolo oratione x \ laude deuote. 
 
 Cut (76 X 64). Circle with y.h.s. in a glory, on black 
 ground ; a crucifix above. 
 
 Carnevale e Quaresima, Contrasto di. [85 
 
 a. s.a. [B. M.] 
 
 a I": IT El contrasto di Carnesciale t laquaresima. | A) tempo . . . 
 End. a 8* : Finito el contrasto del Carnesciale & della quaresima. 
 
 Cuts. i. (72 X 99). A man at table, a woman roasting 
 a fowl. ii. (74J X 10 1). A fishmonger's shop; girls 
 with onions. (Early, hard cuts.) (See cuts 68 and 
 69.) 
 
 26 
 
b. s.a. Ad instant ia di S. Francesco di Giouanni Benuenuto. 
 [Cors.] 
 
 a 1° : 4[ LA Guerra & contrasto di Carnesciale : & della Quaresima. 
 I AL tempo che uolouano epennate . . . 
 
 Cuts as in a. 
 
 c. s.a. (ca 1500). [Rothschild Catalogue vol. i. n. 1027. j 
 
 EL CONTRASTO ouero battaglia delo | Carnouale &dela Quaresima. 
 I AL tempo , . . 
 
 Ca/? 
 
 d. s.a. Appresso le Scale di Badia. [Mgl.J 
 
 A 1°: IL GRAN CONTRASTO | E LA SANGVINOSA BATTAGLIA DI | 
 
 Carnouale, e di Madonna Quaresima. 
 
 Cut. \. ■=! a\. 
 
 e. s.a. [Cors.] 
 
 A 1°: IL GRAN CONTRASTO | E LA SANGVINOSA GVERRA DI | 
 
 carnonale(j/V), e JVIadonna Qua- | resima. | al tempo . . . End. 
 Ay':... I al vostro honor finita e I'historia. | il fine. 
 
 Cut (84 X 108). Four men drinking and singing. (See 
 cut 176.) 
 /. s.a. [Poldi.J 
 
 End, . . . al vostro honore, e finita I'historia | il fine. 
 
 Cut as in e. 
 g. s.a. (ca 1550). [Triv.J 
 
 1°: IL GRAN CONTRASTO | E LA SANGVINOSA GVERRA DI | Car- 
 nouale, e Madonna Quaresima. 
 
 Cut as in e. 
 h. s.a. (ca 1550). [Poldi.J 
 
 1° : IL GRAN CONTRASTO | E LA SANGVINOSA GVERRA DI | Messer 
 
 Carnouale e Madonna Quaresima. 
 
 Cut as in e. 
 i. s.a. Siena. [Triv., Ambros.j 
 
 Cuts. i. Copy of cut e, ii. copy of a \. and two other cuts. 
 k. s.a. [B. M.] 
 
 i" : El contrasto di Carneuale 7 de Quaresima. | al tempo . . . 
 End 4* : al nostro honore finita la historia finis. 
 
 Cut (114^ X 124). A man at table on the 1. with a spit, 
 with cakes; a woman roasting something at the fire; 
 before the door a girl with a basket with onions, on 
 the r. 
 /. s.a. Ad instantia di Francesco di Jacopo : Vocato el conte 
 cartolaio. [Berlin K.] 
 
 27 
 
a I" : C LA guerra & contrasto di Carnasciale : & della Quaresima. 
 
 I AL tempo . . . 
 Cut (73 X 74). Two youths, playing a lute and a violin, 
 walking with a girl (smooth, late cut). 
 
 Carnevale e Quaresima, Rappresentatione e festa. [86 
 
 a. 1554, April. [Poldi, (Y.) Triv.J 
 
 Cuts. i. Angel, ii. = 85 a \. iii. — Pulci, Morgante. 
 iv. (81 X 107). Two youths carrying baggage, pre- 
 ceded by a little man with a sack and a basket. (This cut 
 probably belonged to a lost edition of the life of ^sop.) 
 (See cut 1 1 8.) v. Knight followed by others on horseback 
 to the 1. ; a warrior preceding them to a town. vi. A 
 battle against a town, the defenders throwing stones. (In 
 the style of the ^adriregio.) vii. A saint being burnt 
 (late, rude). 
 
 b. 1568. [B. M.] 
 Same cuts as a. 
 
 Cassandra et Consubrino, innamoramento di. [87 
 
 a. s.a. [B. M.] 
 
 A I": INNAMORAMENTO DI CASSANDRA ET CONSV- | brino, HUOUa- 
 
 mente cotnposto per A. M. Cittadino Fiorentino. End. A 6 : 
 . . . popol mio diletto. | il fine. 
 
 Cut ■=. Gualtieri e Griselda, Novella di, s.a. (No. 215a. iii.) 
 
 b. s.a. [Triv.] 
 
 I": innamoramento di cassandra et CONSV- I brino, nuoua- 
 mente composto per A. M. Cittadino Fiorentino. 
 
 Cut. Copy after Maria per Ravenna, historia di, s.a. 
 (No. 272 a. iii.) 
 Cassia, Simone di. See Epistole et Evangeli. 
 
 Castellani, Castellano. Morale. [88 
 
 s.a. (before 1538). [Mgl.] 
 
 i": C MORALE composto p messer Castellano Castellani / doue 
 sinarra | . . . End. 2* : . . . pace no regna. | Finis. 
 
 Cut — Gesii, Nativita, Rappresentazione, 1538 (No. 174^) 
 (but earlier impression). 
 
 Castellani, Castellano. Evangelii della quadrage- 
 sima. [89 
 
 s.a. {A. de Ghirlandh et A. de Tubinis.) Hain, 4584. 
 [Florence, Baron de Landau.] 
 
 28 
 
a 1°: Cominciano euangelij della quadragesi | ma compost! in 
 uersi per me Castel | lano di Pierozo Castellani. 
 
 Cut n Epistole et evangeli, 1495, and printer's mark. (Ir. 
 Pr. M. ^6.) 
 
 Castellani, Castellano. Stanze in laude della croce. [90 
 
 s.a. Francesco di Giovanni Benvenuto. [Mgl.] 
 
 Cut zz Gesu, Passione, Rappresentazione, 151 1 (No. 178 «, 
 ix.). 
 
 Castellani, Castellano. Meditazione della morte. [91 
 
 a. s.a. (Pacini.) [Mgl.J 
 
 a 1° : C! Meditatione della morte coposta da Messer Chastellano de 
 Castel I lani . . . End. 4' : . . . pieno & di dolore | finis. 
 
 Cut (107 X 83I-). A hermit terrifying three kings by the 
 sight of a skeleton in a tomb. (Smooth and round style.) 
 [See cut 117.) 
 
 b. s.a. [Mgl., Triv.J 
 
 i": Meditatione della morte.|| C Meditatio mortis / composita g 
 me Castellanum . . . End. 4* : . . . gloria in ciel misura. | 
 
 FINIS. 
 
 Cuts. i. (108 X 84). Reversed copy of a. ii. (loi x 
 73|-). Death killing the young whilst the old ones are 
 running behind him. (Smooth and round style.) 
 
 Castellani, Castellano. Sonetti. [92 
 
 s.l.e.a. Hain, 4583 [.?]. 
 Castellani, Castellano. Rappresentazione di S. Eufrasia. See 
 
 EUFRASIA. 
 
 Rappresentazione del figliuolo prodigo. See Figliuolo 
 
 prodigo. 
 
 Rappresentazione della Cena e della passione. See Gesu, 
 
 Rappres. della cena. 
 
 — Rappresentazione di S. Onofrio. See Onofrio. 
 
 — Rappresentazione di S. Tommaso. See Tommaso. 
 
 — Rappresentazione di S. Venanzio. See Venanzio. 
 
 — Storia del. See Lancilotti. 
 
 S. Caterina, Leggenda di. [93 
 
 a. s.a. [Mgl.] 
 
 a I": la leggenda di sancta cate | rina vergine et 
 MARTYRE. End. b 4* : C Finita la leggeda di sandta Caterina 
 Vgine & martyre. 
 
 29 
 
Cut (99 X 71). The saint standing with book and palm 
 and wheel. 
 
 b. s.a. [Mgl.J 
 
 1° : Leggenda di S. Caterina vergine e martyre. 
 
 Cut as in a (?). 
 
 c. s.a. appresso alia Badia. [Rice] 
 
 1° : Historia, vita, miracoli, e morte di Santa | Caterina. 
 Cut as in a (? or copy). 
 
 S. Caterina, Rappresentazione di. [94 
 
 a. s.a. [Mgl., Cors.J 
 
 a I": C La rapresentatione di sancSta Caterina uirgine & martyre. 
 End. b 4' : C Finita la rapresentatione di san | £ta Caterina 
 uergine & martyre. 
 
 Cuts. i. Angel, ii. = Leggenda, No. 93 a. iii. •=: Apol- 
 lonia, Rappr., No. 33 a vii. iv. (io8|- x 85). The 
 saint between the wheels which are being shattered by 
 an angel, one of the executioners is falling, the other 
 fleeing to the r. (Hard, early cut.) 
 
 b. s.l.e.a. [Rice] 
 
 a 1° : C[ La rapresentatione di san£i:a Caterina uirgine & martyre. 
 End. b 4° : |[ Finita la rapresentatione di sanita | Caterina 
 uergine & martyre. 
 
 Cuts, i., ii., iii., iv. as in a. v. z=. Margherita, Rappr. 
 di. (No. 261 a, vi.) 
 
 c. 1 515, Aug. 8. Fece stampare Maestro Francesco di 
 
 Giouanni Benuenuto : Sta dal canto de Biscari. [Pal.] 
 Cut (75 X 100). A saint with crucifix, branch, and model 
 of a church standing to the r. over a devil. (Smooth, 
 clumsy cut.) 
 
 d. 1 534, July 30. Francesco di Giovanni Benvenuto. [Pal.] 
 Cuts. i. z=a ii. ii. := a iii. iii. z= b v., or copies.-' 
 
 e. 1554, March. Dirimpeto a Badia. [Triv., Ambros., 
 Poldi.] 
 
 Cuts. i. (130 X 95). The saint kneeling to the 1. between 
 the wheels, under which are lying two executioners; 
 above, two angels (late, scratched, Venetian manner), 
 ii. (73 X 105). A king enthroned on the 1., before him 
 a king in armour ; three men sitting in the background 
 (smooth, round), iii. = Pulci's Morgante. iv. = Apol- 
 lonia,^ Rappr. s.a. {:^2'^)-, ^ii. (copy), v. (73 x 104). 
 Burning of a young man (late, very rude), vi. The 
 saint beaten (55 x 79) (late, very rude), vii. (74 x 
 
 30 
 
I02). A kneeling messenger hands a letter to a king 
 enthroned on the r. (smooth, round), viii. := Esope, 
 1495 (137 «)• ix. =<; iv. 
 /. 1 56 1. ylJ Instantia di Paghol Bigio appresso alia Badia. 
 
 [Mgl., B. M.] 
 
 Cuts as in e. 
 g. 1568. per Bartolomeo Anichini. [Pal.j 
 
 Cuts as in c. 
 h. 1569. Appresso alia Badia. [Mgl., Triv.J 
 
 Cuts as in e\ but iii. and vii. are rude copies. 
 I. 1588. Appresso Giovanni Baleni. [Mgl., Triv., Poldi.j 
 
 Cut. Copy oi a iii. 
 k. s.a. Alle Scale di Badia. [Mgl.] 
 
 Cut z= a ii. 
 /. s.a. Alle Scale di Badia. [Triv.J 
 
 Cut =: £? i. 
 
 Cavalca, Domenico. Specchio di croce. [95 
 
 a. s.a. Hain, 4784. [Vitt. Em., Triv.J 
 
 a I" : 4[ Specchio di Croce. 2° : C in Nome Del padre 5: del 
 figliuolo & dello spiri | to sanfto Amen. . . . End. m 6" : <[ 
 Impresso in Firenze . . . solo in dio re- | gna perfeftione. 
 
 Cuts. \. a (99 X 86). Crucifixion, ii. 3(99 x 87). A 
 monk with another, on the 1. of a cloister, speaking to 
 nuns. {See cut 32.) 
 
 b. 1490, March 27. per Franciescho di Dino di Jacopo 
 Fiorentino. Hain, 4787. [Cors., Mgl., Pal. J 
 
 Cut. (122 X II 2). Christ on the cross, Mary and St. John. 
 [See Introdudlion and cut 2.) 
 
 c. 1493, Nov. 14. Antonio Miscomini. Hain, 4788. [Cas., 
 
 Vat., Mgl., Pal.J 
 Cut (86 X 108). Crucifixion. 
 
 Cavalca, Domenico. Frutti della lingua. [96 
 
 a. s.a. Hain, 4777. 
 
 b. 1493, Sept. 4. Hain, 4779. Lor. Morgiani is Gicv. 
 di Piero da Magonza fol. [Cas., Brera.J 
 
 Cut = Bettini, Monte santo, 1491 (No. 60, ii.\ 
 
 Cavalca, Domenico. Pungi lingua. [97 
 
 1494, June 10. Hain, 4776. [Triv.J 
 
 Cut — Ccii\iic.:, Specchio di croce. s.a. (gyi) ii. 
 
S. Cecilia, Rappresentazione. [98 
 
 a. s.a. (before 1516 See No. 130 i). [Cors., Mgl.] 
 
 a I" : H LA RAPPResentatione di Sandla Cecilia uergine & martyre. 
 End. a 8' : . . . Finis. | |[ Recitata per la compagnia del Van- 
 
 gelista. 
 
 Cuts. i. border (i8i|- x 123). Below, Christ in sarco- 
 phagus between two angels; above, the sudarium withjtwo 
 ch.e.T\ibs-=z Barbara, Rappr. di (44«). ii- (108 x 82). 
 s. CI I ciLi I A standing to the r., holding a palm and 
 a book (large smooth style). 
 
 b. 1 517, Dec. 19. Fece stampare Francesco di Giovanni 
 Benvenuto, sta dal canto de Bischari. [Triv., Mgl. J 
 Same cut as a ii., without the inscription. 
 
 c. s.a. (ca 1550). [Mgl. (Ee), Triv., Poldi (Gg).J 
 
 A I": LA I RAPRESENTATIONE | DI SANTA CECILIA | Verginc, & 
 
 Martire. End. A 8' : il fine. | Stampata in Fiorenza. 
 
 Cuts. \. z= a ii., without the inscription, ii. (70 x io3|-). 
 A priest baptizes a knight, five other persons (smooth 
 and round), iii. (jB^ x 103^). A man speaking to a 
 king, whose sceptre is lying on the ground (fine style), 
 iv. (71 x 1 01). An Eastern king speaking to a knight 
 kneeling before him (smooth and round), v. (71 x 
 103). A female saint before a prison speaking to two 
 prisoners (hard, rude), vi. =z Apollonia, 1554, No. 33 c 
 (x.). vii. = Fior di virtu. No. 150 a (mice). 
 
 d. s.a. (after 1559). [Cors., Triv., Berl. K.] 
 
 l": LA RAPPRESENTATIONE | DI SANTA CICILIA | VIRGINE ET 
 MARTIRE . . . 
 
 Cuts. i. ■=. h. ii., iii., vi., ix., x., xii. z= Pulci's Morgante. 
 iv. A saint kneeling before the Pope :r: Domiti/la, Rappr., 
 No. 12"] a. V. (75 X 99). A king and a queen bap- 
 tized near a fountain, vii. Later impression of Saul, 
 Rappr. d. Distruzione di, 1559, No. 373 c (viii.). viii. 
 (74 X loi). Two youths and a queen, with a lady in a 
 garden = Rosana, Rappr., No. 367 <2ii. xii. (72^^ x 103). 
 A female saint kneeling to the 1. in a chapel before 
 an altar ; Christ in glory, with two angels (signed, " N."). 
 Also late copies or repetitions. 
 ^.1571. A stanza di Jacopo Chiti. [Cors., Pal., Rice, 
 
 BerHn K.] 
 
 Cuts. i. =: b. Other cuts, copies or repetitions. 
 /. 1586. Giovanni Baleni. [Pal., Ambros., Poldi.J 
 , Cuts. Rude copies. 
 
 32 
 
g. 1617. Heredi di Francesco Tosi. [Mgl.] 
 Cuts. Copies. 
 
 Cerbino, Novella di. [99 
 
 s.a. (ca 1500). [Triv., Mgl] 
 
 a 1°: C La nouella di Cerbino. End. a 6* : ... codoito alporto 
 di salute. | finis. 
 
 Cut (76 X 102). A sea-fight ; two vessels to the r., in 
 front a rowing vessel (early, hard). 
 
 Cerchis, Raphael Petrus de. II birracino. [100 
 
 1497 (12 Kal. Mai.), per Ser Laurentium de Morgianis im- 
 pensa Ser Petri de Pacinis. Hain, 4882. [Mgl., Palermo, 
 Stuttg.] 
 Cut (ig^ X 130). Border, with ornaments of acanthus. 
 
 Cessolis, Jacopo de'. Libro di giuoco di scacchi. [loi 
 
 1493, March i. per Maestro Antonio Miscomini. Hain, 
 4900. [Vat., Palermo, Berlin, Berlin K., Spencer.] 
 
 a I" : |[ LIBRO DI GivocHo DI scACCHi | intitolato de costumi 
 deglhuomini & degli | offitii de nobili. End. i 4* : Finis. 
 
 Cuts. i. (112 X 132). Two men playing at chess before 
 a king (finest style). {See cut 148.) ii. (73 x 100). 
 A king enthroned, iii. The queen, iv. The student 
 at his desk. {See cut 113.) v. The knight. {See 
 cut 112.) vi. The " Rocho," the lieutenant of the 
 king. vii. The workman. (6"^^ cut 115.) viii. The 
 smiths. {See cut 114.) ix. The tailor, x. The mer- 
 chants and bankers, xi. The surgeon, xii. The inn- 
 keeper, xiii. The guardian of the city. xiv. The 
 robber. (All of the same size as ii. — same style of 
 drawings, but different manners of engraving.) {See 
 Introdudion.) 
 
 Cherubino da Spoleto. Delia Vita Spirituale. [102 
 
 1494, June 28. per Lorenzo de Morgiani &' loanni da Ma- 
 ganza. Hain, 4943. [Vat., Vitt. Em., Casan.] 
 
 Cut (85 x 109). A monk kneeling to the r., leaning 
 against a cross, seven other monks kneeling round him. 
 
 Cherubino da Firenze. Confessionario. [103 
 
 s.l.e.a. 8°. [Cors.] 
 
 a I" : C CONFESSIONARIO DI | Frate Cherubino da Firenze dell' 
 
 3 J F 
 
or- I dine de Predicatori. End. e 7° : . . . di uita | eterna 
 Artie. I FINIS. I LAVS dec. 
 
 Cut (loi X 74). A monk sitting to the 1. in a chapel, a 
 penitent kneeling before him ; another monk entering on 
 the 1. (hard cut). 
 
 Chiarini, Giorgio .? Libro di mercatanzie. [104 
 
 s.a. appetitione di Ser Piero da Peseta. Hain, 4955. [Cors., 
 Mg]., Rice, B. M.] 
 I" '■ C Questo e / ellibro che trafla di Mercatatie & usanze depaesi. 
 
 a 1°: |[ INCOMINCIA IL LIBRO DI TVCTI | ECHOTVMI. CAMBI. 
 
 MONETE. I pesi. . . End. 1 4* : j[ Impresso | in Firenze appeti- 
 tione di Ser Piero | da Pescia. 
 
 Cuts (80 X 9 8 J). A banker's shop (hard, early cut). Two 
 marks of Pacini. 
 Christine. See Cristina. 
 
 CiciLiANO, Alessandro. See Alessandro Ciciliano. 
 CiRiNO d' Ancona. See Lionbruna, Storia di. 
 
 Cleofas et Luca, Comedia di. [105 
 
 a. s.a. appresso i Giunti. [Siena.] 
 
 Cut. Christ with the disciples at Emmaus := Epistole &' 
 Evang. 1495. 
 /p. 1575. [Rice, Poldi.J ss s of the volume. 
 
 1° : COMEDIA SPIRITVALE I Dl CLEOFAS, ET LVCA | NVOVA- 
 MENTE RISTAMPATA. 
 
 Cut as in a. 
 CoMPAGNi, Novella di due. See Novella. 
 
 CoMPAGNiA overo fraternita di battuti, libro di. [106 
 
 a. 1493, Feb. 17. Laur. Morgiani & Joh. de Maguntia. 
 Hain, 5552. [Mgl., Modena.] 
 
 a I" : <[ Libro da compagnia / o / vero | di fraternita di battuti. 
 
 Cuts. \. (75 X 100). The members of the Compagnia in 
 
 procession, following a man who carries the crucifix. 
 
 ii. (loi X 84). Christ on the cross, with Mary and St. 
 
 John. iii. (112 x 84). Annunciation of the Virgin. 
 
 iv. (68 X 48). King David kneeling to the 1. Initial 
 
 with King David. 
 
 b. s.a. Antonius Venetus. Hain, 5549 and 10076. [Mgl.] 
 
 c. 1 5 II . Bartholomaeus de Libris. 
 
 34 
 
CoMPiTARE, El modo da insegnare. [107 
 
 s.l.e.a. (Catalogue of the coll. Destailleur^ n. 984, with 
 reprodudtions.) [Chantilly, Due d'Aumale.] 
 Cut (180 X 125). A schoolmaster chastising a boy (very 
 fine cut in the early grave style). 
 
 CoNFEssioNE Utile a condurre il peccatore a uita eterna. 
 
 [108 
 s.l.e.a. 8°. [B. M.J 
 
 I" : tf Confessione utile a condurre il peccatore a uita eterna. 
 End. 4* : .P. .F. | finis. 
 
 Cut =z Savonarola, Tradt. d. oratione mentale (No, 383 
 b, i.). 
 
 Confessione, le parti della. [109 
 
 s.a. (after 1 5 13). Fece istampare maestro Zanobi della | Barba. 
 8°. [London, Mr. Murray.] 
 
 a I": C Le parti uuole hauuere lacofessione | & loratione della 
 safta comunione. 
 
 Cuts. i. r= Firenze, Riforma di 15 13 (No. 152) (but later 
 impression, see cut 172). ii. (56 x 39|-). Christ on the 
 cross, with Mary and St. John. 
 Constantino. See Costantino. 
 
 CoNTRASTo deir angelo e del demonio. [i 10 
 
 a. s.a. (ca 1550). [Triv.J 
 
 A I": EL CONTRASTO DE l' ANGELO ET DEL DEMONIO. 
 
 Cut (93 X 71). The devil and an angel disputing the 
 soul of a young man kneeling in a churchyard (cut 
 of the early grave style). 
 
 b. s.a. (ca 1550). [Triv.] 
 
 A I": El contrasto dell' angelo, et del demonio. 
 
 Cut as in a. 
 
 c. 1588. Giovanni Baleni. [Ambros.J 
 Cut as in a. 
 
 Contrasto dell' acqua e del vino. [in 
 
 a. s.l.e.a. (ca 1550). [Ambros.J 
 
 I": Contrasto dellacqua | i del Uino. End. 2*: C Finito e il 
 contasto [sic) dellacqua | 7 del vino. 
 
 Cuts. i. Border of first page (175 x 121). Ornaments 
 rising on the r. and 1. from vases, ii. (104 x 78|-). King 
 
 35 
 
and queen at table; two young men on the 1., a man in 
 oriental dress on the r. (Copy ?) 
 
 b. s.l.e.a. [B. M.] 
 
 I" : EL CONTRASTO DE LACQUA ET DEL UINO. End. 4.*: CanZOH 
 
 Damore | . • • Finis. 
 Cut (109 X 117). King and queen and two young men 
 at table. 
 
 c. s.l.e.a. [Munich.] 
 
 A i": El Contrasto de Lacqua % del Uino. | Con certe altre 
 canzon bellissime. End. A 4° : C Magior guerra. | C] finis. 
 
 Cut {\i\ X III). King and queen, with two young men 
 at table (thick, scratched cut, in Venetian manner). 
 
 Contrasto d'uno vivo e d'uno morto. [112 
 
 a. s.l.e.a. (ca 1500). [Triv.j 
 
 1°: Cotrasto Duno Uiuo 1 Duno Morto. End. 4*: Finito el 
 contrasto del viuo % del morto. 
 
 Cut (114 X 127). Death, sitting in a tomb, speaks to a 
 youth standing on the r. (hard cut). 
 
 b. s.l.e.a. [Triv.] 
 
 I": Contrasto Duno Uiuo % Duno Morto. 
 
 Cut (no X iijI"). Copy (.^) of«. 
 
 c. s.l.e.a. [Triv.] 
 
 a 1° : lo sono il gran capitano della morte | • . . End. a 4* : Finito 
 il Dtrasto del uiuo & morto. 
 
 Cut (115 X i2i|-). Death on a winged horse, galloping 
 to the 1. ; king and doge on the ground ; on the 1. a 
 frightened man standing (hard and angular). 
 
 d. s.l.e.a. [Triv.] 
 
 a I" : lo sono il gra capitano della morte | . . . End. a 4* : Finito 
 il cotrasto dil uiuo & morto. 
 
 Cut {\\2, X 121). Reversed copy of <:. 
 
 e. s.l.e.a. [B. M.] 
 
 I" : DVA CONTRASTI | VNO DEL VIVO | E DEL MORTO ET | I'altrO 
 
 deir Anima & del Corpo | . . . | dal San Bernardo. 
 Cuts. i. Border (193 x 127). ii. (99 x 71). Reversed 
 copy of cut oi a (round and smooth). 
 /. 1572. [March. d'Adda.] 
 g. 1 59 1. Giovanni Baleni. [Triv.] 
 
 Border and cut z= ? e. 
 h. 1 6 14. Jlle Scale di Badia. [Mgl.] 
 Cut =^? e, and later rude cuts. 
 Contrasto del Carnevale e della Quaresima. See Carnevale. 
 
 36 
 
S. CosiMo E S. Damiano, Historia di. [113 
 
 «. 1558. [Cors. (2 copies), Triv., Wolfenbiittel ?] yyy 
 of the volume. 
 
 I": La Istoria di San Cosimo 7 | Damiano . . . Nuouamente 
 Ristampata. End. 2* : In Firenze I'Anno del Nostro Signore. 
 
 MDLVIII. 
 
 Cuts. i. (127^ X 94). « CHO- — srMO- y.- — ^ — dami. 
 The two saints standing, Cosimo on the I., holding a 
 box; S. Damian, a book and a glass (signed l, in the 
 scratched Venetian manner), ii. (69 x 79). A monk 
 speaking to a prisoner ; on the 1. two saints beheaded, a 
 monk kneeling before them (hard and angular). 
 b. 1580. Matteo Galassi. [B. M.] 
 
 I" : Leggenda t oratione di Santo Cosi- | mo % Damiano. 
 
 Cut (97 X 91). The two saints standing; in the corners, 
 cherubs; below, three feathers in a ring : semper. 
 
 CosTANTiNo, Rappresentazione di. [114 
 
 a. s.a. [Rice, Pal.J 
 
 1°: ([ RAPRESENTATIONE DI CONSTANTI | no Ini Peradore & di 
 santo Siluestro Papa Et di Santa | Helena im Peratrice. End. 
 B 6' : stampato in Firenze. 
 
 Cuts. i. Angel. ii. Copy of Pulci's Morgante, 1500 
 (army of knights on horseback, with standard to the r.). 
 
 b. s.a. Ad instantia di. M. F. Benvenuto. [Mgl.] 
 Cuts z:: a ? 
 
 c. s.a. Alle Scale di Badia. [Triv. J 
 Six cuts, copies or late impressions. 
 
 d- 1555. [Mgl., Poldi "Mm."] 
 
 A 1°; LA I RAPRESENTATIONE | DI CONSTANTINO IMPERADORE. 
 
 Cuts. \. Angel, ii. rz: a. iii., iv. z= Fior di virtH. v. = 
 Politiano, G'\ostra.s.z. (No. 336 i3, iv.). vi. (76 x 103). 
 A Renaissance building, to which are approaching two 
 persons; two others sitting on the r. vii. (76 x 103). 
 Two kings embracing ; on the 1. and r. two other kings 
 and attendants (fine, thin style ; 3rd group), viii. (70 
 x 100). The finding of the Cross (rude), ix. Battle of 
 knights. 
 <•. 1562. Paghol Bigio, appr. la Badia. [Cors. J 
 
 Cuts. i. Angel, ii. = Giuditta, Rappr. di, 1519 (No. 204 
 a, iii.). iii. Copy oi Apollonia, Rappr. s.a. {^^ '^■> vii-)- 
 iv. =: Pulci's Morgante. v. (75 x 103). A king speak- 
 ing to an old king standing with four followers; on the 
 
 37 
 
I. a group of four women (fine cut of 3rd group). {See 
 cut 1 24.) vi. = dy viii. 
 
 f. 1 5'^ I. ^ stanza di Jacopo Perini da Villa Basilica. 
 [Berlin K., Siena.] 
 
 Seven cuts, repetitions or late copies. 
 
 g. 1588. Giovanni Baleni. [Triv., Poldi.J 
 Cuts, rude copies. 
 
 CosTANZA e Biagio. See Giambullari, Bernardo. 
 
 S. Cristina, Rappresentazione di. [115 
 
 a. s.l.e.a. (xv. cent.) [MgL, Rice, Triv., B. M., Bodl.] 
 1°: CLa rapresentatione di sanda christina uirgine & martyre. 
 
 End. 8* : <[ Finita la rapresentatione di Sandta Christina. 
 
 Cuts. i. Angel, ii. = Jpollonia, Rappr. s.a. {t,3 ^> vii.). 
 iii. (71 X 103). S. Cristina thrown in the water by two 
 soldiers (early grave style). 
 
 b. s.a. Apititione di Maestro Francesco Benvenuto sta dal 
 canto de Bischeri. [Pal.] 
 
 Cuts. i. Angel, ii. Copy of a ii. iii. Copy of Mar- 
 gherita, Rappr. s.a. (No. 261 a, vi.). 
 
 c. s.l.e.a. (after 1555). [Mgl., Poldi.] 
 
 I": LA RAPPRESENTAZIONE | DI SANTA CHRISTINA | VERGINE ET 
 MARTIRE. 
 
 Cuts. i. Angel. ii. = a. iii. zz Margherita, Rappr. 
 (No. 261 a, iii.). iv. (104 x 76). A banquet with four 
 kings, two servants, and two musicians (late copy ?). v. 
 Copy of Apollonia, Rappr. {2>1 ^i vii.). vi. Maria, 
 Rappr. d'un miracolo, s.l.e.a. (No. 270 a, ii.). 
 
 d. s.a. per Lorenzo Peri al prima d^agosto. [Pal.] 
 Cuts. i. Border, with two dolphins, ii. A town. 
 
 e. 1555, Sept. [Mgl., Poldi " Cc."] 
 
 Cuts. i. Angel. ii. =: a ii. iii. ir Paolino, Rappr. di, 
 s.a. (No. 322 a, iv.). iv. -^ Margherita, Rappr. di, s.a. 
 (No. 261 a, iv.). V. Copy of Pulci's Morgante. vi. (96 
 X 74|-). On the r. a king speaking with a youth; other 
 persons, one of them looking out of the window (late, 
 round). {See cut 181.) vii. z= Apollonia, Rappr. s.a. 
 {2,3 ^j vii.). viii. Young man with serpent zr Esope, 
 1495. '^- (71 ^ i°3)- -^ knight baptizing another 
 (smooth, round, late), x. (68 x 108). Two angels 
 carrying the soul of a dead knight to heaven (style or 
 the ^adriregio). 
 
 f. 1568. Appresso alia BadialRicc. , TrW.yBerWn K.] 
 Eight cuts taken from earlier editions and other books. 
 
 38 
 
g. 1588. Giovanni Bakni. [Poldi, Triv.J 
 
 Cuts. Copies of earlier editions of this and other prints. 
 h. 1603. Appresso Zanobi Bisticci. [Cors., Triv., Poldi.J 
 Cuts. Two copies and iii. (63 x 76), Martyrdom of 
 St. Sebastian ; two warriors in half-figures (early, good 
 outline cut). 
 
 Cristoforo Scultore. Capitolo primo. [116 
 
 s.l.e.a. [Berlin K.j 
 
 a I": <[ Capitolo primo composto per Christophoro sculptore. 
 End. 2* : finis. 
 
 Cut (70 X 114). A shepherd blowing a pipe on the 1. ; a 
 goddess with arrow; on the r., a young man with 
 violin (smooth, thick, rude cut). 
 
 Cynthio, Ercole. Opera noua che insegna cognoscere 
 
 le fallace donne. [u? 
 
 s.l.e.a. [Triv.j 
 
 A i" : Opera noua che insegna cognoscere le fallace | donne e 
 quelle insegna amare : composta per | Hercule Cynthio. End. 
 4* : Finis. 
 
 Cut (114 X 109I-). In a room a man in a long garment 
 speaking to another, who seems to be frightened (hard, 
 angular cut, with smooth scratchings). 
 Damianus, Petrus. Vita b. Romualdi. See Romoaldo. 
 
 Daniele, Insonio de. [118 
 
 s.l.e.a. [Triv.] 
 
 I" : Insonio De Daniel. | Questo sie el modo de vedere le signifi- - 
 I catione de Daniel propheta se- - | condo gli di della luna. 
 
 Cut (112 X 120). Daniel sitting on a throne, holding a 
 book in the left hand, with the right pointing above ; 
 two persons sleeping in a bed on the 1. and on the r. (hard 
 and angular cut, with smooth scratching). 
 
 Dante. Credo. [119 
 
 a. s.l.e.a. (xv. cent.) [Cors., Darmstadt, B. M.j 
 
 a 1° : C Credoche Dante fece quando fu accusato per heretico | alio 
 Inquisitore essendo lui a Ravenna. End. a 4": Finito il credo 
 di Dante. 
 
 Cut (98 X 73). Dante, standing to the I., holds a book in 
 the left hand, and points with the right to the Holy 
 Trinity. 
 
 39 
 
b. s.I.e.a. (End of xvi. cent.) [Aless.J 
 
 I": CREDO Di DANTE. | AL tepo che Dante il suo libro deciso 
 
 Ca/(ii4 X SjI"). Dante, going to the 1., perceives the 
 three beasts (copy .?). 
 
 Dati, Giuliano. Storia di S. Barbara. [120 
 
 s.a. (1494?)- [Triv.j 
 
 a I" : La Historia Di Sanila Barbara | Uirgine Et Martyre. End. 
 34°: p messer giuliao de datti de fioreza | . . . nelano. 
 M.cccc.LXxxxiiii. 1 fioreza. | . • • 
 
 Cut (115 X 124). S. Barbara, standing over a knight, 
 holds a chalice in the 1., a tower on the 1. (hard and 
 angular cut). 
 
 Dati, Giuliano. Storia et leggenda di S. Biagio. [121 
 s.he.a. 8°. [Munich.] 
 
 1° : Historia \ legenda di | Sacfto Biasio Vescouo % marty | re 
 composta in rima per Messer | Giuliano Dati. End. 4* : . . . 
 uederlo ciascun digno | <[ amen. 
 
 Cut {j-j X 58). The saint enthroned, blessing " .s. — .b." 
 (late scratched cut in the Venetian manner). 
 
 Dati, Giuliano, La Magnificenza del prete Janni. [122 
 
 a. s.I.e.a. (xv. cent.). [B. M.J 
 
 1°: CLagran Magnificentia del Prete Janni Signore dellindia | 
 Maggiore & della Ethiopia. End. 4" : . . . coposto ... per 
 Messer Giuliano Dati | Fioretino . . . religio | ne. amen. 
 
 Cuts. i. (159 X 106^). Prester John sitting under a tree, 
 with crucifix, surrounded by twelve cardinals ; below, 
 inscription in seven rows (very fine cut of the fine, thin- 
 lined style). {See cut 147.) ii. (i04|- x 82). A scholar 
 sitting on the r. before his desk, with book and globe =r 
 Pietrobono Advogario, Pronosticatio, 1496 (No. 332). 
 
 b. s.I.e.a. [Triv.] 
 
 1° : La Magnificentia del Prete Janni. 
 Cut {ill, X 100). Copy of «i. 
 
 Dati, Giuliano. Delle richezze d'India. [123 
 
 s.I.e.a. [Triv.] 
 
 I" : Ouiui si nomla tutte le richeze e cose tri | umphale co tutte le 
 prouintie e regni | . . . dindia mazor. End. 4" : ... per 
 misser giuliano | Dati Fiorentino . . . religione. Amen. 
 
 40 
 
Cuts. i. (72 X 112). King David enthroned with his 
 court, a youth kneeling on the 1. (Venetian manner), 
 ii. Copy of Novella di due preti s.I.e.a. (No. 300, i.). 
 iii. (117 X 125). Martyrdom of S. Orsola (copy). 
 
 Dati, Giuliano. Storia di Sandlo Jobbe Profeta. [124 
 s.I.e.a. [Triv., B. M.J 
 
 a 1°: Historia Di Sanfto Job Propheta. End. 2° : . . . per messer 
 iuliano Dati fiorentino | in Roma. | Laus Deo. 
 
 Cut (11 4|- X 118). Job lying on the 1. under a roof; on 
 the r. a youth speaking to a man with lute ; a third man 
 speaking to Job (hard, angular; copy ?). 
 
 Dati, Giuliano. Lettera delle isole. [125 
 
 a. 1493, 26 0(5t. [B. M.] 
 
 I' : C La lettera dellisole che ha trouato nuouamente il Re 
 dispagna. 
 
 Cut (112 X 118). On the 1. a king enthroned ; on the r., 
 on the other side of the sea, a ship landing, the savages 
 fleeing (finest manner). {^See reprod. Pollard, Portfolio 
 Monographs, December, 1894, p. 72.) 
 h. 1495, 2^ Od. [Triv.] 
 
 I* : Isole Trouate Nouamente Per | El re di Spagna. 
 
 Cut (108 X 114J). A ship sailing to the 1.; on the 1. a 
 troop of savages on the shore. {See Harrisse, Bibl. 
 Americana, p. 461 ; App., p. 4.) 
 
 Diogenes Laertius. La vita de' Filosofi. [126 
 
 1505, 22 Febr. Pier Pacini da Pescia. [Berlin.] 
 
 Cuts. i. Border of four ledges of ornaments, ii. (100 x 
 73). A learned man in oriental dress on the 1. to the 
 r., sitting at a desk. Pacini's three marks. 
 
 S. Domitilla, Rappresentazione di. [127 
 
 a. s.I.e.a. (xv. cent.). [Cors., Mgl.] 
 
 a 1°: ^hA RAPRESENTATIONE DI SANCTA | DOMITILLA. End. 
 
 a 6* : . . . I no curado del | modo alcu martyre | |[ finita. 
 Cuts. i. (73 X 98). The Pope, enthroned on the r., 
 blessing the saint kneeling before him ; on the r., two 
 cardinals; four persons on the 1. (fine cut of ist group), 
 ii. Angel. 
 
 b. s.l.e.a. [Mgl., Pal.] 
 
 41 G 
 
1°: 4[LARAPPRESENTationediSan£taDomitilla. End. 6*: . . . 
 
 FINIS. 
 
 Cut. Smooth copy of a i. 
 
 c. s.l.e.a. [Pal.] 
 
 a I": La rappresentatione di Santa Domitilla. End. a 6' : il 
 
 FINE. 
 
 Cut as in b. 
 
 d. 1554, Od. [TrivJ 
 
 I" : LA I Rapresentatione di Santa | Domitilla. | Nuouamente 
 Risstampata. 
 
 Cuts. \. Angel, ii. ■= a'l. iii. Apollonia, Rappr. (33 a, 
 vii.). 
 
 e. 1555, 0(5t. [Poldi^Ee."] 
 Cuts as in <^. 
 
 /. 1 561. Paghol Bigio, appresso la Badia. [Cors.] 
 
 Cuts. i. Angel. ii. ■=. a \. iii. Copy of Apollonia 
 {33 «. vii.). 
 g. 1 57 1. Jacopo Chiti. [Cors., Rice, Triv.J 
 
 Cuts. Copy of a i., and three others, late impressions. 
 h. 1588. Giovanni Baleni. [Ambros., Poldi "i + ," Triv.j 
 
 Cut. Copy of (2 i. 
 /. 1594. [Mgl., Triv.] 
 
 Cuts. Late impressions and copies. 
 
 Donne, Storia di tre. [128 
 
 a. s.l.e.a. [Wolfenbiittel] ? 
 Milchsack & d'Ancona. xvii. 
 
 b. s.l.e.a. [Pal.].? 
 
 c. 1558. [March, d' Adda] .? Passano,^. ^6. 
 
 DoRMiENTi, sette, Storia dei. [129 
 
 a. s.a. Alle Scale di Badia. [Triv.] 
 
 Cut (92 X ig6). The seven sleepers in " epheso," 
 " MONTECELiNO " (cut in Venetian manner). 
 
 b. 1554, May. [Mgl., Poldi " A A," Triv., B. M.] 
 
 I": LA I Rapresentatione de sette Dormienti : | Di Nuovo mandata 
 in Luce. 
 
 Cuts. i. Angel, ii. = a. iv. (59 x 77!). On the 1. a 
 man giving alms to two beggars (rude and hard), vii. 
 (60 X 82). Bricklayers at work; on the 1. an eastern 
 king (same style), xiv. (72 x 106). Funeral, " gvsi " 
 (same style). The others from earlier books or copies. 
 42 
 
c. I SSI- [Wolfenbiittel.] 
 Cut. Copy of « ? 
 
 d. 1 57 1. Jacopo Chid. [Pal., Siena.] 
 
 Ten cuts from earlier books or copies. (Pulci's Morgante, 
 etc.) 
 
 e. 1614. [Mgl.] 
 Cut. Copy of a. 
 
 S. DoROTEA, Rappresentazione di. [13° 
 
 (2. s.a. (after 1554). [Cors.] 
 
 A 1°: La Rapresentatione di Santa Dorotea | Uergine t Marti re. | 
 Nuouamente ristampata. End. b 4* : . . . altnen in ciel sempre 
 
 I IL FINE. 
 
 Cut (107 X 85). The saint, standing to the 1., holds a 
 town in the r., .pescia., a chalice on the ground (good, 
 smooth, round style). {See cut 182.) 
 l>. 1 5 16, Mar. 31. j4d petitione di Maestro Francesco di 
 Giouanni Benuenuto. Sta dal Canto de Bischari. [Mgl.] 
 Cut = S. Cecilia, Rappres. di, without the inscription 
 (No. 98 a, ii.). 
 
 c. 1554, Aug. [Mgl., Triv.] 
 
 Cuts, i, zr b. ii. zr Margherita, Rappr. di, s.a. (No. 261 a, 
 v.). iii. (54 X 79). Beheading of the saint ; the execu- 
 tioner placing his sword in the scabbard (hard and rude). 
 
 d. 1555, Aug. [Poldi " H H," B. M. « H H."] 
 Same cuts as c. 
 
 e. 1570. Ad istanza di Carlo Saltamacchia, appr. le Scale di 
 Badia. [B. M., Triv.] 
 
 Cuts as in c. 
 
 f. 1584. Giovanni Baleni. [Poldi, Triv., Ambros.] 
 
 Cut of the title rr Venanzio, Rappr. di, 1539 (No. 425 b, 
 
 g. 1602. Appr. Zanobi Bisticci. [Cors.J 
 
 Cut. Reversed copy of Venanzio, Rappr. di, 1539 (No. 
 425 b, ii.). 
 
 Ebrei, Rappresentazione di due. [131 
 
 s.l.e.a. (xv. cent.). [Triv. (2 copies).] 
 
 a 1°: |[ Larappresentatione di dua hebrei che siconuertirono. 
 a i': C Incomicia lafesta delmiracolo di due | hebrei . . . End. 
 a 6* : ... del mi- | racolo di due hebrei che siconuerti | rono. 
 Cuts. i. Angel, ii. (103 x 78). On the 1. a king en- 
 throned speaking to two Jews; on the r. a priest 
 baptizing two young men (early grave style). 
 
 43 
 
Egidio. Capitoli di certa do6lrina. [132 
 
 s.l.e.a. (xv. cent.). [Cors., Pal., Geneva.] 
 
 a 1°: <[ Incominciano li capitoli di certa dodtrina & de | (Si 
 notabili di frate Egidio terzo copagno di san | Francescho, 
 End. c 4* : 4[ Qui finisce il sermone del uiuere religiosamente. 
 
 Cut (107 X 86). A saint kneeling on the 1. before a 
 cave, on the r. a youth and a monk. 
 
 S. Elena, Storia di. [133 
 
 s.l.e.a. (xv. cent. ?). [Cas.J 
 
 1°: j[ Incomincia la historia di Sanfta Helena quando ritrouo la 
 croce di Jesu Christo. End. 2* : |[ Finita la historia di Sea 
 Helena quado ritrouo la croce di Jesu Xpo. 
 
 Cut (100 X 148). Finding of the Cross, which is lifted 
 up by two men ; on the r. St. Helena, on the 1. two 
 dead men brought to life by the Cross. 
 Enea Silvio. See Piccolomini. 
 
 Epistola della domenica. [134 
 
 a. s.l.e.a. (xv. cent.). [Cas.J 
 
 1°: C! La epistola della dominica. i" : Ulua diuinita donde pro- 
 cede I . . End. 2° : ... lanima menerano in paradiso | Finis. 
 
 Cut (106 X 85). Christ with the Cross standing, blessing 
 with the r. ; around him many different tradesmen's 
 utensils (hard and angular, copy .?). 
 
 b. s.l.e.a. 8°. [Munich.] 
 
 1° : La Epistola della dominica & una | oratione di Santo Augustino, 
 End. 4* : Chal mondo tnonstro sempre un dolce zelo. | Finis. 
 
 Same cut as a. 
 
 Epistole et Evangeli (SiMONE DI Cassia). [135 
 
 a. 1495, Odt. 24, and 1496, Sept. 24. per Bartolomeo di 
 Francesco de Libri. Fol. Hain, 4560 and 6643. [^gl-] 
 
 C EPISTOLE ET EVANGELII | IN VOLGARE STORIATE | COMPOSTE 
 IN LINGVA FIORENTINA. 
 
 Cuts from Venetian books. 
 
 b. 1495, ^7 July. Lorenzo de Morgiani &' Giovanni di 
 Magonta ad instantia di Ser Piero Pacini da Pescia. Fol. 
 [Cors., Midhurst Mr. Fisher, imperfecft.] 
 
 a 1°: |[ Epistole % Euangelii % Leftioni vulgari in lingua toschana. 
 
 a 11°: DELLO ADVENTO | ^ INCOMINCIONO LEPISTOLE ET LEC- 
 TIONI EVANGE | LICHE LEQUALI SILEGGONO IN TVTTO LANNO 
 
 I . . . End. fol. r 10* (cxxii.) : impresso | nella inclyta citta 
 44 
 
di I Firenze g Ser Lorezo de Mor | giani & Giouani di 
 Magontia ad insta | tia di Ser Piero Pacini da Pescia . . . tibi 
 
 LECTOR. 
 
 Cuts. i. a I" (230 X 181). Ornamental border with 
 dolphins, in an inner circle (no diam.), the two 
 figures of St. Paul and St. Peter, in the corners four 
 half-figures of EvangeHsts. (See repr. Catalogue Fisher, 
 pp. 28,29.) 141 fa^j(ioi-io5 X 68-73). Scenes from 
 the Old and the New Testament. (6"^^ cuts 66, 79- 
 96.) 22 cuts (35 X 2^^). Half-figures of evangelists, 
 prophets, etc. (four of which used also in the title-cut, 
 fol. a I"). From earlier books, fol. 22"^, Last Judgment 
 (Rappresentazione) ; 30", Vitello faggiato (Rappre- 
 sentazione) ; 37", Judgment of Solomon (Rappresen- 
 tazione) ; cuts fol. 46-^, 47*, 48'', 48^ 49^", 49*, 50", 
 Ci2\ 60", 66^, from the Bonaventura, Meditazioni s.a. 
 Miscomini (No. 69"). 
 c. 1 5 15, 13 Febr. Da Carlo da Pavia ad instantia di Ber- 
 nardo Pacini fol. [Rice, Lond. S. K. M.] 
 Same cuts as b. 
 
 Ercole, Le dodici fatiche di. [136 
 
 s.a. (1550). Appresso alle Scale di Badia. [Cors.J 
 
 Le dodici | fatiche di | hercvle | Tratte da diuersi Autori . . . 
 Cuts. i. (112 X 84). Statue of the Hercules Farnese. 
 ii.-xiii. (83 X 120). The Labours of Hercules in the 
 late style of the middle of the sixteenth century. 
 
 Esopo. [137 
 
 a. 1496, Nov. 17. Francesco Bonacorsi^ ad inst. di Pietro 
 Pacini. [Triv., Rice, imperfedt.] Hain, 1350^. 
 
 a 1°: <[ Esopo phrigio ingegno pellegrino | Hospitio di uirtude & 
 buon costume | Sempre son stato / dando uero lume : | . . . 
 
 Sixty-six cuts (85-87 x 107-109), one for the title and 
 sixty-five for the illustration of the fables, and mark of 
 the publisher. {See cuts 77, 173, 174. See also cuts 
 1 1 6- 1 20.) 
 
 b. 1 5 14, Nov. 13. per lo. Stephanum Papiensem^ opera &' 
 impensa Ser petri de Pacinis. [Angelica.] 
 
 a 1° : C AESOPI LEPIDISSIMI I FABVLAE. (Cut.) VTIVVET ET 
 
 PROSITCO I NATVR PAGINA Praesens . . . 
 Thirty-five cuts from a. Mark of the publisher. 
 
 c. 1520, Mar. 29. per Giov. Stephano di Carlo da Pauia, a 
 
 45 
 
pet, di S. Piero da Peseta. 4. [Florence, Baron v. Landau 
 (wants leaf b').] 
 
 a I' (in border of four ledges) : Fauole di Esopo uulga | ri uersi et 
 prosa con | sue belle moralita ri | dofte in lingua | toscana. 
 
 Cuts. i. Border, ii. (82 x 106). A man teaching some 
 youths sitting at a table ; forty-seven cuts of the fables 
 
 ■=1 a. 
 
 Ester, Rappresentazione della regina. [138 
 
 a. s.l.e.a. (about 1500). [Triv., Bodl.J 
 
 1°: C LA RAPRESENTATIONE DELLA REINA HESTER. 
 
 Cuts. i. Angel. ii., v., vi. =: Pulci's Morgante, 1500. 
 iii. Three persons kneeling before a king and queen 
 enthroned on the 1., five other persons, iv. Betrothment 
 of a young couple, on the r. a man playing a lute, the 
 sun shining. 
 
 b. 1 5 16, March 15. Francesco di Giovanni Benvenuto. 
 [Mgl.] 
 
 Cuts. Two smooth copies of cuts of a, ii. and iv. 
 
 c. 1 544. Giovanni di Francesco Benvenuto Cartolaio, Sta dal 
 Vescouado. [Pal.] 
 
 Same cuts as ed. 1 5 1 6 .'' 
 
 d. s.a. (ca 1550). [Rice, defed.] 
 
 Cuts. i. A king welcoming a knight zz Pulci's Morgante. 
 ii. Copy, late. iii. On the r. a young king speaking, 
 on the 1. a lady sitting, another standing ; at the back 
 an old Eastern king speaking to a young man, and four 
 persons (copy with variations of Rappr. di Costantino, 
 1562, No. 114^, v.). 
 
 e. s.a. (ca 1550). [Berlin K. " E."] 
 
 l" : LA RAPPRESENTAZIONE | DELLA REINA HESTER. 
 
 Cuts. i. Angel, ii. A king followed by a queen, with 
 her ladies going to the r. (copy), iii.-vi. Copies of 
 earlier cuts. 
 /. 1547. per Zanobi Pratese. [Ricc.J 
 
 Cuts. i. Angel, ii. and iv. = Pulci's Morgante. iii. (74 
 X loi). View of a town with large columns, towers, 
 cupola. V. =r Barlaam e Josafat^ Rappr. s.a. (45 a, 
 vii.). vi. (73 X 105). Three warriors conducing a man 
 before a judge enthroned on the I. (rude and careless). 
 g. 1557. [Mgl.«Tt."] 
 
 Cuts. \.-=z a ii. ii. = b ii. iii. -=20 v. .? iv. =/ v. 
 V. =: Fior di virtH. 
 
 46 
 
h. 1558. [Pal., Cors., Triv., Poldi « Vu."] 
 
 Cuts. i. Angel, ii. ~ a, ii. iii. Copy of Pulci's Morgante. 
 iv. := a. V. Copy oi Barlaam, Rappr. (45a, vii.). vi. =. 
 
 t. 1570. [Triv. J 
 
 Cuts. \. Angel, ii. A king in armour before king on 
 the ]., three other persons (smooth copy), iii. =. Pulci's 
 Morgante. iv. Copy. v. — d, iii. 
 k. 1587. Giovanni Baleni. [Ambros., Triv., Poldi "2 + ," 
 Berlin K.] 
 Cuts. i. Angel, ii. zz e, ii. iii. Copy. iv. =.f, v 
 
 /. 1595. [Mgl.] 
 
 Cuts. i. = d, i. ii., iii., v, z=. Pulci's Morgante. iv. zz 
 
 Ay- 
 
 m. s.a. Siena. [B. M.J 
 
 Cut (9 1 X 74). A queen kneeling in a landscape to the 
 1., rays coming from the 1., on the r. a town (good, early 
 cut, = ?). 
 K. 1 60 1. Firenze. [Triv.] 
 
 Same cut. 
 0. 1606. Siena^ alia Loggia del Papa. [Cors. J 
 
 Same cut. 
 ■p. 1 6 14. Siena alia Loggia del Papa. [Cors., Siena.] 
 
 Same cut. 
 
 S. EuFRAsiA, Rappresentazione di (by Castellano 
 Castellani). [139 
 
 a. s.a. Fece stampare Maestro Francesco di Giouanni Ben- 
 uenuto. [Mgl., Pal.] 
 
 a I": C RAPPRESENTATIONE DI SANCTA EVFRASIA, COM | POSTA 
 PER MESSER CASTELLANO. 
 
 Cuts. i. Angel, ii. (99 x 77). Two saint nuns stand- 
 ing, the saint on the 1. holding a book and a palm tree 
 (large and smooth style). 
 
 b. 1558. [Mgl., Rice, Triv., Poldi "Xx."] 
 
 Cuts. i. Angel. \\.-=a\\. iii. (77 x 104). On the 1. 
 a woman kneehng before a saint, angel carrying a child 
 to the 1. (hard and rude), iv. (71 x 103). On the 1. a 
 young girl crying, an old woman speaking to her, on 
 the r. house and tree (style of Boccaccio's Ninfafe, fine 
 cut) 1= Piccolomini, Enea Silvio, Storia di due Amanti 
 (No. 330 «, V. *?^^cut 125). V. (79 X io5|-). On the 
 1. a woman lying on the floor, her back bare, on the r. 
 iEsop Q) and two others (from a lost edition of the life 
 
 47 
 
of^sop?). v\.= Guglielma, Rappr. d\, I ^y 2. Chiti 
 (No. 217 -^, ii.). vii. (70 x loj^). A nun leaving a 
 church to follow the devil, held back by a hand from 
 heaven (hard and rude), viii. = Frezzi, Quadriregio, 
 1508, fol. K5 a. 
 
 c. 1592. Afpresso Giovanni Bakni. [Mgl., Triv., Berlin 
 
 Cut = Teofilo, Rappr. di (No. 415 «, ii.). 
 
 d. s.a. Siena. [Cors., Mgl.] 
 
 Cut (102 X 73). On the 1. the saint kneeling before an 
 altar with crucifix in chapel, holding a torch (.?). 
 
 S. EuFRosiNA, Rappresentazione di. [140 
 
 a. s.l.e.a. (xv. cent.). [Triv.j 
 
 a I*: C Lafesta di sane | ta Eufroxina. a i*: C Inc5mincia la 
 rapresentatione di sane- | ta Eufroxina uergine . . . End. 
 a 1 0* : C Finita la repsentatde di sea Eufroxina. 
 
 Cut (102I X 77^). The father of Saint Euphrosina 
 recognizing his daughter lying on the bier (fine cut, of 
 the early grave style. 6*1?^ cut 58). 
 
 b. 1554. [Poldi"MM."] 
 
 Cuts. i. Copy of a. ii. (70 x 77). A woman kneeling 
 before a monk. iii. (69 x 81). On the 1. a monk 
 speaking to a youth, on the r., in a room, a monk cutting 
 a woman's hair. iv. A monk embracing another, on the 
 r. three monks, v. (69 x 78). Monk speaking to two 
 groups of monks kneeling on the r. and on the 1. vi. 
 (69 X 81). On the 1. two monks sitting behind a monk 
 in his bed, on the r. another kneeling (hard, late cuts). 
 ^- 1555- [Triv., March. d'Adda.] 
 
 Same cuts as 1554. 
 
 d. 1 561. Afpresso alia Badia. Ad instantia di Paghol 
 Bigio. [Cors.] 
 
 Cuts, i.zza. ii. (69 x 78). Before a house a woman on 
 the r. to the 1. kneeling before a monk. iii. =: 1554 
 (^, iii.). iv. = 1554 (^, iv.). v. (60 x 77). A monk 
 blessing the dead body of another, on the r. monk with 
 book, another kneeling (late, hard), vi. Smooth copy 
 of cut i. vii. (60 X 77). Four young men bearing the 
 dead body of a monk to the I. (hard, late). 
 
 e. 1572. Jacopo Chiti. [Pal., Berlin K.] 
 
 Cuts. i. = 1 56 1 (d, vi.). ii. (68 x 78). On the r. 
 a monk before a house, on the 1. another kneeling, two 
 standing (hard, late). 
 
 48 
 
/. I59I- Afpr. Giov. Baleni. [MgL, Poldi " 2 + ."] 
 
 Cuts. i. — Copy of a i. ii. A burial, with the letters : 
 
 T. R. E. D. L. A. M. A. (rude CUt). 
 
 g. 1607. P^''" Giovanni Antonio Caneo e Raffaello Grossi 
 compagni. [Triv., Poldi.] Rude, late cuts. 
 
 S. EusTACHio, Rappresentazione di. [141 
 
 a. s.l.e.a. (xv. cent.). [Cors., Mgl.] 
 
 a I" : C La Diuota Rapresentatione Di Sandto Eustachio. End. 
 b 4' : . . . & lanime | loro neporti cantando | finis. 
 
 Cuts. i. Angel. ii. zz Caccia di Belfiore (76 a), iii. 
 (73 X 99). A young man in a boat with five men re- 
 ceiving from another a lady, on the r. part of another 
 boat. (6'd'i? cut 129.) iv. (75 x 102). A saint going on 
 a river, on the shore on the 1. a lion, on the r. a wolf (?), 
 bearing two men. v. Battle scene ^ Pulci's Morgante. 
 vi. (75 X 100). A saint on the 1. to the r. kneeling in 
 a prison between five beasts, outside three men looking 
 in the prison (zz Paolino , Rappr., No. 322 a, iv. See 
 cut 149.). 
 i>. s.a. Fece stampare Maestro Francesco di Giovanni Ben- 
 
 venuto. [Mgl., Pal.] 
 
 Cuts. Copies of <?, i. and iii. iii. ■=. Pulci's Morgante. 
 iv. Copy of Pulci's Morgante. 
 
 c. s.a. Alle Scale di Badia. [Pal] .'' 
 
 d. 1554, Sept. [Mgl.] 
 Cuts := a I. and vi. 
 
 e. 1555, Sept. [Poldi.] 
 Same cuts as d. 
 
 f. 1562. Appresso alia Badia, Ad. Inst, di Pagol Bigio. 
 [Pal., Rice, B. M.] 
 
 Cuts zz a iv, and vi. 
 
 g. 1568. [Wolfenbiittel.] ? 
 
 /;. 1 571. Jacopo Chiti. [Pal.] 
 
 Nine cuts. i. Angel, ii. = a iv. iii.-ix. (late impressions 
 of earlier cuts or copies). 
 i. 1589. Giovanni Baleni. [Triv., Poldi.] 
 
 Cuts. Rude copies. 
 
 Falconeto, Libro de. [142 
 
 1508, Odb. 24. Zuanne Bonacorso. [B. M.] 
 
 A I" : Falconeto de le Bataie Lui feze Con | Li Paladini In franza 
 
 E de sua Morte. 
 Cut (85 X 104). Surrounded by four ledges, a knight on 
 
 49 " 
 
horseback to the r. ; on the r. a globe from leaves hang- 
 ing (style of the Venetian prints in books printed by the 
 Sessa). 
 
 Fattori di monache, Frottola di due. [143 
 
 a. s.l.e.a. [Triv.] 
 
 I"; FROTTOLA DI DVA | FATTORI DI MONACHE VNO CHIAMATO 
 
 I corpo sodo & Taltro Bernardo. 
 Cut (77 X io2|^). A man in a mantle speaking to another 
 in a jacket and with a stick (hard, careless cut, good 
 design). 
 
 b. s.l.e.a. [Triv.] 
 
 I": Frottola di dua Fattori di Monache | vno chiamato corpo- 
 soDO I & laltro Bernardo. End. 2* : il fine. 
 
 Cut. Rude, smooth copy of a. 
 
 S. Felicita, Rappresentazione di. [H4 
 
 a. s.l.e.a. (xv. cent.). [Mgl., Pal., Rice, Triv.j 
 
 a 1°: C La festa di san£ta Felicita hebrea quando fu martyrizata 
 con septe figluoli. End. b 8* : Finita la festa di sandta Felicita 
 he I brea con septe figluoli iquali furo | no martyrizati. 
 
 Cuts. i. Angel, ii. (100 x 75). Martyrdom of one of 
 the sons in a cauldron, S. Felicita with the other six 
 sons standing on the r. (fine cut of early grave style). 
 {See cut 43.) 
 
 b. 1554. [Pal., Triv., Poldi " Ff"] 
 
 l": LA I RAPRESENTATIONE I DI SANTA FELICITA | HEBREA | ... 
 
 Cuts. \. -zz. a \. ii. (102 x 77). Beheading of a saint 
 and mutilation of a virgin (fine cut of early grave 
 style), m. ■=! Fior di virtu, iv. (71 x 105). A youth, 
 sword in hand, going from his tent to meet knights on 
 horseback (style of Frezzi's ^adriregio). v.-viii. and 
 xi. Late impressions or copies. ix. zr S. Venanzio, 
 Rappr. X. ■= Fior di virtH (rrnce). xii. (82 x 106^). 
 On the 1. a king rising in terror from his throne and 
 looking on a paper shown him by a young man (style 
 oftheEsopo). xiii. A man standing and another kneel- 
 ing between three devils (hard, rude). 
 
 c. 1568. [Rice, Triv., Poldi, B. M.] 
 Same cuts as b. 
 
 d. 1592. Appresso Giovanni Baleni. [Cors., Mgl., Triv. 
 
 "3 + -"] 
 
 Copy of cut of a. 
 
 50 
 
Fermaglio pretioso delle donne. [145 
 
 s.a. Francesco di Giovanni Benvenuto. [Mgl.j 
 
 a 1°: |[ Fermaglio pretioso delle donne. End. a 4*: finis | 
 Istapatd adistatia di. M. F. Beuenuto. 
 
 Cut {2^ X 29). Half-figure of the Virgin with the Child 
 lying before her {■=. Maria, inno di. No. 267, i.). 
 
 FiESOLE, le cave di. [146 
 
 a. s.l.e.a. [London Mr. Murray.] 
 
 I" : Le caue di Fiesole | INuoco & priego te padre sugno | & 
 tutti quelli spiriti beati | • • . 
 
 Cut (100 X 74). Copy of cut in Romano, il Savio, s.l.e.a. 
 (No. 361 a). 
 
 b. s.l.e.a. (ca 1550). [Poldi.j 
 
 A I": LE CAVE DI FIESOLE | INuoco & priego te padre superno | 
 . . . End. A 4* : . . . riguardar I'armento. | il fine. 
 
 Cut as in «. 
 
 c. s.l.e.a. [Lucca. J Passano, p. 14. 
 
 FiGLiuoLo PRODiGo, Rapprescntazione del (by Cas- 
 
 TELLANO CaSTELLANi). [147 
 
 a. s.a. Fece stampar ser Zanobi da la barba. [Mgl.J 
 
 a 1°: RAPPREsentationedelfigliuolo prodigo — composta | permesser 
 Castellano Castellani. 
 
 Cut. Reversed copy of Vitello faggiato, festa del, s.l.e.a. 
 (No. 434, ii.). 
 
 b. 1584. Giovanni Baleni. [Poldi " i 4--"] 
 
 1°: LA RAPPRESENTAZIONE DEL FIGLIVOL PRODIGO. 
 
 Cuts. i. Angel, ii. z=. Padre, frottola d'un, s.l.e.a. (No. 
 315 ^). iii. Copy of Barlaam (No. 45 a, vii.). 
 
 c. 1 59 1. Giovanni Baleni. [Triv., Poldi, B. M.] 
 1°: LA RAPPRESENTAziONE | del Figliuol Prodigo. 
 Cuts. i. Angel, ii. zr^, ii. iii. Rude copy. 
 
 FiGLiuoLo PRODIGO, Rappresentazione del (by Antonia 
 
 DI Bernardo Pulci). [148 
 
 a. s.Le.a, [Cors., Pal. J 
 
 a i" : La Rappresentatione del figliuol pro- | digo nuouamente 
 stampata. | Composta per Mona Antonia di | Bernardo Pulci. 
 End. a 6": . . . rendendo laude a te tutta giuliua. | il fine. 
 
 Cuts. i. A man killing a bull. Copy reversed oi Epistole 
 
 51 
 
et Evangeli — Rappr. del Vitello faggiato (No. 434, ii.). 
 ii. (83 X 107). A man sitting on the r. to the 1., in a 
 room, speaking to a youth, who stands before him, his 
 hands folded on his breast (from a lost ed. of iEsop's 
 life?). (Later, hard style.) {See c\xt xio!) 
 b. 1572. Jacopo Chid. [Pal] 
 Cut as a i. 
 FiLius prodigus. See Figliuolo prodigo. 
 
 S. FiNA da S. Gimignario, Historia di. [149 
 
 1575. Jd instanza di Jacopo Manducci Pisano. [Aless.J 
 
 A 1° : LA HISTORIA | VITA E MORTE | DI SANTA FINA DA | SAN 
 GIMIGNANO . . . 
 
 Cut (loi X 75). Late copy of Venanzio, Rappres. di 
 (No. 425 a, i.). 
 
 FioR DI VIRTU. [150 
 
 a. 1498, Od. 31. per Ser Francesco Bonacorsi et Antonio 
 Venetiano. Hain, 7108. [Pal., B. M.J 
 
 a 1°: Cut ii. in border, incomincia una opera chiamata Fiore di 
 virtu che tradta di tutti e vitii humani. End. g 2* : Delle uirtu 
 io son chiamato el Fiore | Le feste almen leggimi per amore. ( 
 Fui rinnouato nel mille quattrocento | Nouanta & odto nella 
 cipta famosa | Chi di uirtu per tufto fama spande | Firenze bella 
 gratiosa & degna. 
 
 Cuts. i. Border =: 6". Barbara., Rappr. di (No. 44 a). 
 ii. (io7|- X 83^). A monk in a garden (copy of the 
 title-page cut of the edition of Venice, 1490). iii.- 
 xxxvii. (98-103 X 66-72). Each cut in two compart- 
 ments, one of which shows the animal whose symbolical 
 quality is illustrated by an incident from human life in 
 the other compartment. (Very fine cuts of the early 
 grave style.) [See Introduftion, cuts 6, 7, 8.) 
 
 Cut xxiv. (Cut 8) having been used already in the Luci- 
 dario of 1494 (No. 244 c), there must have been an 
 earlier illustrated edition. 
 
 b. 1 5 II . Pietro Pacini. [Ricc.J 
 
 Cuts as in a, and three marks of the printer. 
 
 c. 1 5 1 9. per Bernardino Zucchetta ad instantia di Bernardo 
 Pacini. [Cors.] 
 
 Cuts as in a. 
 FiORETTi. See S. Francesco, Fioretti di. 
 Firenze, Bellezze di. See Bernardino. 
 
 52 
 
FiRENZE. Lamento di Fiorenza con Arno. [151 
 
 s.a. alle Scale di Badia. [Mgl.] 
 
 l": LAMENTO I DI FIORENZA CON ARNO | IN DIALOGO | DELL' 
 
 INONDAZIONE | fattagli il di 30 di Ottobre 1589. 
 Cut zz Bernardinoy Bellezze & casatt di Fireiize (No. 53). 
 
 FiRENZE. Riforma & statuti nuovi. [152 
 
 1513. [B. M.] 
 
 i" : |[ Riforma & statuti nuoui della cipta di Firen | ze Adi. 24. 
 di Gienuaio. m.d.xiii. (p)Er obuiare per quanto sia possibiie 
 alio I indicibile uitio della sogdomia . . . End. c 4. 
 
 Cut (68|- X 52). S. Peter tnt\\.ror\td zziConfessione, Le 
 parti della (No. 109 «, i.) (smooth and round cut). {^See 
 cut 172.) 
 
 Flores poetarum. [153 
 
 s.l.e.a. (xv. cent.). [Cas.J 
 
 1°: C FLORES poetarvm. (Cut.) a I": flores poetarvm non 
 MI I Nvs ivcundissimi q utilissimi | pro instruedis pueris in 
 primis leftionibus. End. d 5* : . . . ea pro tuo iudicio emen- 
 dabis. d 6 blank leaf. 
 
 Cut (147 X 112). A master teaching seven young men 
 zz Landino, Formulario, 1492, Miscomini (No. 230 3). 
 (<?(?(? cut 21.) 
 
 Florindo e Chiarastella, Historia di. [^54 
 
 a. s.l.e.a. (ca 1500). [Cas.] 
 
 1°: Florindo e Chiarastella. 2°: C O glorioso re celestiale | o 
 
 liinita sapietia . . End. 7* : . . insieme fra li soi santi | 
 
 Finis. 
 Cut (i/\.^ X no). Four compartments, with scenes of the 
 
 history. 
 ^. 1 5 1 8, Jan. 8. Fece stampare Maestro Francesco di Giouanni 
 
 Benuenuto : sta dal canto de Biscari. 
 a 1° : La hysteria di Florindo | % Chiarastella. 
 Cut (148 X 116). In four compartments (smooth and 
 
 soft style). Mark of Andrea de Ghirlandis and Ant. de 
 
 Tubinis (a a). (It. Pr. M. 56.) 
 c. s.a. (ca 1550). Dalle Scale di Badia. [Aless.] 
 I": LA I HISTORIA DI FLO- | rindo 7 Chiarastella. 
 
 Cut (148 X 117)=:^.? 
 ^. s.a. (ca 1550). Badia. [iVlgl.J 
 
 53 
 
I": LA HISTORIA | DI FLORINDO | E CHIARASTELLA. 
 
 Cuts. \. — a ? (Cut damaged.) ii. A man leaning on 
 his spade, speaking to another who carries a basket; 
 on the r. a third man in long garment (see cut 119) 
 (this cut probably belonged to an edition of the life of 
 Esope). iii. =: Pulci's Morgante. 
 e. s.a. (1550). Jll' insegna della Stella. [Maglione Col- 
 
 ledtion.] 
 
 1° : L'Istoria | di Florindo | e Chiarastella | Nuouamenta stam- 
 pata e ricorretta. 
 
 /. s.a. AW insegna della 'Testuggine. [Triv.j 
 I" : La bellissima Istoria di Florindo, & Chiarastella. 
 
 Cut. Copy of d. 
 g. 1560. [March, d' Adda. J 
 h. IS77- Sotto il Corridore di Sua Altezza. [Triv.] 
 
 I" : LA I HISTORIA DI FLORINDO | ET CHIARASTELLA. 
 
 Cuts as in d. 
 i. 1587. Giovanni Baleni. [Poldi.] 
 
 Cuts. i. = ^ i. ii. and iii. 1= Pulci's Morgante. 
 k. 1 59 1. Appresso Giovanni Baleni. [Triv.] 
 
 Cut. Copy of d i. 
 /. 1 6 10. Alle Scale di Badia. [Triv.] 
 
 Cut as in d. 
 
 S. Francesco, Fioretti di. [155 
 
 a. s.l.e.a. [Vat. Capponi.j 
 
 1° : C Latauola de Fioretti di san6to Francesco, a 1° : C Fioretti 
 di Sanfto Francesco. End. r 4* : Finiti i FioreSi di sanfto 
 Francesco. 
 
 C«/ (108 X 91). S. Francis, kneeling, receives the Stigmata, 
 on the 1. his companion sitting (very fine cut of the early 
 grave style). (See cut 27.) 
 
 b. 1497, June ^^' t^''^ Laurenzo Morgiani Ad instantia di 
 Ser Piero Pacini da Pescia. Hain, 7330. [Cors.] 
 
 Cuts. i. ^z a. ii. Border (200 x 135), with half-figure 
 of a saint on the 1. ; below, a medallion with half- 
 figure of a youth held by two angels, iii. (106 x 83). 
 S. Francis, standing, holds the cross over a monk kneel- 
 ing before him ; on the r. another monk kneeling. 
 
 S. Francesco, Regola di. [156 
 
 s.a. Apititione di Ser Piero da Pescia. 8°. [Cors,, Rice, 
 B. M.] 
 
 54 
 
a I": <[ Laregola del terzo ordine di sandto Francesco. End. 
 
 8 4"- 
 Cut -zz Fioretti di S. Francesco, 1497 (No. 155^, iii.). 
 
 Two printers' marks. 
 
 S. Francesco, Vita di. [157 
 
 a. s.a. Fece stdpare ser zanobi dalla barba. [Stuttgart.] 
 
 a I": Lauita del glorioso pouerello San | 6to Francescho da Scesi. 
 End. a 4*. 
 
 Cut (74 X 106). S. Francis, kneeling on the 1., receiving 
 the stigmata ; on the r. a frightened monk sitting. 
 
 b. s.a. Fece stampare maestro zanobi della barba. [Mgl.J 
 1° : La vita del glorioso san Francesco da Scesi. End. 4'. 
 
 Cuts. i. =r ? Fioretti di S. Francesco (No. 155 ^). ii. 
 (39 X 3°)- S. Francis, standing, holds a cross in the r., 
 from which he receives the stigmata ( z= Francesco della 
 Piazza, 1503). 
 
 S. Francesco, Rappresentazione di. (By Antonia 
 Pulci.) [158 
 
 a. s.l.e.a. (xv. cent). [Cors., Mgl., Rice, Triv., B. M.] 
 
 a 1°: |[ La rappresentatione | di San Francesco. End. a 8*: Finita 
 la festa di Sandto francesco | composta per mona Antonia 
 don I na di Bernardo pulci. 
 
 Cuts. i. Angel, ii. zr Fioretti di S. Francesco (No. 155 ^). 
 
 b. s.l.e.a. (xv. cent.). [Mgl., Pal., Rice, Triv., B. M.] 
 
 a 1°: C Incomincia larappresentatione di San | Francesco come 
 couerti tre ladroni & | feciosi frati . . . End. a 6* : C Finita 
 la festa di san Francesco quan- | do conuerti tre ladroni. 
 
 Cut. Angel. 
 
 c. s.l.e.a. [Triv.J 
 
 i": ([ Incomincia la rapresentatione di sa | Francesco come 
 couerti tre ladroni & | fecosi frati . . . 
 
 Cut. Angel. 
 
 d. s.l.e.a. (ca 1550). [Mgl.?, Pal., Triv.j e e e of the 
 volume. 
 
 1" : LA I RAPPRESENTATIONE | DI s. FRANCESCO | come conuerti 
 
 tre Ladroni . . . 
 Cuts. i. = Fioretti di S. Francesco, 1497 (No. 155 ^, iii.). 
 
 ii. Monk blessing another one. iii. A monk clothing 
 
 another one. (Little hard late cuts.) 
 
 e. 1559. [Pal., Poldi.] 1 1 i of the volume. 
 
 55 
 
A I" : Rappresentatione di San Francesco. | Nuouamente Ristam- 
 
 pata. 
 A I* : Rapresentatione di S. Fracesco c6- | posta p mona Antonia 
 
 di Ber- | nardo Pulci. 
 
 Cuts. i. Angel (late), ii. (lOO x 76). Stigmatization of 
 S. Francis (smooth, large, and hasty style), iii. rz Laudi 
 di diversi. s.a. (No. 232 a), iv. zr Fioretti di S. Fran- 
 cesco, 1497 (155 b, iii.). 
 /. 1585. Giovanni Baleni. [Ambr., Triv., Poldi, B. M.] 
 I' : Rappresentazione di S. Francesco come converti tre ladroni. 
 
 Cuts. i. Angel on clouds, ii. (75 x 105). On the 1. 
 S. Francis receiving the stigmata (soft, round style). 
 g. 1596. [Mgl., Triv.. Brl. K.] 
 
 Cut := Fioretti di S. Francesco, s.l.e.a. (No. 155 ^). 
 h. 1 61 8. Badia. [Rice] On the end cut (S. Peter and 
 S. Paul) from the title-page of Epistole and Evangelic, 
 1495 (No. 135 K i.)- 
 
 Francesco dalla Y\2,7jzz.. O. M. Trad:ato delli defedti 
 
 della messa. [159 
 
 1503, Feb. 3. 8". [B. M.j 
 
 I*: Tracftato delli defedti della | messa vtile perli sa | cerdoti sem- 
 plici I compo | sto | dal | . . . France | sco dalla piaza . . . 
 
 Cut:zz S. Francesco, Vita di. (No. 157 ^, ii.) 
 Francesco da Mantova. See Gonnella, Facezie del. 
 
 Francia, Reali di. [160 
 
 s.l.e.a. (xv. cent.). [B. M.] 
 
 a 1°: C La schiatta de Reali di Francia & de Narbonesi | di- 
 scesi del sangue di Chiaramonte & di Mongrana. End. a 6* : 
 Finita la schiatta de Reali di Fracia. 
 
 Cut (117 X 99). Six kings standing together (early grave 
 style). 
 
 Francia, Genealogia del Reali e Paladini di. [161 
 
 1557. [Triv.J 
 
 A I": La Genealogia e discendentia | de Reali e Paladini di | 
 Francia. | 
 
 Cut:= Francia, Reali di. s.l.e.a. (160). 
 
 Francia, Re di, frottola del. [162 
 
 s.a. per Ser Meo. [Paris, B. M.] 
 
 56 
 
i" : FROTOLA I del Re de Fianza. | Non sperar piu Re de Franza 
 I In la bella Lombardia | . . . End. 2*: Impresso in Firenza 
 per Ser Meo | finis. 
 
 Cut (70 X loi). A king on horseback, speaking to a 
 mounted knight ; attendants and cannons (hard, copy?). 
 
 Francia, Rotta data per il re di. [163 
 
 s.l.e.a. [Triv.J 
 
 a I" : <[ Larotta che ha dato il Re difracia a Vinitiani in Lom- 
 bardia. End. a 6* ; . . . Racquistasi nun di quel ch'siperde. | 
 
 C FINIS. 
 
 Cut zr Pulci's Morgante. 
 Franco, Mattco. See Pulci, Luigi e Matteo Franco. 
 
 Frezzi, Federigo. Quadriregio del decorso della vita 
 humana. [164 
 
 1508 (July a6). Ad petitione di Ser Piero \ Pacini da Pescia. 
 [Cors., B. M. (two copies).] 
 
 A I"- C Quatriregio interza rima uolgare che trafta di quatro 
 
 Reami | cioe del Reame temporale & mondano di questo 
 
 mondoj . . . 
 All": ^ Incominciael Libro intitolato Qua- [ triregio del decorso 
 
 della uita humana di | Messer Federico frate dellordine di Sadlo 
 I Domenico. . . . End. r 3", r 3 — 6 Register, r 6*, three 
 
 marks of the printer. 
 
 Cuts. i. Border of four ledges, with half figures, ii. 
 Trionfo dell' amore z: Petrarca, Trionji, i499 (No. 328 
 a, i.). iii. Border of four ledges. And ii6 cuts 
 (87 X 122) representing the different scenes described 
 in the poem. {See Introduction and cuts 185 and 186.) 
 
 Frottole. [165 
 
 a. s.l.e.a. [Aless., Triv.J 
 
 A I": Frottole composte da piu autori cioe: | Tu ti parti: | cuor 
 mio caro. | lo mi parto. . . . End. a 4* ; . . . | se mai voglia 
 sia giuliua. | il fine. 
 
 Cut (122 X 85). A knight sitting under a bower formed 
 of two branches ; in the air, Amor shooting his arrow 
 against a woman in clouds on the 1. (smooth, hasty 
 cut). 
 
 b. s.a. Jppresso alle Scale di Badia. [Triv.] 
 Cut as in a. 
 
 c. s.l.e.a. [Triv.J 
 
 Variant of ed. a (^w^. . . . gulia. | il fine.) 
 
 57 • 
 
Cuts. i. ■=. a. ii. A couple dancing before a house, while 
 a man plays a bagpipe ; on the 1., house, with woman 
 at a window (hard, rude). 
 
 d. s.l.e.a. (ca 1550). [Triv.] 
 
 A 1°: FROTTOLA DI DIVERSI | AVTORI COSA PIACEVOLE E | ridi- 
 
 cola. . . . End. A 4*: IL fine. 
 Cut =z Pulci, Luca, Epistole. (No. 342 a, see cut 187.) 
 
 e. 1558. [Cors.] 
 
 I": FROTTOLE COMPOSTE | DA PIV AVTORI GIGE | • . . 
 
 Cut (145 .? X 106^). Three men and a youth singing 
 before a house, a youth on the 1. listening (late impres- 
 sion of cut of early grave style). 
 /. 1600. per Zanobi Bisticci a S. Apolinari. [Maglione.] 
 
 1°: Frottola di diversi | autori Fiorentini cosa piacevole e | ridi- 
 cola. . . . 
 
 Cut>. 
 Frottola d'un padre. See Padre. 
 Galeazzo Sforza. See Sforza, Lamento di Galeazzo. 
 
 Gano, Tradimento di, contra Rinaldo di Montalbano. 
 
 [166 
 1566. A. J. di Santi Cesarini. [Triv.J 
 Cut •=. Pulci's Morgante. 
 
 Gaurico, Luca. Pronostico. [167 
 
 1507. (Pacini : printers' marks.) [Siena.J 
 
 a I" : C Pronostico o uero ludicio di Messer LuchaGaurico di | redlo 
 a Papa lulio, elqual ludicio comin | cia nel presente anno | 
 M.ccccc. I VII & dura tu£to lanno del | M.cccc.xxx. End. b6": 
 t[ In Bologna adi xiii. di febraio. m.d.xii. Diuo lulio Secundo 
 Pontefice Maximo, b 6* : three marks of Pacini. 
 
 Cut = Pietrobono, Advogario, Pronostico in annum 1496. 
 (No. 33'2.) 
 
 Geloso, Storia del. [168 
 
 a. s.l.e.a. (xvi. cent). [B. M., ? Lucca.] 
 
 1°: HISTORIA DEL GELOSO | NELLA QVALE SI NARRA I GRANDI | 
 
 AfFanni . . . 
 
 Cut (76 X 117). A man, whose arm another man is seizing, 
 holds the fold of a door, through which a woman is seen 
 standing in a room (soft, thick, late cut). 
 
 b. s.l.e.a. [Pal..?] 
 
 c. s.l.e.a. [Wolfenbiittel ?] 
 
 58 
 
d. 1572. Jacopo Chiti. [Triv.] 
 Cut zz a. 
 Georgius. See Giorgio. 
 Gerardus de Prato. See Gherardo da Prato. 
 
 Geremia, Orazione di. [169 
 
 s.l.e.a. (xv. cent. .?). [Berlin K.J 
 
 I": C Oratione di Hieremia propheta laquale Fra Giro- | lamo da 
 Ferrara ha cofortato sidebba dire ogni di | da qualunche fedele 
 christiano. End. 2" : . . . con | cede temporis. Per dnm nrm 
 lesum xc. 
 
 Cuts. i. :=. Savonarola, Commandamenti, s.a. (377 a, ii.). 
 
 ii. -^z Savonarola., Trattato di Umilita (No. 394 «, ii.). 
 
 iii. (35 X 27). Christ on the cross to the!.; landscape. 
 
 iv. (98 X 74). In a chapel, with statue of the Virgin on the 
 
 altar, a monk with nimbus sitting on the 1. in a niche ; 
 
 before him a young man is kneeling ; two young men 
 
 standing (early finer style). 
 Gerson, Johannes, Imitazione di Cristo. See Kempis, 
 Thomas de. 
 
 Ges^t, Lamento di. [17° 
 
 s.l.e.a. [Bologna.] 
 
 1°: Questo e lamento di Giesu Christo nostro Redemptore. 
 
 Cuts. i. Border ■=. Agnese., Rappresentazione di (No. 
 % a), ii. (92 X 73). Christ on the cross; Mary and 
 S. John. 
 
 GEstr, Le septe parole di. [171 
 
 a. s.l.e.a. [Triv.J 
 
 I" : C Le septe parole che Christo disse in sulla Croce. End. 4° : 
 
 FINIS. 
 
 Cuts. i. Border (126 x 9 if)- A dove in a circle, two 
 garlands with birds ; below, shield with two cornucopias, 
 ii. (77 X 65). Christ on the cross ; on the 1. Mary, on 
 the r. S. John (early grave style), iii. (86 x 114). 
 Christ in the sarcophagus, before the sudary ; Mary and 
 S. John kneeling (early fine drawing, cut smooth and 
 neat; copy.''). 
 
 b. s.l.e.a. [Munich.] 
 
 I- : C Le sette parole che Christo | disse in sula croce. 
 Cut. Christ on cross ; on the 1. five cypresses, on the r. 
 four cypresses and a dry tree (hard, rude, copy ?). 
 
 59 
 
Ges^, Infantia Salvatoris. [172 
 
 s.l.e.a. (xv. cent.). [Mgl.] Hain, 9179. (V., also Giro lamo, 
 Maria.) 
 
 a I": C Infantia saluatoris In lingua thoscana. £nd. p 8': <[ Qui 
 finisce ellibro della vita della. Gloriosa Vergine Maria. | amen. 
 
 Cuts. i. (84 X 115). Christ among eight dodors, sitting in 
 two rows ; on the 1. Joseph and Mary. ii. zz ? Giovanni 
 Battista, Vita di, s.l.e.a. (No. 201 a, ii.). iii. Initial with 
 King David. 
 
 Gesi;, Laude per la nativita di. [173 
 
 a. s.l.e.a. (xvi. cent.) [Rice] 
 
 I" : Laude deuote per la natiuita del nostro | signore lesu Christo, 
 con vna aggiunta | di due bellissime laudi. End. 4": il fine. 
 
 C«/ (128 X 95). Nativity of Christ; Mary kneeling on 
 the r., Joseph on the 1. ; two shepherds looking over a 
 wall, above an angel (Venetian scratched manner). 
 
 b. s.l.e.a. (xvi. cent.). [B. M.] 
 
 A l": LAVDE DEVOTE PER LA | NATIVITA DEL NOSTRO SIGNORE | 
 
 Giesu Christo . . . End. a i i (4) : Eccol S'lgnore, Eccol 
 Signore. | il fine. 
 
 Cuts. i. (169 X 124). Nativity, the Virgin kneeling to 
 the r. and adoring the child, lying on the r. on his 
 mantle; ox and ass (copy of the engraving of 
 Schongauer [Bartsch, No. 5]). ii. (72 x 62). Nativity, 
 the child in a glory ; on the r. the Virgin, on the 1. 
 Joseph kneeling; on the r. ox and ass (copy?). 
 
 Gesij. Rappresentazione della nativita di. [^74 
 
 a. s.l.e.a. [B. M.] 
 
 I" : C La rapresentatione della Natiuita di Christo. End. a 6' : 
 t[ Finita la festa della Natiuita di xpo. 
 
 Cuts. i. Angel, ii. (102 x 78). Nativity of Christ, style 
 of Epistole et Evangeli, 1495 (^o- ^35 ^)- 
 
 b. 1538. yi. I: Francesco di Giovanni Benvenuto.. [Mgl., 
 B. M.] 
 
 i" : C La Rappresentatione della Natiuita di Christo. 
 
 Cut (108 X 83). Nativity of Christ; on the 1. Mary, on 
 the r. two shepherds (copy .''). 
 
 c. 1545. ad instantia di noferi bindi. [Cors., Pal.] 
 a i": <[ La Rapresentatione della Natiuita di Christo. 
 
 60 
 
Cuts. i. Angel (copy), ii. z= Gesii, Laude della natlvita 
 (173 «). iii. (98 X 149). View of Jerusalem. 
 d. 1553. [Mgl., Ambros.] 
 
 I": La Natiuita di Christo: come i Pa- | stori e Magi andorono a 
 ofFerire, e de la cru- | delta del Re Herode. 
 
 Cut — .? a. 
 
 ^- 1 559- [Pal., Poldi.J D D d of the volume. 
 
 I": La Rapresentatione della Natiuita | Di christo. | Nuouamente 
 Ristampata. 
 
 Cuts. i. Angel, ii. As in a} iii. Nativity of Christ 
 — Epistole et Evangeli, 1495 (No. 135 i^). iv. A man 
 kneeling before another with turban ; three other men 
 standing beside him (round, soft style), v. Adoration 
 of the kings, and vi. The flight to Egypt =: Epistole et 
 Evangeli, 1495 {^o. 135 b). 
 
 f. 1568. [Triv.] 
 
 Cut zz: Gesii, Laude della nativita (173 a). 
 
 g. 1572. Jacopo Chiti. [Pal.] 
 
 I": La Rapresentatione della Natiuita di Christo. 
 
 Cuts. i. Angel, ii. As in a. iii. Nativity of Christ, 
 before a black cavern, with a column (round, soft and 
 large, hasty cut), iv. A man, kneeling before an oriental, 
 receiving a letter ; on the r. a man ; on the 1. another, 
 with a stick (soft, round, neat), v. (59 x 78|^). The 
 dream of Jacob (hard and rude), vi. Flight to Egypt 
 =r Epistole et Evangeli, 1495 (No. 135 b). 
 h. 1584. Giovanni Baleni. [Ambros.j 
 
 Rude cuts or copies. 
 i. 1 59 1. Giovanni Baleni. [Poldi, Triv.J " i -f- " of the 
 volume. 
 
 Cuts. i. Angel, ii. Nativity of Christ, iii. An oriental 
 meeting with a king; on the 1. and r. knights, horses, 
 and tents (copy). 
 k. 1592. Giovanni Baleni. [Triv.J 
 
 Same cuts as i. 
 I. s.a. Siena. [Cors., Triv.J 
 
 Cut (99 x[85). Nativity of Christ, with two angels. 
 (Smooth, neat cut.) 
 
 Gesu, Rappresentazione di, quando dispute nel tempio. 
 
 a. s.a. (ca 1550). [Cors., Pal.J 
 
 A I" • C RAPRESENTATIONE | del nostro Signore Jesu Christo | 
 
 61 
 
Quado disputo nel Tempio. ] End. a 6" : finis | Stampata in 
 Firenze. 
 Cuts. i. Border, in the upper part two angels supporting 
 the symbol of Christ, ii. (gyj x 147). View of Jeru- 
 
 b. 1559. [Mgl., Pal., Ambr., Poldi, Triv.] CCCofthe 
 volume. 
 
 A I": LA I Rapresentatione del nostro Si- | gnore Jesu Christo | 
 quando disputo nel Tempio. Nuouamente ristampata. 
 
 Cuts. i. Angel (late), ii. (85 x 116). Christ amongst 
 the do&ors = ? Bonaventura, Meditazioni (No. 69 a), 
 iii. (74 X 103^). Christ in the Temple amongst the 
 doftors (round, soft style), iv. (76 x i02|-). A king 
 speaking to some people ; on the 1. ladies in black and 
 in white garments, sitting or standing (finest thin-lined 
 style). (A variant of No. 1 14 ^, v.) 
 
 Gesu. Rappresentazione della cena e passione. [176 
 1 519, March 15. per M. Francesco di Giouani Benuenuto^ 
 sta al canto de bischari. [Pal., Rice] 
 
 i" : RAPPResentazione della Cena et passione di | Christo — cor- 
 repta di nuouo con aggiunta | di alquante stanze — Composta per 
 I messer Castellano Castellani. 
 
 Cuts. i. Angel, ii. Last Supper zz Gesu, Rappr. d. Pas- 
 sione, 1511 (No. 178 a, i.). iii. (77 X 103). Christ 
 washing the feet of his disciples (copy of Epistole et 
 Evangeli, 1495?). iv. Christ bearing the Cross, v. 
 Crucifixion, both rr Gesu, Rappr. d. Passione, 1 5 1 1 
 (No. 178 a, ix. and x.). 
 
 GEsti, La passione di. See also Bonaventura. \.'^77 
 
 a. s.l.e.a. (ca 1500). [Triv.J 
 
 a i" : C Ladevota passione di Christo. | |[ Comincia lapassione di 
 Xpo : & pri | ma Xpo cominciando a discepoli. . . End. 
 a 8' : . . . io son contenta por lanimo in pace | finis. 
 
 Cuts. i. (67|- X 49). Christ bearing the cross, ii. Angel 
 in a border. iii. Last Supper. iv. Christ on the 
 Mount of Olives, v. The Betrayal, vi. The Scourging, 
 vii. Christ before Pilatus. viii. Christ bearing the cross, 
 ix. Crucifixion, x. The Descent from the cross, xi. 
 Resurredtion, all = Bonaventura, Meditazioni s.a. Mis- 
 comini (69 a). 
 
 b. s.l.e.a. (beginning of the xvi. cent.). [Mgl.J 
 
 62 
 
a I": C La passione del nostro Signore Jesu Christo. | O Increata 
 maiesta di Dio | o infinita eterna potenza. . End. c 4' : 
 C Finita la passione di Jesu Christo. 
 
 Cuts. I. Christ entering Jerusalem, ii. The Last Supper, 
 iii. Mount of Olives, iv. The Betrayal, v. Scourging 
 (72 X 52). vi. Christ before Pilate, vii. Scourging, 
 viii. Coronation, ix. Christ bearing the cross, x. Cruci- 
 fixion, xi. Descent from the cross, xii. Pieta. xiii. 
 Resurredtion. ii,, iii., iv., vi., vii., ix., x., xi., xiii. = 
 Bonaventura, Meditazioni s.a. Miscomini (69 a) (later, 
 worn impressions). 
 
 Gesit. Rappresentazione della passione. [178 
 
 a. 1 5 1 1 , April 15. A petitione £5? Instantia di Francesco di 
 Giouanni Benvenuti. [Mgl.] 
 
 1": C[ RAPPRESEntatione della passione di | Jesu Xgo rappresentata 
 1 Roma ogni anno | e uenerdi sandto nel luogo dedlo Coliseo. 
 
 Cuts. i. Border (174 x 1 10) := 6'. Antonio, Rappr., 1517 
 (No. 39 b, i.). ii. Angel. iii. Last Supper. iv. 
 Mount of Olives, v. Betrayal, vi. Christ before Pilate, 
 vii. Scourging, viii. Coronation, ix. (71 x 98). Re- 
 pentance of Judas, and his death (hard, angular, neat 
 cut). X. Christ bearing the cross, xi. Crucifixion, 
 xii. Descent from the cross (hard copy), xiii. Pieta. 
 (All, except ix. and xii., in the soft and round manner.) 
 
 b. 1534, March 10. A I. di Francesco di Giovanni Benvenuto. 
 
 [Pal, Triv.] 
 
 a I"*: <[ LA RAPRESENTATIONE | della Passione di Jesu Christo: 
 rapre- | sentata in Roma ogni anno el | Venerdi Sanefto — nel 
 loco I de6to el Culiseo. 
 
 Cuts. iii. (71 X 71). Last Supper (hard), i., ii., iv.— xiii. 
 as in a (i, ii., iv., v., vi,, vii., viii., x., xi., xii., xiii.). xiv. 
 Initial b (46 x 49), with S. Michael. 
 
 c. s.l.e.a. (xvi. cent.) [Triv.] 
 
 I": Rappresentatione della Passione del No- | stro Signore Jesu 
 Christo, la quale si rappresenta il | Venerdi santo nel Coliseo in 
 Roma. I Nuouamente con le figure Ristampata. 
 
 Cuts. i. Angel (late), ii. Last Supper, xi. Crucifixion, 
 xii. Deposition, and xiv. Resurredion := Bonaventura, 
 Meditaz. s.a. Miscomini (69 a), iii. — x., and xiii. — a, 
 iv. — xi., and xiii. 
 
 d. s.l.e.a. (after 1559). [Pal.] 
 
 A I": Rappresentatione della Passione del No- | stro Signore Jesu 
 
 (>3 
 
Christo, la quale si rappresenta il | Venerdi santo nel Coliseo in 
 Roma I Nuouamente con le figure Ristampata. 
 
 Cut. i. Last Supper, x. Crucifixion, xi. Deposition 
 (copy?), xiii. Resurreftion ^ JSowa'UfW/ar^, Meditazioni 
 s.a. Miscomini (69 a, ii.). ii. — ix. and xii. r=« (iv. — xi., 
 xiii.). 
 e. 1559. F F f of the volume. [Pal., Poldi, B. M.j 
 
 I" : LA I Rappresentatione della Passione del | Nostro Signor Jesu 
 Christo, quale si rappresenta il | Venerdi santo nel Coliseo in 
 Roma. I Nuouamente con le figure Ristampata. 
 
 Cuts as in d, but in earlier impressions. 
 
 Gesu. Rappresentazione della Risurrezione. [179 
 
 a. s.l.e.a. [Ricc.j 
 
 A 1°: C La Rapresentatione della Resurre£tio- | ne di Christo 
 Nuouamen | te composta. End, b 4* : . . .fa saluo & dona 
 lor celesti honori | finis. 
 
 Cut (125 X 133). The Resurredbion ; on the 1. half figure 
 of " Sandtus bartolomeus " ; on the r. below inscription 
 (rude, hard cut). 
 
 b. s.a. (ca 1550). [Pal. J 
 
 I": Rapresentatione della Re | surrettione di Christo nuouamente 
 composta. 
 
 Cuts. i. Angel, ii. Resurredtion = Rappr. d. Passione 
 1511 (178 a). 
 
 c. s.l.e.a. [Cors., Triv.j 
 
 A 1°: LA I RAPPRESENTAZIONE | DELLA RESVRRETTIONE DI 
 NO- I STRO SIGNORE GIESV | CHRISTO. End. A /: IL FINE. 
 
 Cuts. I. (106 X 78). Resurredtion : half figures of 
 Mary and the apostles around a mount (late, but in the 
 style of the earlier cuts), ii. Resurredtion, in the style 
 of the late hatched cuts. iii. Noli me tangere. iv. The 
 two Marys at the tomb of Christ, v. The Magdalene 
 anointing Christ's feet. iii. — v. z= Epistole et Evangeli, 
 1495 (No. 135 b). vi. Christ bearing the cross (copy 
 after Epist. et Evang., 1495). 
 
 d. s.l.e.a. (ca 1550). [Triv.] 
 
 1° : LA RAPPRESENTAZIONE | DELLA RESVRRETTIONE DI NOSTRO 
 I SIGNORE GIESV CHRISTO. 
 
 Cuts. i. Angel (late), ii. Resurredtion :r Rappr. d. Pas- 
 sione, ic^ii (178^). iii. Noli me tangere. iv. The Marys 
 at the tomb of Christ, v. S. Magdalene anointing the 
 feet of Christ, iii.-v. zr Epistole et Evangeli, 1495. vi. 
 
 64 
 
Nativity (copy), vii. (in x io6). Martyrdom of 
 several saints, men and women (early, grave style) zz 
 Orsola, Rappr. di, 1554 (No. 309 d, ix.). {See cut 30.) 
 ^.1559. G G g of the volume. [Pal., Mgl., Poldi, B. M.] 
 
 i": LA I Rappresentatione della Resurrettione | di Jesu Christo. | 
 Nuouamente Ristampata. 
 
 Cuts. I. Resurreftion zz Bonaventura, Meditaz. s.a. Mis- 
 comini {(>^d). ii. Resurredtion = Rappr. della Passione., 
 151 1 (178^). iii. The Marys at the tomb. iv. Noli 
 me tangere. v. The Magdalene anointing the feet of 
 Christ, vi. Christ teaching (copy.''), vii. The incre- 
 dulity of S. Thomas, iii. -vii. zz Epistole et Evangeli, 
 1495 (No. 135 /J). 
 
 /. 1572. A I. di Jacopo Chiti. [Cors., Mgl., Poldi, 
 Triv.] G G g of the volume. 
 
 I": LA I Rappresentazione della Resurretione di | Jesu Christo | 
 Nuouamente Ristampata. 
 
 Cuts as in e (there is wanting only v.). 
 
 Gesu. Rappresentazione d'un miracolo del corpo di 
 
 Christo. [180 
 
 a. s.l.e.a. (ca 1500). [Cors., Triv. (two copies).] 
 
 a i"; <[ Larapresentatione duno miracolo del corpo di Christo. 
 End. a. 8" : Finita la festa duno miracolo del cor | po di Christo. 
 Deo gratias. 
 
 Cuts. i. Angel, ii. (74I- x 98). A Jew buying the Host 
 from a monk ; on the r. Jews burning the Host (early, 
 grave style). (See cut 48.) 
 Ip. 1549. A I. Giuseppe di Pietro da 'Trauiso. [Pal.] 
 
 Cut. Chalice, with Host above. 
 
 c. 1555. [Poldi, Triv., B. M.] k k of the volume. 
 
 l": LA I RAPRESENTATIONE | d'vNO MIRACOLO DEL | CorpO di 
 
 Christo. I Nuovamente Ristampata. 
 
 Cuts. i. Angel, ii. =: a ii. iii. Soldiers drinking ■=. Pulci, 
 Morgante, 1500. {See cut 123.) iv. (72 x 104). A 
 man being burnt ; one soldier on the 1., two on the r. 
 (rude, hard cut), v. From Pulci's Morgante. 
 
 d. i^yi. Jacopo Chiti. [Cors.] 
 
 A I'': LA RAPRESENTATIONE d'vno | Miracolo del Cofpo di Christo 
 I Nuouamente | Ristampata. 
 
 Cuts. i. Angel. \\.=.a\\. iii. (77 x 97|-). A banquet; 
 on the r. king under a canopy, woman and four men at 
 table with him ; two servants (fine, soft, round style). 
 
 6^ K 
 
(.S"^,? cut 1 8o.) iv. = c(iii.)- v. (72 x 103^). On the 
 ]. three men at table; on ther. a knight kneeling before 
 a man on a throne (soft and round), vi. = Cristina, 
 Rappr. di, 1555 (No. 115^, vi. See cut 181). 
 e. 1589. Giovanni Baleni. [Poldi, Triv., B. M.] + of the 
 volume. 
 Xl^ut. Copy of cut of a ii. 
 
 Gherardo, Fra, da Prato. La storia della cintola di 
 Maria. [181 
 
 a. s.l.e.a. (xvi. cent.). [B. M.) 
 
 A I": STORIA DELLA PREZIOSA | CINTOLA DELLA GLORIOSISSIMA. 
 I VERGINE MARIA LA QVALE | E OGGI IN PRATO | CompOSta 
 
 per fra Gherardo da Prato . . . Nuouamente Ristampata. 
 
 Cut = Ottaviano, stanze e festa s.l.e.a. (No. 3 1 1 «, ii.) (late 
 impression). 
 
 b. s.a. apetitione del fouerino maestro Zanobi della barba. 
 [Triv.] 
 
 a I" : La historia della pretiosissima cintola ri- | dodla in rima per 
 frate Gherardo da | Prato. . . . 
 
 Cut (^^^ X 55). Annunciation of the Virgin, who is sitting 
 on the r. on a bank ; the angel is kneeling on the 1. (soft, 
 rather careless cut). 
 
 c. 1 61 6. appresso Lorenzo Arnesi. [Triv., Mgl.] 
 
 I": Storia della preziosa Cintola della | Gloriosissima uergine 
 Maria la | quale e hoggi in Prato. | composta per F. Gherardo 
 
 Cut as in a. 
 
 Ghibellini, Lorenzo, da Prato. Lamento di Lorenzino 
 de' Medici. [182 
 
 a. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1°: IL LAMENTO CHE FA | INFRA SE LORENZINO DE MEDICI . . . 
 
 per Lorenzo Ghibellini da Prato. 
 
 Cut (105 X 94). The devil seizing a naked man, who tries 
 to escape to the 1. ; inscription, " lavren " (good draw- 
 ing, thick, late cut). 
 
 b. 1567. Bair Arcivescovado. [Triv.] 
 
 I" : EL LAMENTO CHE FA | INTRA SE LORENZINO DE ME | DICI 
 
 . . . Composto per Lorenzo Ghibellini da Prato. 
 
 Cut as in a. 
 
 66 
 
GiAcoBBE, Scala mistica di. [183 
 
 1 5 1 2, Oft. 3 T . per Jo. Stephana di Carlo da Pauia . . . Ad 
 instantia di N. [Cors.] 
 
 a I": |[ OPERA NVOVAMENTE coMPO | sta sopra la mistica scala 
 del Patriarcha Jacob : | per laquale . . . 
 
 Cut (194 X 127). Below is a town, with inscription, 
 " PATER," from which three ladders are rising ; on that 
 in the middle, "pseveraza." Angel with a youth, the 
 Magdalene, and other saint. On the ladder on the 1. six 
 temples, and the word, " pater," six times repeated ; on 
 that on the r. six times, " ave maria ; " below, on both 
 sides, a saint. Above, God the Father, Christ, and the 
 Virgin in clouds (soft, round, hatched, weak cut). 
 
 S. GiACOMo di Galizia, Rappresentazione d'un pelle- 
 grino che ando a. [184 
 
 a. s.a. Fece istampare Zanobi barbetta. . . . [Mgl.] 
 
 a I" : C RAPPResentatione duno peregrine, che andando a Sanfto | 
 Jacopo, el diauolo lo inganno. End. a 6' : . . . cento. 
 
 Cut (77 X 103). The devil, disguised as a pilgrim, speak- 
 ing to a pilgrim standing on the I.; a skull on the ground ; 
 on both sides trees (soft, round cut). 
 
 b. s.a. Alle Scale di Badia. [Triv.] 
 
 I" : MIRACOLO STVPENDISSIMO I DEL GLORIOSO SAN lACOPO | 
 
 DiGALiziA. A un suo scruo che andaua a visitarlo per voto. 
 Cut :=z Giacomo, Rappr. di tre pellegrini (No. 186 a). 
 
 c. 1554, Sept. [Poldi, B. M.] d d of the volume. 
 
 1": LA I Rapresentatione d'uno | pellegrino : | Che andando a San 
 Jacopo di Galitia | el Diauolo lo inganno. | . . . 
 
 Cuts. i. Angel, ii. Border with, below, Christ in the tomb, 
 between two angels (copy of5^r^(7rfl, Rappr. (No. 4413, i.). 
 
 d. 1555, Sept. [Triv., B. M.] 
 Cuts as ill c. 
 
 e. 1562. Badia, Paghol Bigio. [Pal., Mgl.] 
 
 I" : La Rapresentatione d'\'n | Pellegrino | Che andando a San 
 Giacopo di Galitia el | Diauolo lo inganno | . . . 
 
 Cuts. i. Border, with Christ in the tomb between two 
 angels =: Barbard, Rappr. (No. 44 a, i.). ii. Angel, iii. 
 A woman lying in bed, a surgeon, and four other persons 
 (soft, round style), iv. — Esopo 1496 (No. 137 ^z) favola 
 65. V. Angel (late). 
 /. 1571. a stanza di Jacopo Perini da Jllla B. [Rice] 
 
 67 
 
I": LA RAPPRESENTATiONE | D'un PellegHno, che andando a 
 S. Jacopo di Galitia, | il Diauolo I'inganno. | . . . 
 
 Cut (89 X 117). A bearded man on horseback speaking 
 to a pilgrim on the I., who is carrying a dead body 
 (smooth, round style, late). 
 
 S. GiACOMO di Galizia. Rappresentazione di due pele- 
 grini. [185 
 
 a. s.l.e.a. (1550). [Pal., Rice, Triv.j " 2 " of the volume. 
 
 1° : LA RAPPRESENTAZIONE | D'vH miracolo di due Pellegrini, che 
 andorno a San | Jacopo di Galizia. 
 
 Cuts. i. Angel, ii. Copy of S. Giacomo, Rappr. d'un 
 pellegrino, 1571 (184/). 
 
 b. s.a. Alk Scale di Badia. [Triv.j 
 Cut as in a. 
 
 c. s.a. per Stefano Fantucci Tosi alle Scale di Badia. [Mgl.] 
 Cut as in a. 
 
 d. 1554, Aug. [Poldi. March, d' Adda.] g g of the volume. 
 
 1° : LA I Rapresentatione d'uno miracolo di | duo Pellegrini che 
 andauano a San Jacopo di Galitia. | . . . 
 
 Cuts. i. Angel, ii. =: S. Giacomo, Rappr. d'un pellegrino, 
 1 57 1 (184/). iii. =: Pulci's Morgante. \v.z=.Fior di 
 VirtvL (No. 150 «). V. Esope, 1496 (No. 137 a), vi. 
 (83 X 108). A woman at the door of a house, speaking 
 to a man who is standing in the street (angular, fine 
 style ; from a lost edition of the life of .^sop .'' See 
 cut 116). \u.z=: Esope, 1496 (No. i^J a). 
 
 e. 1 57 1. A 1. di Jacopo Perini da Villa Basilica di Lucca. 
 [Cors., Pal., B. M.] 
 
 1°: LA RAPPRESENTATIONE | D'un miracolo di dua Pellegrini, che 
 andorno a San Jacopo | di Galitia. 
 
 Cuts. i. r: .S". Giacomo, Rappr. d'un pellegrino, 1571 
 (184/). ii. := Pulci's Morgante. 
 
 f. 1575? [B.M.] 
 
 g. 1589. Giovanni Baleni. [Poldi, Triv.] "2" of the 
 volume. 
 
 Cuts. i. Asin«. ii. Angel (late), lii. z=Vu\ci, Morgante. 
 h. 1607, Alle Scale di Badia. [Mgl., Triv.j 
 Cut. As in a. 
 
 S. Giacomo di Galizia. Rappresentazione di tre pelle- 
 grini. [186 
 
 a. s.a. (beginning of the xvi. cent.) (Antonio de Tubinis et 
 
 68 
 
Andrea de Ghirlandis.) Tipogr. mark a a. (It. Pr. M. 
 No. 56.) [Mgl.] 
 
 I": C RAPPRESENTATioNE DVNO MRACOLO [j/V] Di TRE | Peregfini 
 che andauano a Sandto Jacopo di Galitia. 
 
 Cut (76 X 101^). An angel upholds a pilgrim who is 
 hanging on the gallows ; on the r. two pilgrims. 
 
 b. 1 5 19, May 13. Fece stampare Maestro Francesco di 
 
 Giovanni Benvenuto sta dal Canto de Bischari. [B. M.] 
 
 a I": |[ RAPPRESENTATiONE DVNO MiRACOLO DI TRE | Peregrini 
 che andauano a Sanfto Jacopo di Galitia. 
 
 Cut as in «. 
 
 c. s.l.e.a. (ca 1550). [Poldi, Triv.J 
 
 A 1° : LA RAPPRESENTATIONE DI TRE | PELLEGRINI CHE ANDORNO 
 
 ALLO I Apostolo San Jacopo di Galitia. 
 Cut =: or copy .'' of cut in a. 
 ^- 1555- [Pal., Poldi, Triv., B. M.] li of the volume. 
 1° : La I Rapresentatione | dvno miracolo di | Tre Pellegrini che 
 
 andauono a. S. Jacopo di Galitia | Nuouamente Ristampata. 
 
 Cuts. i. = or copy? of a. ii.z=: Boccaccio, Ninfale fiesolano 
 (No. (>6, viii. See cut 100). iii. (97 x 77). A man 
 hanging on a gallows upheld by the saint (half-figure in 
 clouds) ; on the 1. a second condemned man kneeling, two 
 soldiers (early grave style), iv. A saint before a king. 
 V. A pilgrim finding a skull (hard, rude cuts). 
 
 e. 1585. [B. M.] 
 
 / 1600. [B. M.] 
 
 g. 1 60 1 . Rincontro a S. Apollinari. [Triv.] i + • 
 
 h. 16 1 2. Alle Scale di Badia. [Triv.] 
 Cut as in «. 
 
 GiAMBULLARi, Bcmardo. La contenzione di Costanza 
 
 e di Biagio. \}'^7 
 
 a. s.l.e.a. [Pal.] 
 
 a I" : |[ Lacotentione di mona Gostanza & di Biagio : & puossi far 
 in comedia. | . . • End. a 4* : finis. | Composta per Bernardo 
 Giambullari | Ciptadin Fiorenti | no. 
 
 Cut (73 X 107). In a room a man sitting at a table with a 
 candle, and a woman standing on the r. listening to the 
 story of a youth standing on the I. (fine, early, angular 
 cut). 
 h. s.l.e.a. (ca 1550). [Cors.] 
 
 I" : LA contenzione di I MONA GOSTANZA ET DI BIAGIO | Et 
 
 69 
 
puossi fare in Commedia. End. Composta per Bernardo Giam- 
 bullari Cittadino Fiorentino. 
 
 Cut. A woman embracing a youth, who has entered by the 
 door on the 1. ; on the r. an old man standing astonished 
 (fine cut, in the hard, angular style of the Ninfale). 
 
 c. s.l.e.a. (ca 1550). [Triv.] 
 
 A 1° : La Contentione di Mona Gostanza i di | Biagio. | Et puossi 
 fare in comedia. 
 
 Cut as in b. 
 
 d. 1556, Nov. [Triv. J 
 
 1°: La Contentione di Mona | Gostanza t di Biagio. | Et puossi 
 fare in commedia. 
 
 Cuts. i. As in a. ii. (72 x 106). A youth pursuing a 
 nymph, who is flying to the r. holding an arrow (fine 
 cut in the style of the Ninfale.) {See cut 102.) From 
 an edition of Boccaccio's Ninfale Fiesolano ? 
 
 e. 1 591. Giovanni Baleni. [Aless.] 
 
 1°: LA CONTENZIONE DI | MONA GOSTANZA ET DI BIAGIO | . . . 
 
 Cut as in b. 
 
 GiAMBULLARi, Bernardo. Un' eresia che un demonio 
 
 voile mettere in un convento. [188 
 
 s.l.e.a. (xvi. cent.). [Cas.J 
 
 1° : C Vna resia che uno demonio uolle mettere in un monasterio 
 dimonaci. End. 4* : finis | Composta per Bernardo Giambu- 
 lari. 
 
 Cut (j^ X 106). Two friars before the door of a monastery, 
 a man drives a loaded donkey, under which is sitting a 
 devil (hard, rude, hatched cut). 
 b. s.l.e.a. [Triv.] 
 
 a 1° : <[ Vna resia che uno demonio uolle mettere in un monasterio 
 di monaci. End. 4* : finis. 
 
 Cut as in a. 
 
 GiAMBULLARi, Bemardo. Storia di S. Giovanni Gual- 
 
 berto. [189 
 
 s.l.e.a. [Mgl.J 
 
 a 1°: <[ Questa e-lastoria & miracoli di san Giouanni Gualberto 
 no- I stro cittadino Fiorentino. . . End. d 4* : j[ Copose Ber- 
 nardo di piero Giabulari. 
 
 Cuts. i. (144 X iojI-). In a chapel a saint shows the 
 crucifix to a kneeling knight, on the 1. two youths with 
 
 70 
 
horses, on the r. a monk, kneeling, in the background 
 the tomb of a bishop, ii. (i J9 \ loz). A monk with 
 a cross in a fire, on the r. a saint exorcising the fire, 
 behind him many monks, on the left people looking at 
 tlie miracle, iii. (144 x 101). A saint sitting in a 
 church, a monk with the Host exorcising a demoniac 
 woman, the devil is flying from her, many people 
 around. 
 Sc-c also S. Giovanni Gualberto, Rappresentazione di. 
 
 GiA.MBULLARi, Bernardo. Storia di S. Zenobio. [190 
 
 a. s.l.e.ii. (ca 1 i; ^-o). [Cors.] 
 
 1": L.i Istoiia di S.ui Zanobi Uescouo | Fiorentino. | . . . Ena. 
 II fine deir Istoria di S.in Z.inobi. 
 
 Ctif (107 X SO- A bishop with staff and book giving the 
 benedidlion (copy ?). 
 if. s.a. pir p!i-:ro Xcsti. [Triv.j 
 
 Cut (61 X so). Half figure of the Virgin, with the Holy 
 Child on a crescent (soft, round style). 
 i. 15-6. [Triv.] 
 
 Cuts. i. n r d. ii. zi Epis-'o.'e c: Eiwigc.'i. iii. Nativity 
 (rude cut). 
 
 GiA.MBULLARi, Bernardo .? Le sonaglie delle donne. 
 
 [191 
 .;. s.l.e.a. (xvi. cent.). [Paris B. N.] 
 
 .\ 1' : Le sonaglie dele donne. | uiua fontana la onde precede | 
 ogni uinu. . . EriJ. a 0' : . . . die chi tosto erra a bellasia si 
 pente | Finis. 
 
 Cu; (So X 106). On the 1. a man sitting ; on the r. a 
 youth and a woman, speaking to him, are holding a strap 
 with bells (very rude). 
 ^. s.l.e.a. (xvi. cent.). [Munich.] 
 
 a I' : Le Sonaglie dele donne. | uiua fonrana 1-^ onde precede | ogni 
 uirtu. . . £'-•.;'. a 0' : . . . che chi tosto erra a bellasia si pente 
 I Finis. 
 
 Cuf. Reversed copy ot cut in .;. 
 c. s.l.e.a. [Erlangen.] ^'arnhagen, I.e., p. ;i. 
 ^Vc- dJsj Frottole di diversi autori. 
 
 GiAXi, F. Arc.uigelo, de' Servi. La vita di Buonaven- 
 tur.i il Beato de Servi da Pistoia. [192 
 
 1 604. Jpprcss: C'-!stc''.:>!J .A /.;;r.>\- .•/;/. [.lless.J 
 
Cut (91 X 61). The Virgin, crowned, holding the Holy 
 Child on a crescent (rude cut, in the early style). Mark 
 of the printer (ship sailing, " Et vult et potest "). 
 
 GiAsoNE e Medea, Storia di. [193 
 
 a. s.l.e.a. [Triv.] 
 
 1° : LA HisTORiA DI | GIASONE, E MEDEA | Nella qual si narra. . . 
 
 Cut (80 X 106). lAsoN fighting with his sword against 
 the dragon (fine, soft style). 
 
 b. 1557, July. [Marchese d'Adda.] 
 I" : Historia di Giason. 
 
 Cuts. i. =: a. ii. Hercules fighting against the harpies 
 (In the style of the ^adriregio). iii. ir S. Cristina, 
 Rappresentazione di, 1555 (No. 115^, vi.). iv. Aman 
 ploughing. V. Medea cutting a human body in pieces, 
 vi. (77 X 97). A woman offering a cup to a young 
 mzn z:z Alessio, Rappr. 1554 (18^, v.). vii. Banquet, 
 viii. A man embracing a youth ■=. Pulci, Morgante. 
 
 c. 1608. Afpresso Zanobi Bisticci. [Triv. J 
 
 1° : LA HISTORIA DI GIASONE, E MEDEA | NELLA QVAL SI NARRA. . . 
 
 Cut as in a. 
 GioBBE, Storia di. See Dati, Giuliano. 
 
 S. Giorgio, Historia di. [^94 
 
 a. s.l.e.a. [B. M.J 
 
 1°: Istoria de sandto Georgio. | al nome sia del nro saluatore | 
 . . . End. 2* : San giorzo preghi dio per tutti noi | amen. 
 
 Cut (100 X 88). S. George on horseback galloping to 
 the 1. against the dragon ; on the r. the princess is 
 kneeling. 
 
 b. s,l.e.a. (xvi. cent.). [Triv.] 
 
 I" : La lystoria (!) di SanSo Giorgio quando | amazo el Drago 
 con altre gentileze | Nouamente agiunte. 
 
 Cut (116 X 121). S. George galloping to the r. and 
 piercing the throat of the dragon with his lance ; on the 
 r. the princess (good drawing ; rude, heavy cut). 
 
 c. s.l.e.a. (xvi. cent.). [Triv.] 
 
 I": La Storia OrazionCj&Mortedi San Giorgio | Caualier di Giesu 
 Christo. 
 
 Cut = Giorgio, Rappr. di (No. 195 a, ii.). 
 
 d. 1575. [Triv.] 
 
 72 
 
I*: La Storia Oratione % morte di Sa | giorgio cavalier di 
 
 CHRISTO. 
 
 e. 1584. Giovanni Baleni. [B. M.] 
 
 A I": La Historia, Orazione, i morte di San [ Giorgio Caualierdi 
 Cristo. 
 
 Cut (105 X 78). S. George killing the dragon ; on the r. 
 the princess and a town (late cut). 
 
 . Giorgio, Rappresentazione di. [195 
 
 a. s.l.e.a. (xv. cent.). [Cors., Cas., Triv., Oxf.] 
 
 a I" ; <[ La rapresentatione di sandto Giorgio martyre. a 2" : 
 C! Incomincia la rapresentatione di sac | to giorgio martire & 
 caualiere. . . End. h^: 4[ Finita la festa di san£bo Giorgio 
 mar | tyre. 
 
 Cuts. i. Angel, ii. (102 x 79). S. George on horseback 
 to the r. piercing the dragon with his lance; on the 1. 
 the princess kneeling (fine, thin style). [See cut 67.) 
 
 b. s.l.e.a. (beginning of the xvi. cent.). [Pal., Triv.] 
 
 A I" : Larapresentatione di santo Giorgio. End. a 8" : C! Finitas 
 [sic] la festa dsa£lo [sic) Giorgio | martyes [sic). 
 
 Cuts. \. Angel, ii. (113 x 80). S. George galloping to 
 the 1., killing the dragon with his lance (hatched style). 
 
 c. s.a. (ca 1550). Alle Scale di Badia. [Mgl., Pal.] 
 
 I": LA I RAPPRESENTAZIONE | DI SANTO GIORGIO. 
 
 Cuts. \. ■=. a ii. ii. Copy of Bradiamonte (70 a, i.). 
 iii. and iv. ■=. Pulci's Morgante. 
 
 d. 1 561. Badia. A I. Paghol Bigio. [Rice, Pal.] ddd 
 of the volume. 
 
 I": La Rappresentatione di Santo | Giorgio | Nuouamente ristam- 
 pata. 
 
 Cuts. \. ■=. a ii. ii. Three orientals at table ; on the 
 r. a knight kneeling before an oriental sovereign (soft, 
 round style; copy), iii. A king enthroned on the 1., 
 a king in armour on the r., behind three knights. 
 
 e. 1585. Giovanni Baleni. [Ambros. (? Variant), Poldi, 
 Triv., B. M.] 
 
 I": LA RAPPRESENTATIONE | DI SAN GIORGIO | NuOUamentC 
 
 Ristampata. 
 Cut (107 X 78). S. George killing the dragon (soft, 
 round, hatched cut). ? =: Giorgio, Historia, 1584, 
 Baleni (No. 1 94 e). 
 
 73 L 
 
/. 1607. ^lle Scale di Badia. [Cors.J 
 
 Cuts. i. Asm a; three other cuts, copies, or late impres- 
 sions. 
 
 GiovANi, Storia di tre. [196 
 
 a. s.l.e.a. (xvi. cent.). [Mgl.J 
 
 A I" : Historia di tre Giouani disperati 1 di tre Fate. 
 
 Cut (83 X 107). On the r, three youths sleeping under 
 
 trees; on the 1. three women standing (rude, smooth 
 
 cut; copy.''). 
 
 b. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1° : HISTORIA DI TRE GIG | VANI DISPERATI, E | DI TRE FATE. 
 
 Cut. Copy (?) of a. 
 
 c. 1567. [Wolfenbiittel] .? 
 
 d. 1570. [Wolfenbiittel] ? 
 
 e. 1574. Ad instantia di Jacopo Chiti. [Triv.] 
 I' : Historia di tre Giouani disperati, & | di tre Fate. 
 
 Cuts. i. As in « ? ii. Battle, in the foreground a knight 
 with the head of a king = Pulci's Morgante. 
 f. 16 1 7. Lorenzo Arnesi. [Triv.] 
 Cut. Copy reversed of a. 
 
 S. Giovanni Battista, Lauda di. [197 
 
 a. 1576. [Cors.] 
 
 I" : Lauda di San Giouanni Batista | cantasi come. . . . 
 
 Cuts. i. ■=. Epistole et Evangeli, 1495. "• Nativity of 
 
 Christ (rude). 
 l>. 1595. Giovanni Baleni. [Mgl.] 
 
 Cuts. S. John (late, rude), and half figure of the Virgin 
 
 with Child (soft, round). 
 
 S. Giovanni Battista, Pompe e ceremonie nella 
 festa di. [198 
 
 1 5 14. (Kal. Jul.), p. Antonium Dominici de Tuhinis. 
 [London, Mr. Murray.] 
 
 I": |[ Pompe et Ceremonie celebrate nella | inclita cipta di 
 Fiorenza nella fe 1 stivita del precursore iohan | ni baptista 
 lanno m.d.xiiii. 
 
 Cuts. i. Printer's mark. (It. Pr. M., No. 56.) ii. = 
 Pulci's Morgante. 
 
 74 
 
. Giovanni Battista, Rappresentazione di. (Belcari, 
 
 Feo.) [199 
 
 a. s.l.e.a. (xv. cent.). [Cors., Rice, Pal. .?, Catal. Libri.] 
 
 I": <[ La festa di san Giouanni quando fu uisitato da christo nel 
 diserto. End. 4*: Finisce la rapresentatione quando | Giesu 
 tornando de Egipto uisito | san Giouanni nel diserto composta 
 I per feo belcari. 
 
 Cuts. i. Angel, ii. (99 x 75). S. John, as a boy, half 
 kneeling before the child Christ, who embraces him ; on 
 the left, Mary, Joseph with the donkey. (See cut 6 1 .) 
 l>. s.a. Stampata in Firenze. [Rice] 
 
 A I": C[ RAPPRESENTATio | ne deuota di san Giovanni | Baptista 
 quado | Ando nel deserto. End. a 4* : Finisce la rappresenta- 
 tione di sanflo | Giouanni baptista con la aggiunta di | . . . 
 coposte p Thommaso Benci Et | quado Jesu Christo tornado 
 di egyp [to visito saiSlo Giouani nel diserto | co Posta per Feo 
 Belchari. | finis. 
 
 Cuts. Angel and border with two dolphins. 
 
 c. 151 8 (28 Nov.). Fr. di Giovanni Benvenuto. (Printer's 
 mark, A A, It. Pr. M., No. 56.) 
 
 d. 1557. [Mgl., Poldi.] " Rr " of the volume. 
 
 1° : La Rapresentatione diuota di San | Giouanni Batista, quando 
 ando nel diserto. 
 
 Cuts. i. Angel (late). ii., iii., iv., v. = Epistole & 
 Evangeli, 1495 (^°- ^35 ^)- 
 ^.1558. /. 1560. ^.1569. A. 1572. z. 1579. -^.1589. 
 /. 1 601. 
 
 . Giovanni Battista decoUato, Rappresentazione di. 
 
 [200 
 
 a. s.l.e.a. (xv. cent.). [Cors., Mgl., Rice, Triv.J 
 
 a I": <[ La rapresentatione di sanfto Giouanni dicollato. a 2°: 
 |[ Incomincia qui di sotto la festa disan | Giouanni baptista 
 quando gli fu ta- | gliata la testa. . . End. a 6* : Finita la 
 festa di san Giouanni | Deo gratias, amen. 
 
 Cut (102 X 77|-). Beheading of S. John, who is kneeling 
 in a doorway, on the 1. Herodias kneeling, and two 
 warriors (early grave style). {See cut 59.) 
 
 b. 1547. [Mgl.] 
 
 I": C! La rapresentatione di santo | Giouanni dicollato. 
 Cuts. Angel and border with gable, with dolphins. 
 
 c. 1568. fer Bartolomeo Anichini. [Rice, Triv.] 
 I' : La Rappresentazione di santo Giouan | ni Dicollato. 
 Cuts. i. Angel, ii. As in a. 
 
 IS 
 
. Giovanni Battista, Le vita e morte di. [201 
 
 a. s.l.e.a. (xv. cent. ?). [Pal.] 
 
 a 1° : |[ Questa e Lauita et Morte di San | Giouanni Baptista. 
 End. f 8* : Finita e / la uita & morte di Sanfto Giouanni 
 Baptista. 
 
 Cuts. I. Border (162 x 106) = Abramo, Rappr. di 
 (No. 4 a, i.). ii. (98 x 69). S. John standing, his 
 right hand uplifted, holding a cross in the 1., on the 1. 
 a tree in which has been fixed a hatchet, iii. (97 x 74). 
 Baptism of Christ, iv. := .S*. Giovanni decollato Rappr. di, 
 s.l.e.a. (200 a). 
 
 b. s.l.e.a. [Triv.] 
 
 1° : La Uita Et Morte Di Sandto | Joanne Baptista. End, Finita 
 la vita 1 morte di san Giouanni Baptista. 
 
 Cut (113x118). S. John pointing at a Lamb with banner 
 which is standing on a book above in the air (hard and 
 angular). 
 
 c. s.l.e.a. [Triv.] 
 
 Same title. End. Finita la Vita & Morte di Sanfto Giouanni 
 Baptista. 
 
 Cut. Same subjeft, but ruder cut. 
 
 d. s.l.e.a. [Cas.] 
 
 I": Sandlo Giuannibatista. 
 
 Cuts. i. Border with a dog hunting a hare (copy) = 
 Benetus (No. 5 1 a), ii. Copy of a ii. 
 
 . Giovanni Crisostomo, Historia di. [202 
 
 a. s.l.e.a. (xv. cent.). [B. M.] 
 
 A I": La historia de Sanfto Giouanni I Boccadero. End. a 3*: 
 ... I duo quatrin dia senza far parole | finis. 
 
 Cut (104 X 109). A king on horseback, a dog barking 
 at the saint, who is creeping on hands and feet. 
 
 b. s.l.e.a. [Triv.] 
 
 I": La hystoria di sandlo Giouan- | ni boccadero. End. fol. 4 : 
 ... do I mine deus noster. 
 
 Cut (112 X 115). King on horseback, a dog barking at 
 the saint, who is creeping on the ground, a footman with 
 hunting-horn (good, hard and angular). At the end a 
 small cut of S. Sebastian. 
 
 c. s.l.e.a. (xvi. cent., beginning). [Triv.] 
 1°: La historia de san (So Giouanni | Boccadero. 
 Cut {ill X 121). Copy of ^. 
 
 76 
 
d. s.l.ca. (1550 ca). [Cors., Triv.] "XX X." 
 
 A I" : La Historia di San Giouanni Boccadero. End. a 2* : ... 
 due quattrin dia senza far piu parole | il fine. 
 
 Cut (71 X 102). King on horseback to the r., on the left 
 the saint creeping, on the r. a dog and a footman 
 (early grave style). 
 
 e. s.a. Alle Scale di Badia. [Triv.] 
 Copy of a. 
 
 f. s.a. Alle Scale di Badia. [Mgl.] 
 
 1° : LA HISTORIA DI SAN | GIOVANNI BOCCADORO. 
 
 Cut. Copy of C. 
 
 g. 1 542. per Ant. Nic. . . . [Passano, p. 66.] 
 h. 1568. Ridolfo Pocavanza. [Wolfenbiittel.] 
 /. 1588. Giovanni Baleni. [Triv.] 
 
 Cut. Copy of ^. 
 k. s.a. Siena alia Loggia del Papa. [Rice] 
 Cut. Copy of d. 
 
 . Giovanni Gualberto, Rappresentazione di. [203 
 
 a. s.l.e.a. (xv. cent.). [Mgl., Triv.] 
 
 a I": C! La rapresentatione di san Giouanni gualberto. End. 
 b 6* : |[ Finite lestanze della festa di san Gio | uanni gualberto. 
 
 Cut (ioo|- X 76). A young knight kneeling before an 
 altar with crucifix, a knight standing beside him pointing 
 at the crucifix, on the r. two young warriors (early grave 
 style). {See cut 57.) 
 
 b. 1 554, Sept. [Poldi.] " Bb " of the volume. 
 
 I": LA I Rapresentatione di Santo | Giouanni Gual- | berto Nuo- 
 uamente Ristampata. 
 
 Cuts. i. As in a. \\.z=.V\Ac\sMorgante. iii. (60 x 79). 
 A knight speaking to a monk at a window, iv. (74 x 
 81). Before the door of a castle a man with turban 
 and stick speaking to two monks standing on the 1. 
 V. (72 X 77). On the r. a monk in bed, on the 1. two 
 monks and another one sewing, vi. (70 x 83). A monk 
 teaching, on the r. and on the 1. monks sitting, vii. 
 (74 X 78). Three monks sitting together, on the 1. 
 outside two monks embracing each other, viii. (69 x 
 80). Three monks kneeling before another with stick, 
 staying on the r. with companion. (Cuts in hard, rude 
 style.) 
 r. 1555, Sept. [Pah, Triv., Berlin K.] " Bb." 
 Cuts as in 3. 
 
 77 
 
d. 1 56 1. Appresso alia Badia Ad instantia a Paghol Bigio. 
 [Cors., Mgl., Triv.] 
 
 I" : La Rappresentatione di San Gio- | uanni Gualberto, | Nuoua- 
 mente ristampata. 
 
 Cuts, i., ii., iii., iv. = b i., ii., iii., iv. v. (58 x 79). 
 On the r. a monk in bed, two monks on the 1., an angel 
 going through the door (hard, rude), vi. =. b vi. vii. 
 (61 X 77). On the r. a bishop enthroned, on the 1. 
 before him a man in black clothing holding a paper, 
 on the 1. two youths (hard, rude), viii., ix. zz b vii. 
 and viii. 
 S. Giovanni Gualberto, Historia di. See Giambullari, 
 
 Bernardo. 
 S. Giovanni e Paolo, Rappresentazione di. See Medici, 
 Lorenzo. 
 
 GiUDiTTA, Rappresentazione di. See also Socci. [204 
 
 ^- 1 5 1 9 (30 ?)• ^^'■^ stampare Maestro Francesco di Giouanni 
 Benuenuto, sta dal Canto de Biscari. [Cors., Mgl., Pal., 
 Triv.] 
 a 1° : C comincia la devota rap | present atione di ivdith 
 
 I HEBREA. 
 
 Cuts. i. Angel (copy), ii. (73 x 97). Judith cutting 
 off the head of Holophernes, on the r. Judith returning 
 to the town (round and soft style), iii. Battle, a knight 
 with the head of a king (copy of Pulci's Morgante). 
 
 b. s.a. (ca 1550). Alle Scale di Badia. [Mgl.] 
 
 1°: LA RAPPRESENTATIONE | DI IVDITH HEBREA. 
 
 Cuts. i. Angel, ii. Copy oi a ii. ? iii. •=. a iii. 
 
 c. s.l.e.a. (ca 1550). [Mgl., Triv.] 
 
 I": LA rappresentatione I DI IVDITH HEBREA. 
 
 Cuts as in b. 
 
 d. 1 554, Jan. [Pal., Poldi, Triv.] " I " of the volume. 
 Cuts. i. Angel, ii. and iii. ■=. a ii., iii. iv. Two ladies 
 
 giving a letter to a knight (copy of Pulci's Morgante^ 
 1500). V. (42 X 52). Battle (rude, late). 
 
 e. 1568. Alle Scale di Badia. [Rice, Triv., Berlin K.] 
 Cuts, i., ii., iii. — a i., ii., iii. iv. ■=. d v. v. A lady 
 
 before an oriental sovereign rz Pulci's Morgante. 
 
 f. 1575. [Rice, Ambros.] " R R R " of the volume. {Com- 
 posta per Cesare Sacchetti Bolognese.) 
 
 Cut =: a ii. 
 
 78 
 
g. 1589. Giovanni Bakni. [Poldi, Triv., 2 copies.] "2." 
 
 I' ; LA RAPPRESENTAZIONE ] DI IVDITH HEBREA. 
 
 Cuts. i. Angel (late), ii. Copy of a ii. iii. Battle of 
 knights = ? Pulci's Morgante, 1 500. 
 h. 1595. [Triv.] 
 
 I" : LA RAPPRESENTAZIONE | DI IVDITH HEBRAEA. 
 
 Cuts. i. Angel, ii. Copy .? of <2 ii. iii. Knight on horse- 
 back with followers = Pulci's Morgante. 
 i. 1 6 17. Lorenzo Arnesi. [Triv.] 
 
 Cut. Copy of a ii. 
 k. s.a. Siena. [Mgl., Ricc.J 
 
 Cut. Copy of Pulci's Morgante ? 
 
 GiUDizio UNIVERSALE, histofia del. [205 
 
 a. s.l.e.a. (ca 1500). Hain, 7777 ? [Cas.] 
 
 I" : C El giuditio generale, O Santa trinita vno solo idio | sanza 
 principio 1 sanza fine. . . , End. 4' : |[ Qui finisce el giudicio 
 generale. 
 
 Cut (78 X 54). Christ as judge between two angels, three 
 bodies arising from the tombs (hard cut, copy ?). 
 h. s.l.e.a. [Triv.] 
 
 I" : GIVDIZIO VNIVERSALE | O VERO FINALE. 
 
 Cut. Death showing to a young man heaven and hell z= 
 Savonarola, Ars Moriendi (No. 375 f, iii.). 
 
 c. s.l.e.a. (xvi. cent.). [Triv.] 
 
 I" : Questa sie La Historia Del Judicio | Universale Delmondo. 
 
 Cuts. i. (85 X 114). Christ as judge with four angeis, 
 below people arising from the graves ; B. M. (Benedidti 
 — Maledi(5ti) (hard and angular cut), ii. Annunciation 
 (in the Venetian style). 
 
 d. s.l.e.a. (xvi. cent.). [Triv.] 
 
 I": Questa e la Historia del Judicio | Universale del Mondo. 
 
 Cuts. i. Border with Christ between two angels, ii. (9i|- 
 X 120). Christ as judge between four angels, people 
 arising. .B. .M. (hatched, round and soft style). 
 
 GiUDizio UNIVERSALE, Rappresentazione del. (By Antonio 
 
 Araldi ?) , [206 
 
 a. s.l.e.a. (ca 1500). [Rice, B. M.] 
 
 a i' : C La rapresentatione del di del giudicio. End. a 8" : C 
 Finita larapresentatione del giudicio. 
 
 79 
 
Ca/(i23 X 102). Christ in mandorla, with five cherubs, 
 two angels and cherub ; on the r. and 1. six saints ; on 
 the 1. four angels conduding three souls ; on the r. three 
 devils with three damned men (early grave style). 
 b. s.l.e.a. (xvi. cent.). [Mgl, Pal., B. M.] 
 
 A I": La rapresentatione del di del giuditio. End. A 6^ : ^ 
 Finita la rapresetatione del giudicio. 
 
 Cuts. i. Angel, ii. (103 x 85). Christ on rainbow, two 
 angels, four men arising (soft, smooth ; copy ?). 
 S. GiuLiANA. See S. Valentino e S. Giuliana, Storia di. 
 
 S. GiuLiANo, Storia di. [207 
 
 a. s.l.e.a, [B. M.] 
 
 a 1°: La diuota Historia di San Giuliano. al nome sia de I'altro 
 Dio verace | & della madre sua. . . . End. 2" : . . . e 'n terra 
 sia nostr' auuocato. | IL fine. 
 
 Cut (94 X 7 1 ). The saint killing his father, who is lying 
 in a bed with his wife ; on the r. a devil (copy of cut 
 of^?). 
 
 b. s.l.e.a. Hain, 7778 .? [Triv.] 
 
 a 1°: La hystoria Et il Pater nostro Et II | Priego di Sandto 
 Zuliano. 
 
 Cut (115 X 118). Same subjeft (hard and angular, 
 Florentine?). 
 
 c. 1576. Dirimpetto a San Pulinari. [Triv.J 
 Cut. Rude, thick-lined copy of a. 
 
 d. 1606. {Siena) Alia Loggia del Papa. [Rice] 
 i": La diuota Istoria di San Giuliano. 
 
 Cut (91 X 74). Same subjeft, devil on 1. (early grave 
 style, original). 
 
 Giuseppe, Rappresentazione di. [208 
 
 a. 1 523, March 16. per Bernardo Zucchetta a pet. di Bernardo 
 
 di ser Piero Pacini da Pescia. (Printers' mark.) [Berl. K.] 
 
 I": C la rapresentatione DIVOTA di I lOSEPH FIGLIVOLO DI 
 I lACOB, 
 
 Cuts. i. Angel, ii. Joseph sold by his brethren, iii. 
 (74 X loi). Joseph and Potiphar's wife (ii. and iii. 
 early grave style), iv. Joseph before Pharaoh, on the 
 1. three men at table (smooth copy), v. Corn being 
 measured before the king, on the 1. men in prison, vi. 
 The cup found in Benjamin's sack (v. and vi. early 
 grave style). 
 
 80 
 
b. 1534. fer Francesco di Giovanni Benvenuto. [Pal., 
 Triv.] 
 
 a 1°: C LA DIVOTA RAPRESENTATIONE DI | JOSEPH FIGLVOLO DI 
 I lACOB. 
 
 Cuts. i. Angel, ii. Copy of a ii. iii. Copy of Barlaam 
 e Josafat (No. 45 a, vii.). iv. Copy (smooth) oi a vi. 
 
 c. s.a. (ca 1550). Alle Scale di Badia. [Mgl.] 
 
 I": La Rappresentatione : e Festa di Jo- | sef figliuolo di Jacob. 
 I Nuouamente Ristampata. 
 
 Cuts. i. Angel, ii., iv. Copies of a ii., iv. iii. A king 
 speaking to five women, v. (190 x 128), S. Laurence 
 on his gridiron in a niche (smooth and round). 
 
 d. s.a. (1550 ca). Alle Scale di Badia. [Mgl., Triv.] 
 
 I": LA RAPRESENTAZIONE | E FESTA DI lOSEF FIGLIVOLO DI 
 lACOB. I . . . 
 
 Cuts. I. Angel (late, rude), ii. and iii. := c ii. and iii. 
 iv. (75 X 101^). A king threatening with a knife a 
 woman kneeling before him, three men coming from 
 the r. (rude, smooth copy ?). v. =z f v. 
 
 e. 1553, Nov. [Poldi, Triv.] " C" of the volume. 
 
 I" : La Deuota Rapresentatione | di Joseph Figliuolo di Jacob | 
 Nuouamente stampata. 
 
 Cuts. i. Angel, ii., iii., vi. zz. a ii., iii., v. iv. =r b iii. 
 V. A youth kneeling before a king =: Pulci's Morgante. 
 vii. rr b iv. 
 /. 1565. A. I. Santi Ceserini dalla Badia. [Mgl., 
 B. M.] 
 
 A 1° : La deuota Rapresentatione di Joseph | figliuolo di Jacob. 
 Cuts. i. Angel, ii., iii., iv. = ? ^ ii., iii., v. 
 g. 1569. Presso la Badia. [Triv.] 
 
 i": La deuota Rappresentatione di Joseph | figliuolo di Jacob. | 
 Nuouamente Ristampata. 
 
 Cuts. i. Angel, ii. and iii. Copies (smooth) of a ii., iii. 
 iv. 1^ ^ a V. 
 h. 1585. Giovanni Baleni. [Ambros.] 
 
 Cuts. Copies of a. 
 i. 1590. Giovanni Baleni. [Poldi.J 
 
 Cuts —f. 
 k. 1606. Alle Scale di Badia. [Cors.] 
 
 Cuts zn copies of cuts of earlier editions. 
 . 1609. Badia. [Triv.] 
 
 Same cuts. 
 
 81 M 
 
GoNNELLA, Facezie del. (Francesco da Mantova did:o 
 Raynaldo da M.) [209 
 
 a. s.l.e.a. [Ambros.J 
 
 A 1°: LE BVFFONERIE | DEL GONELLA | COSE piaCCUole, & da 
 
 ridere. Et di nuouo aggiunto vna nouella | . . . Di nuouo 
 ristampata. 
 Cut (76 X loi). A man in his bed ; the surgeon looking 
 at the glass, and a woman (rude, smooth copy of a cut 
 of the Ars moriendi). 
 
 b. 1568? 
 
 c. 1 570. Ad istanza di Rinaldo de Sabio. [Triv.] 
 
 I": LE BVFFONERIE DEL | GONNELLA. 
 
 Cut = ? a. 
 
 d. 1 6 10. Jacopo Pocavanzi. [Triv.] 
 
 1° : LE BVFFONERIE DEL | GONNELLA. | • • • 
 
 Cut = ? a. 
 
 Granolachis, Bernardo de. Lunare. [210 
 
 a. 1 49 1, Sept. per Lorenzo di Morgiani &' Giovanni di 
 Maganza. [Cors.J 
 
 a 1°: 4[ Lunare cioe Laragione della luna ouero | Taccuino per- 
 fedto in lingua fiorentina. 
 
 Cut (170 X 116). A monk sitting on the r., before a 
 sarcophagus, measuring; on the ]. in a window a youth 
 is appearing, pointing to the sun, with inscription, 
 ALTioR iNCVBviT . . • (vcry fine cut of early grave 
 style). {See cut 11.) 
 
 b. 1496. Lorenzo Morgiani. [B. M.] 
 Cut as in a. 
 
 c. i^^6. (Firenze ?) [Cas.J 
 Cut. Copy of a. 
 
 S. Gregorio Magno. Moralia (italice). [211 
 
 i486, June 15. Nicolo di Lorenzo della Magna. Hain, 
 7935*. [Berlin, B. M., Poldi, Triv.] 
 Cut. S. Gregory enthroned. Good Venetian cut of about 
 1500, not belonging to the book, but added by a later 
 editor in some copies. 
 
 S. Gregorio Magno. S. Maria perpetua. [212 
 
 s.l.e.a. [London Mr. Murray.] 
 
 I" : C Sandla maria perpetua coposta | da Sandto Gregorio papa. 
 
 82 
 
Cuts. i. (92 X 62|-). Virgin with child in mandorla on 
 black ground, ii. (80 x 68). Virgin in clouds, half- 
 figure, in mandorla, held by two angels; on the earth, on 
 the 1. and r., two men kneeling. 
 
 S. Gregorio Magno. Dialogo. [213 
 
 1 51 5, March 10. per Jo. Stephan. di Carlo. [Poldi.j 
 
 a I": |[ INCOMINCIA IL PROLO | GO DEL VVLGARIZA | TORE DEL 
 DYALO I GO DI MESSE | RE SANCTO | GREGO | RIO | PAPA. 
 
 Cuts. i. Border with the two eagles r= Landini, Formu- 
 lario, 1492 (No. 230^, ii. See cut 17). ii. (34 x 27). 
 Half-figure of S. Gregory (round and soft style). 
 
 6"^!? also S. Agostino, S. Bernardino e S. Gregorio. 
 Orationi e versi. 
 
 S. Grisante e Daria, Rappresentazione di. [214 
 
 a. 1 516, Febr. 5. Fece stampare maestro Francescho di 
 Giouanni Benue | nuto / sta dal canto de Biscari. [Pal.] 
 1°: Rappresentatione | di sco Grisante | % Daria. 
 
 Cuts. i. Border (174 x 11 1 ) =r *?. Antonio Abbate, Rappr. 
 di, 1517 (No. T,o b, i.). ii. Angel. 
 
 b. s.l.e.a. (ca 1550). [Mgl., Poldi, Triv.J 
 
 A I": LA I RAPPRESENTAZIONE | Di S. GRISANTE E | DARIA. End. 
 A S': IL FINE. 
 
 Cuts. i. Angel, ii. Border, with Christ between two 
 angels above, and ornament with birds below. (Copy 
 of A Kempis, Imitatio Christi, 1494, No. 227 c, i.) 
 <:• 1559- [Pa^'v Mgl., Poldi, Triv.] H H h of the volume. 
 
 A I': LA I Rappresentatione di san Grisante | % daria. | Nuoua- 
 mente Ristampata. 
 
 Cuts. i. Angel, ii. (72 x ioi|-). A knight kneeling 
 before an oriental sovereign sitting on the r. ; on the I. 
 warrior (round and soft style), iii. := S. Barbara, Rappr, 
 di, 1554 (No. 441^, iii.). iv. rz Giasone e Medea, 1557 
 (No. 193 b, vi.). V. (82 X 107). On the 1. a man and 
 woman, on the r. a hunchback (Esope ?) with a dog. 
 (From a lost edition of the life of Esope.) (Hard 
 style.) i^See cut 1 17.) 
 
 Gualtieri e Griselda, Novella di. [215 
 
 a. s.l.e.a. [Cas., Erlangen.J 
 
 a i": C! Lanouella di Gualtieri Marchese di Saluzo | & Griselda 
 figluola di Giannucholo. End. a 6'' : ... la tenga chara / & 
 siane conoscete | finita. 
 
 83 
 
Cuts. i. (loi X 76). Betrothment • on the 1, three 
 women, on the r. three youths {see cut 29)- ii- (71 x 
 99). Birth of a prince {see cut 51). iii. (71 x 100). 
 A man in long garment speaking to a young man and a 
 woman {see cut 169), iv. (77 x 99). Banquet, two 
 pipers on the r. :=: Pulci's Morgante (early grave style), 
 {See cut 50.) 
 
 b. s.l.e.a. [Triv.] 
 
 A 1° : La nouella di Gualtieri Marchese di | Saluzzo, il quale non 
 uolendo pigliar moglie. . . . 
 
 Cut-=.a i. 
 
 c. s.l.e.a. [Triv.J 
 
 1° : LA NOyELLA DI | GVALTIERI MARCHESE DI SALVZZO. 
 
 Cut. Copy of cut a i. 
 
 d. s.l.e.a. [Wolfenbiittel.] .? 
 
 e. s.a. (ca 1550). per il Nesti. [Triv.J 
 
 l": GRISELDA I E GVALTIERI | MARCHESE DI SALVZZO | . . . 
 
 Cut {102 x 85). On the 1. two youths standing, one of 
 them speaking to two damsels; in the background a 
 house, a man looking out of the window (fine cut of 
 early grave style). 
 
 GuARiNus Veronensis. Regulae grammaticales. [216 
 
 1 51 2, Jan. 5. Gianstephano di Carlo da Pavia. A. p. di 
 Michele Caccini. [B. M.j 
 
 a 1°: <[ REGVLAE GVERINI. 
 
 Cut (147 x 102). A master teaching ir F/ur^j poeta- 
 rum, s.l.e.a. (No. 153). 
 
 S. GuGLiELMA, Rappresentazione di. (By Antonia 
 
 Pulci.) [217 
 
 a. s.l.e.a. (xv. cent.). [Mgl.] 
 
 a I': C La rapresentatione di sanda Guglielma. a i" : |[ Co- 
 mincia la rapresentatione di sandta ( Guglielma c5posta p mona 
 Antonia | dona di Bernardo Pulci. . . . End. a 8" : ... per 
 uiuer poi nel ciel sempre beato. | Finis. 
 
 Cuts. i. Angel, ii. (99 x 76). The saint with crown 
 in black garment, kneeling ; on the r. and I. two young 
 men and two queens kneeling. (Early grave style.) 
 h. s.l.e.a. (xvi. cent). [Cors.] 
 
 a 1° : La festa di san6i:a Guglielma. a i*" : <[ Comincia la rappre- 
 sentatione di | S.iGuglielma / composta p Mona ( Antonia donna 
 di Bernardo pulci. End. a S'' : . . . per uiuer poi nel ciel 
 sempre beato. | finis. 
 
 84 
 
Cuts. i. Angel (copy), ii. Smooth copy of cut of <z ii. 
 
 c. 1538. per M. Francesco di Giouanni Benuenuto. fPal., 
 Triv.] 
 
 1° : <[ LA RAPPRESENTATIONE DI SANCTA | GVGLIELMA. 
 
 Cuts. i. Angel, ii. n: a ii, 
 
 d. s.a. (ca 1550). alle Scale di Badia. [Triv., B. M.] 
 
 1": LA FESTA DI SANTA | GVGLIELMA | . Nuouamente Hstampata. 
 Cut IT a ii. 
 
 e. s.a. (ca 1550). Alle Scale di Badia. [Triv.] 
 
 1°: LA I RAPPRESENTATIONE | ET FESTA DI SANTA | GVGLIELMA. 
 
 Cut. Copy of a ii. 
 . 1554, July. [Poldi, Triv., Midhurst Mr. Fisher.] "e e" 
 
 of the volume. 
 
 Cuts. i. Angel, ii. Copy (smooth style) of 12 ii. iii. (69 
 X 104). A man kneeling before oriental king, three 
 other orientals sitting (round soft), iv. =: Pulci, Mor- 
 gante. v. := Piccolomini, Enea Silvio, Storia di due amanti 
 (No. 330 (2, V. .y^^ cut 125). vi. (75 X 106). A king 
 with his standard-bearer, three men on the 1. (finest thin- 
 lined style). {See cut 179.) vii. A knight at the door 
 of a chapel, in which is seen an altar with statue of the 
 Virgin (hard and rude). 
 g. 1557, March. [Mgl., Ricc.j 
 
 I": La Rappresentatione di Santa | Guglielma. | Nuouamente | 
 Ristampata. 
 
 Cuts as in/. 
 h. 1572. Jacopo Chiti. [Cors. imperfedt.j 
 
 Cuts. i. (71 X 107). On the 1. an oriental kneeling 
 before a king ; on the r. four men on horseback (smooth 
 round style), ii. (69 x 104!^). A king enthroned, 
 giving a letter to a knight kneeling before him ; on the r. 
 the knight giving the letter to the Pope (smooth round 
 style) = Eufrasia, Rappr., 1558 (No. 139,5', vi. See 
 cut 184). 
 i. 1588. Giovanni Baleni. [Poldi, Berlin K.] 
 I": La Festa di Santa Guglielma. 
 Cut ■=. a ii. 
 L 1594. [Rice, Mgl.] 
 
 I" : FESTA DI SANTA GVGLIELMA. 
 
 Cut. Copy oi a ii. 
 /. s.a. (ca 1600). air insegna della Testugine. [Pal., Rice] 
 Cut z= k. 
 
 85 
 
m. 1609. Zanobi Bisticci. [Cors.] 
 
 Cut = k. 
 n. 16 13. [Mgl.] 
 
 Cut zz k. 
 0. 161 8. Michelangelo Arnesi. [Rice] 
 
 Cut — a\ 
 GuiDO, Antonio di. See Laude. 
 
 GuiSCARDO E GiSMONDA. [2 1 8 
 
 s.l.e.a. [Triv.J 
 
 Cut (loi X 121). Minerva on the 1. threatening with a 
 lance a youth bound on a tree, over which Amor is flying 
 (rather rough cut of a fine drawing) zr Pamfilo Sasso, 
 Strambotti (No. 318 ^.). 
 HiLARiON. See Ilarione. 
 HippoLYTus. See Ippolito. 
 HiROLDO. See Iroldo. 
 HisPANus, Petrus. See Pietro Spano. 
 HisTORiA. See Storia or Novella (and under the names of 
 
 the principal persons or subjedts). 
 HoNORius Augustodunensis. See Lucidario. 
 
 HoRATius Flaccus. Pocmata. [219 
 
 1514, Febr, Sumptibus Philippi de Giunta Florentini. 8°. 
 [Berlin.] 
 
 Cut. Border of the title-page (136 x 88). Putti on 
 dolphins on the sides of a shield ; above, a woman with 
 two birds (thick-lined heavy hatched cut). Initials with 
 ornaments. Printers' mark (It. P. M., No, 43). 
 Jacobus. See Giacobbe and Giacomo. 
 
 Jacopone da Todi (del Benedetti). Laudi. [220 
 
 1490, Sept. 28. per Ser Francesco Bonacorsi. Hain, 9355. 
 [Cors., Mgl., Poldi, B. M., Berlin K., Vienna.] 
 
 I" : LAVDE DI FRATE lACOPONE DA TODI. 
 
 Ck/ (160 X 112). Jacopone kneeling before the vision of 
 the Virgin (finest cut of the early grave style). {See 
 cut 9.) 
 
 Jason and Medea. See Giasone e Medea. 
 
 Jeremiah. See Geremia, Orazione di. 
 
 S. Ignazio, Rappresentazione di. [221 
 
 a. s.l.e.a. [Cors.] 
 
 86 
 
I": C Rappresentatione Di Sanfto Ignatio Vescouo & Martyre. 
 End. 8' : ... & in qsto langelo da licen | tia alpopolo. | finis. 
 
 Cut (loo X 75). Angel kneeling with a branch 
 (Florentine .? hard). 
 
 b. 1558. [Pal., Mgl., Poldi, Triv.J " y y " of the volume. 
 
 A 1°: Rappresentatione di Santo Ignatio: | VESCovo et martire. 
 I Nuouamente Ristampata. 
 
 Cuts. i. Angel (late), ii. A man preaching before king 
 and people zz Pulci's Morgante. (See cut 160.) iii. 
 A saint conduced by soldiers (late, rude), iv. A saint 
 burnt (hard, rude), v. A woman on the 1., a naked 
 man lying on the ground, another enthroned, and a 
 devil (hard, rude). 
 
 c. 1589. Giovanni Baleni. [Mgl., Pal., Poldi, Triv. (2 
 copies).] " z " of the volume. 
 
 Cuts. I. Angel, ii. Copy of^ii. 
 
 Ilarione, Profezia di. [222 
 
 s.l.e.a. (ca 1500). [Pal.] 
 
 1° : PRophetia dello deuotissimo Hilario | ne in elqual furno Ii 
 spiriti di tudle le | sybille. . . . End. a ^ : finis. 
 
 Cut. Border with two eagles :=: Savonarola, Arte di bene 
 morire, s.l.e.a. (No, 375 c, i. See cut 17). 
 
 Indovinelli, Riboboli, Passerotti e Farfalloni. [223 
 
 a. s.l,e,a, (xvi. cent.). [Triv.] 
 
 1° : indovinelli | riboboli, passerotti, | et farfalloni. 
 Cuts. i. A woman at a fountain (late fine cut), ii. (80 
 X 116). A man leaning on his spade to the 1., on the r, 
 man in long garment, two youths, one with basket (from 
 a lost ed. of the life of TEsop .''). iii. zz: Florindo e Chiara- 
 stella, Historia di, s.a. (No. i^^d, ii. See cut 119). 
 l>. s.l.e.a, [Triv.] 
 
 Cut (75 X 100). A woman embracing a young man, on 
 the r. man on table. 
 c. 1558. [B. M.] 
 Infantia Salvatoris. See Gesu, Infantia Salvatoris. 
 Job, Storia di. See Dati, Giuhano. 
 Johannes. See Giovanni. 
 
 Johannes Chrysostomos. See Giovanni Boccadoro. 
 Johannes et Paulus. See Medici, Lorenzo. 
 Johannes presbyter. See Dati, Giul. 
 Josephus. See Giuseppe. 
 
 87 
 
S. Ippolito, Rappresentazione di. [224 
 
 1589. Jppr. Giovanni Baleni. [Aless., Mgl., Poldi, Triv. 
 (2 copies).] 
 
 A l": LA RAPPRESENTAZIONE | DI S. HIPOLITO MARTIRE, 
 
 Cuts. i. Angel, ii. (94 x 68|-). The saint with sword 
 going to the r., looking to the 1., the right hand up- 
 lifted, the left holding a palm. On the 1. man and 
 woman kneeling (soft, round cut). 
 
 Iroldo e Prasildo, Storia di. [225 
 
 a. s.l.e.a. [Wolfenbiittel.] .'' 
 
 b. s.l.e.a. [Pal.]? 
 
 Italia, Lamento di. [226 
 
 s.l.e.a. jid Petitione di Simone da Milano. [Triv.] 
 
 a I" : |[ Lamento de Italia diuiso in Capitoli septe : morale & 
 sentetioso tradtan | do di tufte le guerre. . . . 
 
 Cut (73 X 100). Battle of knights, on the r. a knight 
 falling from his horse, a horse escaping to the 1. (rather 
 rude cut). 
 
 Judicium universale. See Giudizio universale. 
 
 JuLiANus. See Giuliano. 
 
 Kempis, Thomas a. Imitatio Christi. [227 
 
 «. s.l.e.a. (xv. cent.). Hain, 9124-25 .? [Stuttgart.] 
 
 I'': C Johanni gerson uulgare | Qui uult uenire post me. . . . 
 End. 4": FINIS, a I": C mcoMincia ellibro deuoto & utile 
 composto da | messer Giouanni gersonne. . . . End. k io": 
 C Qui finisce . . . composto per messer Giouanni gerson. 
 
 Cut (102 X 72I-). Christ turning to the r., looking to the 
 1., holding the cross in the 1. arm, the r. hand over a 
 cup ; landscape (early grave style). 
 ^- i493> July 22. Antonio Miscomini. Hain, 9130*. 
 [Cors., Capponi, Pal., Venise Correr, Vienna.] 
 Cut (92 X 74). Christ standing, in a niche, holding the 
 cross in the 1. arm, the r. hand over a cup. {^Seecut 16.) 
 Printer's mark (It. Pr. M. 47). 
 '^- 14943 July I. Antonio Miscomini. Hain, 9131. [Cors., 
 Palermo, Venise Correr, Berlin.] 
 
 Cuts. i. Border ; in the upper part two angels supporting 
 the monogram of Christ, below birds, ii. As in a. 
 d. 1505, Apr. 16. Apetitione di Ser Piero Pacini da Pescia. 
 [Cors.] 
 
 88 
 
1°: C MESSER GIOVANNI GERSON | Vtile & diuota operetta della 
 imitatione di Giesu Xpo. | . . . a i": <[ Incomincia illibro 
 diuoto & utile. . . . End. i 8*. 
 
 Cut as in c. Two marks of the publisher. 
 ^- ^5°9> J^n. 23. Apetitione di Phil, di Giunta & Agnolo 
 Cartolaro. [Cors.] 
 
 I": C MESSER GIOVANNI GERSON | Vtile & diuota operetta della 
 imitatione di Giesu Xpo | • ■ • 
 
 Cuts. i. Border with two eagles zz Savonarola^ Ars 
 moriendi, s.l.e.a. (No. 375 c, i., cut 17). ii. As in b. 
 f. 1522, Aug. 19. Heredi di Philippo di Giunta. [Vat., 
 Vitt. Em.] 
 
 I": C MESSER GIOVANNI GERSON | Utile & diuota operetta della 
 imitatione di Giesu Christo. 
 
 Cut zz c ; initial D with half fig. of Christ ; printer's mark. 
 
 Lamentazione dei giuocatori. [228 
 
 s.a. Fece stampare Ser Zanobi dalla barba. [Triv.] 
 
 1° : C Lamentatione & Dolore & Pianto delli Giochatori che | 
 perdono Ihonore / el tempo & il credito. 
 
 Cut (T2^ X 87|-). Two skeletons sifting human bones in 
 a sieve ; below, corpse of a man (soft, round cut). 
 Lamento. See Sforza, Galeazzo, and Maria, Lamento di. 
 
 Lancilotti, Francesco di Piero. Storia di Castellano. 
 
 [229 
 
 a. s.l.e.a. [B. M.] 
 
 !'':<[ LA HISTORIA DEL CASTELLANO. I*: O JeSU dcgno 
 
 cognu tami et nomini. . . . End. 6^: f[ Fece Fracesco di Pier 
 lacilotti. 
 
 Cut (115 X 107). In a hall a youth kneeling before an 
 altar, behind him one devil disguised as a hermit and 
 another as a woman ; on the 1. devil fleeing. 
 
 b. s.l.e.a. [B. M.] 
 
 1°: IT La historia del Castellano [Cut.J O iesu degno chognu 
 tami T. nomini. End. 4* : C Fece francescho di Pier Lancilotti. 
 
 Cut (115 X 107). Rude copy in reverse of a. 
 
 Landini, Cristoforo. Formulario di lettere. [230 
 
 a. s.l.e.a. (xv. cent.). Hain, 9854.'' [Cors., Vitt. Em., 
 Stuttgart.] 
 
 a I" : ([ Formulario dileltere (sic), & di orationi uolgare con lapro | 
 posta & risposta coposto per Christophoro landini. a 2" : C 
 
 89 N 
 
Formulario di epistole uulgare missiue & responsiue | . . . End. 
 f 8' : . . . Bartholomeo de seuerinis de piscia ami | co chiaris- 
 simo. 1 FINIS. 
 Cut (103 X 83). On the r. the teacher sitting under a 
 canopy with a book, on the 1. two youths sitting; behind 
 them five others standing (early grave style). _ 
 
 b. 1492. per maestro Antonio Mischomini. Hain, 9862. 
 
 [Aless., B. M., Stuttg.] 
 
 a I": C Formulario di lettere & di orationi uolgari con la | pro- 
 posta & risposta coposto g Christofano landini. 
 
 Cuts. i. (148 X io2) — Flores Poetarum,s.2,. (^o. 153. 
 See cut 21). ii. Printer's mark (It. Pr. M., No. 47) 
 in border with two eagles below = Savonarola, Ars 
 moriendi, s.l.e.a. (No. 375 c, i. See cut 17). 
 
 c. 1 5 13, Sept. 15. Gianstephano di Carlo da Pavia, Aa 
 Instantia di Piero Pacini. [Triv.J 
 
 Cut as in b. 
 
 Laud A. [231 
 
 1537, Aug. 5. Fece stampare M. Francesco di Giovanni 
 Benvenuto. [Rice] 
 
 a i": CT Lauda. Cantasi come / Orosa mia | gentile. E come / 
 O benigno | Signore. 
 
 Cut {6^ X 352-)- Virgin with child enthroned on clouds, 
 between two cherubs (soft, round style). 
 
 Laude di diverse persone. [232 
 
 a. s.a. Apetitione di Piero Pacini da Pescia. [Poldi, 
 Triv.J 
 
 I": ([ Libro di Laude. ^ Laude fadle & composte da piu per- 
 sone spirituali a honore | dello omnipotente idio ... a i": C! 
 LAVDA Di FED BELCHAri | DAche tu mhai I idio il cor ferito | 
 . . . End. p I o' : Three marks of the publisher. 
 
 Cut (73 X 99). In a chapel three youths singing before 
 the image of the Virgin, on the 1. four men listening 
 through a door, across the street a shop in which two 
 men are also listening (early grave style). {See cut 73.) 
 
 b. s.l.e.a. (xv. cent.). [Triv., Venise, B. M.] 
 
 1°: <[ Laude fafte & composte dapiu persone spirituali a honore 
 dello omnipoten | te idio & della gloriosa uergine. ... a i": 
 C LAVDA DI FEO BELCHAri | DAchc tu mhai I idio ilcor ferito | 
 . . . End. o 10": Cantasi come O tempo buono. | finis. 
 
 Cut as in a (but later impression). 
 
 90 
 
Laude devote del disprezzo del mondo. (By Antonio 
 di Guido.) [233 
 
 s.a. Fece stampare Ser Zanohi della barha. [Cors.] 
 
 a I": |[ LAVDE DEVOTE | DEL DISPREGIO | DEL MONDO. ([ Di 
 
 Maestro Antonio di Guido | . . . 
 Cut (71 X 58). Death going to the r. with a scythe, on 
 the ground heads of an emperor, pope, and cardinal. 
 S. Laurentius. See Lorenzo. 
 
 Lazzaro ricco e povero, Rappresentazione di. [234 
 
 a. s.a. (i 550-1600). Air insegna della Stella. [Mgl.] 
 
 l": LA I RAPPRESENTAZIONE | DI LAZERO RICCO | E DI LAZERO 
 
 POVERO I Nuouamente Ristampata. 
 Cut (73 X 103). A dying man in his bed, a woman 
 
 crying, a king standing on the r., two other persons 
 
 near the deathbed, some others in the room (large and 
 
 free cut in the fine manner). 
 3. 1554, Jan. [Poldi, Triv., B. M.] " H " of the volume. 
 Cut. Banquet rr Pulci's Morgante, 1 500. 
 
 c. 1568, Sept. [Cors., Pal., Triv., B. M., Berlin K.] 
 
 I": LA I Rappresentatione di Lazero riccho | Et di Lazero pouero, 
 Di nuouo Ristampata. 
 
 Cut as in b. 
 
 d. 1587. Giovanni Baleni. [Poldi, Ambros.] 
 Cut. Copy of b. 
 
 e. 1592. Giovanni Baleni. [Poldi.] 
 Cut as in d. 
 
 f. 1606. Alia Condotta. [Triv.] 
 
 Cuts. i. King in armour speaking to a king to the 1. 
 
 (copy of Pulci's Morgante). ii. Mount of Olives 
 
 ■=. ? Bonaventura, Meditazioni, s.a. Miscomino (No. 
 
 69 a). 
 
 Lazzaro, Marta e Magdalena, Leggenda di. ^'^^Maddalena. 
 
 Leggendario. [235 
 
 151 1, Nov. 15. per Gianstephano di Carlo da Pavia: Ad 
 petitione di Lionardo di Neri di Andrea Cartolaio ciptadino 
 fiorentino. [Paris, B. M.] 
 
 I" : 4[ Leggendario diuotissimo dipiu uergini & martyri. 
 Cut (166 X 113). Four compartments, each with two 
 female saints on black ground (Magdalene and Catharine, 
 Margaret and Agnes, Apollonia and Agatha, Barbara 
 and another .?). 
 
 91 
 
Legnaiuolo, Novella del grasso. [236 
 
 a. s.l.e.a. [Cors.J 
 
 a I': Nouella del Grasso legnaiuolo. I nella Cipta di Firenze & 
 neglianni domini | . . . End. a 6 . . . . che uillan sia / & io 
 allui chorrese. | ^ finis. 
 
 Cut (82 X loyl"). The carpenter in his workshop, two 
 young men entering in the room, to the 1. a boy fol- 
 lowing (round, and soft, heavy cut). {See cut 183,) 
 
 b. 1576. [Marchese d'Adda.J 
 
 c. 1588. Giovanni Baleni. [Ambros.J 
 Cut (75 X 102). Copy of cut in a. 
 
 LiBRo di compagnia. See Compagnia. 
 LiBRO di mercatanzie. See Chiarini, Giorgio. 
 
 LiLius, Zacharias. Breviarium Orbis. [237 
 
 1493, Non. Jun. Impressit Florentine Antonius Miscominus. 
 Hain, loioi. [Cors., Aless., Vat., Cas., Mgl., Vienna, 
 Berlin.] 
 a I": zacharias lilivs vicentinvs | . . . 33": zachariae 
 
 LILII I ... OR I bis BRE I VIARIVM. 
 
 Cut. Border with two eagles — Savonarola^ Arte d. bene 
 morire, s.l.e.a. (No. 375 c, i.). Printer's mark (It. Pr. 
 M., No. 47). 
 
 LioNBRUNo, Storia di. (By Cirino d'Ancona.?) 238 
 
 a. s.l.e.a. (Firenze, ca 1500). [Maglione Colledtion] .? 
 
 b. s.a. Alle Scale di Badia. [Mgl.] 
 
 AX": LA STORIA DI | LIOMBRVNO | EL QVALE FV LASCIATO DAL 
 
 PADRE PER I pouerta. . . . 
 Cut (73 X 105). On the r. a man in a ship fishing, on 
 the shore to the 1. a devil, who gives him something 
 (smooth, thick lines, rude cut). 
 
 c. 1574. Nel Garbo appresso Francesco Tosi. [Triv.] 
 Cut as in b. 
 
 S. Lorenzo, Storia di. fs'JO 
 
 s.a. pr Maestro Zanobi della Barba. 8°. [Triv.J 
 
 a 1°: <[ La natiuita & martyrio & morte di | sancfto Lorenzo 
 deuotissima. End. b 4* : C; Fece stampare maestro Zanob | 
 pouerino : che a sua posta non | ha mai un fiorino.j 
 Cut (95 X 71I). S. Lawrence going to the 1. with 
 standard, and saving a soul from hell, his gridiron at 
 his side (hatched cut). 
 
 92 
 
S. Lorenzo, Rappresentazione di. [2,40 
 
 a. s.l.e.a. (xv. cent.). [Rice, Triv., Bodl.] 
 
 1° : C La rapresentatione di SancSto Lorenzo quando fu martyri- 
 zato. End. a 10° : <[ Finita la festa di Sandto Sixto pa | pa & 
 di safto Lorezo suo diacono. 
 
 Cuts. i. Angel, ii. (103 x 78). S. Lawrence lying on 
 
 the gridiron over a fire, which is stirred by a man, 
 
 another brings coals, on the r. a king (later cut of the 
 
 early grave style). {See cut 64.) 
 
 h. 1547, April 20. pr Lorenzo Peri. [Pal., Mgl., Triv.] 
 
 A I": If La RAPresentatione di sandto Lorezo quando fu martyri- 
 zato. 
 
 Cuts. i. Angel, ii. (ii6.x 82). S. Lawrence, upright, 
 holding a gridiron and a palm. Signed " L" (hatched, 
 late cut; from the Mirabilia Romae .f"). 
 
 c. 1558. [Cors., Poldi.] " B Bb " of the volume. 
 
 I": LA I Rapresentatione di San Lorenzo: | quando fu martiri- 
 zato. I Nuouamente ristampata. 
 
 Cut. Angel (late). 
 
 d. 16 17. Alia Badia,Eredi di Francesco Tosi. [Rice, Triv.] 
 Cuts. i. Copy of b, ii. ii. The derision of Christ =z 
 
 ? Bonaventura, Meditazioni, s.a. Miscomini (No. 69 a). 
 
 LoRETo, Dichiarazione della chiesa di Sanfta Maria di. 
 
 [241 
 s.l. (Florence, ca 1 5 10). [Catalogue Destailleur, No. 1629.]? 
 
 Lucca, Leggenda di S. Croce di. [242 
 
 a. s.l.e.a. Hain, 9995 ^ [Cas.J 
 
 a I" : La diuota legeda di sanfta croce di Luca. End. a 6' : ... 
 con grandis | sima diuotione. [ Laus deo. Amen. 
 
 Cut (106 X 91). Christ in long garment on the cross, 
 with crown, under his r. foot a cup. 
 
 b. s.l.e.a. (ca 1550). (Firenze?) [B. M.] 
 
 a I": C La diuota leggenda di sandla Croce da Luccha. a 2": 
 O Tu felice terra di luchano | quato tha hauto dio nella mete | 
 . . . End. a 6* : . . . con grandissima deuotione. | Finis. 
 
 Cut (115 X 89). Copy of cut in a ? 
 
 c. s.l.e.a. (ca 1550). [Triv., B. M.] 
 
 I" : LA HISTORIA DEL | VOLTO SANTO DI LVCCA | IN OTTAVA 
 
 RIMA. I Nuouamente Ristampata e Ricorretta. 
 Cut zz. later impression of h. 
 
 93 
 
S. Lucia, Storia di. [243 
 
 a. s.l.e.a. (ca 1500). [Triv.J 
 
 a 1° : C La hystoriadi sanda Lucia. O Lampa ch' rispledi i secol 
 tufto I CO latua luce. . . . End. a 4* : C! Finita lahistoria di 
 san£la Lucia. 
 
 Cuts. i. (72 X 99). Two oxen carrying away the sain.t 
 bound with cords, behind her a soldier with a dagger, 
 three others driving the oxen (very fine cut of early 
 grave style), ii. Saint before the judge =: S. Agata, 
 Rappr. di (7 b, iii.). 
 
 b. s.l.e.a. [Poldi, Triv. (2 copies), B. M.).J "Ffff" of 
 the volume. 
 
 1°: Istoria : % Oratione di Santa Lucia | Vergine, & Martire. 
 
 Cut z= a i. 
 
 c. s.l.e.a. [B. M.] 
 
 A I" : LA HISTORIA DI SANTA | LVCIA VERGINE, ET MARTIRE. 
 
 End. A 4* : il fine. 
 
 Cut (107 X 53). S. Lucy holding a book in the r., a 
 cup over which there are hovering two eyes in the 1., 
 with a dagger in the throat (smooth, round style). 
 
 d. s.a. Alle Scale di Badia. [Triv.] 
 
 1°: LA HISTORIA DI SANTA | LVCIA VERGINE | E MARTIRE. 
 
 Cut zz a i. 
 
 e. 1558. presso al Vescouado. [Mgl.] 
 
 A 1°: La Historia di Santa Lucia | Uergine & Martire. 
 Cut =: (copy i") of a i. 
 /. 1588. Jacopo Pocavanza. [Triv.J " i " of the volume. 
 
 A I" : LA HISTORIA DI SANTA LVCIA | VERGINE ET MARTIRE. 
 
 Cut as in c. 
 
 LuciDARio. (By Honorius Augustodunensis ?) [244 
 <2. s.l.e.a. (xv. cent.). (Cf.Hain,88i6-i8.) [Cors., Pal., Triv.] 
 
 a 1°: ([ Lucidario. a 11* (b 2) : ^ comincia el prologo delli 
 I BRO DEL LvciDARio. End. f 5'' : . . . nc uuole partirsi in 
 infinita secula Seculorum. Amen. | finis. 
 
 Cut (98 X 88). A man in long garment sitting on the r. 
 at a desk, speaking to a youth standing on the 1. before 
 him (early grave style). 
 b. s.l.e.a. (xv. cent.). [Cas., Pal., Mgl., Dresden.] 
 
 1° : C Lucidario. a 2" : <[ qvi comincia el prologo del li- | 
 BRO DEL LVCIDARIO. End. f 5'' : . . . nc | uuole partirsi in 
 infinita Secula Seculorum. Amen. | Finite il Lucidario. 
 
 94 
 
Cut zz Fior di virtu, 1498 (hares) (No. 150 a. See 
 cut 8). 
 c. 1494, July 17. Antonius Miscomini. [B. M.] 
 
 a 1° : LVCiDARio 1 cioe / dichiaratione di motte belle & singular! | 
 quistioni. 
 
 Cut as in b. 
 
 LucREziA, Storia di. [245 
 
 a. s.l.e.a. (xv. cent.). [Triv., B. M.] 
 
 a 1° : |[ La historia & morte di Lucretia Romana. | Qvel altissimo 
 appollo alql couiesi | meritamete. . . . End. a 6* : C Finita la 
 hysteria & morte di Lucretia Romana. 
 
 Cut (78 X loi). Lucretia killing herself. {See cut 62.) 
 
 b. s.l.e.a. (xvi. cent.). [B. M.] 
 
 A 1°: Historia di Lucretia Romana: laqua- | le essendo violata 7 
 sforzata si dette la morte. | Qvel altissimo Apollo alql couiesi | 
 meritamete. . . . End. . . . finis. 
 
 Cut as in a. 
 
 c. s.l.e.a. [Wolfenbiittel] ? 
 
 d. s.l.e.a. (xvi. cent.). [Mgl.] " i + " of the volume. 
 
 1°: LA I COMPASSIONEVOLE HI | STORIA DI LVCREZIA RO- 
 MA- I NA. . . . 
 
 Cut. Banquet of king, on the 1. two musicians, two ser- 
 vants on the r. (Rude copy.) 
 
 S. Maddalena, Confessione di. [246 
 
 s.l.e.a. (xvi. cent.). 8°. [Triv.] 
 
 I": Cofessione di. S. Ma | ria Magdalena. End. 4*: . . . gli fara 
 gratia di remissione | <[ finis. 
 
 Cut (98 X 73). The Magdalene kneeling to the 1. before 
 a cave, on the I. two trees (soft, smooth). {See cut 189.) 
 
 S. Maddalena, Rappresentazione di. [247 
 
 1 5 16, Dec. 7. Fece Stampare Maestro Fran | cescho di 
 Giouanni Benuenuto, sta dal Canto de Biscari. [Mgl., 
 Pal.] 
 
 a 1°: C Rappresentatione di S. Maria Magdale- | na / nuovamente 
 composta. 
 
 Cuts. i. (70 X 97). The Magdalene, Lazarus, and 
 Martha in a ship, on the 1. king and queen advancing 
 from the gate of a city to the ship (smooth, round 
 style), ii. =: Margherita, Storia di, s.l.e.a. (No. 261 
 a, vi.). 
 
 95 
 
S. Maddalena, Rappresentazione della conversione di. 
 
 [248 
 
 a. s.a. Badia. [Triv.] 
 
 LA RAPPRESENTAZIONE | DELLA CONVERSIONE DI SANTA | MARIA 
 MADDALENA. 
 
 Cut-=. S. Maddalena, Confessione di (No. 246). 
 
 b. 1554. [Mgl. (M M), Pal., Poldi (NN).] 
 
 I" : LA I RAPRESENTATIONE | DELLA CONVERSIONE | DI SANTA 
 
 MARIA I MADDALENA. ) Nuouamente posta in Luce. | 1555. 
 
 Cuts. i. The saint kneeling before Christ (copy of £p/j/o/^ 
 et Evangeli, 1495). "• Christ amongst the dodlors zi 
 Gesii, Rappr. quando disputo, 1559 (No. 175 b, iii.). 
 iii. (73 X 106). In a room two women speaking 
 together, on the r. a third woman, on the 1. cupboard with 
 a candle (smooth, round, hatched cut), iv. (77 x 103). 
 A queen followed by another, and a lady going to the 
 1., rocks, and view of a town (finest manner), v. A 
 man speaking before a king -zz Pulci's Morgante. vi. 
 A surgeon at the bed of a woman, four other persons 
 in the room (round, smooth), vii. Burial := Fior di 
 Virtu, 1498 (No. 150 a), viii. Christ speaking to 
 the apostles (copy of Epistole et Evangeli, 1495). ix. 
 People near a dead man on a bier, on the r. a man 
 sleeping, another praying (style of the Fior di Virttl). 
 X. ^a. 
 
 c. 1 56 1. Appresso la Badia. [Mgl.] 
 
 A I": Rappresentatione della Conuersione | di S. Maria Madda- 
 lena. I Nuouamente posta in luce | 1561. 
 
 Cuts, i., ii., iii., iv. = b (i., iii., v., vi.). v. Christ healing 
 the sick man near the lake ? := Epistole et Evang. vi. 
 The Magdalene (rude copy of cut a). 
 
 d. 1568. Bartolomeo Anichini. [Pal.] 
 
 Cuts. \. — b viii. ii. — b\. iii. — Maddalena, Leggenda 
 di, s.a. Pacini (No. 250 a, iii.). iv. =: c vi. 
 ^.1571. Jacopo Chiti Cartolajo. [Pal., Rice, Triv., Mid- 
 hurst Mr. Fisher.] 
 
 Cuts, i., ii. r= b viii., vi. iii. = c v. iv. zr Rosana, 
 Rappr. di (No. 367 a, viii.). 
 /. 1587. Appr. Jacopo Pocavanza. [Mgl., Ambros., Poldi, 
 Triv.] " 2-1- " of the volume. 
 Cut. The Magdalene (copy of a). 
 
 96 
 
S. Maddalena, Rappresentazione d'un miracolo. [249 
 
 a. 1 5 54, Nov. [Mgl., Poldi, Triv., B. M.] « L L " of the 
 volume. 
 
 1°: LA I RAPRESENTATIONE | d'vN STVPENDO MIRACOLO | DI 
 
 SANTA MARIA | MADDALENA. | Nuouamente stampata. 
 Cuts, i., ii. := Maddalena, Conversione (No. 248 b, viii., 
 i.). iii. — Maddalena, Leggenda, s.a. Pacini (No. 250 
 a,\\\.). iv. (97 X 77). Communione di S. Maddalena 
 (copy of cut in the early grave style), v. (68 x 46). 
 King David kneeling to the 1. 
 
 b. 1 561. per Bartolomeo Anichini. [Berl. K.] 
 
 Cuts. \., ii., iii. ■=. a i., ii., iii. iv. rz Maddalena, Con- 
 versione di, 1 56 1 (No. 248 c, vi.). V. (58 X 54). King 
 David kneeling to the r. (in the Venetian manner). 
 
 c. 1568. -per Bartolomeo Anichini. (?) 
 
 Maddalena, Storia di. [250 
 
 a. s.a. a petitione di Ser Piero pacini da Peseta. [Cors.] 
 
 a I" : C! Incomincia ellibro di Lazero & | Martha & Magdalena. 
 End. h 8' : ([ Finito Marta & Magdalena a petitione di S. Piero 
 pacini | da Pescia. Three printers' marks. 
 
 Cuts. 1.(78 X 103). Resurredlion of Lazarus n .'' £^/j- 
 tole et Evang., 1495. ii. (97 x 87). The three saints 
 led by a soldier to the ship in the background (early, 
 fine cut), iii. (69 x 103). A man finding a dead 
 woman lying on the ground with a child on her bosom, 
 a second child near her (early grave style). {See cut 65.) 
 
 b. s.l.e.a. Hain, 9965*. [Casan., Munich.] 
 
 a 1°: 4[ Incomincia ellibro di Lazaro & | Marta & Magdalena. 
 End. h 8" : . . . ilquale uiue et re | gna in secula seculorum. 
 Amen. | Finis. 
 
 Cuts. \.=a\. ii. (70 X 102). The three saints crossing 
 the sea, on the r. view of Florence with campanile, iii. 
 =: a iii. 
 
 c. s.l.e.a. [Cors.J 
 
 I" : f[ L,a. hystoria di sa£l:a Maria Magdalena : & Lazaro & 
 Martha, i' : CElestiale gloria et buo cosiglio | o somo idio o 
 uera Trinitate | . . . End. 4* : finis. 
 
 Cuts. i. Border (178 x 124). In the upper part two 
 eagles with device of the Medici, in the lower a garland 
 with arms of the Medici supported by two angels, 
 ii. z= a ii. 
 
 d. 1494, Nov. 10. [Stuttgart imperfeft.] 
 
 97 
 
a 2" : IT Nel nome della san(SHssima Trinitade. Incomincia la | 
 miracolosa leggeda delle dileite & chare hospite | di xpo Lazaro 
 & Martha & Magdalena. . . . 
 
 Cut. io\. f 1" ■= a n. 
 e. s.a. (ca 1550). s.l. [Cors., Triv., B. M.] 
 
 A i" : La Historia di Santa Maria Maddale- | na ET lazzero et 
 
 MARTA. . . . 
 
 Cut ■=. or copy ? of ^ ii. 
 /. s.l.e.a. [Triv.] 
 
 1°: Hysteria Di Lazaro Martha | Et Magdalena. 
 
 Cut (109 X 123). The ship with the three saints sailing 
 to the 1., land in the front, and in the background land- 
 scape with town, etc. (hard, with fine narrow scratchings, 
 style of the Venetian cuts of the books of Sessa). 
 g. 1588. Giovanni Baleni. [Triv.] 
 
 Cut -^.c'x. 
 h. s.a. AW Insegna della Testuggine. [Berlin K.] 
 Cut := ? a ii. 
 Magdalena. See Maddalena. 
 
 Malagigi, Sala di. [251 
 
 a. s.a. Fece stampare maestro Francesco di Giouanni Ben- 
 uenuto. [Venice.] 
 
 A i": La sala di malagigi. | Splendor superno & sommo fattore | 
 che tuo verbo. . . . 
 
 Cut (75 X 10 1 ). A knight in armour holding a sword 
 in his left, and raising the right, standing in a circle, 
 on both sides four devils ■=. PuJci's Morgante. {See 
 cut 52.) 
 
 b. s.a. Impressa ad instantia di maestro Frdcesco di Giovanni 
 Benvenuto. [Triv.] 
 
 1° : La sala di malagigi. | splendore sugno & somo fadlore | che il 
 tuo verbo sia. . . . 
 
 Cuts. i. = a. ii. Betrothal of a king and a queen (copy 
 of Pulci's Morgante). Printer's mark: Dragon, A A 
 (It. Pr. M., No. 56). 
 
 c. s.l.e.a. [Cas.] 
 
 a I" : C La sala di Malagigi. | splendor supno % sommo faftore | 
 che il tuo verbo sia. . . . End. a 6* : . . . finita e questa 
 storia | Finita la sala di Malagigi. 
 
 Cut (69 X 105). A knight with a book and sword 
 standing in a circle, dragons and monsters round him 
 (copy of a ?). 
 
 98 
 
d. s.a. {Pacini da Pescia.) [?] 
 
 I" : 1[ LA SALA Di MALAGiGi. Printer's mark of Pacini. 
 
 Cut n a. 
 
 e. s.l.e.a. [Poldi.j 
 
 1°: LA SALA DI MALAGIGI. | splendor superno e sommo fattore | 
 chel tuo verbo. . . . 
 
 Cut. Copy of a. 
 
 f. s.a. Alle Scale di Badia. [B. M.] 
 
 1° : LA SALA DI MALAGIGI. 
 
 Cut =: or copy of a. 
 
 g. 1585. Giovanni Baleni. [Triy.] 
 Cut -zz a. 
 
 h. 1606. Siena, alia Loggia del Papa. [Ambr., Triv.] 
 Cuts. i. =: ? a. ii. (99 x 88). A magician sitting in a 
 circle, round him devils, one of them flying in the air 
 (early fine cut). 
 
 Malatesta, Rappresentazione del. [252 
 
 1576. [Triv.] 
 
 1° : IL MALATESTA | RAPPRESENTATIONE | SPIRITVALE | DEL 
 
 MiRACOLO DELLA SACRA | Vergine Santa caterina da 
 Siena. | . . . 
 
 Cuts. \. A saint protecting the people =r I S. Orsola, 
 Rappr. (No. 30<) i>, i.). ii. (ioi|- x 78). On the 1. an 
 angel speaking to a young knight, followed by two 
 soldiers, on the r. a devil, the Virgin above in clouds 
 (early grave style). 
 
 Malitie di tutte le arti. [253 
 
 a. s.l.e.a. [Cas.j 
 
 a I': Le malitie di tu<3:e larti. a 11°: SEmp io iaudo te signer 
 di gloria | che per gra del tuo amor diuino | . . . End. a 6*: 
 |[ Finite le malitie dell arti. 
 
 Cuts. I. Border (copy), ii. (99 x 85). A man at a 
 table counting money, around him many difFerent im- 
 plements of trades (hard cut, Florentine?). 
 ^. s.l.e.a. [?] 
 
 I" : LE MALITIE DI TVTE LARTE. | SEmp io laudo te sigpor di 
 gloria I . . . £»d. 4* : finite le malitie dellarte. 
 
 Cut^j^x 55). Many difFerent implements of trades. 
 
 99 
 
Malitie delle donne. [254 
 
 a. s.l.e.a. [Munich.] 
 
 I": Malitie de Le Donne. | O Conditor del uniuerso mondo | da 
 cui Dcede. . . . End. 4* : . . . | ne dafanno e passion | finis. 
 
 Cut (109 X 114). A man on the 1. disputing with a 
 woman on the r., each followed by others (style similar 
 to that of the Sessa prints). 
 
 b. s.l.e.a. [Triv.J 
 
 a I" : Malicie de le donne. | O Conditor de luniuerso mondo | da 
 
 cui gcede. . . . 
 Cut (113 X 118). Three women speaking with three 
 
 men on the r. (hard and angular, fine hatchings). 
 
 c. s.a. {Verona, Lucantonio Fiorentino.) [Munich.] 
 
 a 1° : LE MALITIE DELE DONNE COL GOVERNO DE LA FAMIGLIA. 
 
 End. 4'': . . . FINIS, c. I Stampata in Verona p Luca Antonio 
 I Fiorentino. 
 Cut (113 X 122). Three women on the 1. speaking to a 
 devil, a second devil flying to the r. (hatched, smooth 
 style). 
 
 Malossa, Gigante, La gran battaglia del. [255 
 
 a. s.a. (ca 1550). [Mgl.] " 1 + " of the volume. 
 
 A 1° : LA GRAN BATTAGLIA | DEL GIGANTE MALOSSA. | . . . 
 
 Cut. Two knights, one opposite the other, before a king 
 =: Pulci's Morgante. (See cut 131.) 
 
 b. 1567. [Triv.] 
 
 A 1° : La gran battaglia del Gigante Malossa | fatta con 
 
 ORLANDO. . . . 
 
 Cut (76 X 109). A knight on horseback striking another 
 with his lance, on the 1. tents, on the r. town (smooth, 
 round, hatched). 
 
 c. 1575. _ [Triv.] 
 Cut as in b. 
 
 Mandevilla, Giovanni. Delle piix maravigliose cose. 
 
 [256 
 a. 1492, June 7. fer Ser Lorenzo de Morgiani z Giouanni 
 da Maganza. Hain, 10655. [Vat., Mgl., B. M.] 
 
 a 1°: ^ Tradlato bellissimo delle piu marauigliose cose & piu | 
 notabile che sitrouino nelle parte delmondo. . . . Gio | uanni 
 Mandauilla Frazese, . . . End. k S*". 
 
 Cut (72 X 102). A king on horseback with three mounted 
 
 100 
 
followers and one on foot, on the r. a man with a book 
 facing him. 
 ^. s.a. (after 1492). appetitione di ser Piero da Peseta i^5l. 
 [B. M.] 
 
 a 1°: |[ Traftato bellissimo delle piu marauigliose cose & piu | 
 notabile che sitrouino nelle parte delmondo. . . . Gio / | uanni 
 Nandauilla Franzese. . . . 
 
 Cut := a (but later impression). Three marks of the 
 publisher. 
 
 Marco del Monte. La Tabula della salute. [257 
 
 1494, May 15. per Maestro Antonio Mischomini. {See 
 Hain, 11596.) [Mgl., Aless., Siena.] 
 
 A 1° : LIBRO I DELLI COMANDAMENTI | DI DIO | DEL TESTA- 
 MENTO VECCHIO | . . . 1° : C I-A TABVLA DELLA SALVTE. 
 
 I*: C Libri Necessarii alia salute humana | . . . 
 
 Cut (208 X 145). The mount of piety. On the 1. a 
 monk preaching to many people, over whom three 
 angels are holding rosaries. In the second plane there 
 is the MONs PiETATis, from which many people, also 
 some in prison, are taking something ; on the r. a priest 
 is celebrating on an altar. In the third plane people 
 kneeling on both sides of a city. In the heaven Christ 
 and Mary in glory of cherubs and angels (early grave 
 style). Copy of the copper-engraving attributed to 
 Baccio Baldini (Bartsch, Peintre-graveur, xiii., p. 88, 
 n. 7. Reprodudtion in International Chalcographical 
 Society, 1890, tab. 7). 
 
 Marco del Monte. Libro delli comandamenti di Dio. 
 
 [258 
 
 1494. per maestro Antonio Miscomini. Hain, 11 596. [Vat., 
 
 Cors., Mgl., Pal., Stuttgart, B. M., Midhurst Mr. Fisher.] 
 
 a 1° : LIBRO I DELLI COMANDAMENTI | DI DIO | DEL TESTA- 
 
 MENTO VECCHIO | ET Nvovo | . ■ • Da Frate Marco Dall 
 Monte I SancSla Maria in gallo. . . . 
 Cuts. 1.(85 ^ i°3)- On the r. a monk preaching, behind 
 him another monk in the pulpit, on the 1. thirteen persons 
 (hard style), ii. rz: Marco del Monte, Tabula d. Salute, 
 
 1494 (No. 257). iii. (168 X 113). DESERTO DE SYNA. 
 
 Moses conducing the people through the wilderness, 
 iv. (166 X no). MONTE SYNAY. Moscs on Sinai, and 
 Moses construfting the circuit of the temple (early 
 grave style). 
 
 lOI 
 
Marco Veronese. Precetti da orare devotamente. [259 
 s.l.e.a. [Venice.] 
 
 ai°: lesus Marie | Precepti da orar deuotamente. Per Don 
 Marco Veronese Ca | nonico Regular di Sandlo Augustino. 
 a 6* : . . . ne doni in uita eterna. Amen Pregate Dio per me. 
 
 Cut := Savonarola, Commandamenti, 1495 (No. 377 b). 
 
 Marcus Canonicus August. Carmina; Ugolino De 
 
 Laudibus S. Joannis Gualberti. [260 
 
 (1507.?) [Angel.] 
 
 a 1° : <[ Ad Reuerendum Vallis Vmbrosae | Generalem Carmina 
 Marci | Canonici Augustiniani. | Item Florentini Poe | tasVgo- 
 lini ue | ris de laudi | bus diui | Joan | nis Gualberti. 
 
 Border (171 x 1 09) with the two eagles =: Savonarola, 
 Arte del bene morire (No. 375 f, i.). 
 
 Margherita, Storia di. [261 
 
 a. s.l.e.a. [Cors. imperfe6l.] 
 
 a 2* : O Gloria eterna oue ogni be siposa | o sole i cui risplede 
 ognaltra Stella | . . . End. . . . 4[ Finita la bella % diuota 
 hystoria | di SancEta Margherita uergine et mar | tyre di Giesu 
 Christo benedeito. 
 
 Cuts. 1. (105 X 731"). The saint praying in prison, a 
 woman coming to meet her. {See cut 27-) ii- (106 
 X 72|-). S. Margaret devoured by the dragon in prison, 
 outside a guardian sleeping, iii. (105 x 72). The saint 
 bound on a tree and beaten with sticks by two men. 
 iv. (104 X 74). The saint bound on a tree tormented 
 by two men with iron hooks. {See cut ^6.) v. (106 
 X 73). The saint forced with prongs into a font by 
 two men, on the 1. at a window a king. {See cut 35.) 
 vi. (106 X 73). The saint decapitated, on the 1. a dead 
 man on the ground, a soldier standing; above, two 
 angels bearing the soul of the saint to heaven. (Fine 
 cuts of the early grave style.) 
 
 b. 1546. Ad instantia di Maestro Francesco di Giouanni 
 
 Benuenuto. [Cors.] 
 
 A r : C; La deuota legenda di Santa Margherita Vergine & Mar- 
 tyre di Giesu Christo, la | quale e aduocata delle donne che sono 
 sopra a partorire, & e tutta historiata. 
 
 Cuts. i. (loi X 71). S. Margaret standing on the dragon 
 with book and cross (rude, thick cut), ii. Copy of 
 S. Apollonia, Rappr. (No. 2,2, «> vii.). iii. Copy of a ii. 
 102 
 
Margherita, Devota oratione. [262 
 
 s.a. Fece stampar Maestro Francesco. 8°. [Triv.J 
 
 1° : C Deuota oratione di S. Margherita in aiuto | rio delle donne 
 che sono sopra parto. 
 
 Cut z= S. Margherita, Storia di, 1546 (No. 261 b, i.). 
 
 Margherita, Rappresentazione di. [263 
 
 a. 1 554, June. [Poldi, Triv.J « C C " of the volume. 
 
 I" : La Rapresentatione di S. Marghe- | rita Uergine r Martire. | 
 Nuouamente Stampata. 
 
 Cuts. i. Angel, ii. (105 x 74). S. Margaret standing 
 on the dragon, with book and cross, iii. Copy of 
 Barlaam, Rappr. (No. 45 a, vii.). \Y.=:Eufrasia, Rappr. 
 (No. 139 b, iv.). V. A saint in clouds appearing to a 
 woman (hard and rude), vi. Vulcan forging zz Frezzi's 
 ^adriregio. vii. (60 x 78). A monk speaking to a 
 man, on the r. a man adoring an idol (hard, rude), 
 viii. -zz S. Afollonia, Rappr. (No. 33 a, vii.). ix. ■=. 
 S. Agata, Rappr. (No. 7 a, ii.). x., xi. zz Margherita, 
 Storia di, s.l.e.a. (No. 261 a, ii. and vi.). 
 
 b. 1557, March. [Mgl.] 
 
 Cuts. Copies or reprints, one of Frezzi's ^adriregio. 
 
 c. 1557. [Mgl.J 
 
 Cuts. Rude copies, i. 1= il<forf/^m/«, Storia di (No. 26 1 
 a, vi.). 
 
 d. 1570. [Pal.] 
 
 Cuts. i. Angel (late). ii. z= ? Margherita, Storia di, 
 1546 (No. 261 b,\?). iii. Copy of Barlaam, Rappr. 
 (No. 45 <3, vii.). iv. (76 X 118). A man enthroned in 
 the middle, before him a bald-headed man, a youth, an 
 old woman and a girl disputing (rough and hasty, good 
 drawing), v. Two knights disputing before a king zz: 
 Pulci's Morgante. vi. A youth standing pointing with 
 the hand above, on the r. king and old man sitting with 
 other persons, over the door a statue (finest style, smooth), 
 vii. Copy of S. Apollonia (No. ;^2 a, vii.). viii. zza ii. 
 ix. zz Margherita, Storia di (No. 261 a, vi.). 
 
 e. 1 57 1. Jacopo Chiti. [Rice] 
 
 Cuts. 'i.=:a ii. ii. Copy of Domitilla, Rappr. di (No. 
 127 a i.). m.zza iii. iv. A youth standing by a 
 woman, on the r. king with some persons (smooth, 
 round), v. Baptism of a king and a queen, vi. Queen 
 in garden = Rosana (No. 367 a, viii.). vii. A man 
 
 103 
 
speaking = Pulci's Morgante. viii., ix. = Margherita, 
 Storia, s.l.e.a. (No. 261 a, m., \.). x. =.5". Apollonia, 
 
 Rappr. (No. 23 "> vii-)- 
 /. 1584. Giovanni Baleni. [Ambros. (2 copies).] 
 
 Cuts, u zz Margherita, Storia di, 1546 (No. 261 i^, i.). 
 
 ii. — a iii. iii. =. d vi. iv. Reversed copy of S. Apol- 
 
 lonia (No. 33 a, viii.). 
 g. s.l.e.a. [Mgl., Poldi.] 
 
 I*: LA RAPPRESENTATIONE ET FESTA DI SA | MARGHERITA 
 VERGINE E MARTIRE. 
 
 Cuts = d ii.-viii., that of v. being a copy. 
 h. s.l.e.a. [Triv.] 
 
 I": LA RAPPRESENTATIONE ET FESTA DI SANTA | MARGHERITA 
 VERGINE E MARTIRE. 
 
 Cuts as in d"^. 
 
 Maria, Le sette allegrezze di. [264 
 
 1578. (Siena.) 8°. [Aless.] 
 
 A i": Le sette Allegrezze | della Madonna. | +. 
 Cut (54 X 73). The Annunciation, the angel kneeling 
 on the 1., the Virgin sitting on the r. 
 
 Maria, Rappresentazione della annunziazione di. [265 
 
 a. s.l.e.a. (xv. cent.). [Cas.J 
 
 1°: C La festa della annuntiatione di nostra donna. | Qui comin- 
 ciano lestanze & larapresenta | tione della festa della annuntia- 
 tione di I nostra dona. . . . End. 34': ... seguitino di can- 
 tare questo psalmo. | finis. 
 
 Cut (100 X 76). The Annunciation, the angel on the 1., 
 on the r. the Virgin kneeling, between them angel in 
 mandorla with two other angels, above the heaven (early 
 grave style). {See cut 53.) 
 
 b. s.l.e.a. (ca 1500). [Cors.] 
 
 I": <[ La festa della annuntiatione di nostra donna. | Qui comin- 
 ciano le staze & larapseta | tione della festa della annutiatione | 
 di nostra dona. . . . End. 4* : . . . seguitino di cantare qsto 
 psalmo. I finis. 
 
 Cut-=. a. 
 
 c. 1528. Francesco di Giovanni Benvenuto. [Mgl.] 
 
 1°: C I-A festa DELLA ANNVNTIATIONE DI NOSTRA | Donna. 
 
 con una aggiunta di dua capitoli. 
 
 Cut, Copy (soft, round) of a. 
 
 104 
 
d. 1533, Dec. 22. [?] 
 
 e. 1536. Francesco di Giovanni Benvenuto. [?] 
 
 f. 1 554, Jan. [Poldi, Milan March. d'Adda, B. M.J " a " 
 of the volume. 
 
 I": Rappresentatione : t festa della An- | nuntiatione di nostra 
 Donna. | et con una giunta di dua belli Capitoli. 
 
 Cuts. i. Angel (late). ii. Annunciation = Epistole et 
 Evangeli, 1495. 
 
 g. T-ST^- Ad instantia di Jacopo Chiti. [Cors.J 
 Cut z= a. 
 
 Maria, Antiphonarium. [266 
 
 1527, Jan. Imfensis Sacrarum Monialium SanEte Justine. 
 [Aless.J 
 
 a I" : C In conceptione San£l:e Marie virginis | Ad vesperas 
 Antiphona. 
 
 Cut (75|- X 64). Monogram of Christ in circle of rays, 
 above a crucifix, black ground with white flowers (rough 
 cut). 
 Maria, Cintola di. See Gherardo. 
 
 Maria, Inno di. [267 
 
 s.a. Fece stdpare ser Zanobi d'lla barba. [Mgl.] 
 
 I": Hymno della nostra donna, aue Maris Stella | dei Mater 
 alma : | atq3 semper virgo .... 
 
 Cuts. i. Half-figure of the Virgin rr Fermaglio pretioso 
 delle donne (No. 145). ii. (27 x 25). Half-figure of 
 a female saint to the 1. to rays from the sun. 
 
 Maria, Lamento di. [268 
 
 a. s.l.e.a. [Cors.J 
 
 I": ELAMENTO DELLA VIRGINE MARIA | DELLA PaSsione del SUO 
 
 figliuol giesu Christo. i*: AUe regina in maculata 1 sanfta | 
 uerace madre. . . . End. 2* : . . . per infinita secula seculoro : 
 ame. 
 
 Cut (86|- X io6|-). Pieta, the Virgin kneeling holds the 
 r. hand of the dead body of Christ, on the 1. Magdalena 
 and three women, on the r. S. John and Joseph. 
 
 b. 1580. Appresso Mateo Galassi. [B. M.J 
 
 i": Lamento vecchio della nostra Donna. 
 
 Cut ■=. a. 
 
 105 P 
 
Maria, Miracoli di. [269 
 
 1500, June 15. {Pietro Pacini.) [Mgl.J 
 I": C Miracoli della gloriosa vergine Maria. 
 Cut {l^l X 131). MIRACOLI. DINOSTRA. DONNA. Before 
 
 an altar with statue of the Virgin a priest on the 1. 
 preaching and healing, on the 1. two youths advancing 
 with a banner, and a bishop, on the r. five sick people, 
 many other people, nree printers' marks. 
 
 Maria, Rappresentazione d'un miracolo. [270 
 
 a. s.l.e.a. (ca 1 500). [Rice, Triv., B. M.] 
 
 I" : C La rapresentatione duno miracolo di nostra donna che g 
 mezo duno geregri | no risuscito elfigluolo duno Re. . . . End. 
 a 9" : C Finita la rapresentatione duno mira | colo di nostra 
 donna. Deo gratias. 
 
 Cuts. i. Angel, ii. (102 x 78). A boy in a shroud 
 lying on the ground, behind him another kneeling, on 
 the r. the pilgrim, on the 1. a king and queen kneeling, 
 above the Virgin in clouds (early grave style). 
 
 b. s.l.e.a. (xvi. cent.). [B. M.] 
 
 A I" : RAPPRESENTATiONE d'un Miracolo di nostra Donna, che per 
 I per \sic\ uia d'un peregrino chiamato Cas- | siodoro rusu | cito 
 il figliuolo dun Re. . . . 
 
 Cuts. Border (173 x 112). Above, two angels support- 
 ing the monogram of Christ, below ornaments of knots, 
 with eight birds, ii. Angel in clouds (late). 
 
 Maria, Rappresentazione della Purificazione. [271 
 
 a. s.a. Fece stampare Bartholomeo di Matheo Castelli. [.''] 
 
 b. 1559. [Poldi, B. M., Berlin K.] " a a " of the volume. 
 1° : La Rapresentatione della Purificatione | di nostra Donna : | 
 
 Che si fa per la festa di santa Maria della Candellaia. | Nuova- 
 mente Ristampata. 
 
 Cuts. i. Angel (late), ii. Presentation in the temple zr 
 Epistole et Evangeli, 1495. iii. Angel speaking to a 
 saint on altar = Epistole et Evangeli, 1495. 
 
 c. 1582. {Siena.) [.?] 
 
 d. 1594. Giovanni Baleni. [?] 
 
 Maria per Ravenna, Storia di. [272 
 
 a. s.l.e.a. [Erlangen.j See Varnhagen, p. 25, 
 
 1°: Incomincia lahistoriadi Maria per rauenna. | FAmosa Citharea 
 Venere bella | conforto & refrigerio dgliamanti | . . . End. a 6 : 
 Finita lahistoria di Maria per rauenna. 
 1 06 
 
Cuts. i. A youth on horseback speaking to a girl who is 
 looking out of window, ii. A woman crying in a bed, 
 a man chasing three women from a room. iii. A man 
 taking leave of his wife, on the 1. footman and two 
 horses, on the r. two women, one of them kneeling, 
 iv. The man discovers the sex of his wife's servant, who 
 is on a step on the r., on the 1. another woman. (Cuts of 
 the finest thin-lined style.) (See cuts 162-165.) 
 b. s.l.e.a. (xvi. cent.). [Triv.] 
 
 Cut (115 X 121). A young man in long mantle on the 
 1. speaking to a stout man in long garment, on the J. 
 door with view (hard and angular). 
 
 S. Martino, Storia di. [273 
 
 a. s.a. Fece istampare maestro Zanobi da Barberino che mat 
 in casa non ha un fiorino. [Pal.] 
 
 I": C[ La Hysteria di San Martino. i'': QVel uiuo & uero idio 
 ch' sepre dura | . . . 
 
 Cut (183 X 123). S. Martin on horseback to the r. 
 cutting his mantle for a beggar (rude hard, hatched). 
 
 b. s.l.e.a. (ca 1550). [Rice, Triv.J 
 
 i": La Deuota Historia di S. Martino. End. 2': il fine. 
 Cut as in a. 
 
 c. s.l.e.a. (xvi. cent). [Mgl.j 
 
 I" : LA HISTORIA DI SAN MARTINO. End. 2* : IL FINE. 
 
 Cut as in a (later impression). 
 
 d. s.l.e.a. (xvi. cent.). [Triv.j 
 
 I" : La historia del Beato San Martino. End. 2* : il fine. 
 
 Cut as in a. 
 
 e. 1558. [Cors., Wolfenbiittel.] " z z z " of the volume, 
 i" : La Historia del Beato | San Martino. | . . . In Firenze. 
 
 M.D.LVIII. 
 
 Cuts. i. (62 X 76). A priest saying mass at an altar, on 
 the 1. above an angel, on the r. a priest standing, an 
 acolyte kneeling behind the priest (hard and rude). 
 
 S. Martino, Rappresentazione di. [274 
 
 16 1 7. Appresso Michele Casali. [Pal., Rice] "a" of the 
 volume. 
 
 I " : La deuota Rappresentazione di San Martino | Uescouo e Con- 
 fessoro. 
 
 Cut z= S. Martino, Storia di, s.l.e.a. (No. 273 b). 
 
 107 
 
Martiri, Historia dei dieci mila. [275 
 
 s.I.e.a. (Florentine.) Hain, 8720. [?] 
 
 Martiri, Rappresentazione dei decimila. [276 
 
 1558. [Mgl., Pal, Poldi, Triv.J " a a a " of the volume. 
 
 A I": La Rapresentatione di Dieci | Mila Martiri Crocifissi nel 
 Monte Arat, Appresso alia Citta | d'Alexandria. . . , Nuoua- 
 mente Ristampata. 
 
 Cuts. i. Angel (late), ii. — Pulci's Morgante. {See cut 
 150.) iii. On the r. two kings kneehng, on the 1. two 
 monks (hard, rude), iv. Four monks, three kneeling 
 and one standing before a saint with two angels (hard, 
 rude). V. (72 x 99). On the 1. king and queen en- 
 throned, on the r. three kings and four other men 
 kneeling (early grave style), vi. =: Maddalena, Rappr. 
 d. conversione, 1554 (No. 248 b, vi.). vii. An oriental 
 speaking before a king zn Pulci's Morgante. viii. r= 
 Pulci's Morgante z= Venanzio, Rappr. (No. 425 a, iv.). 
 ix. zz Maria, Rappr. d'un miracolo di, s.I.e.a. (No. 270 
 «, ii.). 
 
 Masetto da Lampolecchio ovvero il Bolognese. [277 
 
 a. s.I.e.a. [Erlangen, .? Maglione (zr Libri).J 
 
 I": El Bolognese o uero Masetto da lapolecchio ortolano che 
 fingeua | essere mutolo. . . . 
 
 Cut. The gardener sitting, with an eel, two nuns speak- 
 ing to him (early grave style). Varnhagen, I. c, p. 30. 
 {See cut 23.) 
 
 b. I SSI- Firenze. 4°. [Libri.] .? 
 Maxim us Pacificus. See Pacificus. 
 
 Mazza, Clemente. De Vita S. Zenobii. [278 
 
 a. 1496. Florentiae. Hain, 10982. [?] 
 
 b. 1559. Appresso i Giunti. 8". [B, M.J 
 
 Medici, Alessandro de', Lamento di duca. [279 
 
 s.I.e.a. (ca 1600). [Triv. (2 copies), Munich.] 
 
 A I" : LAMENTO DEL DVCA | ALESSANDRO DE MEDICL | PrimO 
 
 Duca di Fiorenza. 
 
 Cut (71! X 104), Monks and men with torches lament- 
 ing near the coffin of the duke (soft cut) = .? Sonetti 
 della Morte, s.a. Z. de Barba (No. 290). 
 108 
 
Medici, Lorenzo di. La compagnia del mantellaccio. 
 
 [280 
 
 a. s.a. (ca 1500). fer Bernardo Zucchetta. Hain. [Ferrara 
 Sg' Cavalieri.] 
 
 I" : <[ La compagnia del Mantellaccio c6 Laggiunta. End. 
 4[ Finisce la Compagnia del | Mantellaccio con laggiun | ta 
 Stapata Per Ber- | nardo Zucchetta. 
 
 Cuts. \. Border with tournament of putti on pigs. {See 
 cut 13.) ii. (108 X 85). Seven young men standing 
 together, one in the middle bowing before one on the 1., 
 on the r. a dog (early grave style). {See cut 18.) 
 
 b. s.l.e.a. [Cors.] 
 
 I" : LA COMPAGNIA DEL | MANTELLACCIO. | CON LAGGIVNTA. | 
 
 Nuouamente stampata. End. 4* : Fine. 
 Cut (87 X 97). On the r. an altar, to which are looking 
 eight men standing on the 1., three others seen from the 
 back are sitting on a bank. 
 
 c. s.l.e.a. [Triv.] 
 
 I" : LA COMPAGNIA | DEL MANTELLACCIO [ CON l'aGGIVNTA. | 
 
 Nuouamente Ristampata. 
 Cut. Copy of b. 
 
 d. 1584. Appresso Giovanni Baleni. [Triv. (2 copies).] 
 Cut as in c. 
 
 Medici. Selve d'amore. [281 
 
 a. s.a. per Bernardo Zucchetta Apitione (sic) di Francesco di 
 Jacopo Vocato el conte Cartolaio. 8°. [Cors.] 
 
 A I" : <[ SELVE DAMORE COM- | POTSE (sic) DAL MAGNIFI | CO 
 LORENZO DIPIE | RO DI COSIMO | DE MEDICI. 
 
 Cuts. i. Border (115 x 77|-) with shields and garlands, 
 ii. (51 X 52). A youth sitting and playing the lute, on 
 the r. hanging a violin (soft, round style) -zz Strambotti 
 di diversi. {See cut 187.) 
 
 b. s.a. per Bernardo Zucchetta apititione di Francesco di 
 Jacopo vocato il conte Cartolaio. [B. M.] 
 
 A I" : C! SELVE DAMORE COM- | POSTE DAL MAGNIFI | CO 
 LORENZO DIPIERO DI COSIMO DE MEDICI. 
 
 Cuts as in a. 
 
 Medici, La Nencia da Barberino. [282 
 
 a. s.l.e.a. (xv. cent.). [Erlangen.] 
 
 I" : La Nenciozza da Barberino. i* : ARdo damore % couiemi 
 catare | p una dama. . . . End. 4 : . . . chi seto nani che 
 uuol far delmosto. Finis. 
 
 109 
 
Cut (io6 X 87). Before the door of a house a young 
 man oiFering a flower to a girl. {See Varnhagen, 1. c, 
 p. 34.) (Early grave style.) {See cut 26.) 
 
 b. s.l.e.a. (ca 1500?). [Munich.] 
 
 a i" : C La Nenciozza da Barberino & la Beca Composte | per 
 Luigi Pulci. I ARdo damore & couiemi catare | g una dama. . . . 
 End. d 4' : Et dal suo Nuto sara exaudito. 
 
 Cut =. a later worn impression of a. 
 
 c. s.l.e.a. (ca 1500?). [B. M.] 
 
 A I* : La piaceuole, x bella Historia della | Nencia da Barberino : 
 Et del- I la Beca da Dicomano. End. a 5*': ch' io mi son pur 
 aual con lei ricontio. | il fine. 
 
 Cuts. i. (128 X loi). On the r. a youth standing with a 
 sword holding the r. hand of a girl (hasty cut from good 
 drawing), ii. (84 x 109). Before a house on the 1. 
 with a woman at the window a youth and girl are 
 dancing, a bagpiper on the r. (copy i"). 
 
 d. s.a. Appresso alle Scale di Badia. [Cors., Triv.] 
 
 I": La piaceuole % bella Historia della | Nencia da Barberino: Et 
 I della Beca. 
 
 Cut (132 X 103). On the 1. a girl standing who gives 
 her hand to a youth with a sword standing on the r., a 
 tree between them (rude cut). 
 
 e. 1556. [B. M.] 
 
 \°: LA NENCIA DA BARBERINO. ET | LA BECA, COMPOSTA PER 
 
 LViGi PVLCi. I ARdo damore : t conuiemmi cantare | per vna 
 dama. . . . 
 
 Cut ■=. a. 
 
 f. 1599. Giovanni Baleni. [Mgl.] 
 
 l" : LA PIACEVOLE / | ET BELLA HISTORIA DELLA | NENCIA DA 
 BARBERINO. | ET DELLA BECA. 
 
 Cut = C. 
 
 Medici (ed altri). Canzone a ballo. [283 
 
 a.. 1533. Francesco di Jacopo Cartolaio. [B. M., Cors. 
 imperfed:.] 
 
 A I": |[ CANZONE A BALLO COMPOSTE DAL MAGNIFICO | 
 
 Lorenzo de Medici : & dai Messer Agnolo Politiano. End. h 4" : 
 ... & per altri | Authori. | . . . Tu£li sono duerni. | .1533. 
 
 Cut (173 X 122). Two girls kneeling before a young 
 man on the r., behind twelve girls dancing in a circle. 
 With the mark of the printer above (soft, round style). 
 {Seelt. Pr. M., No. 61.) 
 no 
 
b. 1557, Aug. Presso al Vescouado. [Cors.] 
 
 I": Canzone a ballo : | composte da diversi avtori | . . . 
 Cut. Rude copy (io6|^ x 81) of cut of «. 
 
 c. 1568. Giunta. [Cors., B. M. (2 copies).] 
 Cut. Reversed copy (145 x 100) of cut of «. 
 
 Medici. Canzone per andare in maschera. [284 
 
 s.l.e.a. (xv. cent.). [Rice, Pal., B. M.] 
 
 a I": ^ Canzone per andare in maschera g carnesciale fadle da piu 
 persone. End. fol. 24*" : C! Fnite [sic) lecanzone in maschera. 
 
 Cuts. i. Border (174 x 121) with the tournament or 
 putti ■=. Storia di Uberto e Filomena (No. 421 a, i. See 
 cut 13). ii. (109 X 85). Before a house, from the 
 windows of which are looking women, there stand on 
 the 1. a young man, on the r. three youths and two 
 boys ; a youth and a boy are each holding a ring. 
 
 Medici. Rappresentazione di S. Giovanni e Paolo. [285 
 a. s.l.e.a. (xv. cent.). Hain, 10988 ? [Bodl.] 
 
 I": La rapresentatione di san Giouanni & Paulo. End. b5: 
 Finita lafesta di sandto Gio | uanni & Paulo per lo | Magnifico 
 Lau I retio de Me ( dici. 
 
 Cut (io7|- X 83). Before a wall S. Paul on the 1., S. John 
 standing on the n, behind the wall an angel with lily 
 (early grave style). (^See cut 28.) 
 
 b. s.Le.a. [Rice] 
 
 I": 4[ La rapresentatione di san Giouanni & Paulo. End. Finita 
 la festa di san<Slo Giouanni | & paulo g lo Magnifico Lau | 
 rentio de Medici. 
 
 Cut as in a. 
 
 c. s.a. (xv. cent.), p Ser Francesco Bonacorsi. [Ferrara.] 
 
 1° : LA RAPRESENTATIONE DI SAN | GIOVANNI E PAVLO COM | 
 POSTA PEL MAGNIFICO | LAVRENTIO DE MEDICI. 
 
 Cut (84 X 8o|-). Ring with three feathers and ribbons 
 
 with SENPER. 
 
 d. 1 5 14. Francesco di Giovanni Benvenuto. [Mgl.] 
 a I" : C! LA Rappresentatione di sandlo Giouanni & Paulo. 
 Cut (no X 86). Rude, hard copy o{ a. 
 
 e. 1547. Zanobi da Prato. [Cors.] 
 
 A 1° : C! LARAPRESENTATioNE | di san Giouani & Paulo. 
 Border. Architedural border with garlands; angel (late 
 impression). 
 
 Ill 
 
/. 1555- [PoIdi,Triv.,B.M. (2 copies).] "LI" of the volume. 
 
 A I": LA I RAPRESENTATIONE | DI SANTO GIOVANNI ET PAVLO | 
 
 ET DI SANTA cosTANZA | Composta da Lorenzo de Medici | . . . 
 Cuts. i. = a. ii. S. Agnes zz Rappr. di S. Agnese (No. 8 
 Uy iii.). ili. (72 X 106). A woman in a room standing 
 on the 1. near a cupboard, on which there is a candle, 
 speaking with a woman on the r., on the r. a girl. iv. 
 (72 X 102). A knight on horseback coming to the r. 
 to soldiers near tents, v. (69 x 103). On the r. a 
 burning town, soldiers to the 1., from the 1. a knight on 
 horseback followed by others (soft round), vi. (70 x 
 104), King sitting on the 1. before a house, knights, a 
 king on the r. standing, vii. (79 x 106). On the 1. 
 king sitting with two men, before him a young man is 
 kneeling, his horse held by a footman (soft round). 
 g. 1 57 1. Jacopo Chiti. [Siena.] 
 
 Cuts. \.-=zd, the others from other earlier books. 
 h. I SIS- [B.M.] 
 
 Cut =r <2, and some other cuts. 
 i. 1588. Giovanni Baleni. [Ambros.] 
 
 Cut. Border with angels on the sides of the chrismon, 
 and birds in ornaments below zz Rappr. di S. Agnese, s.a. 
 (No. %a, ii.). 
 Meditazione della Morte. See Castellani, Castellano. 
 Meditazione devote della Passione. See S. Bonaventura. 
 
 Meleagro, Caccia di. [286 
 
 1568. [Wolfenbiittel.] 
 
 S. MiCHELE, Orazione di. [287 
 
 s.le.a. (xvi. cent.). 8°. [Triv.] 
 
 i": Loratione di Sanfto | Michele Archangelo. End. 4": . . . 
 per infinita secula seculorum Amen | ^ finis. 
 
 Cut (96 X 87|-). On the 1. angel with Tobit going to the 
 r., on the r. S. Michael with sword and balance (soft and 
 round style). 
 MoiSE. See Mose. 
 
 Monte dell' oratione. [288 
 
 a. 1496, May 10. Ad instantia di Ser Piero Pacini da Peseta 
 per Ser Francesco Bonacorsi. [Cas., Pal.] 
 
 a i" : 4[ MONTE delle oratione. a i* : ave Verum corpus 
 domini natum ex Ma ( ria. . . . End. d 6*. 
 112 
 
Cuts. i. (156 X 116). Christ sitting on a mount ; below, 
 
 people praying or digging (early grave style). {See 
 
 reprod., Delaborde, Grav. av. Marcant., p. 219.) ii. (87 
 
 X 108). The Crucifixion. 
 
 b, 1524, April 15. Jpetitione degli Heredi dt Filippo di 
 
 Giunta. [Paris B. N.] 
 
 Cuts. 1. = a i. ii. (56 X 54). " s avgvs | tinvs " 
 kneeling to the r. before a crucifix. 
 Monte S. Maria, Marco del. See Marco del Monte. 
 
 MoRTE, Sonetti della. [289 
 
 s.a. Fece stampare Maestro Zanohi della harba. [Triv.] 
 I" : Sonetti della morte | Canzone della vecchiezza. 
 Cut ■=. Medici, Lamento di Alessandro de', s.a. (No. 279). 
 
 Morte, Storia della, [290 
 
 a. s.l.e.a. (xvi. cent.). [Cors.J 
 
 A l" : QVESTA SIE la HISTORIA I DELLA MORTE, NVOVAMENTE 
 
 stampata I . . . End. a 4* : ... Alia morte horrenda e 
 
 SCUra. I IL FINE. 
 
 Cut (79 X 79). Three skeletons in armour, the one on 
 the 1. with broken sword, the middle one raising a sword 
 in the 1. hand, the third one a club (smooth, late cut). 
 
 b. 1568. per Ridolfo Pocavanza. [Triv.] 
 Cut as in /? ? 
 
 c. iST^- Jacopo Chiti. [Triv.] 
 
 A I" : Questa sie la Historia della Morte. | Nuouamente stampata. 
 
 Cut (108 X 86|-). Death with scythe and arrow gallop- 
 ing on a bull to the r. over four corpses lying on the 
 ground (early grave style). {See cut 14.) 
 
 d. 1588. Appresso Giovanni Baleni. [Mgl.] 
 Cut izr a. 
 
 e. 1 59 1. Giovanni Baleni. [Triv.] 
 Cut := a. 
 
 f. 16 1 y. per le Herede di Francesco Tosi. Alle Scale di Badia. 
 [Mgl] 
 
 Cut (74 X loi). Border of bones; skeleton as pope 
 enthroned, on the 1. skeletons of emperor, and on the 
 r. of king enthroned (soft, round, thick lines). 
 
 MosE, Rappresentazione di. (By Suora RafFaella de 
 Sernigi). [291 
 
 a. s.a. Ad instantia di Giuseppe di Pietro Treuisano. [Cors., 
 Pal.J 
 
 113 Q 
 
A I"*: LA I RAPRESENTATIONE | DI MOISE | QVANDO IDIO GLI 
 DETTE LE LEGGIE. | IN SVL MONTE SYNAI. B 3'' : CompOSta 
 
 per Suor Raffaella de Sernigi Badessa del Munistero del Portico: 
 fuor di FiRENZE. I Stampato . . . Treuisano. 
 
 Cut (102 X 102). Moses receiving the tables of the laws 
 (rude cut). 
 b, s.a. (ca 1600). " g o g " of the volume. [Mgl., Pal., Siena, 
 Ambros., Triv.] 
 
 1° : LA I RAPRESENTATIONE | DI MOISE | . . . End. CompOSta 
 
 per Suor RafFaella de Sernigi . . . finis. 
 Cuts. i. Angel, ii. n Pulci's Morgante. 
 
 Nabuccodonosor, Rappresentazione di. [292 
 
 a. s.l.e.a. (ca 1550). [Cors.J 
 
 A 1° : <[ LA FESTA di Nabucdonasor Re di Babillonia. | idio di 
 Abram Disac & di Jachob | il qual desti la legge a Moise. . . . 
 End. B 4* : . . . Dio ladorna di gloria celeste | Finis. 
 
 Cut. Two knights disputing before a king z=. Pulci's 
 Morgante. (6"^(? cut 131.) 
 
 b. 1558. [Mgl., Pal., Siena, Poldi, Triv., Berl. K.] "Ss" 
 of the volume. 
 
 A I*: La Rapresentatione di Nabucdonosor | Re di Babillonia. 
 Nuouamente ristampata. 
 
 Cuts. i. Angel, ii. Five kings and a youth sitting =: 
 Pulci's Morgante. iii. Battle of knights in a town (copy 
 of Pulci's Morgante'). 
 
 Napoletani, frottola di tre. [293 
 
 s.a. Apfititione di maestro zanobi delta barba. [Berlin K.] 
 
 i" : Frottola piaceuole di tre Na | poletani che porton gioie. | 
 Diouidia sanita | magnifico signore | . . . 
 
 Cut (75 X 103). Two sailing vessels on the sea (rude cut). 
 Nebucadnezar. See Nabuccodonosor, Rappr. di. 
 
 Negroponte, Lamento di. [294 
 
 a. s.l.e.a. (xvi. cent.). [Rice] 
 
 a I" : Lamento di Negroponte. | O Tu dolce Signor che ci hai 
 creati | torrente & fiume di misericordia | . . . End. a 6* : il 
 
 FINE. 
 
 Cuts. i. (73|- X 103I-). View of a town, in the fore- 
 ground river with bridge, on the r, behind the sea. 
 114 
 
ii. (78 X 98). Battle of knights, two knights falhng 
 
 down with the horses, on the 1. one knight knocking 
 
 down another (copy?). 
 [Cut i. is repeated in : La guerra crudele fatta da Turchi 
 
 alia Citta di Negroponte, 1 541 , Bologna, per Batt. £5? 
 
 Marcant. A. I, di Giov. di Francesco Benvenuti dal 
 
 vescouado.'] 
 ^' ^557- presso el Vescovado. [B. M.] 
 
 Cuts. i. =: ^ i. ii. A knight in a burning city zz. Pulci's 
 
 Morgante (copy?), iii. Battle of knights in a town 
 
 (tournament ?) := Pulci's Morgante (copy ?). 
 
 c. 1568. per Bartholomeo Anichini. [Triv.] 
 Cut rz a \. 
 
 d. 1597. Francesco T'osi. [Mgl.J 
 Cut ^ a \. 
 
 Nencia da Barberino. See Medici, Lorenzo di. 
 
 Nencia da Prato intitulata la Lima. [295 
 
 s.l.e.a. [Triv.] 
 
 1°: La Nencia da Prato intitulata la Lima. End. 4*: . . . e la 
 morte poi fe della castagna | finis. 
 
 Cut (108 X 113). On the 1. man in long garment speak- 
 ing to an old woman, each followed by others (similar 
 to the cuts in books printed by the Sessa in Venice). 
 
 NiCANDER, Ambrosius. Exequiae illustr. Juliani Medici 
 ducis Nemurtii Ro. Mil. Imp. subit. carm. 
 celebr. [296 
 
 s.a. (ca 1515.?). {Firenze.) [Catalogue Piot No. 1103.J 
 
 NicoLo da Bracciano. Orazione al Crocifisso. [297 
 
 a. s.l.e.a. 8°. [Triv.] 
 
 I" : <r Oratione al Crocifisso ad impe | trare grade / Recitata da 
 Frate | Nicholao da Bracciano | Predicatore. | End. 4*: & 
 dona a me alfine riposo eterno. Finis. 
 
 Cut. S. Girolamo praying before a crucifix to the r. 
 (copy of cut in Psalterio di S. Girolamo (No. 339 a, i.). 
 
 b. s.l.e.a. 8°. [B. M.] 
 
 I" : C Oratione di Sanfto Hyeroni- | mo al Crucifisso recitata | 
 da frate Nicolao da | Brazano pre- | dicatore. End. 4* : 
 
 <[ FINIS. 
 
 Cut (71 X 47). S. Girolamo kneeling before the crucifix 
 to the r. (rude, hard). 
 
 115 
 
NicoLO Monaco. Confessione. [298 
 
 s.le.a. 8°. [Berl. K.J 
 
 a I": ^ Cofessione utilissima cdposta dal Venera | do Don Nicolo 
 Monacho nella Abbatia di | Firenze. End. fol. 36°: finis. 
 
 Cui (loi X 73). In a chapel on the r. a monk speaking, 
 to a man kneehng before him, on the 1. a monk in the 
 door, above in clouds the half-figure of the Virgin, 
 NoN ASPETTO gia mai. See Canzone, Non aspetto. 
 
 Novella della figliuola del mercante. [299 
 
 s.l.e.a. (ca 1500). [Erlangen.j 
 
 1° : La nouella della, figluola del mercatante che sifuggi la prima | 
 sera dal marito per non essere impregnata. 
 
 Cuts. i. A young man on horseback with a hawk speak- 
 ing to a girl in a window, ii. The merchant beating 
 his daughter, on the 1. the servant, iii. A man in shirt 
 speaking to a woman outside a house (in the finest thin- 
 linedstyle). (&i? cuts 166-168.) Varnhagen, I. c.jp. 43, 
 
 Novella di due preti et un cherico innamorati d'una 
 
 donna, [300 
 
 s.l.e.a. (ca 1500). [Erlangen, Berlin K.J 
 
 I" : Lanouella diduo preti & un cherico innamorati duna donna. 
 End. 4* : Finita lanouella de dua preti & un cherico. 
 
 Cuts. i. The woman conceals two priests in barrels, the 
 husband on the 1. at the door. (See cut 70.) ii. The 
 three priests chased with sticks, on the r. a priest 
 sprinkles (hard style). (6"^^ cut 71.) .Jif^ Varnhagen, 
 I. c, p. 40. 
 
 Novella piacevole et bella di due compagni. [301 
 
 s.l.e.a. (xvi. cent). 8°. [B. M. cropped. J 
 A I" : C Nouella piaceuole & bella di due compagni | equali feciono 
 nuo giunteria a uno | Medico / el quale per do | lore simuore. 
 End. B 4* : . . . ch' di piu frudta sia & maggior gloria. | finis. 
 Cut (70 X ?). A woman standing near a bed pointing to 
 a man with black head, hands, and feet. 
 Novella del grasso legnaiolo. See Legnaiolo. 
 OcTAViANus. See Ottaviano, 
 
 S. Oliva, Rappresentazione di. [302 
 
 a. s.l.e.a. (ca 15 50- 1600). [Pal., Mgl., Triv.J " d d d" of 
 the volume, 
 
 116 
 
I" : LA I RAPRESENTATIONE | DI SANTA VLIVA | Nuouamente 
 
 mandata in Luce. 
 
 Cuts. i. Angel, ii. A saint whose hands have been cut 
 off kneehng on the 1., on the r. a youth condudting a 
 king to her (rough, thick cut, copy) z= Stella, Rappr. di 
 (No. 405/, viii.). iii. From the 1. a man with hunts- 
 men, a woman without hands kneeling before him, on 
 the r. two youths and a dog (early good cut) =: Stella, 
 Rappr. di (No. 405 a, v.). 
 
 b. s.l.e.a. (ca 1 550-1600). [Triv.] 
 
 1°: HISTORIA DI SANTA | OLIVA. 
 
 Cut. A saint, whose hands have been cut, kneeling, the 
 soul of the saint transported to heaven (late, thick 
 copy). 
 
 c. s.a. Alle Scale di Badia. [Mgl.] 
 Cuts. i. (83 X 108) = Indovinelli (No. 223 a, ii.), the 
 
 others rude, late copies. 
 
 d. s.a. Alle Scale di Badia {Heredi del Tosi). [Pal, Mgl., 
 RiccJ " s." 
 Cuts. Rude, late copies. 
 
 e. 1568. Alia Badia. [Rice, Triv.j "f f f" of the volume. 
 Cuts, i., ii. =: a ii. and iii. iii. A queen speaking to five 
 
 ladies iz: Pulci's Morgante. {See cut 139.) 
 
 ■presso Mateo Galassi. [Berlin K.] "k." 
 Rude copies. 
 
 Giovanni Baleni. [Poldi, Triv.j " s." 
 Rude copies. 
 
 Giovanni Baleni. [Poldi.] " s." 
 Rude copies. 
 
 Alle Scale di Badia. [Cors.J 
 Rude copies. 
 Siena. [Cors.J 
 Copies. 
 
 Siena. Alia Loggia del Papa. [Siena.J 
 
 S. Onofrio, Rappresentazione di. (By Castellani, Cas- 
 tellano.) [303 
 
 a. s.a. {Francesco di Giov. Benvenuto ? Ant. 'Tubini ed 
 Andr. Ghirlandis.) [Mgl.] 
 
 1° : <[ RAPRESENTATIONE DI SANCTO HONOFRXO / COMPO | STA 
 PER MESSER CASTELLANO CASTELLANI. 
 
 Cut (71 X 97). The saint as a hermit with a girdle of 
 thorns, and long hair, leaning on his staff, with two 
 117 
 
 /. 
 
 1580. 
 Cuts. 
 
 s- 
 
 1589. 
 Cuts. 
 
 h. 
 
 ^597- 
 Cuts. 
 
 i. 
 
 1606. 
 
 
 Cuts. 
 
 k. 
 
 s.a. 
 
 
 Cuts. 
 
 I. 
 
 1613. 
 
lions, shield with arms (smooth, soft and round). 
 Printers' mark (It. Pr. M., No. 56). 
 b. 1554, March. [Poldi, Triv.] " q_" of the volume. 
 
 I': LA I Rapresentatione di Santo Honofrio : | Composta per 
 Messer Castellano Castellani. 
 
 Cuts. i. Angel (late), ii. (70 x 76). A saint with four 
 monks at table, on the r. a naked saint before three 
 monks, iii. A young man kneeling before a monk, 
 iv. (70 X 76). A monk kneeling, on the r. an angel 
 appearing to a sleeping monk. v. (72 x 104). A man 
 delivering a letter to two men in a courtyard, vi. (69 
 X 78). An angel following a hermit going to the r. 
 vii. (70 X 78). Two young warriors before a monk 
 coming out of a chapel, on the 1. a third warrior, viii. 
 (73 X 74). A lion scratching a grave for the dead body 
 of the saint, on the 1. a monk. (All in the hard and rude 
 style.) 
 f. 1558. [Pal., Triv., B. M.] " q. " of the volume. 
 
 Cuts as in b. 
 
 Orfeo, Storia di. [304 
 
 a. s.a. Ad instantia di Jacopo Privio da Villa Basilica. 
 [Triv.] 
 
 1°: LA HISTORIA ET FAVOLA | d'oRFEO IL QVALE PER LA 
 
 MORTE DI I Euridice fu forzato andare nell' inferno. . . . 
 Cut (72 X 118). On the 1. a young man standing on a 
 stool playing the violin, on the r. and 1. two dogs, on 
 the 1. three men and children, on the r. two men stand- 
 ing (good, rather hard and hasty cut of the fine style). 
 
 b. s.l.e.a. Florence .'' [Munich.] 
 
 a 1°: La historia de Orpheo. End. a 6* : . . . adun baiocho sta 
 lantiqua storia | <[ finis. 
 
 Cut (104 X 76). Orpheus sitting under a dry tree and 
 playing the violin, on the 1. fox and two hares (rude 
 cut, copy ?). 
 
 c. 1558. [March. d'Adda.] 
 Cut as in a. 
 
 d. 1 6 10. Alle Scale di Badia. [Triv.] 
 Cut as in a. 
 
 Oriente, La regina de. [305 
 
 a. s.l.e.a. [Wolfenbiittel.] ? 
 
 b. s.l.e.a. (ca 1600). [Mgl., Ambros., Triv.] 
 
 118 
 
A I": LA REGINA d'ORIENTE. 
 
 Cut (107 X 78). A queen, kneeling, praying to the r., 
 from above beams coming, on the 1, and r. behind trees, 
 on the 1. town and mountains (soft, thick). 
 
 Orlando, Storia del nascimento di, [3°^ 
 
 a. s.l.e.a. (xvi. cent). [Triv.j 
 
 1° : LA HISTORIA | DEL NASCIMENTO | DI ORLANDO. 
 
 Cuts. i. Before a cavern a woman sitting with a child, a 
 man standing, on the r. a warrior, ii. A woman kneel- 
 ing before a king, who threatens her with a knife. (Both 
 rude and thick cuts.) 
 
 b. 16 1 2. Agosto Sinbeni. [Triv.] 
 Cuts. Rude copies. 
 
 Orpheus. Argonautica et Pros Mousaion. [3°? 
 
 1500, Sept. 19. Impensa Philippi lunte bibliopole. Hain, 
 iaio6*. [Berlin.] 
 1°: OP^EnS . APrONAT- I TIKA. 
 
 Cut. Ledge (24 x 104) of ribbons and foliage. Initials 
 Q and M (in red). 
 Orpheus. See also Orfeo. 
 
 Orsa, Cavaliere dell'. [308 
 
 a. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1" : Incomincia le crudele & aspre battaglie | del Caualiero dell' 
 Orsa, come tolse Luciana al Re Marsilio | . . . 
 
 Cut. Battle of two armies of knights on horseback, 
 soldiers on foot behind. 
 
 b. 1566. Birimpetto a San Pulinari. [Triv.] 
 
 Cuts. i. (71^ X 102). Two knights fighting with swords 
 (style of Frezzi's ^adriregio). 
 
 c. 1585. Giovanni Baleni. [B. M.] 
 
 Cut (77 X 109). A mounted knight stabbing another 
 who has fallen with his horse (copy .^). . 
 
 d. 1620. Nella stamperia de Sermartell. [Cors.] 
 
 Cuts. Two knights before a king n Pulci's Morgante. 
 {See cut 131.) 
 
 S. Orsola, Rappresentazione di. [309 
 
 a. 1 5 16, March 5. Fece stampare maestro Francescho di 
 Giouanni Benuenuto sta dal canto de Bischari. [Cors., 
 Mgl.] 
 
 119 
 
a 1°: f[ RAPPRESENTATIONE DI SANCTA ORSOLA | VERGINE ET 
 MARTYRE. 
 
 Cut (no X 86). S. Ursula protedling people under her 
 mantle, which is held by two angels (copy, in thick, soft 
 lines ; copy of l> i.). 
 l>. s.l.e.a. (ca 1550). [Midhurst Mr. Fisher.] 
 
 Cuts. i. (112 X 98|-). S. Ursula protedbing people under 
 her mantle, ii. A man kneeling before a king on the 
 1., on the r. four orientals on horseback (smooth, round 
 style of the ^adriregio). iii. := Costantino, Rappr. di, 
 1562 (No. 114^, v.). iv. Banquet with two pipers on 
 the r. = Pulci's Morgante. {See cut 50.) v. Baptism 
 of a king = Barlaam, Rappr. (No. 47 a, vi.). vi. An 
 oriental meeting with a king =: .'' Pulci's Morgante. vii. 
 Execution of female saints ^ d ix. 
 c. s.a. Alle Scale di Badia. [Poldi.] (=:.?Mgl. M. 979 
 
 (11) and Triv.) 
 
 I": LA RAPPRESENTATIONE | DI SANTA ORSOLA VERGINE | ET 
 
 MARTiRE. Nuouamente Ristampata. 
 Cut (100 X 85). Smooth, hasty copy of ^ i. 
 d 1 554, March. [Mgl., Pal., Poldi, Triv., B. M.] " s " of 
 the volume. 
 
 i" : LA I Rapresentatione di S. Orsola | Uergine % Martire. | 
 Nuouamente | stampata. 
 
 Cuts. i. (no X 85). S. Ursula proteding people under 
 her mantle zzia} ii., iii., iv., v. zz. b ii.-v. vi. (78 x 
 104). King with followers to the 1., queen with ladies, 
 on the 1. behind a town, on the r. a hill. vii. (7i|- x 
 76). The pope blessing two priests, on the 1. a Mass 
 (hard, rude), viii. A young priest kneeling before the 
 pope and cardinals, a dove on his shoulder (earl))' grave 
 style), ix. (117 x 107). Martyrdom of many saints 
 (early grave style). {See cut 30.) 
 e. 1 561. Appresso alia Badia. [Triv., B. M.] 
 
 Cut. Copy of d ix. 
 /. 1569. [B.M.] 
 
 g. 1589, Giovanni Baleni. [Mgl., Poldi, Triv.] "e"of 
 the volume. 
 Cut. Copy of d I. 
 
 S. Orsola, Storia di. [310 
 
 a. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1°: LA HisTORiA DI | SANTA ORSOLA | CoH le vndici mila Ver- 
 gini. . . . 
 
 120 
 
Cuts. i. (ii8 X 85). S. Ursula protefting the people 
 under her mantle (late, angular drawing, soft lines). 
 ii. (76 X 108). Copy of Agata, Rappr,, s.a., Pacini 
 (No. 7 b, iii.). 
 h. 1583. Giovanni Baleni. [B. M.] 
 
 I" : LA STORIA DI SANTA | ORSOLA : | . . . 
 
 Cuts as in a ? 
 c. 161 5. Appresso Lorenzo Arnesi. [Siena.] 
 Cuts as in a ? 
 
 Ottaviano imperatore, rappresentazione di. [311 
 
 a. s.l.e.a. (xv. cent.), [Triv., B, M., Bodl.] 
 
 I": ^ STANZE DELLA FESTA DI | OTAVIANO IMPERADORE | 
 
 1[ Vno angelo annutia la festa | . End. 4* : . . . fallata | et 
 sia p oggi ciascun licetiato | f[ finita. 
 
 Cuts. i. Angel, ii. The sibyl showing the emperor the 
 Virgin in heaven. {See cut 44.) iii. =: Fior di virtH 
 (camels), iv. A bishop and a man disputing before an 
 emperor zz: Pulci's Morgante. {See cut 160.) v. A 
 man preaching before an emperor ■=: Pulci's Morgante. 
 {See cut 159.) vi. 1= Fior di Virtii (phoenix). 
 
 b. s.a, (xvi. cent., beginning). Ad instantia di maestro Fran- 
 cesco di Giovanni Benvenuto. sta dal canto de Biscari. 
 [Pal.J 
 
 a 1": Stanza della || festa di Ot | auiano Im- || peradore. 
 Cuts. i. Angel, ii., iii. := « ii., iv. 
 
 c. 1553, Jan, [Cors., B. M.] 
 
 I" : LA I Rappresentatione 7 festa | di ottaviano | Imperadore. 
 
 Cuts. I. Border with Christ in sarcophagus between two 
 angels (copy of No. 44 a, i.). ii. Angel, iii. An oriental 
 speaking before a king =: Pulci's Morgante. iv. (102 
 X 80). Nativity of Christ. 
 
 d. 1554, Jan. [Poldi, Triv.] e of the volume. 
 Cuts as in c. 
 
 e. 1558, presso al Vescovado. [Pal.J 
 
 Cuts. i. Angel, ii. Before a man enthroned on the r. a 
 woman and a girl speaking (hasty cut), iii. zz Mar- 
 gherita, Rappr. di, 1570 (No. 263^, vi.). iv. (73 x 
 d'^. Nativity (rude). 
 /. 1568. [Pal„Berl. K.] 
 
 Cuts zz. c. 
 g. 1588. Giovanni Baleni. [Ambros., Poldi, Triv.J 
 Cut = Margherita, Rappr,, 1570 (No. 263 a, vi.). 
 
 121 R 
 
h. 1596. Alia Badia. [Triv.] 
 
 Cuts. i. A queen speaking to five ladies r= Pulci's Mor- 
 gante. {See cut 139.) ii. A queen speaking with an 
 oriental king = Pulci's Morgante. iii. (80 x 93). Na- 
 tivity of Christ. 
 i. 1606. ~Della Condotta. [Mgl.J 
 
 Cuts. Copies. 
 k. s.a. {Siena.') Alia Loggia del Papa. [Cors.J 
 
 Cuts. \. Border in style of the Sienese cuts. ii. An 
 emperor standing to the 1, (rude cut). 
 
 Ottinello e Giulia, Storia di. [3^2 
 
 a. s.l.e.a. (about 1500). [Erlangen.] 
 
 1°: Incomincia lahistoria di OcSlinello & Julia. End. Finita e, la 
 historia di Oftinello & Julia. 
 
 Cut (87 X 108). On the 1. Julia sleeping, Ottinello pur- 
 suing to the r. an eagle (good cut in the fine, thin-lined 
 style). {See cut 170.) See Varnhagen, I.e., p. 46. 
 h. s.l.e.a. (xvi. cent.). [B. M.] 
 
 i": La Historia di Oftinelo e Julia | OVero sumo & iusto redip- 
 tore I gouernator de tutto luniuerso | . . . End. 4* : ^ Finita 
 e listoria de OcStinello & Julia. 
 
 Cut (ii2|- X 124). Julia sleeping on the 1., Ottinello 
 pursuing the eagle to the r., sea with ship and a man 
 swimming (smooth, round cut). 
 
 c. s.l.e.a. (xvi. cent.). [Triv.] 
 
 a 1°: Incomincia la Historia Di Oflinello % Julia. End. 4*: 
 Finita la historia di | OcStinello 7 Julia. 
 
 Cut (113 X 123). Julia sleeping on the r., Ottinello 
 pursuing the eagle to the 1., sea with ship (hard and 
 angular cut with narrow hatchings). Copy in ed. s.a. 
 Milano, Fr. Ber. de Valle Ad instanza di Mattheo 
 Besozzo (Rice). 
 
 d. s.a. (ca 1550). Appresso Domenico Giraffi. [Triv.] 
 
 A l" : HISTORIA DI OTTINELLO | E GIVLIA. 
 
 Cut {loi X 75). On the 1. a lady with a high hat stand- 
 ing speaking to the r. to a youth, on the 1. behind a 
 town (smooth and round, rather thick-lined cut). 
 
 e. i^yi. Jacopo Chiti. [Triv.] 
 
 A I" : Historia di Ottinello & | Julia. 
 Cut = ? a. 
 
 f. 1 6 10. Alle Scale di Badia. [Triv. J 
 Cut. Copy of a. 
 
 122 
 
Pacificus Maximus. Libellus de componendo hexa- 
 metro et pentametro. [3^3 
 
 1485, Prid. Id. Jul. Haiti, 10935. [Aless., Venice, B. M., 
 Stuttgart.] 
 
 a i : PACiFici. Maximi poete Asculani ad Magni | ficum Jaco- 
 bum Saluiatum de coponendo he | xametro & pentametro 
 libellus incipit. 
 
 Cuts. Two hands and geometrical figures (well drawn 
 and cut). 
 
 Pacino di Filippo da Pistoia. Vita di Cristo. [314 
 
 s.l.e.a. (ca 1500?). [B. M.] 
 
 a I" : ^ La Vita del nostro Signore Giesu Christo. a ii" : O 
 Grade idio della citta superna | pricipio & fine di tutte le cose I 
 . . . End. b 6* : C Finita lauita . . . compilato per Pacino | 
 di Philippo dapistoia bidello dello | studio di pisa. 
 
 Cut (80 X 93). Nativity of Christ. The Virgin adoring 
 the Child, on the r. Joseph sleeping, the cavern is sup- 
 ported by a column (smooth cut). 
 
 Padre, frottola d'un, che aveva due figli. (By Pietro 
 Domizio Sacerdote .?) [3^5 
 
 a. s.l.e.a. (xvi. cent., beginning). [Triv.J 
 
 1° : Froilola duo padre che haueua dua fi | gliuoli vno buono 
 chiamato Benedec | to Laltro captiuo chiamato Antonio | . 
 End. 4*: FINIS. 
 
 Cut (75 X 96|-). Before the door of a house the father 
 standing, on" the 1. is kneeling the good boy, and behind 
 him an angel, on the r. the bad one led away by a devil 
 (large and free, smooth and soft style). 
 
 b. s.l.e.a. (xvi. cent.). [B. M.] 
 
 A 1": FROTTOLA dun padre che hauea dua figluoli un buono | 
 chiamato Benedetto laltro cattiuo chiamato Antonio. End. 
 A 4*: . . . Vi ringratiamo & donian- | ui licentia. | ilfine. 
 
 Cut (94 X 94). On the border: svperbia vmilta. A 
 man standing, holding in the left hand a book, in the 
 right a purse, on the 1. a boy walking, a devil above 
 him, on the r. the good boy kneehng, a dove on his 
 shoulder (smooth cut). 
 
 c. s.l.e.a. (xvi. cent.). [Berlin K.] 
 
 a I": C Frodola d'un Padre che hauea dua figluoli: un buono / 
 chiamato | Benedetto / laltro cattiuo / chiamato Antonio. End. 
 a4*. . . . & doniaui licetia. | € finis. 
 
 Cut as in b. 
 
 123 
 
d. s.l.e.a. (xvi. cent.). [Triv.] 
 
 A I" : Frottola d'vn padre che haueua | Dua figliuoli un buono 
 chiamato Benedetto, & | I'altro cattiuo chiamato Antonio. 
 
 Cut as in b. 
 
 e. s.l.e.a. (xvi. cent.). [Aless.] 
 
 i": FROTTOLA d'vn PADRE | Che haueua due figliuoli, vn buono 
 chiamato Bene- | detto, & I'altro cattiuo chiamato Antonio. | 
 Nouamente Ristampata. 
 
 Cut as in b. 
 
 f. 1589. Giovanni Baleni. [Triv. J 
 Cut as in b. 
 
 g. 1 6 14. Appresso Lorenzo Arnesi. [Triv. J 
 Cut as in b. 
 
 Palladini, Fioretti e vanto dei. [316 
 
 a. s.l.e.a. (1550 ca). [Triv.J 
 
 A I" : Fioretti & uanto de Paladini. 
 
 Cut (ill X 86). Three knights sitting on a bank, six 
 
 others standing behind them (thick, hasty copy of a cut 
 
 of the early grave style). 
 
 b. 106 1 (i 601). Appresso Zanobi Bis tied. [Mgl] 
 
 l" : FIORETTO E VANTO DE PALADINI. 
 
 Cut (184 X 120). Four knights in armour Standing, the 
 second from the r. with mantle and lance ; before them 
 four helmets lying on the ground (late impression of a 
 fine cut in the early grave style). 
 
 c. s.a. (ca 1600). Air insegna della Stella. [Triv.J 
 
 1" : IL I VANTO I de' paladini I E del Padiglione di Carlo 
 Magno Figliuolo | del Re Pipino. 
 
 Cut. A king giving a sword to a knight kneeling before 
 him rz ? Pulci's Morgante. 
 
 Palladini, Le Valorose prove dei. [317 
 
 1568. [Triv.J 
 
 a I" : LE VALOROSE PROVE | DEGLI ARCIBRAVI PALADINI. 
 
 Cut. Battle of two armies := (? copy of) cut of Puici's 
 Morgante. 
 
 Pamfilo Sasso Modenese. Strambotti. [318 
 
 a. s.l.e.a. (xvi. cent, beginning). Hain, 12295*. [London 
 Mr. Murray. J 
 
 124 
 
1° : Strambotti del clarissimo poeta misser | Pamphilo Saxo Modo- 
 
 nese. 
 
 Cut (76 X 101^). Amor shooting an arrow against two 
 men who gaze from a window at a girl picking flowers 
 (soft style). {^See cut 190.) 
 b. s.l.e.a. (xvi. cent., beginning). [Triv.] 
 
 I": Strambotti % Desperata del Clarissimo | Poeta Misser Pam- 
 philo Saxo. 
 
 Cut-=. Guiscardo e Gismonda, s.l.e.a. (No. 218). 
 
 Panciatichi, Gualtiero. Copia d'una epistola. [319 
 
 151 5, Jan. 3. A petitione di Lionardo di Neri Cartolaio. 
 [B. M.] 
 
 I" : Copia di una epistola . . . nella entrata di Papa Leone nella 
 citta di Firenze. 151 5. 
 
 Cut. Border with the two eagles zr Savonarola^ Predica 
 d. arte d. bene morire. {See cut 17.) 
 
 Panthiera, Ugo. Trattati. [320 
 
 1492, Dec. 15. Fer Lorenzo de Morgiani &? Giouanni da 
 Magonza. Hain, 12303. [Vitt. Em., Cors., Pal., Rice, 
 B. M., Berlin.] [Copies : Corsiniana and Riccardiana, 
 with a different title.] 
 
 a I": C Incominciano alchuni singulari tradtati di Ugho | Pantiera 
 da Prato dell ordine de Frati minori : . . . 
 
 Cut (100 X 74). A monk with a nimbus writing on the 
 r. at a desk, on the 1. a little monk sitting (early grave 
 style). 
 
 S. Panunzio, Rappresentazione di. (By Feo Belcari). 
 
 [321 
 
 a. s.l.e.a. (xv. cent.), [Rice, Bodl.] 
 
 i": C La rapresentatione di sandto Panuntio. End. Finisce la 
 rappresentatione di San | Panuntio. <[ Fece Feo belchari. 
 
 Cuts. i. Angel, ii. (loii x 77|-). S. Panuntius, kneel- 
 ing, embracing a young man, behind on the 1, the saint 
 speaking with the youth (early grave style). {See cut 
 60.) 
 
 b. 1555. [Rice, Poldi, March. d'Adda, B. M.] " p p " of 
 the volume. 
 
 I": LA I RAPPRESENTATIONE | DI s. PANVNTio. Nuouamente 
 Stampata. End. In Firenze I'Anno m.d.lv. 
 125 
 
Cuts. i. =« ii. ii. (70 x 75). A youth kneeling before 
 the hut of a monk, on the r. a monk kneeling (hard, 
 rude style). 
 c. iST^- Jacopo Chiti. [?] 
 Panziera. See Panthiera. 
 
 S. Paolino, Rappresentazione di. [See also Berti, 
 Giuntino. [322 
 
 a. s.l.e.'a. (xv. cent.). [Triv., Bodl.J 
 
 a i" : C Larapresentatione & diuota historia : & festa di sanito 
 Pauli I no Vescouo di lucha : & una oratione di Sandla Croce. 
 End. a 8* : C Finita. 
 
 Cuts. i. Angel, ii. (99 x 74). The bishop kneeling 
 before the pope enthroned on the r., on the 1. three 
 cardinals, two monks behind the saint, iii. (74 x 100). 
 The saint bound naked to a column, being beaten by 
 two men, on the r. a king enthroned. {See cut 161.) 
 iv. The saint in prison amongst the wild beasts, on the 
 r. three men looking through the window. {See cut 149.) 
 V. The saint bound to a tree and scourged. (All very 
 good cuts in the fine, thin-lined manner.) 
 
 b. ISSS- [Pal., Rice, Poldi, Triv., B. M., Midhurst Mr. 
 Fisher.J " H h " of the volume. 
 
 l" : LA I RAPRESENTATIONE | DI SANTO PAVLINO | VeSCOUO di 
 
 Lucca. . . . 
 
 Cuts. i. n (2 iii. ii. (71 x 103). A priest before the 
 pope, handing him a flower ; a nun and a man (hard, 
 rude cut), iii. A warrior on a car drawn by two bulls 
 zn^vAcis Morgante. iv. (53 x 78). A warrior to the 
 1. (hard and rude), v. and vi. :zz a ii. and iv. 
 
 Passavanti, Jacopo. Specchio di vera penitenza. [323 
 
 1495, March 12. Hain, 12435. [Cors., Aless., Mgl., 
 Triv., B. M., Stuttg.] 
 
 a I" : <[ Specchio di uera Penitentia. a 2° : <[ incomincia il 
 PROLAGO DELLiBRO ap | pellato Specchio di vera Penitentia/ 
 compilato da Frate | Jacopo passauanti. . . . 
 
 Cuts. i. Border with two eagles above z= Savonarola^ 
 Pred. d. arte d. bene morire (cut 17). ii. -^.Kempis, 
 Th. de. Imitazione, 1493, Miscominus (No. 227 b). 
 S, Paulinus. See S. Paolino, Rappr. di. 
 
 126 
 
Peccati mortali, I sette. [324 
 
 s.a. Fece stampare ser Zanobi dalla barba {Ant. Tubini ^ 
 Andr. Ghirlandis). [Mgl.] 
 
 i": C Septe peccata mortali / & la emendatione di de6ti peccati. 
 Cuts. i. Border with Christ in sarcophagus between two 
 
 Tingeh ■=. Barbara, Rappr. di (No. 44^, i.). ii. (114 
 X 87). A tree with seven branches with half-figures of 
 
 the seven sins, two skeletons sawing the tree, below the 
 
 devil watering the root (smooth, round), iii. (32 x 28). 
 
 Crucifixion (rude, smooth). Printers' mark (It. Pr. 
 
 M., No. 56). 
 
 Pellegrino sventurato. (Thebaldeo ?) [325 
 
 s.a. Appresso alia Badia. [Triv.] 
 
 A 1°: SVENTVRATO | PELLEGRINO. 
 
 Cut (77 X 103). A youth with turban on the 1. in pulpit 
 playing the violin, on the r. four men sitting, five others 
 standing (rude, smooth copy of Apollonio di Tiro, s.a. 
 (No. 34 a). 
 
 See also Tebaldeo, La disperata nuda terra (No. 41 2). 
 
 S. Pellegrino, Vita di. [326 
 
 1 6 14. Firenze e Lucca. Fantucci Tosi. [Mgl.] 
 
 l": VITA DI SAN I PELLEGRINO | FIGLIVOLO DI ROMANO RE 
 DI SCOTIA. . . . 
 
 Cut (150 X 122). Four compartments: i. Pilgrims to the 
 1. before crucifix ; ii. Pilgrims sitting opposite to two hons; 
 iii. S. Pellegrino killed by two robbers ; iv. s. pellegr. 
 gliding over the sea, on the r. ship (rough, hard cut). 
 
 Perseo, Storia di. [327 
 
 a. s.a. Alle Scale di Badia. [B. M.] 
 
 A I": LA HISTORIA DI | PERSEO, COME | AMAZZO MEDVSA | 
 
 . . . Nuouamente Ristampata. 
 Cut (83 X 108). A knight combatting a dragons? 
 Giasone, Storia di (No. 193 a), 
 h. s.a. Alle Scale di Badia. [Triv. J 
 
 I" : LA HISTORIA DI | PERSEO, COME AMMAZZO | MEDVSA | . . . 
 
 Cuts. i. = a? ii. Betrothment = ? Pulci's Mor^a»/d'(and 
 late cuts). 
 c. 1557, July. [March. d'Adda.J 
 
 Cut zz a. 
 
 11^ 
 
d. 1574. Ad Inst, di Jacopo Chiti. [Poldi.] 
 
 1°: LA I HISTORIA DI | PERSEO | COME AMMAZZO MEDVSA | 
 
 E trouando Andromeda. . . . 
 Cuts. i. Perseus with the head of the Medusa killing the 
 dragon (after the relief of the statue of Perseus by 
 Benvenuto Cellini in the Loggia dei Lanzi in Florence), 
 ii. On the 1. a man on shore, on the r. a ship from 
 which a man is about to land (hard, rude), iii. (82 x 
 106). Ruins on the r., a man in oriental dress with staff 
 pointing at them, from the 1. a youth bearing a sack 
 ascending with pilgrims (hard style, similar to Ninfale). 
 iv. ^ Gesii, Rappr. d'un miracolo del corpo di, 1572 
 (No. 180^, iii. .91?^ cut 180). v. A youth kneeling 
 before a king enthroned on the r. zz Pulci's Morgante. 
 
 e. 1576. Astanza di Matteo Marradini. [Triv.] 
 
 Cuts. i. rz «. ii. (114 x 108) zr .'' Dati^ Lettere delle 
 isole, 1493 (No. 125 a), iii., iv., and v. Rude copies. 
 
 Petrarca, Trionfi, [328 
 
 a. 1499, Dec. 16. Pietro Pacini. [Vitt. Em.] 
 
 a i" : Triomphi di messer | Francesco | Petrarcha. End. e 6'' : 
 C Finiscono itriomphi di M. F. Petrarcha . . . Adi. xvi. di 
 Dicembre. m.cccc.lxxxxix. Publisher s mark. 
 
 Cuts, i.-vi. Triumphs (ca 150 X 1 15). Trionfo d'Amore, 
 della Castita, della Morte, della Fama, del Tempo, della 
 Divinita (finest hard style). The book was reproduced 
 in facsimile at Rome in 1 89 1 . b. 1 5 1 5, April. Philippo 
 di Giunta. 
 Cuts as in a. 
 Petrus Damianus. See S. Romoaldo, Vita di. 
 
 Phalaris, Epistole. [329 
 
 1506, April 2. Piero Pacini. [B. M., Florence Baron de 
 Landau.] 
 
 a 1°: <[ PROEMio DI BARTHOLOMEo PHONTio | a Franccsco 
 Baroncini nella traduftione delle | Epistole di Phalari. 
 
 Cuts. i. Border of four ledges with ornaments ; on the 
 r. (200 X 24) scroll-work with two putti between 
 garlands and candelabra; below (32 x 97) two putti 
 holding a shield in a garland, ii. (ji^ x 102). An 
 oriental sovereign sitting on the r. speaking to a knight 
 who is kneeling before him. 
 Piazza, Francesco della. See Francesco della Piazza. 
 
 128 
 
PiccoLOMiNi, Enea Silvio (Papa Pio II.). Storia di 
 due amanti. u^q 
 
 a. } [Siena, imperfeft.J 
 
 a I" : <[ PROEMio DI SER ALEXANDRO Braccio al I prestantissimo 
 & excellentissimo giouane Lorenzo di Pier | francesco de Medici 
 sopra latraduaione duna historia di | due amanti composta dalla 
 felice memoria di Papa Pio II. 
 
 Cuts. i. A queen speaking to five ladies zr Pulci's Mor- 
 gante. {See cut 139.) ii. A youth on horseback before 
 a house on the 1., a girl at the window =: Novella della 
 figlia del mercante (No. 299 a, i. See cut 166). iii. A 
 youth handing a roll of paper to a lady, on the 1. Amor 
 shooting (thin-lined style), iv. An old woman speaking 
 to a youth at the door of a house, on the r. behind is a 
 large hall, a girl at the door (later style), v. A woman 
 speaking to a girl outside a house (later hard style). 
 {See cut 125.) vi. A knight on horseback with a foot- 
 man and a follower on horseback in a hall before a 
 house on the 1., a girl at the window, vii. A lady with 
 bow and arrow, on the r. before her a knight with 
 sword, his arms before him on the ground, on the 1. a 
 servant with his horse. {See cut 1 26.) viii. A youth 
 speaking to a chained prisoner z= Pulci's Morgante. 
 {See cut 135.) ix. Christ in clouds in glory over a 
 city. {See cut 78.) x. A king in black speaking to 
 an old king in white, and to a lady in black sitting on 
 the 1. with three other ladies = Costantino, Rappr. di, 
 1562 (No. 114^, V. See cut 12^). xi. Betrothal, with 
 a luteplayer on the r. 
 b. s.a. Ad petitione di Ser Piero Pacini da Peseta. [London 
 Mr. Ch. Fairfax Murray.] 
 
 a I": <[ PROEMIO DI SER ALEXANDRO BRACCIO AL | prestantis- 
 simo & excellentissimo giovane Lorezo di Pier fra | cesco de 
 Medici sopra la traducSHone duna hystoria di due a- | manti 
 composta dalla felice memoria di Papa Pio II. End. e 8* : 
 |[ Finito Elprohemio di due amati Stampato in Firenze | Ad 
 petitione di Ser Piero Pacini da Pescia | +. 
 
 Cuts. i. =: Uberto e Filomena, Storia di, s.a. (No. 421 a, ii. 
 See cut 13). ii., iv.-viii., x., xi., xiii., xiv. ir a i., v., 
 iv., iii., vi., vii., ix., viii., x., xi. iii. =z Maria per 
 Ravenna, Storia di (No. 272 a, i. See cut 162). ix. A 
 young man seated on a bed with a girl on his knees, an 
 older man peeping from behind the curtains of another 
 bed to left. xii. Lovers in a bed embracing each other. 
 129 s 
 
XV. = ? Gualtieri e Griselda, Novella di (No. 21^ a, iv. 
 See cut 50). 
 PiETRO Domizio. See Padre, frottola d'uti. 
 
 PiETRo Spano (Petrus Hispanus). Tesoro de' poveri. 
 
 [331 
 s.l.e.a. (xv. cent.), 8°. Hain, 8714. [Cors.J 
 
 a I" : <[ Oui incomincia illibro chiatnato thesoro de poueri | com- 
 pilato et fa£to per maestro piero spano. End. & 1°: . . . che 
 sono grauati per fredda cagione & | finis. (Tavola.) 
 
 Cut (76 X 100). Two surgeons attending, one to the 
 head of a man sitting on the I., the other to the foot of 
 a youth sitting on the r, 
 
 PiETROBONo Advogario. Prognosticatio in annum 1496. 
 
 [332 
 (1496.) s.l. [B. M.] 
 
 I": <[ Alio illustrissimo . . . Duca Hercules di | Ferrara . . . 
 pronostico di | Pietrobono aduogario dellanno. m.cccclxxxxvi. 
 End. 6* : |[ . . . maestro Pietrobono aduogario da Ferrara. 
 
 Cut (104 X 82). A scholar in his study r= Dati, Del 
 Prete Janni, 1495 (No. 122 a, ii.). 
 
 Pietrobono Advogario. Prognosticatio in annum 1497. 
 
 [333 
 (I497-) s.l. [B. M.] 
 
 1° : <[ Alio illustrissimo & . . . duca Hercule hestense . . . Petri- 
 boni I Aduogari pronostico dellanno : mcccclxxxxvii. 
 
 Cut =z Prognosticatio in 1496 (No. 332). 
 
 PiRAMo E TisBE, Storia di. [334 
 
 a. s.l.e.a. (xvi. cent.). [London Mr. Huth (Yeminez-copy).] 
 1° : Lo innamoramento et la morte di Piramo et Tisbe. 
 
 Cuts. i. (132 X 95). On the 1. a fountain, and behind it 
 a lion, on the r. Pyramus lying on the ground, Thisbe 
 stooping over him, behind on the r. Thisbe is fleeing, 
 ii. (100 X 73). A woman at the window of a house, on 
 the 1. a youth before the house with a flower, others 
 behind him, on the r. a young man standing (both in 
 the early grave style), iii. The lion and the mouse =: 
 Esope, 1495. 
 
 b. s.l.e.a. (xvi. cent.). [Venice.] 
 
 130 
 
A I" : LA HisTORiA Di PiRRAMO ET TiSBE, | NObilissima Donna 
 al cui ualore. End. a 4* : . . . finis. 
 
 Cut zz. a'l. 
 
 c. s.l.e.a. (ca 1550). [B. M.] 
 
 AX": La Historia di Pirramo e Tisbe : End. a 4* : . . . che 
 puo imparare alle spese d'altrui. | il fine. 
 
 Cuts. i. Border with the two eagles ; copy of Savonarola, 
 Pred. d. arte d. bene morire (No 375 c, \. See cut 17). 
 ii. (935^ X 75). Thisbe throwing herself on a sword pro- 
 jedting from the body of Pyramus, who is lying on the 
 ground ; on the 1. fountain, behind it the lion, behind 
 on the r. Thisbe fleeing. 
 
 d. s.l.e.a. (ca 1550). [Triv.] 
 
 I": LA HISTORIA DI PIRRAMO. | E TISBE. 
 
 Cuts. Borders of ornaments. Cut = (copy .'') c ii. 
 
 e. 1558. Afpresso al Vescovado. [London Mr. Huth.] ? 
 /. 16 1 8. Agostino Sinibeni. [Triv.] 
 
 Cuts z=: c \. and ii. 
 g. s.a. Verona. {Lucantonio Fiorentino i^ Bernardino Mi- 
 
 sinta.) Printers' mark. [B. M.] 
 
 a I" : Inamoramento et morte de | Pirramo et Tisbe. Nobilissima 
 donna al cui ualore. . . . End. a 4* : <[ Impressum Veronae. 
 Printers' mark. {See It. Pr. M., No. 346.) 
 
 Cut {ill X 126). Fountain on the 1., on the r. Thisbe 
 throwing herself on the sword with which Pyramus has 
 killed himself, lion on the 1. (Florentine cut of sixteenth 
 century). Same cut in ed. 1555, Venezia, Mathio Pagan 
 in Frezaria all' insegna della Fede. [B. M.] 
 
 Pisa, Lamento di. [335 
 
 s.l.e.a. [March. d'Adda.] 
 
 1" : Lamento di Pisa & Larisposta. 
 Cut. A town with river on the 1. 
 
 PoLiTiANO, Angelo. La giostra di Giuliano de' Medici. 
 
 [336 
 a. s.l.e.a. (xv. cent.). Cf. Hain, 13238. [Pal.J 
 
 a l": C LA GIOSTRA DI GIVLIANO | DE MEDICI. | a 2°: C STANZE 
 
 DI MESSER ANGELO | POLitiano cominciate per la giostra | del 
 Magnifico Giuliano di Piero | De Medici. End d 6» : . . . 
 CO I me che leggiera potra chiara | mente comprendere. 
 Cuts. i. A knight in full armour on horseback to the r. 
 — Pulci's Morgante — Cessolis, Libro di Scacchi (No. 
 
loi, v.). ii. (76 X loi). On ther. a knight in armour 
 with sword standing on clouds, a goddess standing on 
 the 1. speaking to him. iii. (76 x 104). A king sitting 
 on the 1. before a house, a youth in antique garment 
 speaking to him, a fountain on the r. iz: Pulci's 
 Morgante. iv. (73 x 104). A youth on the r. 
 kneeling before a statue on altar with inscription : 
 ciTA REA. V. (83 x 108). Orpheus seated playing 
 a lute. vi. Three shepherds standing on the 1., one 
 lying on the r. = Epistole et Evangeli. vii. (70 x 
 106). A youth pursuing a nymph flying to the r. n 
 B. Giambullari, Costanza e Biagio, 1556 (No. 187 d, ii. 
 See cut 102). viii. (83 x 106). Orpheus with violin 
 on the r., in the middle a tower with sleeping guardians, 
 ix. (75 x io2|-), A Fury holding a cluster of serpents 
 against a knight on horseback on the r. {See cut 121,) 
 X, (75 X 102). In a temple behind an altar a youth 
 kissing a girl, on the r. a queen and followers. (Good 
 cuts in the hard style.) 
 b. 15 13, Od:. 15. fer Gianstephano di Carlo da Pauia 
 
 astanza di Ser Piero Pacini da Pescia. [Cors., Vat,, Pal., 
 
 Rice, Berl. K.] 
 
 Cuts =: a. 
 
 Prasildo e Lisbina, Storia di. [337 
 
 [Passano, p. 81, Libri.j .? 
 Preti, due. Novella di. See Novella di due preti, etc. 
 
 PsALTERiuM latinum. [338 
 
 1489, 13 Kal. Jun. per bresb. Franc. Bonacorsum et An- 
 tonium Venetum. [B. M.] 
 
 Cuts. Initials B and C in red in the style of the minia- 
 tures. 
 
 PsALTERio di S. Girolamo. [339 
 
 a. s.l.e.a. (ca 1500). {Pacini: Printer's mark.) 8°. [Maruc] 
 I": <[ Psalterio abreuiato di san | 6to Hieronymo. 
 Cuts. i. (60 X 80). S. Hieronymus kneeling on the 1., 
 the lion on the 1. ii. (77 x 65). S. Hieronymus sitting 
 on the 1. in his study, with his lion. (Fine cuts in the 
 early grave style.) 
 h. (15 13?) Feb. 28. Ad petitione di Bernardo di S. Piero 
 Pacini da Pescia. 8°. [Cas., Mgl.J 
 
 132 
 
a I": PSALTE I RIO I Di Sandlo Hieronytno | abreuiato. 
 Cuts •=! a. 
 PuLci, Antonia di Bernardo. See S. Domitilla, Rappjesen- 
 tazione di. Hain, 13561* ; Figliuolo prodigo, Rap- 
 presentazione del ; S. Guglielma, Rappresentazione di. 
 
 PuLci, Bernardo. Passione di Gesu Christo. [340 
 
 s.l.e.a. (xvi. cent). Hain, 13562, 13563? [B. M.] 
 
 a 1°: C! INCOMINCIA Lapassione del nostro signore Jesu Christo/ 
 I composta per Bernardo Pulci. 
 
 Cuts. i. to xi. from Epistole et Evangeli, 1495 (late 
 impressions or copies), xii. (30 x 28). Half-figure of 
 S. Magdalen. 
 
 See Vespasiano, Vendetta di. 
 
 Pulci, Luca. Driadeo d'amore. [341 
 
 a. s.l.e.a. (xv. cent.). [Bodl., Florence Baron de Landau.] 
 
 1°: <[ driadeo damore di lvca pvlci. ALcuna uolta pen- 
 
 sando | o prestantissimo Laure | tio. . . . End. d 3* : <[ Qui 
 
 finisce il Driadeo compilato per | Luca pulci Al magnifico 
 Lorenzo de | Medici. | finis. 
 
 Cut =r ? Tebaldeo, Serafino, etc., Canzoni, s.l.e.a. (No. 41 1 a. 
 See cut 171). 
 
 b. 1 546. per Lorenzo Peri. [Rice, Paris B. M.] 
 
 A I" : DRIADEO DAMORE DI LVCA PVLCI ISTO | RIATO. . . . End. 
 
 c 4* : Finito il Driadeo. Stampato | in Firenze per Lorezo 
 Peri I M.D.XLVi. 
 
 Cuts. i. (68 X 112). Diana hunting; her arrow has hit 
 the deer, which is chased by three dogs. ii. (69 x 113). 
 On the 1. a shepherd playing, three sheep, on the r. a 
 youth in rich clothing playing a lute, between them a 
 nymph with an arrow. (Rough, hasty cuts.) 
 
 Pulci, Luca. Epistole. [342 
 
 a. s.l.e.a. (xv. cent.). Hain, 13568.? [B. M. (2 copies), 
 
 Siena.] 
 
 a 1°: C Pistole di Luca de Pulci al Magnifico | Lorenzo de 
 Medici. a 2" : C Lucretia a Lauro Epistola prima | . . . 
 End. e 6" . . . sancise adare a Marco Antonio funera | Amen. 
 
 Cut (ioo|- X 78). A young man sitting on the r. at a 
 desk reading (early grave style). (See cut 22.) 
 
 b. s.l.e.a. (xv. cent.). [Mgl.] 
 
 133 
 
a I" : C PISTOLE DI LVCA DE | PVLCI AL MAGNIFI | CO LORENZO 
 
 I DE MEDi- I CI. a 2": C Lucretia a Lauro Epistola 
 prima | • • ■ 
 Cut as in a. 
 
 c. s.a. (ca 1500). Apetitione di Ser Piero ■pacini. Hain, 
 13570*. [Pal., Mgl., B. M., Munich.] 
 
 a 1°: <[ Pistole di Luca de Pulci al Magnifico | Lorenzo de 
 Medici, a 2° : <[ Lucretia a Lauro Epistola prima | . . . 
 
 Cuts. i. Four ledges with ornaments and half-figures, 
 ii. Cut = a. Three printers' marks. 
 
 d. 1 5 13. Apetitione di Viero F acini. [Cors.] 
 
 a I" : j[ PISTOLE DI LVCA DE | PVLCI AL MAGNIFI | CO LORENZO | 
 DE MEDI- I CI. 
 
 Cut =: a. Three marks of the publisher. 
 
 e. s.a. Adpetitione di Francesco di Jacopo Cartolaio uocato il 
 Conte. . . B. Z. (Bernardo Zucchetta). 8°. Hain, 13569. 
 [Pal., Maruc] 
 
 A 1°: j[ PISTOLE DI LVCA DE | PVLCI CITTADINO FIO | RENTINO 
 DIRECTS AL- | MAGNIFICO LOREN | ZO DE MEDICI. 
 
 Cut := Medici, Lorenzo. Selve d'amore (s.a. Zucchetta, 
 No. 281 a). Printer's mark (It. Pr. M., No. 58). 
 
 Pulci, Luca. CyrifFo Calvaneo. [343 
 
 a. 1509. Antonio Tuhini &' Andrea de Pistoia. Ad Inst, 
 di Francesco Cartolaio. Two printers' marks (It. Pr. M., 
 Nos. 56 and 58). [Florence Baron de Landau.] 
 
 1°: <[ CyrifFo Calvaneo. 
 
 Cuts. i. (191 X 130). A youth on horseback to the r., 
 his sv7ord in the r., club, helmet, and shield (with an 
 upright griffin) in the foreground. Inscription : E/poao 
 aueduzo (.'') (good drawing, roughly cut), ii. (73 x 105). 
 On the I. a man with a sword before another in bed, 
 another man sitting on the bed, a dog under the bed. 
 iii. Some men bearing goods to ships ■=. Pulci's Mor- 
 gante. iv. Baptism at a fountain, v. Battle of knights 
 in a town z= Pulci's Morgante. vi. A sea fight, vii. 
 On the 1. a knight with others near the sea and ships, 
 viii. A battle, ix. Two knights before king n Pulci's 
 Morgante. x. A young knight greeting a prisoner ;= 
 Pulci's Morgante. xi. A knight with banner followed 
 by other knights on horseback r: Pulci's Morgante. 
 xii. Cremation of a dead body. xiii. A king speaking 
 134 
 
to two ladies who are sitting on the 1., a third one 
 standing. 
 b. 1572. [Bologna.]? 
 
 PuLci, Luigi. Confessione. [344 
 
 1597. Appresso Giovanni Baleni. [Mgl.] 
 
 A 1" : CONFESSIONE DI | LVIGI PVLCI | . . . 
 
 Cut (100 X 72). On the r. a monk sitting near a pillar 
 under an arcade speaking to a youth kneeling before 
 him, on the 1. monk, above half-figure of a saint (hard 
 style). 
 
 PuLci, Luigi. Giostra di Lorenzo de' Medici. [345 
 
 a. s.l.e.a. Hain, 13583*. [Pal., Munich.] 
 
 a 1": LA GIOSTRA DI LORENZO | DE MEDICI MESSA IN RI | MA DA 
 LVIGI DE PVL I CI ANNO. MCCCC | LXVIII. End. C 4* : . . . 
 
 giostra | Vltima gloria di Fiorenza nostra : | finis. 
 Cut (76 X 102). A knight on horseback speaking to 
 others in the lists =r Pulci's Morgante. 
 
 b. 151 8, May 12. A instantia di Francesco di Jacopo 
 cartolaio. 8°. [B. M.] 
 
 a i"; LA GIOSTRA DI Lo | renzo de Medici messa in | rima da 
 Luigi Pulci I An. m.cccc. | lxviii. 
 
 Cuts. i. Border, ii. (49 x 50). A knight on horseback 
 galloping to the 1. with lance, shield with arms of 
 Medici. 
 
 Pulci, Luigi. Frottole. [346 
 
 s.l.e.a. [Siena.] 
 
 i": C Frottole di Luigi Pulci. End. \'' : . . . esser I in | col 
 diauol tu starai 1 sepiterno. | finita. 
 
 Cut-^ Pulci, Luca, Epistole (No. 342 a. See cut 22). 
 
 Pulci, Luigi. Morgante Maggiore. [347 
 
 1500, Jan. 22. Ad petiiione & instantia di Ser Piero Pacini 
 
 da Pescia. Hain, 13589. [Vienna, Berlin K. imperfedl.] 
 
 a 1°: Morgante maggiore. | IN Principio era iluerbo appresso a dio 
 
 I & era Dio il uerbo / elherbo lui : | questo. . . . End. D 6* : 
 
 ^ Finito illibro chiamato Morgate maggiore Composto per 
 
 Luigi pulci I Impresso in Fireze nel Anno, m.ccccc. Adi xxii 
 
 di Genaio Ad | petitione & instantia di Ser Piero Pacini da 
 
 Pescia. [Printer's mark.) 
 
 Cuts. i. (135 X io2i). Morgante and Margutte speak- 
 
 135 
 
ing together. {See cut 19.) xxxviii. (f 4") = Eustachio, 
 Rappr. di (No. 141 a, v.). xxxix. (f4*) -^Politiano, 
 Giostra (No. 336 «, i.). Ixx. (1 6*) ■=. Politiano, Giostra 
 (No. 23^ '^■> "^O- ^^^i- (' 7O — Gualtieri e Griselda, 
 Novella di (No. 215 <2, iv.). Ixxviii. (n 5") = Rosana, 
 Rappr. di (No. 367 a, x.). cxi. (t 6") = Rosana, Rappr. 
 di (No. 367 a, v.). cxvii. (u 6^) = Rosana, Rappr. di 
 (No. 367 a, xii.). cxviii. (x i^) ::= Ottaviano, Rappr. di 
 (No. 311 «, iv. See cut 160). cxix. (X4'') — Malagigi, 
 Sala di (No. 251 a. See cut 52). cxxvii. (y 7*) 
 (85 X 102). An old king seated; on his 1. a youth and 
 two young kings, on his r. an old man and a young 
 king (early grave style), cxxx. (z 5^). A man with gar- 
 land on the head on a triumphal car with two horses 
 to the 1., on the r. many persons on horseback :=. 
 Venanzio, Rappr. di (No. 425 a, iv.). cxlvii. (d i*) -zz 
 Rosana, Rappr. di (No. 367 a, vii.). cxlviii. (d 2"). 
 A man on a pediment on the r. playing a violin, on 
 the 1. many people. {See cut 150.) And 135 cuts 
 (Nos. ii.-xxxvii., xl.-lxix., Ixxii.-lxvii., Ixxix.-cx., cxii.- 
 cxvi., cxx.-cxxvi., cxxviii., cxxix., cxxxi.-cxlvi., cxlix.), all 
 about 75 X 100 mill, (only iv. (a 4") 112 x no), re- 
 presenting scenes from the poem, and expressly made 
 for the book, in the early finer style or in the finest 
 thin-lined manner. {See^. xxxiv.) {See cuts 19,24, 49, 
 54-56, 74-76, 127, 128, i30-i34,_ 136-145, 150-160.) 
 
 b. s.l.e.a. (xvi. cent). [Paris.] (Pulci .?) 
 Cuts. Late impressions of ed. 1 500 or copies. 
 
 c. 1535. Ad instantia di Maestro Francesco di Giouanni 
 Benuenuto. [Berlin K.] 
 
 Cuts. i. Copy of a i. ii.-vii. Copies of cuts of a (in 
 soft, thick style). 
 
 d. 1574. [Bologna.] 
 
 e. 1600. Giovanni Baleni. [Mgl.] 
 
 I"; MORGANTE ET | MARGVTTE. 
 
 Copies of title cut and other cuts of a. 
 
 f. 161 2. Apfresso Giouanni Tommaso Manei. [Triv.] 
 Cuts as e. 
 
 PuLCi, Luigi. Strambotti e rispetti. [348 
 
 s.l.e.a. (xvi. cent.). Hain, 13585.? [Triv.] 
 
 A I": STRAMBOTTI E RISPETTI | NOBILISSIMI d'aMORE CIAS- 
 
 CHEDVNO I verso e canto, al suo proposito. Composti per Luigi 
 
 Pulci I FIORENTINO. 
 
 136 
 
Cut (86 X 107^). A betrothal, a man between the 
 betrothed, on the 1. three young men, on the r. two 
 women and a luteplayer (copy ?). 
 
 PuLci, Luigi e Franco, Matteo. Sonetti, [349 
 
 s.a. Ad petitione di Ser Piero pacini da Peseta. Hain, 
 7354? [B. M.] 
 
 a 1° : |[ Sonetti di Messer Mattheo fraco & di Luigi pulci iocosi 
 & da ridere. | C[ Incominciano esonetti di Messere | Matheo 
 fraco & di Luigi pulci. . . . 
 
 Cut (92 X 75). On the 1. a young man in long garment 
 standing, who holds in the r. a paper, opposite to him a 
 youth speaking to him. (Printers' marks.) 
 
 PuTANE, Historia da fuggire le. [35° 
 
 a. s.l.e.a. (xvi. cent.). [B. M.] 
 1° : Hystoria da fugir le Putane. 
 
 Cut (108 X 115). A woman on the 1. carrying on her 
 back a devil, who is beaten by another woman, on the 
 r. a second woman with a stick (rude cut ?). 
 ^. s.l.e.a. (xvi. cent.). [Munich.] 
 
 I": Historia Da fugir le Putane. | CHi seguita putane | no e per 
 far mai bene | chi in cul gli mette spene | . . . End. 2*: Finita 
 e la hystoria da | fugir le putane. 
 
 Cut. Copy of a (in the soft, narrow-hatched style, similar 
 to Venetian cuts). 
 Pyramus and Thisbe. See Piramo e Tisbe. 
 
 Raffaello Arcangelo. Oratione di. [351 
 
 s.a. (xvi. cent.). Jd instantia di Bernardo da Pescia. 8°. 
 [B. M.] 
 
 1°: €1 Oratione del Angiol Raphaello. End. 4*. 
 Cut (98 X 71). The angel going to the 1. leading 
 Tobit, who holds the fish, the dog on the 1. (rather 
 rough cut of good drawing). 
 
 Raffaello Arcangelo. Rappresentazione di. [352 
 a. 1 5 16, July II. Fece stampare M. Francesco di Giovanni 
 Benvenuto sta dal canto de' Biscari. Printers' mark : a a 
 (It. Pr. M., No. 56). (Antonio Tubini and Andrea de 
 Ghirlandis.) [B. M.] 
 1°: rappresentatione del angiol raphaello. 
 
Cuts. i. Border ; in upper part busts of a young man 
 and a girl, and below putti on stags (copy ?) =: Bradia- 
 monte, Storia di (No. 70 a, i. See cut 15). ii. = 
 Raffaello, Oratione (No. 351). 
 
 b. s.a. (ca 1550). Alle Scale di Badia. [Triv.J 
 
 I": LA I RAPPRESENTAZIONE | DELL' ANGELO RAFFAELLO : | 
 E DI TOBIA. 
 
 Cut (82 X 67). The angel going with Tobit to the 1. 
 (large hatched cut). 
 
 c. s.l.e.a. (xvi. cent.). [Ricc.J 
 
 1° : LA I RAPPRESENTATiONE | del Agnolo Raffacllo, e di Tobbia. 
 
 Cuts. i. Border of petit-fers. \\. ■=. a ii. (.? copy). 
 
 d. 1546. [Cors., Pal.] 
 
 I": RAPRESENTATIONE DEL ANGIOL RAPHAELLO. 
 
 Cuts. i. Angel, ii. (125 x 91). Angel with Tobit 
 (rude, thick hatching), iii. (72 x 124). On the 1. a 
 man sitting near rocks and crying, on the r. buildings. 
 
 e. 1554, May. [Mgl., Poldi, "z" of the volume, Triv.] 
 
 I*: LA I Rapresentatione del An- | gelo Rafaello % | Tobbia. | Di 
 nuoua Ristampata. 
 
 Cuts. i. Angel, ii. Border with the two eagles (copy), 
 iii. z= Fior di virtii, 1498 (storks), iv. := Esope, 1495 
 (man on the r., woman with child), v. A woman 
 speaking with a hermit, a woman on the r. kneeling 
 near his bed, the devil flying (rude, hard), vi. On the 
 1. three on table, on the r. a man kneeling before an 
 oriental sovereign (copy), vii. (98 x 71^^). Angel with 
 Tobit ? := Oratione di Raffaello (No. 351). viii. z: 
 Maria per Ravenna (No. 272 a, iii. See cut 164). ix. 
 =: Novella della figlia del Mercante (No. 299 a, iii. See 
 cut 168). X. (71 X 80). On the 1. a monk coming 
 out of a house, an angel meeting him, two warriors 
 flying (hard, rude), xi. Copy of Costantino, Rappr. di, 
 1562 (No. 1 14^, v.). 
 /. 1562. Ad istanza di Pagol Bigio. [B. M.] 
 
 I" : Rapresentatione dell' Agno | lo RafFaello, & di | Tobia | 
 Nuouamente Ristampata. 
 
 Cuts. i. Border, with below Christ between two angels, 
 sudary with two cherubs above, ii. Angel, iii.-vi., 
 viii., ix. := e iv.-vii., x., xi. vii. A young man em- 
 bracing a prisoner z=. Pulci's Morgante, x. Angel (late). 
 138 
 
g. 1587. Giovanni Baleni. [Poldi, Ambros., Triv.] 
 
 Cut. The angel with Tobit (copy). 
 h. 1596. Giovanni Baleni. [Mgl.] 
 
 Cut ■=. g, 
 i. 1596. Lorenzo Arnesi. [Rice, Triv.] 
 
 Cut. Angel with Tobit (rude copy). 
 k. i^-j^. Siena. [Pal.] 
 
 Cut (96 X 72). Angel with Tobit (hard and thick- 
 lined copy). 
 /. s.a. Bologna, per Bartholomeo, ^ Marco Antonio, ad 
 
 Istantia di Jacopo de Bastiano sta dal Vescouato in 
 
 Fiorenza. [Berlin K.] 
 
 1": RAPRESENTATIONE DEL ANGIOLO | RAPHAELLO. 
 
 Cuts. i. Angel. ii. (98 x 72). Angel with Tobit 
 (copy), iii. Banquet with two musicians (soft copy). 
 Ravenna, Maria per. See Maria. 
 
 Ravenna, La Rotta di. (By Altissimo.) [353 
 
 a. s.a. (first part of xvi. cent). [Triv.] 
 
 A 1° : La Rotta di Rauenna | Composta dall' Altissimo Poeta 
 Fiorentino, Con | vna giunta di venti stanze posta nel fine. | 
 Nuouamente Ristampata e Ricorretta. 
 
 Cuts. i. A battle of knights (copy), ii. Battle of warriors 
 on foot, one threatening another with a dagger zn Pulci's 
 Morgante. 
 h. 1568. [Triv. J 
 
 A i": La Rotta di Ravenna | Composta dall' altissimo Poeta 
 Fiorentino. 
 
 Cuts. i. z=a 1. ii. Battle, a knight with head of a king 
 =: Pulci's Morgante. 
 Raynaldo da Mantova. See Gonnella, Facezie del. 
 
 Re superbo, Rappresentazione del. [354 
 
 a. s.a. M. Francesco di Giovanni Benvenuto. [Pal.J 
 Cuts. i. Angel, ii. A king in armour on the 1. speaking 
 
 before a king, sitting with three others (smooth, round 
 copy). 
 
 b. 1 542. Fece stampare Gioudni Benuenuto Cartolaio sta dal 
 Vescouado. [Pal.] 
 
 Cut zz a ii. 
 
 c. s.a. (ca 1550). Alle Scale di Badia. [Mgl.J 
 
 Cuts. Borders of ornaments, cut = Maria per Ravenna 
 (No. 272 a, iii.). 
 
 ^39 
 
d. s.a. (ca 1550-1600). Alle Scale di Badia. [Cors., Triv.J 
 
 A I": LA I RAPPRESENTATIONE | DEL RE SVPERBO. 
 
 Cuts. i. Angel (rude), ii. (179 x 119). S. Margaret, 
 iii. = Novella d. figlia d. mercante (No. 299 iii.). iv. 
 (177 X 121). S. Antony (?) with lily standing on a 
 globe, crowned by a bishop and the Virgin (rude cut). 
 V. (132 X 96). S. Catherine between the wheels, above 
 two angels (late, smooth, hatched cut). 
 
 e. 1554, July. [Poldi.] " d d " of the volume. 
 
 I" : LA I Rapresentatione del Re | Superbo. | Nuouamente Statn- 
 pata. 
 
 Cuts. i. Angel, ii. = a ii. iii. A young knight speak- 
 ing to three monks ■= Pulci's Morgante. iv. Before a 
 man enthroned on the r. a baldheaded man is kneeling, 
 a man on the 1. and two on the sides of the throne 
 (style of Frezzi's ^uadriregio). v. (70 x 103). Two 
 men followed by three soldiers and four pack-horses 
 riding to the r., a man is kneehng on the r. before them 
 (round, smooth cut, in the style of cut 184). 
 / 1584. Giovanni Baleni. [Ambr., Poldi, Triv.] i+of 
 
 the volume. 
 
 Cuts. i. Angel, ii. Two knights disputing before a king 
 (copy of Pulci's Morgante), iii. A queen on horseback 
 with three followers to the r. meeting a king on horse- 
 back with followers, town on the r. 
 g. 1585. Alle Scale di Badia. [Triv.] 
 
 Cut zz: Florindo e Chiarastella (No. 1 54 d, ii. See cut 119). 
 
 Regno infortunato, Storia di quel. [355 
 
 s.a. Fece istampare Francesco di Jacopo della Spera. [Triv.J 
 
 a I": |[ La historia di quel Regno infortunato con sonetti & uno 
 
 Dialogo. 
 Cut (j^ X loi). Battle of knights, in the middle footmen 
 
 fighting, in the foreground two knights (hard style). 
 
 Printer's mark (It. Pr. M., No. 59). 
 
 Respecti d'amore. [356 
 
 s.l.e.a. [Munich.] 
 
 a 1°: Respedli damore. | O Guida di mia alma 7 di mia vita | 
 mantenimeto de mia sensi afflidli | . . . End. c 4' : 4[ Finiti 
 irispedli damore. 
 
 Cut (81 X 100). A young man playing the lute, on the 
 r. a woman standing speaking to a youth, on the 1. a 
 140 
 
youth dancing, another one sitting on the ground beat- 
 ing a tambourine (hard, angular cut ; copy ?). 
 
 RiCEPTARio nuovo. [357 
 
 14985 j3-n- 2.1. per la compagnia del Dragho. Ad instantia 
 delli Signori Chonsoli della uniuersita delli spetiali. (Mark 
 of the printer.) [Mgl., Pal.] 
 Cut (74 X 50). The Virgin enthroned holding the Holy 
 
 Child, two columns with gable (rather weak cut). 
 
 Printer's mark (It. Pr. M., No. 41). 
 
 RiNALDo Mantovano. Historia della invidia. See also 
 
 Gano. [358 
 
 s.l.e.a. (xvi. cent.). 8°. [B. M.] 
 
 A I": Hystoria della inuidia nouame | te composta p maestro 
 Rinaldo Mantuano. End. a 8' : . . . Ma nulla noce a quel 
 che in ciel spera. | finis. 
 
 Cut (88 X 96). Three persons in a garden on the r., and 
 five on the 1. throwing balls (.?). 
 
 S. Rocco, Oratione di. [359 
 
 a. s.l.e.a. (about 1500). 8°. [Munich.] 
 
 i" : C Diuoto priegho di sancSlo Roccho. i*: Ricorro altuo 
 eterno idio | come seruo fedele. End. 4* : . . filium tuum 
 qui I tecum uiuit & regnat &ce. 
 
 Cuts. I. (100 X 71). S. Roch standing a little to the 1., 
 
 his hands folded, a staff in the 1. arm ; on the r. a little 
 
 figure adoring (fine cut of the early grave style), ii. 
 
 (32 X 28). Half-figure of S. James to the 1. iii. (29 
 
 X 30). Half-figure of S. James to the r. 
 
 b. s.l.e.a. (xvi. cent). 8°. [Munich.] 
 
 1" : Oratione di Sandto Roccho. i' : Ricorro il tuo adiuto eterno 
 Idio I como seruo fidel. . . End. 4* : ... Finis. 
 
 Cut. Copy of a i. 
 
 Roma, Stazioni ed indulgenze di. [360 
 
 a. s.l.e.a. [B. M.] 
 
 a 1°: C Iglistrzoni {sic) & perdonaze ch' sono la qresima & lodlaua 
 
 della pasqua | di Resurrexo in Roma che sono a cinquanta- 
 
 quattro chiese. End. a 8* : C Finiti glistazoi Indulgetie & 
 
 relige della iclita & alma cipta di Roma. 
 
 Cut {']i^ X 103). On the 1. the Pope enthroned with 
 
 141 
 
four cardinals, before him a boy kneeling holding a 
 book, on the r. a priest is standing. 
 b. s.l.e.a. [London Mr. Murray.] 
 
 1° : <[ Glistazioni & perdonanze che sono la qresima & lodlaua 
 della pasqua | di Resurrexo in Roma che sono a cinquantaquattro 
 chiese. 
 
 Cut ■=. a. 
 
 Romano, il Savio. [361 
 
 a. s.l.e.a. (ca 1500). [B. M.] 
 
 1°: C El sauio Romano. 2": AL nome sia dibuono incomiciare | 
 di tutte lecose che Ihuo uien afare | intedi figluolo se uuoi im- 
 parare | sapienza. End. 4" : ^[ Finito il sauio Romano. 
 
 Cut (loi X 74). A bearded man with a turban sitting 
 I. to r. before a desk, holding a book under his arm 
 (angular, hard style). 
 
 b. s.a. (Pacini : Printer's mark.) [Triv.] 
 
 a I"": El Sauio Romano. Et | Labici disposta | Et altre cose. 
 End. a 4* : . . . un giorno | questa gratia non uien mai. | 
 
 FINIS. 
 
 Cut ■=.} a. Two marks of the printer. 
 
 c. s.l.e.a. (xvi. cent). [Triv.] 
 
 1° : IL SAVio ROMANO | ET l'a. b. c. DISPOSTA. | Con una bella 
 Canzona . . . Nuouamente Ristampata. End. a 4* : il fine. 
 
 Cuts. 1. =. b. ii. A woman embracing a youth, on the 
 r. a man standing near a table with a candle = Giam- 
 bullari, Costanza e Biagi (No. i^J b). 
 
 d. s.a. (xvi. cent,). [Rice] 
 
 A 1°: PROVERBII MORALI & SENTENTIOSI DEL SAVIO | ROMANO 
 
 ET LABicci Dispo | STA. . . . End. A 4* : 4[ Stampata in 
 Firenze. 
 
 Cut (100 X 75). A young man sitting to 1. at a desk 
 reading (thick, rude copy). 
 
 e. 1558. [Triv.] 
 
 A 1° : El Sauio Romano : | 1 L'abici disposta. | Con vna bella 
 Canzona. . . . Nuouamente Ristampato. 
 
 Cuts. i. m ? a. ii. A young man speaking to a prisoner. 
 {See cut 135.) 
 /. 1572. [Triv.] 
 
 Cuts. i. Copy of a. \\.:=e\i. 
 
 RoMiTo dei Pulcini, Leggenda del. [362 
 
 a. s.l.e.a. [Wolfenbiittel ?] 
 
 142 
 
b. s.l.e.a. [Triv.] 
 
 a I": Legenda diuota del Romito % de pulcini | cauata della vita 
 patrum. End. a 4* : C Finita la hysteria del romi- | to e di 
 pulicini. 
 
 Cut (i07|- X 115). A hermit sitting on the 1. before a 
 house, on the r. a straw roof, a cock and hens (hard and 
 angular style). 
 
 c. s.l.e.a, [Triv.] 
 
 A I": LEGGENDA DIVOTA DEL | ROMITO DE PVLCINI. | Cauata 
 
 della vita de Santi Padri. 
 
 Cut (72 X I05|-). A chair before a door, a woman r. to 
 1. standing in front of it before an old monk, a man on 
 the 1. (hard, rude). 
 
 d. 1572. Jacopo Chiti. [Cors.] " y y y " of the volume. 
 
 I": Legenda diuota del Romito de Pulcini. | Cauata della Vita de 
 Santi Padri. 
 
 Cuts. i. (53 X 80). The hermit sitting on the r. preach- 
 ing to the fowls, ii. A lion carrying away a boy, on 
 the 1. a woman running after it. iii. (60 x 80). The 
 saint, standing before him a lion. (.^^^ cut 191.) iv. 
 Rude copy of cut i. v. (72x75). An angel kneeling 
 1. to r., the hermit with two tablets. (Hard, rude cuts.) 
 
 e. 1602. Afpresso Zanobi Bisticci. [Poldi.] 
 
 Cut (70 X 78). The hermit on the 1. speaking to a devil 
 who is sitting under a table (rude, hard cut). 
 
 f. 1 6 13. Badia. [Cors.] 
 
 A I": LEGGENDA DIVOTA | DEL ROMITO De' PVLCINI, | Cauata. .. . 
 
 Cut. The hermit r. to 1., before him a bird, on the 1. a 
 woman (rude, hard cut). 
 
 S. RoMOALDo, Vita di. (By Petrus Damianus.) [363 
 
 1 5 13, Jan. 20. Philifpo de Giunta. [Maruc, B. M., 
 Mr. Murray, Berlin.] 
 
 l" : BEATISSIMI ROMVALDI | VITA. 
 
 Cut (86 X 105). S. Romualdus with staff and a church, 
 standing ; on the 1. the arms of Pope Leo X., on the r. 
 S. Michael, a chalice with two birds zz S. Alberto, Storia 
 di, 1556 (No. 14^, i.). 
 
 S. RoMOLO, Leggenda di. [364 
 
 s.l.e.a. (xv. cent.). [Mgl.] 
 
 a i" : 4[ Vita di sanfto Romolo primo uescouo di Fiesole elquale fu 
 
 143 
 
discepolo | di sancSo Piero. . . . End. 37*:... chome leg- 
 gendola in- | tenderai. Deo gratias. 
 
 Cut (95 X 115). A saint-bishop enthroned in a niche, 
 giving the benedidion, and holding a staff; on the r. 
 and 1. four saints with palms (early grave style). 
 
 S. RoMOLo, Rappresentazione di. (By Mariano Bella- 
 
 dini.) [365 
 
 a. s.l.e.a. (ca 1500). [Triv., B. M.] 
 
 a 1'': LA Rappresentatione di Sanfto Romolo martyre Vescouo di 
 Fiesole. End. b 4' : C Composta per Mariano Belladini. 
 
 Cuts. i. Border (179 x 125). Christ in sarcophagus be- 
 tween two angels, above sudary 1= S. Barbara, Rappr. 
 di (No. 44«, i.). ii. (113 x 86). S. Romolo, a sword 
 in head and neck, holding the palm in the 1., and the r. 
 on a book which is on a table on the 1. 
 ^- ^559- [Cors., Pal., Rice, Siena, Poldi, Triv.J " a a a " 
 (Pal., Rice, Poldi, " b b b " of the volume). 
 
 I": LA I Rappresentatione di Santo Romolo | Martire, Vescouo 
 di Fiesole. | Nuouamente mandata in luce. 
 
 Cuts. i. Angel (late), ii. (86 x 90). The bishop stand- 
 ing on the 1., before him kneels a demoniac, out of 
 whom is going a devil ; a woman and a youth ; on the 
 1. below the altar the sacristan (in the style of the finest 
 thin-lined cuts), iii. (58 x 76). Baptism near a foun- 
 tain, iv. (70 X 78!^). A monk dying, on the 1. his 
 corpse carried by three monks, v. (70 x 84). A monk 
 preaching, seated, monks sitting round him. vi. Bap- 
 tism of a king and a queen, vii. Three monks kneeling 
 near a tomb (hard and rude cuts), viii. Christ and the 
 Samaritan woman z= Epistole et Evangeli, 1495. 
 
 RoNcisvALLE, La Rotta di. [366 
 
 s.l.e.a. (xvi. cent.). [Triv.] 
 
 A I": LA ROTTA DI RONCISVALLE | DOVE MORI ORLANDO, CON 
 
 TVTTi LI I Paladini. Nuouamente stampata & ricorretta. 
 Cuts. i. A knight with club on horseback to the r. 
 (copy), ii. Two knights disputing before a king r= 
 Pulci's Morgante. iii.-vii. Copies of Pulci's Morgante. 
 viii. A man and a drummer before a fortress, on the 1. 
 a trumpeter (smooth and soft), ix. A knight in a 
 burning town. x. A knight kneeling, r. to I., before an 
 angel on clouds zz: Pulci's Morgante. 
 144 
 
S. RosANA, Rappresentazione di. [367 
 
 a. s.l.e.a. (ca 1500), [Pal., Triv.] 
 
 a I- : <[ i-A RAPRESENTATioNE DI ROSANA. End. b S*" : <[ Finita 
 labella & diuota rapreseta | tione di Rosana. 
 
 Cuts. i. Angel, ii. An oriental speaking before a king 
 ■= ^nXci's Morgante. iii- (75 x 99). Baptism of a king 
 and a queen near fountain, two horses held by a foot- 
 man, iv. =: Barlaam, Rappr. (No. 45 a, vii. See 
 cut 47). V. Battle, a knight with the head of a king 
 =r Pulci's Morgante. vi. :z: Barlaam, Rappr. (No. 45 a, 
 ii.). vii. A man on pediment speaking = Pulci's Mor- 
 gante. viii. (73 x 100). A queen and a lady on the r,, 
 two men on the I. in a garden. {See cut 46.) ix. Women 
 taken from one ship to another, x. Knights on horse- 
 back and soldiers with a banner zz Pulci's Morgante. 
 xi. =: Fior di virtk (hares), xii. Batde of knights zz 
 Pulci's Morgante. xiii. Baptism of two kings. 
 
 b. 1526, Febr. 22. Francesco di Giovanni Benvenuto. 
 [Mgl.] 
 
 I " : La rapresentatione | di Rosana. 
 
 Cuts. i. Border with two busts above and putti on stags 
 
 below (copy of Bradiamonte, No. 70 a, i.), ii. Angel. 
 
 iii. zz a vi. iv. =: « x. v. Copy of iii. vi. ■=. a v. 
 
 vii. =. a viii. viii. Copy of a xi. 
 
 c. 1536, May 20. Fece stampare maestro Francesco di 
 Giouanni Benvenuto. [Triv. (2 copies).] 
 
 Cuts =. b. 
 
 d. 1553, December. [Poldi (" G " of the volume), Triv.J 
 
 I" : LA RAPRESENTATIONE | DI ROSANA. 
 
 Cuts. Angel (late). Same cuts, without No. vi., as in b. 
 
 e. s.l.e.a. [Pal., London Mr. Huth.j 
 
 I": LA I RAPRESENTATIONE | DI ROSANA. 
 
 Cut. Border rr b. 
 
 f. s.a. Alle Scale di Badia. [Poldi, Triv.J ''EEEe"ofthe 
 volume. 
 
 1°: LA I RAPPRESENTATIONE | di Santa Rosana. | Nuouamente 
 Ristampata. 
 
 Cuts. i. Angel, ii. Ornamental borders, iii. z=. Indovi- 
 n'elli (No. 223 a, ii.). iv. A knight beating down 
 another with an axe — Pulci's Morgante. v. = Florindo 
 e Chiarastella, Storia di (No. 154 d, ii. See cut 119). 
 vi. Two kings on horseback meeting each other z= Pulci's 
 145 u 
 
Morgante. vii. ■=. Carnevale, Rappr., s.l.e.a. (No, 85 «, 
 ii. See cut 68). 
 
 g. s.a. Giovanni Baleni. [Berlin K.j 
 
 Cuts. i. Border; above, two angels with monogram of 
 Christ ; below, birds = Kempis, Imitatio, 1494 (227 c, i.). 
 ii. Angel (late), iii. (76 x 98). A young man speaking 
 before a king, sitting on the r. with a man, a page behind 
 him, some persons behind the young man, near to the 
 door (thin-lined style), iv. Copy of Barlaam, Rappr. 
 (No. 45 ^, ii,). V. Battle of knights (late copy), vi. 
 z=.Ignazio, Rappr. di (No. 221 a), vii, (97 x 88). People 
 gathering fruit from a tree .'' (round, soft), viii. Two 
 knights disputing before a king = Pulci's Morganie. 
 
 h. s.a. Heredi di Tosi. [Rice. .''] 
 
 i. 1572. Jacopo Chiti. [Rice, Triv.] 
 
 I": LA I RAPPRESENTATiONE | di Santa Rosana. 
 
 Cuts. i. Border with angels holding two busts and stags 
 below zr Bradiamonte (No, 70 «, i,). ii. Angel (late), 
 iii., iv., vi., vii., viii,, ix. Copies, v. (73x101). Battle 
 of knights on horseback and soldiers (soft, round). 
 k. 1 60 1. Appresso Zanobi Bisticci alia piazza di S. Apol- 
 linari. [Cors.J "4" of the volume. 
 Cuts ■=. g. 
 I. 161 5. Appresso Lorenzo Arnesi. [Rice] 
 m. 161 8. Domenico Giraffi. [Pal. J 
 Cuts. Copies, and one ■=. g vii. 
 
 S. RossoRE, Rappr. di. (By Don Battista di Brunel- 
 leschi.) [368 
 
 a. 1559. [Cors., Pal., Mgl., Poldi, Triv.J «KKk"ofthe 
 volume. 
 
 I": LA I Rappresentatione di San Rossore | martire | Nuoua- 
 mente mandata in luce. 
 
 Cuts. i. Angel, ii. ■=. Paolino, Rappr. (No. 322 a, iv,). 
 iii. Christ healing the lepers ::; Epistole et Evangeli. 
 iv. A saint to the 1. before a prison in which are two 
 prisoners (late, hard cut). 
 
 b. 1589. Giovanni Baleni. [Mgl., Poldi, Triv., Berlin K.] 
 " 2-\-" of the volume. 
 
 Cuts, i. Angel, ii. Copyofaii, 
 Rotta di Roncisvalle. See Roncisvalle. 
 RoTTA di Venezia. See Venezia. 
 
 146 
 
RuiNAGiA, Alexander. [369 
 
 s.l.e.a. [Venice.] 
 
 a i": f[ Ad Leftorem. | C Custodis intaftae laudes celebrare 
 
 diurnas / | OfEcium. . . . Est & Alexander Ruinagia muneris 
 
 au(ftor I . . . End. a 7*: . . . Vltra quod satis et te rapuit 
 furor. I <[ FINIS. 
 
 Ca/ (98 X 71). S. Catherine =: C«/m««,Leggenda, S.l.e.a. 
 (No. 93 a). 
 
 Salomone, Rappresentazione del giudizio di. [370 
 
 a. s.l.e.a. (xv. cent.). [Bodl., Triv.] 
 
 I": <[ LA RAPRESENTATIONE | DI SALAMONE. 
 
 Cuts. I. Angel, ii. Judgment of Solomon =: Epistole et 
 Evangeli, 1495. {See cut 38.) iii. := Fior di virtu, 
 1498 (the mice). {See cut 6.) 
 l>. s.l.e.a. (xvi. cent.). [Pal.] 
 
 a I" : La Rappresentatione | di Salomone. End. 4' : finis. Sala. 
 Cut := a ii. 
 
 c. s.a. Appresso Diacinto Tosi Alle Scale di Badia. [Mgl.] 
 Cuts. Copy of a ii. ; border of ledges with half-figures. 
 
 d. 1554, Jan. [Poldi (" d " of the volume), Triv.] 
 
 Cut. Rude copy of a ii., in border z=. Barbara, Rappr. 
 (No. 44 a, i.). 
 
 e. 1572. Ad instanza di Jacopo Chiti. [Cors. (2 copies). 
 Pal] 
 
 l" : La Rapresentatione del Re Salamone | delle sententie che egli 
 dette I . . . 
 
 Cut =z a ii. 
 /. 1585. Giovanni Baleni. [Ambr., Triv.J "i" of the 
 volume. 
 Cut. Copy of a ii. 
 
 Sansone, Rappresentazione di. (By Alessandro Roselli.) 
 
 [371 
 a. 1554, Dec. [Poldi (" k " of the volume), Triv.] 
 
 i" : LA I Rappresentatione di Sansone. |, Composta per Alessandro 
 Roselli I Nuouamente Ristampata. 
 
 Cuts, i. Angel, ii. (68 x 99). Samson, naked save for 
 a garland round the hips, throwing down the columns 
 (early grave style). iii. =: Piccolomini, Enea Silvio. 
 Lucrezia et Eurialo (No. 330 a, iii.). iv. A youth 
 kneeling before a king = Pulci's Morgante. v. Banquet 
 of kings ; two musicians. (6"^^ cut 50.) vi. A knight 
 147 
 
on horseback sounding a horn, on the r. soldiers and 
 tents (smooth, hatched cut). 
 
 b. 1 57 1. [Siena.] 
 Cuts r^ed. a, 
 
 c. 1588. Giovanni Baleni. [Arabr., Triv.] "2+ "of the 
 volume. 
 
 Cut. Copy (soft and round) of cut a ii. 
 
 d. 1 6 17. per le Rede di Francesco 'Tosi,alle Scale di Badia. 
 [Mgl.] 
 
 Cut zz c. 
 
 Sardini, Simone, Senese. Cerbero invoco. [372 
 
 a. s.l.e.a. (Firenze? Siena.) [B. M.] 
 
 i" : C] Cerbero luoco composto per Simone Sardini uocato Sauiozo. 
 I |[ El cotrario di Cerbero che comicia. Certo Jesu. . . . 
 C[ La dieperata composta da Antonio de Tibaldi ferrarese. End, 
 4* : <[ Finita la disperata. 
 
 Cut (103 X 92). A winged devil with two serpents 
 seizing a naked youth who tries to escape to the r. (fine 
 Sienese cut in large, free style), 
 
 b. s.l.e.a. ? [B. M.] 
 
 I": Cerbero Inuoco coposto p Simone | Sardini senese co el cStrario 
 di Cerbero | Intendo di chiamare la disperata com- | posta da 
 Antonio di tibaldi Ferrarese. 
 
 Cut. Copy (85 X 104) of «. 
 
 c. s.a. Appresso alle Scale di Badia. [Aless,, Venice.] 
 
 i": CERBERO iNvoco | El qual narra . . . Nouamente Ristam- 
 pata, . . . 
 
 Cut ir a. 
 
 Saul e Davide, Rappresentazione di. [373 
 
 a. s.l.e.a. (xv. cent.). [Rice] 
 
 a I": C La rapresentatione della distruftione di Saul & del piato 
 di Dauit. a 8* : Finita la rappresentatione della | battaglia de 
 filistei & della Distru | ftione di saul. 
 
 Cuts. i. Border zz S. Agata, Rappr. di (No. 7 a, i. See 
 cut 29). ii. (99 X 75). Battle, a knight from the 1. 
 against foot soldiers, on the r. a knight with sword, in 
 the foreground fight of soldiers (early finer, more 
 angular style), iii. Angel. 
 
 b. 1547, May. per Zanobi tozi da prato. [Mgl., Pal.] 
 Cut. Border with ornaments and garlands (copy of Roman 
 
 original?); angel. 
 
 148 
 
c. 1559.^ [Cors., Pal., Siena, Poldi, Triv., Berlin K.j 
 " E E e " of the volume. 
 
 A I" : LA I Rapresentatione della distrutione | di Saul : 1 del pianto 
 di Dauit. . . . 
 
 Cuts. i. Angel, ii. Old king with four other kings and 
 youth sitting = Pulci's Morgante. iii. A knight on 
 horseback to the r. sounding the horn, on the r. soldiers 
 (hatched), iv. A betrothal = Piccolomini, Lucrezia et 
 Eurialo (No. 330 a, xi.). v. Battle of four knights on 
 horseback, the horses of those in the foreground are 
 fallen down (fine style), vi. A young man who has 
 killed himself with an arrow =: Boccaccio, Ninfale (No. 
 66). vii. (68 x 47). King David kneeling to the 1., 
 hat with crown and harp on the 1, viii. zz6". Guglielma, 
 Rappr. di, 1554 (No. 217/, vi. See cut 179). ix. A 
 monk and two others condudted to the 1. by warriors, 
 on the r. town (rude, hard cut). 
 
 Savonarola, Girolamo. Tradlato dell' Amore di 
 Gesu. [374 
 
 a. s.l.ca. (xv. cent.). [Berhn K., Dresd.J 
 
 a I" : 4[ Operetta nuoua composta da frate Girola | mo da Ferrara. 
 a 2" : <[ Tradlato dello Amore di Jesu Christo composto da 
 fra I te Hieronymo da Ferrara- . . . End. c 6* : . . . | finis. 
 
 Cuts, i. (102 X 83). Christ on the cross, Mary and 
 S. John, ii. (78 X 68). Christ on the cross, Mary 
 and S. John. (Early grave style.) 
 
 b. s.l.e.a. (xv. cent.). [Vitt. Em., Cors., Berlin K., Stuttg.] 
 
 a I' : C! Operetta nuoua composta da frate | Girolamo da Ferrara. 
 a 2" : C Tra6tato dello amore di Jesu Christo composto da | 
 fra Hyeronimo da Ferrara. . . . End. c 6° : ... in gloria 
 oue glie ito | o gran bonta | <[ Finis. 
 
 Cuts, i., ii. zz a i., ii. iii. {Sg x 50). Christ bearing the 
 cross to the r., Mary and two other persons (early grave 
 style), 
 f. s.l.e.a. (xv. cent.). Hain, 14348*. [Rice, Siena, B. M., 
 
 Stuttg. imperfeft.] 
 
 a I": C Operetta del amore di Jesu composta da | frate Hiero- 
 nymo da Ferrara. a 2° : C Traftato dello amore di Jesu Christo 
 composto da | Frate Hieronymo da Ferrara. . . . End. c 6' : 
 . . . oueglie ito | o gran bonta | finis. 
 
 Cuts. i. (99 X 87). Christ on the cross, Mary and 
 S. John, the Magdalene kneeling .? =. Cavalca, Specchio 
 149 
 
della croce, s.a. (No. 95 a, i.). ii. (59 x 54). Christ 
 on the cross, Mary and S. John (early grave style). 
 
 d. s.l.e.a. (xv. cent.). [Cors., Cas., Stuttg.] 
 
 a I": Operetta del amore di Jesu composto da | frate Hieronimo 
 da Ferrara. a 11°: C Traftato dello Amore di Jesu Christo 
 composto da | Frate Hieronymo da Ferrara. . . . End. c 6' : 
 ... I in gloria oueglie ito | o gran bonta | finis. 
 
 Cuts. \., ii. zzc i., ii. iii. (58 ? x 55). God the Father 
 holding the dead body of Christ. 
 
 e. s.l.e.a. Hain, 14348*. [Maruc, Stuttg. J 
 
 a 1° : C Operetta del Amore di Jesu Composta da ] frate Hiero- 
 nymo da Ferrara. . | .-|-. a 2° : C Traftato dello Amore di Jesu 
 Christo composto da Fra | te Hieronymo da Ferrara. . . . 
 End. c 6': . . . | in gloria oueglie ito | o gran bonta | finis. 
 
 Cuts. \.:=c\. ii. (35 x 27). The Crucifixion, iii. = 
 d iii. 
 /. 1492, June 26. Antonius Miscominus. Hain, 14350. 
 [Stuttg.] 
 
 a 1° : Trac | tato | dello | Amore Di Jesu Christo Composto | da 
 frate Hieronymo da Ferrara del | lordine | de frati | predi- 
 ca I tori. . . . 
 
 Cut ■=. Cavalca, Specchio di croce, 1490 (No. 95 b. See 
 cut 2.) (Without the border.) 
 g. 1519, June. Filippo Giunta. [Paris.] 
 
 Cut. A monk writing in his cell = ? Efist. a tutti gli 
 eletti (No. 379). Reprod. Gruyer, p. 157. 
 h. 1529. Filippo Giunta. [See Renouard.] 
 
 Savonarola, Girolamo. Predica dell' arte del ben 
 morire. [375 
 
 a. s.l.e.a. (xv. cent.) Hain, 14390. [Stuttg., B. M.] 
 
 a I": <[ Predica dellarte del bene morire fafta dal Reueredo 
 padre frate Hieronymo da Ferrara adi ii. di Nouebre 
 M.ccccLxxxxvi. . . . End. c 4*; . . . lavs dec | et | beate 
 
 VIRGINI. 
 
 Cuts. i. Trionfo della morte = Petrarca, Trionfi, 1499, 
 Pacini (No. 328 a, iii.). ii. (135x1 15). Death standing 
 below a young man shows him heaven and hell, o qvasv 
 o qvagiv. iii. (87 x 109). A young man lying on a 
 couch, on the r. a devil, on the 1. a woman and a 
 surgeon, two devils at the sides, three angels flying in 
 the air, Death at the door. iv. (83 x 109), A man in 
 bed, on the 1. three devils, a monk sitting near the bed, 
 behind the bed a woman and a boy, on the r. in front 
 150 
 
two youths kneeling. Death sitting on the bed, above 
 the Virgin in clouds. {See cut iii.) (Good cuts of 
 the hard, angular style.) 
 
 b. s.l.e.a. (xv. cent.). Hain, I439I^ [Stuttg., Berlin K. 
 imperfeft.] 
 
 a I" : <[ Predica del arte del bene morire. a i* : C Predica dell- 
 arte del bene morire / fafta dal Reuerendo Pa | dre Frate Hiero- 
 nymo da Ferrara a di. ii. di No- | uembre. m.cccclxxxxvi. . . . 
 End. c 4" : ... & in ogni pundlo che la tnorte uiene : | Ihuomo 
 sitruoui preparato. | lavs deo. 
 
 Cuts ■=! a (but later impressions). 
 
 c. s.l.e.a. (xv. cent.). Hain, 14391 ? [Cors., Berlin K., 
 Stuttgart.] 
 
 a I": C Predica dellarte del Bene morire. a i': C Predica dell- 
 arte del bene morire fadta dal re- | uerendo padre Frate Hiero- 
 nymo da Ferrara | adi ii. di Nouebre. m.cccclxxxxvi. | . . . 
 End, c 4* : . . . che lamorte uiene Ihuo- | mo si truoui pre- 
 parato. LAVS. I DE I o. 
 
 Cuts. i. Border with two eagles below, {See cut 17.) 
 "• (93 ^ 742^)' Death flying to the r. with scythe and the 
 inscription : egosvm ; below, a king, a pope, a youth and 
 a woman all prostrate (early grave style). {See cut 17.) 
 iii. (153 X 114). Copy of a ii. iv. (105 x 107). 
 Copy of a iii. v. (115 x 117J). Copy of a iv. (It 
 is not certain that these cuts are copies of those of « ; it 
 may be that both have been cut after the same drawing, 
 not one copied from the other.) 
 
 d. s.l.e.a. (xv. cent). [Rice, Maruc, B. M. (2 copies.)] 
 
 a I": C Predica dellarte del Bene morire. a 2°: C in omnibvs 
 operib^ tuis memorare nouissima tua& | • . • End. fol. 18* : . . . 
 & I ogni pun6to che lamorte uiene Ihiio si truoui pparato. | 
 LAVS I DE I o. 
 
 Cuts =:ci.y'\l. . 
 
 Savonarola, Girolamo. Traftato contro gli Astro- 
 loghi. [376 
 
 s.l.e.a. (xv. cent.). Hain, 14378? [Cors., Cas., Rice. 
 (a copies), B. M., Berlin K.] 
 
 a I": C Tradato contra Ii Astrologi. a 3 (a 2)": C Prohemio di 
 frate Hieronymo da Ferrara dellodine de fra | ti predicatori. . . . 
 End. ... I uuol dire / lequale loro fanno aprouare el suo errore. 
 
 Cuts. i. Border with the two eagles below = No. 375 c, i. 
 {See cut 17.) ii. (94 x 75). A monk with book 
 standing on the r. speaking to an astrologer who holds 
 
 151 
 
an astrolabe. (Reprod. Gruyer, Les Illustrations d. les 
 ecrits de Savonarole.) Copy of the group in the copper- 
 engraving, the planet Mercury, attributed to Baccio 
 Baldini. (Bartsch, Peintre-Graveur, xiii., p. 198, 
 No. vii.) 
 
 Savonarola, Girolamo. Operetta sopra i dieci com- 
 mandamenti di Die. [377 
 
 a. s,a. per Lorenzo Morgiani 6f Giouanni di Maganza. 
 Hain, 14442. [Cors., Triv.] 
 
 a 1° : C! Operetta molto diuota Coposta da fra Girolamo da Fer | 
 rara dellordine de frati predicatori sopra edieci comada | menti 
 di dio. . . . End. d 4'. 
 
 Cuts. i. (78 X 1052^). In a chapel before an altar a 
 monk, who is followed by another, hands a book to an 
 abbess kneeling on the 1. with five other nuns (hard 
 style). (See cut 104.) ii. (73 x 100^). A monk 
 standing on the r. speaking to a number of nuns, one 
 of whom is kneeling (early finer style). 
 i. 1495, Oft. 24. Hain, 14443. [Cas., Rice, B. M. 
 
 (2 copies), Stuttg., Berlin, Berlin K.] 
 
 a I" : |[ Operetta molto diuota composta da frate Hieronymo da J 
 Ferrara dellordine de frati predicatori sopra edieci coman ( 
 damenti di Dio : . . . End. d 5*. 
 
 Cuts. i. (97 X 87). In a church a monk on the 1. followed 
 by another speaking to some nuns who are standing on 
 the r. before him zz Cavalca, Specchio di croce, s.a. 
 (No. 95 «, ii. See cut 32.) ii. (98 x 86). Christ on 
 the Cross, Mary, S. John, Magdalena. 
 c. 1508, Oa. 23. [Siena, Stuttgart.] 
 
 Cuts :=!> i. and ii. 
 
 Savonarola, Girolamo. Epistola alia Contessa di 
 Mirandola. [378 
 
 s.l.e.a. [Rice, B. M. (2 copies), Berlin K., Stuttgart] 
 
 a I" : Copia duna epistola laquale manda el uenerabile padre frate 
 Hiero | nymo da Ferrara ... a Madonna Magdale- | na 
 Contessa della mirandola / . . . End. a 4* : . . . Qui est 
 benedi£tus in secula seculorum. Amen. 
 
 Cuts. i. (47 X 57). A monk writing (Venetian cut) 
 between two ledges, ii. := Savonarola, Commandamenti, 
 1495 (No. 377 i, i.). 
 
 152 
 
Savonarola, Girolamo. Epistola a tutti gli eletti di 
 Dio. [379 
 
 s.l.e.a. [Cors.] 
 
 1° : H Epistola di frate Hieronymo da Ferrara dellordi | ne de frati 
 predicatori a tutti glieledi di Dio & fe | deli christiani. End. 
 4* : ... Data i | Safto Marco di Fireze eldi della apparitione 
 di SCO I Michelearchangelo. m.cccclxxxxvii. 
 
 Cut {77 X 98). A monk sitting on the 1. in his cell, 
 writing at a desk with a crucifix, on the r, a cupboard 
 with books and his mantle. (Very good cut of the early 
 finer style). (Reprod. Gruyer, Les Illustr. des ecrits de 
 Savonarole; Pollard, Ital. Book Illustration, p. (i()^ 
 
 Savonarola, Girolamo. Epistola ad un amico. [380 
 
 a. s.l.e.a, [Rice] 
 
 a 1°: C Epistola difrate Hieronymo da Ferrara dellordine | de 
 frati predicatori a uno amico. End. z 6": ... | Gratia domini 
 nostri Jesu Christi cum spiritu tuo. amen. | lavs dec. 
 
 Cuts. i. zz Savonarola, Epistola alia Cont. d. Mirandola 
 (No, 378, i.). ii. ■=. Savonarola, Amore di Gesu (No. 
 374 c, ii.). iii. =: Savonarola, Commandamenti, 1495 
 (No. 377 b, i.). 
 
 b. s.l.e.a. [B. M., Berlin K.] 
 
 a 1°: ^[ Epistola di Frate Hieronymo da Ferrara | dellordine de 
 frati predicatori a uno Amico. End. a 6* : . . , Gratia domini 
 nostri Jesu xpi cu spiritu | tuo. Amen. | lavs dec. 
 
 Cut (6^ X ^6). A monk sitting to the 1. on a desk 
 writing in a hall (hard, angular) zz. Basilius, 1505 
 
 (No. 47). 
 
 c. s.l.e.a. [Maruc] 
 
 a I": C Epistola di Frate Hieronymo da Ferrara | dellordine de 
 frati predicatori a uno Amico. End. a 6* : . . , Gratia domini 
 I nostri Jesu Christi cum spiritu tuo. Amen. | lavs dec. 
 
 Cut = b. 
 
 Savonarola, Girolamo. Operette. [381 
 
 a. s.l.e.a. (xv. cent.). Hain, 14451. [Maruc. imperfeft, 
 Stuttgart.] 
 
 a I" : C Frate Hieronymo da Ferrara seruo iutile di | Jesu Xpo a 
 tutti Ii eleflii di Dio. . . , End. f 4" : . . . per | feftione del 
 ben uiuere. Valete viscera mea. 
 
 Cuts. i. (96 X 891"). A man in a chapel kneeling before 
 a crucifix on altar (early finer style). {See cut 42.) ii. 
 153 X 
 
(98|- X 87). Christ on the cross, on the 1. Mary, on the 
 r. S. John, Magdalena kneeling =z ? Savonarola, Amore 
 di Gesu, s.l.e.a. (No. 374(r, i,), iii. (172 x 106). A 
 ladder on a cross standing on three half-rounds. In- 
 scriptions (hard style). 
 b. s.l.e.a. (xv. cent.). Hain, 14355. [Maruc, Stuttgart, 
 London Mr. Murray.] 
 
 I": C Operette composte dal reuerendo padre frate Hieronymo 
 da- I Ferrara dellordine de frati predicatori. . . , End. 4* : ... 
 il quale e- | benededto in secula seculorum. Amen, lavs 
 DEO. I FINIS. (Different colledlion of works of Savonarola, 
 from a.) 
 
 Cut = Savonarola, Amore di Gesu (No. 374 c, i.) (early 
 impression), 
 
 Savonarola, Girolamo. Sermone dell' orazione. [382 
 
 a. s.l.e.a. (xv. cent.). [Cors.] 
 
 z i" : ^ Tra£tato o uero Sermone della oratione composto da | 
 frate Hieronymo da ferrara. End. b 6" : ... Jesu | benededto 
 in secula seculorum. Amen. | dec gratias. 
 
 Cuts. i. (108 X 86). Christ on the Mount of Olives, an 
 angel from the 1. brings to Christ, kneeling on the r., a 
 chalice (early finer style). ii. (85!- x 107). Christ 
 bearing the cross to the r., precedes a soldier with 
 banner with s.p.q.r. ; Christ scourged ; Mary, S. John, 
 and a knight. 
 
 b. s.l.e.a. (xv. cent.). [Cas., Siena, Berlin K.] 
 
 a 1° : C! Sermone a uero traftato della oratione a. M. A. d. S. | 
 Composto da Frate Hieronymo da Ferrara | dellordine de frati 
 predicatori. End. b 6* : dec | gratias. 
 
 Cuts :=.b \. and ii. 
 
 c. s.l.e.a. (xv, cent.). [Cas., Rice, B, M., Stuttgart.] 
 
 a I": C Tradtato o uero sermone della oratione c5- | posto da 
 frate Hieronimo da ferrara. End. b 6* : ... in Christo Jesu 
 benede£to i secula seculoru. Amen. | dec gratias. 
 
 Cuts. i. (98 X 86). Christ on the Mount of Olives, 
 
 Christ on the 1. to the r., the apostles on the r,, angel 
 
 on the r. (without border), ii. (97 x 87). Christ 
 
 bearing the cross, to the 1. 
 
 ^. s.l.e.a. (xv. cent.). Hain, 14403*. [Cors., Triv., Stuttg.] 
 
 a i" : C] Sermone della oratione a. M. A. d. S. composto da frate I 
 Hieronymo da Ferrara dellordine de frati predicatori, | Pro- 
 hemio. End. b 4* : . . . in Christo Jesu benedefto in secula 
 seculorum. Amen. | dec gratias. 
 
Cut ■=. c \. 
 e. i^^i, Odt. 20. per Antonio Mischomini. Haiti, 14405. 
 [Cas., Rice, Berlin K., Stuttg.] 
 
 a 1°: |[ Tra£lato / o uero Sermone della oratione composto | da 
 frate Hieronymo da ferrara. End. b 8*. 
 
 Cut (100 X 89). Christ on the Mount of Olives, kneel- 
 ing in the middle to the r., where are appearing the 
 arms of an angel with chalice, on the 1. three cypresses, 
 in the foreground the three apostles (early finer style). 
 
 Savonarola, Girolamo. Oratione mentale. [383 
 
 a. s.l.e.a. (xv. cent). Hain, I4404^ [Cas., B. M., Stuttg.] 
 
 a I": fl] Operetta di frate Girolamo da ferrara | della oratione 
 mentale. a 2": CTraftato di Frate Hieronymo da Ferrara. . . . 
 End. b 4" : . . . benededto per infinita secula seculorum. Amen. 
 
 I LAVS DEO. 
 
 Cuts. i. zz Savonarola, Operette, s.l.e.a. (No. 381 a. See 
 cut 42). ii. = Savonarola, Sermone dell' orazione, 
 s.l.e.a. (No, 382 <?, i.). 
 
 b. s.l.e.a. (xv. cent.). [Cas., Berlin K., Paris.] 
 
 a 1°: <[ TraiSato diuoto & tutto spirituale di frate Hierony | mo 
 da Ferrara ... in defen | sione & comendatione delloratione 
 mentale | . . . End. b 4* : . . . benedefto | per infinita secula 
 seculorum : Amen. | lavs dec. 
 
 Cuts. i. (84 X 107). On the 1. a woman, on the r. a 
 man kneeling before an altar with crucifix (hard, angular 
 style). {See cut 107.) ii. {36 x 33^). Half-figure of 
 S. Matthew =r Epistole et Evangeli, 1495. 
 
 Savonarola, Girolamo. L'esposizione del pater noster. 
 
 [384 
 a. s.l.e.a. (xv. cent.), [Cas., Berlin K., Stuttg.] 
 
 a 1°: <[ La expositione Del pater noster Composta per | Frate 
 Girolamo da Ferrara. End. c 8* : . . . composte da frate 
 Hieronymo da Ferrara | dellordine de frati predicatori. 
 
 Cuts. i. = Savonarola, Sermone dell' orazione, s.l.e.a. 
 (No. 382<2, i.). ii. {2)S ^ ^^)- Crucifix to the 1. iii. 
 (35 x 27). Crucifix to the r. iv. S. James writing, 
 V. Half-figure of S. Paul. vi. Half-figure of Jeremiah 
 (iv.-vi, zz. Epistole et Evangeli, 1495). vii. Half-figure 
 of Ezekiel. viii. (68 x 47). King David kneeling to 
 the 1, in landscape, on the r. tree, on the 1, his harp, etc. 
 ix, := Savonarola, Commandamenti, s.l,e.a. (No, 377 
 a, ii.). 
 
 155 
 
b. s.l.e.a. (xv. cent.). Hain, 14445. [Cors., Rice, Siena, 
 B. M. (2 copies), Stuttg.] 
 
 a 1" : |[ La expositione del pater noster compo | sta per frate 
 Girolamo da ferrara. End. c 8* : non porgete leorecchie alle 
 lingue senza spi | rito. | finis. 
 
 Cut zz Savonarola, Serm. d. orazione, s.l.e.a. (No. 382 c,'\.). 
 
 c. s.l.e.a. (xvi. cent.?). [Vitt. Em., Triv., Stuttg.] 
 
 a I": <[ La expositione Del pater noster Composta per ( Frate 
 Girolamo da Ferrara. End. 04*:... Composte da frate 
 Hieronymo da Ferrara | dellordine de frati predicatori. 
 
 Cuts. i. (74 X 102). Christ on the Mount of Olives, on 
 the r. the angel (smooth, round). 11.(31 x 28). Half- 
 figure of Christ, iii. ij,Cj X 27). The Crucifixion, iv. 
 Half-figure of S. Paul ■=. Epistole. v. Half-figure of 
 Hosea =r Epistole. vi. Half-figure of S. Paul with the 
 sword =: Epistole. vii. ^ Savonarola, Command. 
 (No. 377 a, ii.). viii. :zz Savonarola, Command., 1495 
 (No. 377 b, i.). .? 
 
 Savonarola, Girolamo. Predica la mattina della ascen- 
 sione 1497. [385 
 
 s.l.e.a. (ca 1500). Hain, 14398. [Vitt. Em., Cors., Rice, 
 Stuttg., Berlin.] 
 
 a i^: <[ Predica del uenerado. P. Frate | Hieronymo da Ferrara 
 fafta la | mattina della ascensione. 1497. End. aS*: . . . 
 psto aduiuer & regnar c5 lui in se j cula seculoljfe Amen. 
 
 Cuts. i. Border with the two eagles below rz No. 375 
 c,i. {See cut 17.) ii. (46 x 58). Ascension (rude, 
 Venetian ^). 
 
 Savonarola, Girolamo. Esposizione sopra il Psalmo 
 XXX. [386 
 
 s.l.e.a. (xv. cent.). [Vitt. Em., Rice, Venice, Berlin K., 
 Stuttg.] Cf. Hain, 14415-16. 
 
 a 1° : <[ Expositione di Frate Hieronymo da Ferrara | dellordine 
 depredicatori sopra il psalmo .xxx. | In te domine speraui : . . . 
 1498. . . End. 04°: . . . doue uanno ipochi | che del mio 
 core hormai tide lechiaue. 
 
 Cut = .? Savonarola, Amore di Gesu, s.l.e.a. (No. 374 c, i.). 
 
 Savonarola, Girolamo. Esposizione sopra il Psalmo L. 
 (Cf. Hain, 14428.) [387 
 
 s.l.e.a. (xv. cent.). [Vitt. Em., Rice, Stuttg.] 
 
 156 
 
a 1°: ^ Expositione di frate Hieronymo da Ferrara | sopra el 
 psalmo .L. Miserere mei deus : quado | era i prigione. . . . 
 End. c lo": . . . & | il camino deglimpii perira. | Finis. 
 
 Cut = Savonarola, Amore di Gesu, s.l.e.a. (No. 374 c, i.). 
 
 Savonarola, Girolamo. Esposizione sopra il Psalmo 
 LXXIX. [388 
 
 a. s.l.e.a. (xv. cent.). [Vitt. Em., Cors., B. M., Berlin K., 
 Stuttg.] 
 
 a I" : Proetnio di frate Hieronymo da Ferrara dellordine de pdica- 
 tori nel | la expositione del psalmo. lxxix. Tradofto in lingua 
 fiorentina da uno | suo familiare. End. b 6° : . . . frate Giro- 
 lamo I da Ferrara de frati predicatori | amen. 
 
 Cuts. \. m Savonarola, Epistola alia Cont. d. Mirandola, 
 s.l.e.a. (No. 378, i.). \\. -zz Savonarola, Commanda- 
 menti, 1495 (^o- 377 ^> ••)• 
 
 b. 1496 (A. d. 4 Kal. Mai), per Ser Franciscum de Bonac- 
 cursiis impensis Ser Petri Pacini de Piscia. Hain, 14433. 
 [Rice, Berlin.] 
 
 a i' : FRATER HIERONYMVS FERRARIENSIS. | . • . C Incipit ex- 
 
 positio Fratris Hieronymi Fer | rariensis psalmi. lxxviiii. . . . 
 End b 6'- 
 
 Cut^ Savonarola, Expos, d. Pater Noster, s.l.e.a. (No. 
 384 a, viii.). Printer's mark. 
 
 c. 1496, June 8. Hain, 14439. [Cors., Siena, Stuttg.] 
 
 a I" : C DAVID — PROPHE I TA. | C Proemio di frate Hieronymo 
 da Ferrara dellordine de | predicatori nella expositione del 
 psalmo. LXXVIIII. | tradofto in lingua Fioretina da uno suo 
 deuoto I familiare. End. b 8*. 
 
 Cuts. \. -=2 Savonarola, Pater Noster, s.l.e.a. (No. 384 
 a, viii.). ii. (31 x 28). Half- figure of a saint king 
 showing above. 
 
 Savonarola, Girolamo. Regola del ben Vivere. [389 
 s.l.e.a. [Triv., Berlin K., Stuttg.] 
 
 I*: C Regola del ben uiuere | C Tutto il ben uiuere christiano 
 ncede della gra | tia del nostro saluatore. . . . End. 4' : . . . 
 benededlo in secula se- | culorum Amen. Laus deo 1498. 
 
 Cuts. \. = Savonarola, Amore di Gesu, s.l.e.a. (No. 374, 
 c, i.). ii. = Savonarola, Operette, s.l.e.a. (No. 381 a,i.). 
 
Savonarola, Girolamo. Compendio di Revelazione. 
 
 [390 
 
 a. 1495, Aug. 18. per Ser Francesco Bonacursi. Hain, 
 14334. [Mgl., Vitt. Em. (without the engraving).] 
 Copper-engraving (i96|- x 126) : The crown of the 
 
 Virgin. 
 
 b. 1495, Sept. 5. [B. M., Stuttg.J 
 
 a I" : |[ Predica % reuelationi di Frate Hieronimo | da Ferrara. 
 a 2" : <[ COMPENDIO DI REVELATIONE DELLO | inutilc seruo di 
 Jesu Christo. . . . 
 
 Cut ■=. Savonarola, Commandamenti, 1495 (N°- 377 ^5 '•)• 
 
 c. 1495, 5 Non. 06t. Impressit Florcntiae Ser Francescus 
 Bonacorsius. Hain, 14332. [Rice, Maruc, Stuttg.J 
 Copper-engraving r= a. 
 
 d. 1496, April 23. Jd instantia di ser Piero pacini da 
 Pescia. [Cors.] 
 
 a I" : C COMPENDIO DI REVELATIONE DELLO | INVTILE SERVO 
 DI lESV CHRISTO I FRATE HIERONYMO DA FERRA I RA. . . . 
 End. f 8»- 
 
 Cuts. i. (75 X 102). A monk on the r. preaching from 
 a pulpit in a church to many people. {^See cut 105.) 
 ii. (75 X 1 01). A monk followed by four holy women, 
 to whom is speaking the devil in habit of a hermit, iii. 
 (76 X 104). A monk followed by four holy women 
 before the doors of Florence; on the wall five angels, 
 iv. (184 X 125). The crown of Mary, on black ground, 
 similar to the copper-engraving of ^. v. (76 x 102). 
 S. Peter leading a monk who is followed by four holy 
 women to the r, [See cut 106.) (Cuts in the hard 
 style of the Ninfale of Boccaccio.) 
 
 e. 1507, Febr. 28. 4> Ser Antonio Tubini . . . ad instantia 
 di Francesco Cartolaio chiamato el conte. [Siena.] 
 
 Cut = d, and printers' mark (It. Pr. M., No. 59). 
 
 Savonarola, Girolamo, Trattato del sacramento della 
 messa. [oqi 
 
 a. s.l.e.a. (xv. cent.). Hain, 14352. [Cors., Cas,, Stuttg.J 
 i" : Tradato del sacramento & de mysterii della messa & ( Regola 
 
 utile composta da frate Hieronymo da ferrara. End. 4* : lavs 
 
 DEO. 
 
 Cut-=zCavalca, Specchio di Croce, 1490 (No. 95 b. See 
 cut 2). 
 
 b. s.l.e.a. (xv. cent). Hain, 14353. [Siena, B. M., Stuttg.J 
 
 158 
 
a 1° : j[ Traftato del sacramento i demysterii della | messa j 
 regola utile composta da frate Gi- | rolamo da ferrara. End. 
 a 4* : . . . transformarti nel | lo amore diuino. | lavs deo. 
 
 Cut (98 X 87). A priest saying mass in a chapel, on the 
 r. an acolyte, between the pillars two monks, on the 1. 
 monks and people (hard style). 
 c. s.l.e.a. (xv. cent.). Hain, 14354. [Vitt. Em., Cors., 
 Triv., Stuttg.] 
 
 1" : Tra£i:ato del sacramento & de mysterii della messa | & regola 
 utile coposta da frate hieronymo da Ferrara. End. 4' : . . . 
 transformarti nello amore diuino. | lavs deo. 
 
 Cut (108 X 85). A priest saying mass in a chapel, on 
 the r. an acolyte, people on the r. and on the 1. (hard 
 style). (See cut 109.) 
 
 Savonarola, Girolamo. Delia simplicita della vita 
 cristiana. [392 
 
 a. 1496, 5 Kal. Sept. impensis Ser Petri Pacini. Hain, 
 14357- [Rice, Stuttg.] 
 
 a I": C EPISTOLA FRATRIS HIERONYMI | DE FERRARIA ORDINIS 
 PRAE I DICATORVM IN LIBROS DE | SIMPLICITATE CHRI- 
 STIA I NAE VITAE. 
 
 Cut ^ Savonarola, Epistola a tutti gli eletti, s.l.e.a. (No. 
 
 379)- 
 
 b. 1496, 0(5t. 31. per Ser Lorenzo Morgiani Ad instantia 
 
 di Ser Pier Pacini. Hain, 14358. [Cas., Rice, Maruc, 
 B. M. (2 copies), Berlin K., Stuttg.J 
 
 a 1° : LiBRO I Di Frate Hieronymo da Ferrara Della Semplicita | 
 della Vita Christiana Tradoilo | in volgare. End. g 8". 
 
 Cut := Savonarola, Epistola a tutti gli eletti, s.l.e.a. (No. 
 
 379)- 
 
 c. 1529, May. per liheredidi PhilippodiGiunta. [Berlin.] 
 
 A 1° : Libro di Frate Hieronymo da | ferrara della sem- 
 PLici- I ta della Vita Christiana Tra- | dofto in volgare. 
 
 Cut zn Savonarola, Epistola a tutti gli eletti, s.l.e.a. (No. 
 379). Printer's mark (It. Pr. M., No. 43). 
 
 Savonarola, Girolamo. Trionfo della Croce. [393 
 
 1516, April 25. per Jo. Stephano di Carlo da Pauia Ad 
 petitide di. A. [Vitt. Em.] 
 
 a 1° : C I-IBK.0 DI FRATE HiERO- | nymo da Ferrara . . . della 
 uerita della Fe I de Christiana / sopra il glo | rioso Triopho 
 della I croce di Chri | sto. 
 
Cuts. i. Border, with two eagles below = No. 375 c, i. 
 {See c\JLt 17.) ii. (61 x 75). God the Father holding 
 Christ on the Cross ; a glory of cherubs, iii. {c^6 x 40). 
 Christ on the Cross, with Mary and S. John (late smooth 
 cut). 
 
 Savonarola, Girolamo. Trattato dell' umilita. [394 
 
 a. s.l.e.a. (xv. cent.). Hain, 14372. [Vitt. Em. imperfed, 
 Siena, Beriin K., Stuttg,] 
 
 a I" : C Tradtato diuoto & utile della Humilita cotnposto | per frate 
 Hieronymo da Ferrara. a ii" : C Breue & utile traftato di 
 humilita composto dal Re | uerendo padre frate Hieronymo da 
 Ferrara. . . . End. b 4* : ... la pace sia di dio sempre con 
 uoi Amen. | finis. 
 
 Cuts. i. (128 X 87). Border, with, below, sudary between 
 two angels ; above, God the Father with the Holy 
 Spirit, ii. (70 x 48). Half-figure of Christ as Man of 
 Sorrows, iii. (75 x 52). Flagellation of Christ bound 
 on a column, beaten by two men. iv. (78 x 68). Half- 
 figure of Christ as Man of Sorrows ; around Him the 
 instruments of the Passion, and the heads of Peter and 
 the maid-servant (early, finer, and more angular style). 
 
 b. s.l.e.a. (xv. cent.). Hain, 14374. [Cas., Rice, Siena, 
 B. M., Stuttg.] 
 
 a I" : C! TracSato della humilita composto per fra- | te Hieronimo 
 da Ferrara. a 2" : C Breue & utile traftato della Humilita / 
 coposto da fra | te Hieronymo da ferrara. . . . End. a 10*: 
 . . . lapace sia | di dio sempre con uoi. Amen. | finis. 
 
 Cuts. i. (97 X 88). Christ as the Man of Sorrows, 
 standing on an altar in a niche, with a cross in his arm ; 
 blood drops from his hand into a chalice (early hard style), 
 ii- (57 X 55)- God the Father with the dead body of 
 Christ :r Savonarola, Anxore di Gesu, s.l.e.a. (No. 374 d, 
 iii.). 
 
 c. s.l.e.a. (xv. cent.). Hain, 14375. [Vitt. Em., Cors., 
 Berlin, Stuttg.] 
 
 a I" : ([ Breue & utile traftato della Humilita / composto da | frate 
 Hieronymo da Ferrara dellordine delli | predicatori. End. a i o* : 
 . . . non da | te orecchi alle lingue senza spirito. | finis. 
 
 Cuts r= ^ i. and ii. 
 
 d. i^<)i, June 30. per Antonio Mischomini. [Vitt. Em., 
 Rice, London Mr. Murray, Stuttg.] 
 
 160 
 
a I": Tradtato dellhumilita coposto p frate Hieronymo | da 
 Ferrara. a 2" : Breue et utile tra6tato di humilita composto dal 
 I Reuerendo patre / frate Hieronymo da ferrara | . . . 
 
 Cut (141 X 144). Christ before the Cross in sarcophagus, 
 his arms held by two angels (below is cut a piece of the 
 border). {See cut 3.) 
 
 Savonarola, Girolamo. Dialogo della Verita profetica. 
 
 [395 
 s.l.e.a. (xv. cent.). Hain, 14341. [Mgl., Vienna.] 
 
 I": Dyaiogo della uerita prophetica. ai": C dyalogo della 
 
 VERITA PROPHETICA | COMPOSTO IN LINGVA LATINA DAL | 
 
 . . . HIERONYMO DA FERRA | RA. . . . End. g 8* : Sit laus 
 Deo patri / summo Christo decus / | spiritui sanfto / tribus 
 honor unus. 
 
 Cut (171 X 112). A monk sitting under a tree speaking 
 to seven men sitting round him ; above him a dove ; in 
 the background on the r. Florence (early finer style). 
 Reprod. Gruyer, I.e., p. 121. 
 
 Savonarola, Girolamo. Delia Vita viduale. [396 
 
 a. s.l.e.a. (xv. cent.). [Vitt. Em., Cors.J 
 
 a I": C Libro della vita Viduale. a 2°: C Comincia illibro 
 dellavita Viduale composto da fra | te Hieronymo da Ferrara. 
 . . . End. 06": ... padre & spirito sancSo in secula secu- 
 lorum. Amen | Finis. 
 
 Cuts. i. zz Savonarola, Commandamenti, s.l.e.a. (No. 
 377 a, ii.). ii. (89 x 102). Pieta, on the r. three men 
 kneeling, and Mary on the 1. ; two women and a man 
 kneeling by the dead body of Christ (early grave style). 
 
 b. s.l.e.a. (xv. cent.). Hain, 14368. [Cas., Siena, B. M., 
 Stuttg.] 
 
 a i": C Libro della uita uiduale. a 2°: C Comincia ellibro della 
 uita Viduale /coposto da frate | Hieronymo da Ferrara. . . . 
 End. 05*:. . . col padre & spirito sandtoin secula seculo ( rum. 
 Amen, finis. 
 
 Cut zz Savonarola, Commandamenti, 1495 (No, 377 b, i.). 
 
 c. 1496, Nov. 26. -per Ser Lorenzo Morgiani ad instantia 
 di Ser Piero Pacini. Hain, 14370. [Maruc, Berlin K.]. 
 
 a i"; C Comincia illibro della Vita viduale composto | da frate 
 Hieronymo da Ferrara dellordine j de frati predicatori. . . . 
 
 Cuts. i. zz Savonarola, Commandamenti, s.l.e.a. (No. 
 
 377 a> "•)• "• = « »• 
 
 161 Y 
 
ScAPiGLiATo, Grande guerra e rotta dello. [397 
 
 a. s.l.e.a. (xvi. cent). [Triv.j 
 
 I": LA GRANDE | GVERRA, ET ROTTA | DELLO SCAPIGLIATO. 
 
 Cut (72 X i02|-). A knight on horseback with attendant, 
 speaking between two armies of knights (soft, smooth, 
 hasty-done cut). 
 h. 1568. [Triv.] 
 
 l" : LA GRANDE | GVERRA, ET ROTTA | DEL SCAPIGLIATO. 
 
 Cut as in a. 
 
 Semente, Operetta delle. (E Capitoli di Giambullari 
 e Pamfilo Sasso.) [398 
 
 a. 1560. -presso al Vescouado. [B. M.] 
 
 A 1° : OPERETTA | DELLE SEMENTE. | La quale inSCgna . . . CON 
 
 DVA BELLissiMi CAPITOLI | uno di Bernardo Giambullari, laltro 
 di I M. Pamphilo sasso sopra il destino. ( Aggiuntoui. 
 
 Cuts. i. {62 X 91)- A peasant ploughing with two bulls 
 to the 1. ii. (68 X 113). A woman with an arrow 
 standing between a shepherd on the 1. playing the flute 
 and a youth on the r. playing the violin, iii. (177 x 
 1 18). On the 1. a shepherd sitting, two others standing 
 on the r., sheep and goat and dog. iv. A man at table 
 in a room, on the 1, a man speaking to him, on the r. a 
 woman standing (copy). 
 
 b. 1572. Ad istanza di Jacopo Chiti. [Poldi, Triv.j 
 Cuts. i. := a. ii. zr Florindo e Chiarastella^ Storia di, s.a. 
 
 (No. 154^, ii. See cut 119.). 
 
 Seneca, Ammaestramento di. [399 
 
 s.l.e.a. (xvi. cent.). [Triv.] 
 
 i": Amaistramenti De Senecha Morale. Ena.6^: . . . Regina 
 e te: fa tu sol maizi a uolo. | finis. 
 
 Cuts. i. A ledge, part of the border, with Christ between 
 two angels, and sudary between two cherubs, ii. (100 
 X 115). A man in long garment standing on the 1., a 
 young man going to the r.; on the r. a woman bringing on 
 two boys, who seem to resist (hard and angular hatched 
 cut). 
 Serafino Aquilano. See Tebaldeo, Serafino, ed altri. 
 Sernigi, Suora Rafi^aella de. See Mose, Rappres. di. 
 
 162 
 
Sforza, Galeazo, Lamento del Duca. [4°° 
 
 a. 1505, Odt. 24. Bernardo Zucchetta Ad istanza di Pier 
 Pacini da Pescia. [Triv.] 
 
 I": Questo e / il Lamento del Duca Galeazo Duca di Milano 
 quando fu | morto in san6i:o Stephano da Giouanandrea da ram- 
 pognano. 
 
 Cut (84 X 1 10). Murder of the duke and his followers. 
 {See cut 63.) 
 
 b. 1568. [Triv.] 
 
 1° : LAMENTO DEL DVCA | GALEAZO MARIA, DVCA | DI MI- 
 LANO. I . . . 
 
 Cut. Copy of a (soft and hard) , 
 
 Socci Peretano. Historia di Giuditta. [401 
 
 1583. Giovanni Baleni. [B. M.] 
 
 I' : La Istoria di Givdetta Ebrea | composta in ottava rima per il 
 Soci Peretano. 
 
 Cut. Border (161 x 106). Below, two angels with 
 shield ; above, ornaments with knots, and with sun in 
 circle (=r Agnese, Rappr., No. 8 a, i.). 
 
 Socci Peretano. Rime et Ottave. [402 
 
 s.l.e.a. A. I. del Socio Peretano. [B. M.] 
 
 1' : Rime et Ottave del Socio Peretano dvn vecchio inamorato. 
 Cut=z Novella dellafiglia del mercante, s.l.e.a. (No. 299, iii. 
 See cut 168). 
 SoNETTi della morte. See Morte. 
 Spano. See Pietro Spano. 
 
 Spirito Santo, Rappresentazione dello. [403 
 
 a. s.l.e.a. (xv. cent.). [Rice, Triv., Bodl.J 
 
 1": fli Lafesta del miracolo dello spirito sandto. 2°: C Questa e 
 la rapresentatione del mira | coIo dello spirito sanfto. | . . . 
 End. 4* : Finita la rapresentatione del mira | colo dello | spirito 
 sandlo. 
 
 Cuts. i. Border = S. Agata, Rappr. di (No. 7 a, i. See 
 cut 29.). ii. (99 X 75). Whitsuntide (early finer style), 
 iii. Angel. 
 l>. 1554, Jan. [Cors., Mgl., Poldi (" L" of the volume), 
 
 Triv.] 
 
 I*: LA I Rapresentatione z festa | dello Spirito Santo. 
 
 Cuts. i. (91 X 62)- The descent of the Holy Spirit 
 
 163 
 
(hatched, weak cut), ii. Border, with Christ in sarco- 
 phagus between two angels below; sudary above, iii. 
 Angel, iv. Visitation (rude copy oi Efistole et Evangeli, 
 1495). V. Youth going to the 1. with two men rr 
 Frezzi's ^uadriregio. 
 ^- ^5S9- [Triv., Siena.] 
 
 I" : LA I Rappresentatione del Spirito Santo. | Di nuovo Ristam- 
 pata. 
 
 Cuts. i. Angel (late), ii. Descent of the Holy Spirit 
 (style of Epistok). iii. Christ, with S. Peter and S. 
 John. iv. Adoration of the kings, v. An angel appear- 
 ing to a saint sitting on the r. iii.-v. ■=. Epistok et 
 Evangeli, 1495. 
 d. 1595. [Triv.] 
 
 I": LA I RAPPRESENTATIONE | DEL SPIRITO | SANTO. 
 
 Cuts. I. Angel ; borders of petit-fers. ii. (83 x 106). 
 On the 1. a hill, on which pilgrims are kneeling, pointing 
 to a city on the r. (hard, angular style of the Ninfale). 
 iii. Christ and the two disciples on the road to Emmaus ; 
 iv. Christ among the Pharisees, both rz: Epistok et 
 Evangeli, i495- 
 
 Stefano, Historia di. [404 
 
 a. 1557, March. [Wolfenbiittel.] .? 
 See Milchsack & d'Ancona. 
 
 Two cuts. 
 
 b. 1576. Ad istanza di Giovanni Vuolfio Ingkse. [Cors., 
 Pal., Triv.] « H h h h " of the volume. 
 
 I" : La Historia e oratione di Santo | Stefano Protomartire. . . . 
 
 Cut (136 X 95). S. Stephen standing in landscape, co 
 
 GRAziA. Monogr. la. (rough, hatched, smooth cut, in 
 
 the Venetian style). See Introd., p. xl. 
 
 Stella, Rappresentazione di. [405 
 
 a. s.l.e.a. [Bodl.] 
 
 I" : ([ LA RAPRESENTATIONE DIVOTA DI | STELLA CIOE VN MIRA- 
 COLO DI NO I STRA DONNA. 
 
 Cuts. I. Angel, ii. Queen and lady on the r., and two 
 men on the 1. in a garden ziz Rosana, Rappr. di (No. 
 367 a, viii. See cut 46.). iii. In a forest, a woman 
 kneeling before a block, and held by a man ; another 
 man about to cut off her hands, iv. On the 1. two men 
 164 
 
playing, on the r. two fighting, one lying on the ground. 
 V. A saint woman, without hands, before a man in 
 forest, who is followed by a hunting company, vi. A 
 saint burnt ; on the 1. the judge ; on the r. two men 
 feeding the fire. 
 
 b. s.l.e.a. (xvi. cent., beginning). [Pal.] 
 
 a I" : t[ LA RAPRESENTATIONE DIVOTA DI | STELLA : GIGE VN 
 MIRACOLO DI I NOSTRA DONNA. 
 
 Cuts =: a? 
 
 c. s.a. Ad instantia di maestro Francesco di Giovanni Ben- 
 venuto. [Cors.J 
 
 a 1° : C RAPPRESENTATIONE DEVOTA DI | STELLA : CIOE VNO 
 MIRACOLO I DI NOSTRA DONNA. End. b 4*. 
 
 Cuts. i. Angel (copy), ii., iii., iv., v. Copies of a ii., 
 iii., iv., V. 
 
 d. 1 5 16, July 23. Francesco di Giovanni Benvenuto. [Mgl.] 
 
 I" : <[ RAPPRESENTATIONE DEVOTA DI | STELLA : CIOE VNO 
 MIRACOLO I DI NOSTRA DONNA. 
 
 Cuts rz C. 
 
 e. iS37-> March 13. Jd Istanza di Francesco di Giovanni 
 Benvenuto. [Pal.] 
 
 I": C! LA DEVOTA RAPPRESENTATIONE DI | STELLA: CIOE VNO 
 MIRACOLO DI I NOSTRA DONNA ( . 
 
 Cuts =: C. 
 
 f. S.l.e.a. (xvi. cent.). [Mgl., Pal., Triv. ?, B. M., Midhurst 
 Mr. Fisher.] 
 
 I": La Rappresentatione di Stella | Nuoiiomente ristampata. 
 
 Cuts, i.-vi. := « i., ii., v., iii.,vi. vii. A queen sitting on 
 the r. speaking to five women = Pulci's Morgante. viii. 
 A young man conduced by others to a kneeling woman, 
 ix. Banquet (copy). 
 
 g. s.l.e.a. (ca 1550). [Mgl.] 
 
 1° : LA RAPPRESENTAZIONE | DI STELLA. End. B 4* : IL FINE. 
 
 Cuts. i. Angel, ii. Betrothal of a king and queen =: 
 Pulci's Morgante. iii. ■=. a iii. iv. Stella kneeling, 
 showing to the saints in heaven the stumps of her arms ; 
 on the 1. two children. w.^=.a ii. 
 h. s.a.. . Badia. [Poldi, Triv.]. 
 
 I": LA RAPPRESENTATIONE | DI STELLA | Nuouamente ristam- 
 pata. 
 
 Cuts =: g. 
 i- 1554- [PoWi (" N" of the volume), Triv.] 
 
 165 
 
I' : LA I Rapresentatione di Stella : | Nuouamente Ristampata. 
 Cuts. i. Angel, ii. zr ? « ii. iii. On the 1. a young man 
 entering a large room, two women speaking to him ; on 
 the r. some other persons (rude, hard, hatched cut), iv. 
 zz ? « iii. y.zz.} a iv. vi. zz:} av. vii. A king stand- 
 ing ; on the 1. a young king, with others ; on the r. a 
 knight with sword, and other people (finest thin-lined 
 style), viii. Before an oriental, enthroned on the r., a 
 man kneeling, receiving a letter ; on the 1. a man with 
 lance (copy? soft, round style), ix. Battle of two knights 
 in a courtyard zz Pulci's Morgante. x. Banquet, with 
 two musicians on the r. iz: Pulci's Morgante. xi. zi .'' 
 a vi. 
 i^. 1588. Giovanni Baleni. [Poldi, Triv.] "3" of the 
 volume. 
 Cuts :=. g. 
 I. 1597. Giovanni Baleni. [Triv.J " 3 " of the volume. 
 
 Cuts zz g. 
 m. 1599. Appresso Francesco Tosi, alia Badia. [Rice] 
 
 Rude copies. 
 n. 16 1 5. Lorenzo Arnesi. [Rice. J 
 0. 1622. Domenico Giraffi. [Pal.] 
 
 Stella e Mattabruna, Storia di. [406 
 
 a. s.l.e.a. (xvi. cent.). [Triv.] 
 
 a I" : La hystoria della Regina Stella 7 de | Mattabruna. End. 
 a 4* : FINIS. 
 
 Cut (113 X liol"). On the r. a young man going to the 
 1. to a river, bearing four little children in his arms ; on 
 the other side of the river, a hermit finding the children ; 
 on the 1. the hermit bearing them away ; in the back- 
 ground, an angel showing him a stag (hard, mannered, 
 angular, thin-lined cut. See cut 193). 
 
 b. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1°: La hystoria della Regina Stella | Et de Mattabruna. 
 Cut ■=. a. 
 
 c. s.l.e.a. (xvi. cent.). [B. M.] 
 
 a I": Historia Delia Regina Stella Et | Mattabruna. | O Glorificata 
 uergine Maria | ch' in qsto modo portasti dolore ( . . . 
 
 Cut {116 X 122). Copy of a (hard and angular). 
 Stephanus. See Stefano. 
 Storia del Becco a I'ocche. See Becco. 
 Storia della Bianca e Bruna. See Bianca. 
 
 166 
 
Strambotti di diversi. [407 
 
 a. s.l.e.a. (xvi. cent.). [Triv.] 
 
 I" : STRAMBOTTI | COMPOSTI NOVAMENTE DA | DIVERSI AVTTORI 
 
 CHE soNO I In proposito di ciaschuno che e ferito | d'Amore. 
 Cut (107 X 185). Minerva on the 1. threatening with a 
 lance a young man on the r., kneeling on the ground, 
 above whom is flying Amor (rude copy ? in the smooth, 
 hatched Venetian style). 
 
 b. 1 5 19. 8°. [Cors.] 
 
 Cut =. Medici, Lorenzo di, Selve d'amore, s.a. (Zucchetta). 
 (No. 281 a. See cut 187.) 
 
 SupERBiA, Trattato della. (By Giambullari ?) [408 
 
 a. s.l.e.a, (beginning of the xvi. cent.). [Mgl.J 
 
 a 1° : |[ Tradlato della Superbia & della morte di Senso. End. 
 a 4* : . . . amando Dio & le cose diuine. 
 
 Cut (73 X 100). Death running down from a carriage to 
 the 1. ; on the 1. a young man with a horse. Signed, 
 " z D B." (Smooth, soft, hasty-done cut.) 
 i>. s.l.e.a. (xvi. cent.). [Triv.] 
 
 I " : Trattato della Superbia 1 Morte | di Senso. 
 
 Cut. Rude, reversed copy of a, signed " a a s." 
 
 c. s.l.e.a. (xvi. cent.). [Mgl., Triv.] 
 
 A I" : Tra£bto della Superbia : % Morte | di Senso. 
 
 Cut. Rude, reversed copy of a. 
 
 d. s.a. ^lle Scale di Badia. [Triv.J 
 
 I": Trattato della Superbia, & Morte di Senso. 
 
 Cut. Copy of a. 
 <f. 1558. Al Vescovado. [B. M,] 
 
 A I": Trattato della Superbia % Morte | di Senso. 
 
 Cut = ? c. 
 f. 1575, S.I. [Triv.J 
 
 1°: Trattato della Superbia % Morte | di Senso. 
 Cut. Copy of a. 
 
 Susanna, Storia et festa. [408 bis 
 
 s.l.e.a. [Triv., B. M.J 
 
 I': La Hysteria Et Festa Di Susanna. || CHi sidi lefta nuoue cose 
 udif I stia collamte almie glar ateto. . . . End. 4* : Finita la 
 Hystoria di Susanna | & Daniello. 
 
 Cut (iio|^ X 115). On the r. the two elders speaking 
 
 167 
 
together; on the 1. Susanna in her shift, going to a 
 pond ; on the 1. house and mountains (soft style). 
 
 Susanna, Rappresentazione di. [409 
 
 a. s.le.a. (xvi. cent., beginning), [Pal. j 
 
 a 1° : C LA RAPRESENTATIONE DI SVSANNA. End, a 4* : . . . | 
 
 non per pigritia : ne per mia fallanza. | finis. 
 Cut (69 X 104). A judge enthroned in the middle; on 
 the r. a child speaking ; three men on the r., on the 1. 
 two warriors and a man (smooth, round style). 
 
 h. s.a. Giovanni Baleni. [Triv.] 
 
 Cut. An oriental speaking before a king =. ? Pulci's 
 Morgante. 
 
 c. 1543. Giovanni di Francesco Benvenuto Cartolaio. [Triv.J 
 I" : La Historia di Susanna moglie di Giouacchi- | no. .... 
 
 Cut (73 X 105). Child enthroned; on the r, and 1. some 
 men (copy (?) of Epistole et Evangeli). 
 
 d. 1553, Dec. [Mgl., Poldi.] " F " of the volume. 
 
 A 1°: La Rapresentatione 1 Istoria di | Susanna. Di nuouo 
 Ristampata. 
 
 Cut ■=. c. 
 
 e. 1572. Jacopo Chiti. [Triv.J 
 Cut z^ c. 
 
 f. 1600. {Orvieto per il Colaldi.) [Ricc.J 
 
 Cut (6^ X 84). Susanna near the fountain (late, smooth 
 cut). 
 
 g. 1 60 1. Zanobi di Bisticci. [Triv,] 
 
 Cut. Copy of Stella, Rappres, di (No. 405 a, ii,). 
 
 Tebaldeo da Ferrara, Epistola, [410 
 
 s.l.e.a, [Munich,] 
 
 I": Epistola del Tibaldeo de ferrara | che finge chel habbia fafta 
 una dona e madata a lui | E capitulo medesimamete damore 
 asdruzelo bellissi | mo. £ canzona di patientia. . . . End. 
 10*: ... I che dio vi faza star in pianto e in pena | Finis. 
 
 Cut (90 X 92). On the r. a ship, in which a young man is 
 embracing a lady ; on the 1, a ship with two women, and 
 a third ship ; in the background a town " -j- pisa + " 
 (rude cut, Florentine ^). 
 
 Tebaldeo da Ferrara, Serafino Aquilano, ed altri ? [411 
 a. s.l.e.a. [Cas.] 
 
 168 
 
a I" : 4[ Esepte dolori che da lamore |[ Lesepte allegreze dello 
 amore | C Lacanzonadellamicitia |[ Lacanzonasopralaingrati- 
 tudine I <[ La Epistola del Tibaldeo ^ Capitoli isdruzoli 
 C Cazone del tibaldeo C Lassa farmi |[ Canzona del Seraphino. 
 End. d 4* : . . . | hor su con lemascella ognun saiuti | finis. 
 
 Cut (loi^ X 103^). A woman on the 1. shooting an 
 arrow against Amor, who is flying with a torch above a 
 youth sitting bound to a tree (see cut 171) = ? Pulci, 
 Luca, Driadeo d'amore, s.l.e.a. (No. 341 a), 
 b. s.l.e.a. [Munich.] 
 
 A 1°: Li sette dolori dello amore | Le sette allegreze dello amore 
 I La canzona dellamicitia | La canzona di lassa far ami | La 
 epistola del Tibaldeo cioe | Non aspetto giamai con tal disio | 
 . . . End. A 4* : | & che suo furor mi trapo dale (?) | finis. 
 
 Cut (87 X 126). A woman coming from the 1. holding a 
 sword and seizing by the shoulder a young man who is 
 sitting bound to a tree; she is wounded by an arrow 
 which has been sent by Amor flying on the 1. above in 
 clouds. A ribbon with chi pvo non vvol chi vvole 
 NON pvo. (Fine drawing, cut hard and angular. See 
 cut 178.) 
 
 Tebaldeo da Ferrara ? La disperata, nuda terra, etc. 
 
 [412 
 
 s.l.e.a. [Paris.] 
 
 a I": LA disperata | sventvrato pelegrino | litera damore. 
 1 soNETTi. a I*: La Disperata. | LA nuda terra sa gia misso 
 el mato | tenero uerde. . . . 
 
 Cut = ? 1'eiaUeo, Serafino ed altri. I sette dolori . . . 
 (No. 4111^). 
 
 See also Pellegrino sventurato. 
 
 Tebaldeo da Ferrara. La disperata nuda terra. [413 
 s.l.e.a. (xvi. cent). [B. M.] 
 
 i": La disperata o vero nuda terra | LA nuda terra sa gia messo il 
 mato I tenero & uerde & ogni cor sallegra. . . . End. 2* : 
 Finita la disperata. 
 
 Cut (87 X 105) surrounded by four ledges. A man 
 speaking to Cerberus, who is lying on the 1. before a 
 cavern, on the r. two trees, 
 
 S. Teodora, Rappresentazione di. [414 
 
 a. s.l.e.a. (ca 1550). [Mgl., Triv.] 
 
 169 z 
 
I": LA I RAPPRESENTAZIONE ( DI SANTA TEODORA | VERGINE 
 
 ET MARTiRE. | Nuouamente Ristampata. 
 Cuts. i. =: S. Venanzio, Rappr. di (Castellani), s.a., Tubini 
 and Ghirlandis (No. 425 b, ii. See cut 188), later 
 impression than that in ed. 1539 (No. 425 f). ii, iz 
 Stella, Rappr. di (No. 405 a, ii.). 
 
 b. s.l.e.a. (ca 1550). [Cors. (2 copies), Mgl.] 
 
 1°: LA I RAPPRESENTATIONE | DI SANTA TEODORA | VERGINE 
 
 ET MARTIRE | Nuouamente Ristampata. 
 
 Cuts zn a. 
 
 c. s.a. Alle Scale di Badia. [Rice] " f 2 " of the volume. 
 Cut. Sick folk coming before the virgin (late, smooth), 
 
 with border. 
 
 d. 1554, April. [Poldi ("V" of the volume), Midhurst 
 
 Mr. Fisher.] 
 Cuts. i. = S. Cecilia, Rappr. di (No. 98 a, ii.) (without 
 inscription), ii. A young man speaking to a chained 
 youth = Pulci's Morgante. iii. A lady at the window 
 of the cell of a hermit on the 1., on the r. a woman 
 kneeling on the bed of a hermit, the devil fleeing (hard, 
 rude cut), iv. zr Novella d. figlia d. mercante (No. 
 299, iii.). v. A youth entering from the 1. into a room 
 in which is standing a woman (hard, rude cut), vi., 
 vii. zz: Fior di virtii (phoenix and mice). viii. zz 
 Cristina, Rappr. di, 1555 (No. 115 ^, vi. See cut 181). 
 ix. (41 X 52). Some persons near the dead body of a 
 saint ; cremation of a dead body. 
 
 e. 1564. [B. M.] ? 
 
 /. 1570. Ad istanza di Car lino Saltamachite. Appr. le 
 
 Scale di Badia. [Mgl., Triv.] 
 
 Cuts := d. 
 g. 1570. [Mgl.] 
 
 Cuts. i. = d. ii. ir Pulci's Morgante. 
 h. 1585. [B. M.].? 
 i. 1590. Giovanni Baleni. [Poldi.J " i +" of the volume. 
 
 Cut. Copy of a i. 
 k. 1595. [B. M.]? 
 /. 1600. [B. M.].? 
 
 Teofilo, Rappresentazione di. [41^ 
 
 a. s.l.e.a. (ca 1500). [Cors.J 
 
 a 1° : ([La rapresentatione di Teofilo che sidette aldiauolo. a i" : 
 <[ Comincia lafesta di Theofilo & pri- | ma uno angilo annuntia 
 & dice I . . . End. a 6" : C Finita lafesta di Teofilo. 
 170 
 
Cuts. I. Angel, ii. (76 x 102). The devil on the 1. 
 holding a paper tries to get the kneeling S. Theophile, 
 who is protedied by the Virgin (early, finer style). 
 b. s.I.e.a. [Mgl.] 
 
 a I": Rapresentatione di Teophilo | che sidedle al diauolo. End. 
 
 a 6'' : C Finito la Festa di Theofilo. 
 Cuts ^ a\. and ii. 
 
 Ternali contemplativi. [416 
 
 s.a. ad petitione di. M. Francescho Benuenuto. [B, M.J 
 
 a I": C Ternali coteplatiui & morali co sonedli a Dio : a nostra 
 dona : & a safti : el | credo : el pater noster : . . . 
 
 Cuts. i. Border with two eagles below. (No. 375 f, i. 
 Cut 17.) ii. (91 X 62). Annunciation, the angel 
 kneeling on the 1., on the 1. above God the Father 
 (hatched, Venetian xut). iii. {^S'k ^ 5^)- ^°'^ *^^ 
 Father with the dead body of Christ. 
 
 Thebaldeo. See Tebaldeo. 
 
 Theodora. See Teodora. 
 
 Thomas. See S. Tommaso. 
 
 Thortus, Caesar Esculanus. [4^7 
 
 s.a. [Pietro Pacini : printer's marks.) [Triv.J 
 
 a I": C! CAESAR THORTVs ESCVLANVS | Philosophi^ ac Medicin^ 
 Scolaris Illu- | strissimo Domino. D.Andree Ma | theoMarchioni 
 Betontino ac | Regio Senescalcho Dignis- | simo. s. d. 
 
 Cuts. Border of four ledges of ornaments with shields 
 below (200 X 130); two little printer's marks of 
 Pacini. 
 
 ToLosANUS, Joannes Maria de Colle. Compendio di 
 sfera. [4 1 8 
 
 s.a. per Bernardo Zucchetta Astanza di Ser Lorenzo da 
 Fighine. [Triv.] 
 
 A 1°: C Compendio di Sphera et | machina del mondo | nvova- 
 mente | composto. A i*: C Fpistola F. Joannis Mariae Tolosani 
 de Colle I Ordinis pd . . . de | sua sphera. . . . 
 
 Cuts. i. Border of four ledges, ii. Sphere, iii. (185 
 X 125). Nine signs of celestial bodies, iv. (148 x 
 1141"). Twelve signs of the zodiac, v. (116 x 112). 
 Six signs of " Celeste imagines," and other mathematical 
 figures (smooth and soft cuts). 
 
 171 
 
S. ToMMASo, Rappresentazione di. (By Castellano 
 Castellani.) [419 
 
 a. s.l.e.a. (beginning of xvi. cent, 1509?). [Cors., Mgl.] 
 
 a 1°: |[ RAPPRESENTATiONE Di San Thomaso Apostolo | Com- 
 posta per messer Castellano Castellani / recitata | in Prato adi. 
 12. et 13. dagosto. m.d.viiii. End. b 4* : finis. 
 
 Cut (70 X 102). A priest standing behind a fountain 
 
 baptizes a knight who is kneeling on the 1., on the r. a 
 
 youth kneeling, on the r. and on the 1. two men (round, 
 
 smooth cut ; copy). 
 
 ^. 1554, July. [Poldi, Triv., B. M.] " f f" of the volume. 
 
 (Poldi, B. M.) 
 
 l" : LA I Rapresentatione di Santo | Tomaso Apostolo. | composta 
 per M. Castellano Castellani. | Nuouamente Ristampata. 
 
 Cuts. I. Angel, ii. S. Thomas feeling the wound or 
 Christ zr Epistole et Evangeli. iii. (77 x 103). A 
 young king sitting on the bed of a woman (hard, 
 angular style of the Ninfale). 'w.-nza. v. A man 
 kneeling before an oriental king enthroned on the r., on 
 the 1. three men at table (smooth and round style of the 
 ^adriregio). vi. Two men, one in long garment, the 
 other a youth in a short coat, in conversation near a 
 town on the r., ship on the 1. (hard, angular style of the 
 Ninfale). vii. Baptizing of a king and a queen, 
 c. 1 561. Paghol Bigio, appresso la Badia. [Pal., Siena.] 
 
 I": Rapresentatione di S. Tomaso apostolo, | Composta per M. 
 Castellano | Castellani | Nuouamente Ristampata. 
 
 Cuts. i. Angel (late), ii. := 1^ ii. iii. Copy of ^ v. iv. 
 = b iii. V. Copy of a (original of the copy in a ?). 
 vi. On the 1. a youth receiving a letter from a king, 
 which he is handing on the r. to the Pope (smooth, 
 round). 
 Tortus. See Thortus. 
 
 TuRco. La guerra del Turco contro a Rhodi, [420 
 s.l.e.a. (beginning of xvi. cent.). [B. M.] 
 
 r : C Laguerra del Turco contro a Rhodi | SEmp sia laude ate 
 signo & gl'ia | ch' no hai riguardato. . . . End. 4* : . . . che 
 a Rhodi hadonato lauiftoria | C Finis. 
 
 Cut (87 X 114). A town surrounded by the sea, two ships 
 on the sea, one in the harbour, in the city a gallows 
 (thick cut of xvi. cent.). 
 
 172 
 
Uberto e Filomena, Storia di. [421 
 
 a. s.l.e.a. (xv. cent.). Cfr. Hain, 15907. [Erlangen.J 
 
 1": Vberto & Philomena Trafta damore. i*: Incomincia una 
 nobilissima operet | ta defta Philomena. End. Finite Vberto 
 & Philomena & Al | ba che trafta damore. (Varnhagen, p. 56.) 
 
 Cuts. i. Border with the putti on pigs below, and dog 
 hunting a hare above, ii. (103 x 83). A girl standing 
 on the r. oiFering a flower to a young man (fine cut in 
 the early grave style). {See cut 13.) 
 
 b. s.l.e.a. (beginning of xvi. cent.). [London Mr. Huth.] 
 
 1°: Opereta nobilissima damor : laqual trafta de Uberto e Philo- 
 mena : e poi de la morte de esso Uberto : de Alba figlia del ducha 
 di Borgogna. 
 
 Cut (113 X 114). A young man bringing a plate with a 
 head to a woman, on the r. nuns, a wall and three trees 
 behind it. 
 Uliva. See Oliva. 
 S. Ursula. See Orsola. 
 
 S. Valentino e S. Giuliana, Storia e Rappresenta- 
 zione. [422 
 
 a. s.a. (beginning of xvi. cent.). Stampata nella inclita 
 Monarchia di citta Rossa. [Pal.] 
 
 I": Storia t Rapresentatione di sandto Vale- | tino % di San£b 
 Juliana nella quale. . . . End. b 4*: finita la storia e 
 RAPPRESENTA | tione di sanfto Valentino . . . Monar | chia | 
 di citta Rossa. 
 
 Cuts. i. A bishop and a man disputing before an emperor 
 = Pulci's Morgante. ii. = Margherita, Rappr. (No. 
 261 a, vi.). 
 
 b. 1554, IVIay. [Mgl, Poldi, Triv., Midhurst Mr. Fisher. J 
 " B B " of the volume. 
 
 I" : LA I Rapresentatione di | Santo Valentino, e di Santa | 
 Giuliana, e altri | Martiri. | Nuovamente Stampata. 
 
 Cuts. i. Border with serpents with human heads in 
 Venetian style, ii. Angel, iii. — .'' Barlaam e Josafat 
 (No. 45 fl, vi.). iv. (55 X 79). A saint kneeling to the 
 1. beheaded, a knight on the r. putting his sword in the 
 scabbard (hard, rude), v. (55 x 79). Mutilation of a 
 saint's breasts (hard, rude), vi. A female saint at the 
 window of a prison in which there are two men. vii. 
 :r Agata, Rappr. di, s a. Pacini (No. 7 b, iii.). viii. r= 
 Catei-ina, Rappr. di, s.l.e.a. (No. 94 a, iv.). 
 173 
 
c. 1568. [Mgl., Pal., Triv., Berlin K.] 
 Cuts =: b. 
 
 Valla, Nicolaus. Seraphica sylva. [423 
 
 1498, 17 Kal. Jul. Hain, 15832*. [?] 
 
 Vecchiezza, Frottola della. [4^4 
 
 s.a. 8°. [Aless.J 
 
 A I" : FROTTOLA | Delia Vecchiezza. | Recitata Da vn Vecchio 
 Sanese, di eta | di circa. 86. Anni Nuouamente | Ristampata. 
 
 Cut (59 X 52). A man sitting to the r. at a desk and 
 taking a book from above it (hard, rude cut). 
 
 S. Venanzio, Rappresentazione di. (By Castellano, 
 
 Castellani .?) [425 
 
 a. s.a. (beginning of the xvi. cent.). {Pietro Pacini : printer's 
 
 mark.) [Rice] 
 
 a 1° : Larapresetatione di sa Venatio martire c6 una staza agiutoui 
 quasi nel fi | ne. . . . End. b 4* : . . . finisce | lamirabil 
 passione di san£to Venantio. 
 
 Cuts. i. (97 X 77). S. Venantius standing with book 
 and palm (smooth, round style). {See cut 175.) ii. 
 (98 X 75). The saint chained on a cross, two execu- 
 tioners cutting his skin, on the 1. a king trampling 
 upon a saint lying on the ground (early grave style. 
 See cut 40). iii. := Paolino, Rappr. di, s.l.e.a. (No. 
 322 a, iii. See cut 161). iv. A man with a garland 
 on his head on a triumphal car speaking to men on 
 horseback = Pulci's Morgante. 
 
 b. s.a. {Ant. Tubini et Andrea Ghirlandi : printers' mark. 
 It. Pr. M., No. 56). [Pal.] 
 
 a I" : C LA RAPPRESENT | atione di San£to Venantio Martyre. 
 End. b 4* : <[ Finita la diuotissima rapresentatione di Sanfto 
 Ve- I nantio Martyre Beato Composta per | Messer Castellano 
 Castellani. | finis. 
 
 Cuts. i. Border with Christ in sarcophagus between two 
 angels, ii. (100 x 76). S. Venantius on a platform 
 in a church standing to the 1., looking to the r, with 
 book and palm (round, soft, rather thick-lined cut). 
 {See cut 188.) 
 
 c. 1539. Francesco di Giovanni Benvenuto. [Mgl., Triv.] 
 
 1° : C LA Rappresentatione di sandto Venatio | Martyre di Jesu 
 Christo. 
 
 174 
 
Cuts. i. and ii. -nbi. and ii. Initial with S. Michael, 
 
 d. 1555, s.l. [Pal., Poldi, Triv., Midhurst Mr. Fisher.J 
 " N n " of the volume. 
 
 i" : LA I RAPRESENTATiONE | Di SANTO VENANTio | martire di 
 Jesu Christo. | Composta per Messer Castellano Castellan! | 
 Nuouamente Ristampata. 
 
 Cuts. \.-=.b ii. ii. r= Fior di Virtu (storks), iii., iv., v' 
 zr Paolino, Rappr. di, s.l.e.a. (No. 322 a, v., iv., iii.). vi 
 Baptism zr S. Tommaso, Rappr., 1554 (No. 419 c, v.) 
 vii..'' = Barlaam and Josafat (No. 45 a, vi.). vii 
 (70 X 103.) A knight on horseback to the r. with 
 followers-, before a king sitting with followers near 
 tents, on the 1, town (smooth, round style of the 
 ^uadriregio). 
 
 e. 1572. Jacopo Chid. [Cors., Triv.J "mmm" of the 
 volume. 
 
 Cuts := d, only instead of vi, : Baptizing of a king and a 
 queen near a fountain, on the 1. youth with two horses. 
 /. 1588. Giovanni Baleni. [Poldi, Triv.J " 2+" of the 
 volume. 
 Cuts. Copies. 
 
 Venezia, Rotta di. [426 
 
 s.l.e.a. (xvi. cent.). [Triv.J 
 
 a I" : C La horribile ropta de Venitiani data a quelli dello inuic- 
 tissimo & chri j stianissimo Lodouico Re di francia & 
 triomphante Duca di Milano | Adi. 14 di Maggio. 1509. End. 
 a 4" : . . . I doue lera incathenata. | Finis. 
 
 Cuts. i. A king on horseback to the r. to knights, one 
 of whom bears a standard zz. Pulci's Morgante. ii. =: 
 Italia, Lamento di (No. 226). 
 
 S. Verdiana, Leggenda di. [427 
 
 a. s.l.e.a. (ca 1 5 10). [.?J (Destailleur Catalogue, 1602.) 
 
 b. s.a. (ca 1550). [B, M.J 
 I" ; Istoria di S. Verdiana. 
 
 Cut. S, Verdiana standing (late, smooth cut). 
 
 c. s.l.e.a. (ca 1550). [Triv.J " 1+" of the volume. 
 
 A l" : LA I LA HISTORIA DI SANTA | VERDIANA DA CASTEL | 
 FIORENTINO. | . . . 
 
 Cut (73 X 100) zz Savonarola, Commandamenti, s.l.e.a, 
 (No, 377 a, ii.). 
 
 17s 
 
d. 1572. Jacopo Chiti. [Cors., Poldi, Triv., London Mr. 
 Murray.] « t T t " of the volume. 
 
 Cuts. i. (71 X 103!^). The saint standing between two 
 serpents standing ereft, and feeding the one on the r. 
 ii. (7 1 J X 103). A female saint kneeling to the 1. 
 before an altar, above two angels holding Christ in 
 mandorla — signed " n." 
 
 e. 1600. Zanobi Bisticci a S. Apollinari. [Mgl.] 
 Cut — c. 
 
 f. 1 6 13. presso gli Heredi di Francesco Tosi. [Mgl.] 
 
 Cut (172 X 124). Virgin adoring the Child. Copy after 
 Schongauer's engraving, Bartsch, No. 4. 
 
 g. 161 8. Alle Scale di Badia. [Triv.J 
 
 1°: LA STORIA DI | SANTA VERDIANA DA | CASTEL FIORENTINO. 
 
 Cuts. i. The saint kneeling to the r. before an altar with 
 crucifix (good, late, smooth cut), ii. (180 x 120). 
 S. Rochus standing half to the r., leaning the 1. on his 
 staff, lifting with the r. his coat and showing the wound 
 to a little angel on the r. (rough, heavy, hatched cut). 
 
 Vespasiano, Vendetta di Christo che fece. [428 
 
 a. s.l.e.a. (ca 1550). (Cfr. Hain, 13567 {Pulci, Bernardo) 
 and 15936.) [Triv.] 
 
 A l": LA VENDETTA DI CHRISTO | CHE FECE VESPASIANO E TITO, 
 
 I CONTRO A HIERVSALEM. End. A 6" : . . . ch'oggi a suo 
 honore e detta qsta storia | il fine. 
 
 Cuts. i. (io2 X 102). A ship sailing to the r., on the r. 
 a king sitting in the ship, on the 1. Christ as man of 
 sorrows, in the middle a woman kneeling before Christ, 
 two young men on shore (copy of cut ii.). ii. (87 x 
 100). A ship with sail to the r., on the r. a king 
 standing, on the 1. Christ as man of sorrows, a female 
 saint kneeling before him, on the r. two young men 
 on shore near a town (late impression of cut in early 
 grave style). 
 
 b. s.l.e.a. (ca 1550). [Triv.] 
 
 A I": Historia del re Vespasiano: como fece crudel vendetta dela 
 morte de Jesu Chri- | sto contra Ii perfidi Judei. . . . 
 
 Cut (113 X 112J). Copy of a ii. (soft, hatched style, 
 similar to Venetian cuts). 
 
 c. s.l.e.a. (ca 1550). [Poldi, B. M. .?] 
 
 A 1°: LA VENDETTA DI CHRISTO | CHE FECE VESPASIANO E TITO, 
 
 176 
 
I CONTRO A HiERVSALEM. End. A 6* : . . . ch'oggi a suo 
 honore e detta qsta storia. | IL fine. 
 
 Cuts. i. zz Maddalena, Storia di, s.a. Pacini (No. 1^0 a, 
 ii.). ii. Two armies of knights, one opposite the other, 
 on the 1. king speaking =: Pulci's Morgante. 
 
 d. s.a. presso alia Badia. [Mgl.J 
 
 A I" : LA VENDETTA DI CRISTO | CHE FECERO VESPASIANO 
 E TITO I CONTRO A GIERVSALEMME. 
 
 Cuts. i. Copy of Maddalena, Storia di, s.a. Pacini (No. 
 250 a, ii.). ii. Two knights combatting against a troop 
 of knights =r Pulci's Morgante. 
 
 e. 1587. Giovanni Baleni. [Triv.] " i -|-" of the volume. 
 Cuts. i. := ? ^ i. ii. Battle of two armies of knights 
 
 (late, smooth). 
 /. s.a. Venetia per Alexandra di Bindoni. [Triv. J 
 
 a I": Historia del re Vespasiano: como fece crudel uendedta della 
 mor I te de Jesu Christo contra gli perfidi iudei. . . . 
 
 Cut. King kneeling on the r., a footman holding his 
 horse, behind him many knights on horseback rr Pulci's 
 Morgante. 
 
 Vespucci, Amerigo. Lettera. [429 
 
 s.a. (ca 1506). [Paris Rothschild.] {See Catalogue of the 
 library of the Baron de Rothschild.) 
 
 I": Lettera di Amerigo vespucci | delle isole nuouamente | 
 trouate. . . . 
 
 4 cuts. Reprod. of one of them in the Catalogue of 
 Baron Rothschild's library, ii. 
 
 ViLLANi, F. Trionfo della Invidia. [43° 
 
 s.l.e.a. 8°. [B. M.] 
 
 a I" : <[ TRiOMPHO DELLA INVIDIA. | OGni inuidioso qui a udir 
 chiamo | • . . End. a 4* : j[ Coposto p. F. Villani dedto Elmil- 
 lano. 
 
 Cut (74 X 78). A winged woman sitting on clouds, flames 
 under her feet; she holds an arrow in the 1., in the r. a 
 little dragon (late, smooth, round cut). 
 
 Villani, La Sferza dei. [43 1 
 
 a. s.l.e.a. (xvi. cent.). [Cors., Berlin K.] 
 
 I" : La sferza de Uillani. | PEr fare ua legiadra mia uedefta | dis- 
 posto son di cauarmi lostecho | . . • End. 6' : Finita la sferza 
 de Villani. 
 
 177 A A 
 
Cuts. i. (8i X no). A man holds another one on his 
 back, who is beaten by a third, on the 1, and on the r. a 
 man (good, hard cut), ii. (80 x 107). A man in a 
 mantle on the r. showing to a young man a great many 
 barrels and sacks in a room (good, hard cut, with long 
 hatching lines). 
 
 b. s.l.e.a. (xvi. cent.). [Triv.] 
 
 1°: La sferza de Villani. | per fare vna leggiadra mia vendetta, 
 disposto son di cauarmi lo stecco, | • • • 
 
 Cut. Copy oi a i. 
 
 c. 1553, Aug. [Rice, B. M.] 
 
 A 1° : La Sferza de Uillani. End. A 6'' : C[ Stampata in Firenze, 
 Neir anno di nostro signore. m.d.liii: | del mese d'Agosto. 
 
 Cuts z=. a\. and ii. 
 
 Villani, Malitie dei. [432 
 
 s.l.e.a. (xvi. cent.). [Cas.J 
 
 i'' : C! Malitie de villani. | Per fare vna leggiadra mia vedetta dis- 
 posto son dicauarmi losteccho | . . . End. 4* : <[ Finisce la 
 malitia deviliani. 
 
 Cut zr OrfeOy Storia di (No. 304 b). 
 
 Virginia, Storia di. [43 ■? 
 
 s.a. (^Bernardo Zucchetta : printer's mark.) [Triv.J 
 
 1°: Istoria di Virginia Romana. End. Stampata nellinclita | 
 Monarchia: di | cittaros | sa. {Printer's mark. ^^b%." It.Pr.M, 
 No. 62.) 
 
 Cut. A man on platform speaking to the people ■=. 
 Pulci's Morgante. 
 
 ViTELLo FAGGiATo, Rappresentazionc del. [434 
 
 s.l.e.a. (xv. cent.). [Triv., Bodl., Rice, imperfedt.] 
 
 a r : C La festa del uitel faggiato. a 2° : <[ Qui comincia 
 larapresentione {sic) del ui- | telle fagginato. End. a 6" : <[ Finita 
 lafesta del uitello fagginato. 
 
 Cuts. i. Angel, ii. A bull bound on a ring on the 
 ground killed by a man from the r. with a hammer, 
 behind a table at which are sitting seven young men, 
 in a loggia two pipers (early grave style) = Epistole et 
 Evangeli, 1495 (copy in Figliuol prodigo, Rappr. di 
 (Puki, Ant.), No. 147 a). 
 178 
 
VlTRUVIUS. [435 
 
 a. 1 5 13, Odlob. Philippo di Giunta. 8°. [Berlin.] 
 
 Cut. Border of the first page : on the 1. and r. putti on 
 dolphins, above ornaments with women (Venetian style). 
 
 b. 1522, 6 Kal. Nov. Haeredes Philippi Giutita. 8°. 
 [Berlin.] 
 
 VoLTERRA, Michelangelo di Cristofano di. La incoro- 
 nazione del Re Aloysi. [43 ^ 
 
 s.a. [?] (Melzi, p. 299.) 
 
 Zannin da Bologna. Frottola d'un padrone, [437 
 s.a. (xvi. cent.) presso a. Batista pagolini. 8°. [Aless.] 
 
 A I" : Frotola d'un padrone, & d'un seruo. Intitolata | Zannin da 
 Bologna. End. a 4* : In Firenze presso a Battista pagolini. 
 
 Cut (65 X 93). A man in long coat on the 1. speaking to 
 a young man who stands on the r. and raises both arms; 
 on the ground, white on black : invidia. (Soft, round, 
 hatched cut.) 
 
 S. Zanobio, Storia di. [438 
 
 s.l.e.a. [Mgl.] 
 
 l": LA HISTORIA DI SAN | ZANOBI VESCOVO | FIORENTINO. 
 
 Cut (10 1 X 74). The saint-bishop standing to the r. 
 holding a staff and a book, looking downwards (thick, 
 rude, angular cut). 
 
 Zentile e Fedele, La leggiadra historia di. [439 
 
 s.l.e.a. 8°. [.''] (Passano, Novellieri italiani in verso. 
 Bologna, 1868, p. 80.) 
 
 179 
 
INDEX OF PRINTERS AND PUBLISHERS. 
 
 A., 393- 
 
 Agnolo Cartolaio, 227 e. 
 
 Anichini, Bartolomeo, 94^, 200 f, 
 
 248 c, 249/^, f, 2941. 
 Antonio Nic . . ., 202 g. 
 Antonio Veneto(Veneziano), 1 06 b, 
 
 150^,338. 
 Apollinaii, Dirimpetto (Rincontra) 
 
 a S., -J g, 65^, iSbg, 207 <r, 
 
 308 l>. 
 
 See also Bisticci, Zanobi. 
 
 Arivescovado, dair, 182 b. 
 Arnesi, Lorenzo, 181 c, 196/^ 
 
 204/, 3I0 6-, 315^, 352/, 367/, 
 
 405 n. 
 Arnesi, Michelangelo, 2170. 
 
 Badia, alle Scale di (appresso), i8y, 
 g, h, i, 20 .-, 34 C-, 44 c, e, bs b, 
 f, 70 b, c; 85^, 93<:, 94-/',iJ, 
 112 h, 114 c, 115/, g, 129 a, 
 136, 141 f, 151, 154 .-, d, I, 
 158 />, 165 b, 184 b, 185 Z-, b, 
 195 c,/, 202 <?,y^ 204. b, t-, 208 c, 
 ^■>g,k,l, 217 rt', i', 238/-, 243^, 
 248 <7, C-, 251/, 282 ^, 302 .-, e, /, 
 304 fl-, 309 f, 6-, 3 1 1 ^, 3 1 2/, 325, 
 327 fl, />, 352 b, 354 f, ^,^, 362/, 
 
 3^7/> 372 '-, 407 <^, 414 '-,427^, 
 428 d'. 
 
 Badia, Dirimpetto, 94 f. 
 
 Baleni, Giovanni, 3 (i^, 4 «, », 7/1 
 8/, <?, 1 8 ^, 30/> 34 ^, 44 d, 46 's^, 
 61/, ^, 94', 98/, 1 10'-, 112^, 
 I ii,g, 1 27 /7, 130/, 138 k, 139 <:, 
 140/, 141 /, 144 d, 147 b, c. 
 
 154'^-, 158^ 174''^, ', ^, 180^, 
 185,?, 187^, 194^, 195^, 197^, 
 202/, 204^, 208 /j, /, 217/, 
 
 221 C, 224, 234 <5^,.-, 236,:, 250^, 
 
 25I.?-, 263/, 271 b, 280^,282/; 
 285/, 2910;^, 302^, /;, 308^, 
 309^, ^10 b, 211 g, 315/, 344, 
 
 347 ^, 352, g, K 354/, 367 S-, 
 368/., 370/, 371 f, 401, 405 /f, 
 /, 409^, 414/;, 4257^428^. 
 
 Barba, Zanobi dalla. See Zanobi 
 d. Barba. 
 
 Barbetta, Zanobi. See Zanobi d. 
 Barba. 
 
 Bartholomaeus de Libris, 106 ;:. 
 
 Bartolomeo, 352 b. See also 
 Meo. 
 
 Benvenuto, Francesco di Giovanni, 
 
 sta dal canto dei Bischeri, 3 i, 
 
 7'-, 18^, 24, 30/^, 33^, 34 a, 
 
 44 a, 45 ^ 61 b, 82, 85 i, 90, 
 
 94 ^,'3', 98^ "4^ 115^ 130^, 
 138 Z., 139^, 141^, 145, 174 Z., 
 
 176, 178^, ^, i86i, 199^, 204 tf, 
 208 Z-, 214 tf, 217 f, 231, 247, 
 251 (J, b, 261 b, 262 (?), 265 f, (f, 
 285^, 303 a, 309^,311 ^,347 f, 
 352 a, 354 a, 367 f, 405 c, d, e, 
 416, 425 f. 
 
 Benvenuto, Giovanni di Francesco, 
 Cartolaio, sta dal vescovado, 1 38 <:, 
 354 Z-, 409.-. 
 
 Bigio, Pagol, appresso a Badia, gj\./, 
 114^, 127/ 140^, 141/, 184^, 
 195 a', 203^, 352/, 419 f. 
 
 Bindi, Onofrio, 1 74 c. 
 
 I»I 
 
Bindoni, Alessandro (Venezia), 
 
 .428/ 
 Bisticci, Zanobi (a, alia piazza di, 
 
 S. Apollinare), 8 /, 42 c, 72 e, 
 
 Ii5^i30,g^, 165/, 193^,217 wz, 
 
 3 1 6 ^, 362 e, 367 k, 409 ^, 427 e. 
 
 Bonacorsi, Francesco, 52, 137 a, 
 150 17, 220, 285 <:, 289 a, 338, 
 388 b, 390 «, c. 
 
 Bonacorsi, Giovanni (Zuanne), 
 142. 
 
 Caccini, Michele, 216. 
 Camaldulensis Ordo, 78. 
 Caneo, Giovanni Antonio, 140^. 
 Canuntius, F. Pietro, 80. 
 Carlo da Pavia, 135 c. 
 Cartolaio. See Francesco di Ja- 
 
 copo, Leonardo di Neri di 
 
 Andrea Agnolo. 
 Casali, Michele, 274. 
 Castelli,Bartolomeo di Matteo, 72 f, 
 
 271 a. 
 Cesarini, Santi, dalla Badia, 166, 
 
 208/ 
 Chiti, Jacopo, Cartolaio, i b, 30 ^, 
 
 98^, 127^, 129^, 140^, 141 h, 
 
 148^, 174^, 179/, 180^, 196^, 
 
 217^,248^,263^,265^,285^, 
 
 2gf c, 312^, 32if, 327«(,362<s?, 
 
 367 i, 370 e^ 398 b, 409 e, 425 e, 
 
 427 d. 
 Citta Rossa, nell' inclita Monarchia 
 
 di, 422. 
 Colaldi (Orvieto), 409/. 
 Condotta, Alia, 234/, 311 i. 
 Consoli deir universita degli Spe- 
 
 ziali, 357. 
 Corridore di Sua Altezza, Sotto il, 
 
 154^. 
 
 Delia Magna, Nicolo di Lorenzo. 
 
 See Nicolo di Lorenzo. 
 Dino, Francesco di. See Francesco 
 
 di Dino. 
 Drago, Compagnia del, 357. 
 
 Fighine, Ser Lorenzo da. 
 Lorenzo da Fighine. 
 
 See 
 
 Francesco di Dino di Jacopo, 11^, 
 
 95^- . 
 Francesco di Jacopo Libraio(Carto- 
 laio) della Sfera (Spera) detto il 
 conte, 27 f, 35, 85 /, 281 a, b, 
 283 a, 342^, 343tf(?), 345 ^ 
 
 355(0,390^- 
 Francesco, Maestro. See Ben- 
 
 venuto, Francesco di Giovanni 
 (262). 
 
 Galassi, Matteo, 113^, 268, 302/. 
 Garbo, nel. See Tosi, Francesco 
 
 (2384 
 Ghirlandi, Andrea de' (da Pistoia), 
 
 3^, 18^,89, 303^,324, 343 <7, 
 
 425^. 
 Giovanni Stefano di Carlo da Pavia, 
 
 39 ^ 137^, c, 183, 213, 216, 
 
 230 <:, 235, 336 ^, 393- 
 GirafB, Domenico, 312 <^, '^^J m, 
 
 405 0. 
 Giunta, Filippo, 63, 68, 78, 219, 
 
 227^,307, 328 ^ 3635 435 «• 
 Giunta, Eredi di, 2277^ 283 c, 
 
 289 ^ 374.?, h, 392 '^• 
 Giunti, I, 105 a, 278 b, 435 b. 
 
 Giuseppe di Pietro da Treviso, 
 
 180^, 288 a. 
 
 Grossi, Raffaello, 140^. 
 
 Jacopo di Bastiano (sta dal Ves- 
 covado), 352 /. 
 
 Libraio. See Francesco di Jacopo. 
 Libri, Bartolomeo di Francesco di, 
 
 135 '?• 
 
 Lionardo di Neri di Andrea Car- 
 tolaio, 235, 319. 
 
 Lorenzo da Fighine, Ser, 418. 
 
 Lucantonio degli tJberti Fioren- 
 tino,xl, 254^,334^. 
 
 Magonza, Giovanni di Pietro da, 
 25, 26, 27 b, 56 a, 60, 77 a, 96 b, 
 100, 102, 106 «, 135^, 210 a, 
 256 tf, 320, 377 tf. 
 
 Manducci, Jacopo Pisano, 149. 
 
 182 
 
Manei, Giovanni Tommaso, 347/I 
 
 Marco Antonio, 352 /. 
 
 Marescotti, Cristofano, 192. 
 
 Marradini, Matteo, 327 e. 
 
 Meo, Ser, 162. 
 
 M. F. di G. B. See Vescovado. 
 
 Michelangelo di Bart, di F., 43. 
 
 Miscomini, Antonio, 1 1 r, 69 a, 
 71, 95 c, loi, 227^, f, 230^, 
 237, 244 f, 257, 258, 374/, 
 382 e, 394 d. 
 
 Monache di S. Giustina, 266. 
 
 Morgiani, Lorenzo di, 25, 26, 
 27 ^, 56 a, 60, 77 (7, 96 I, 100, 
 102, 106 «, 135 i, 155 ^, 2I0«, 
 Z-, 256 a, 320, 377 tf, 392 h, 
 396 f. 
 
 Nesti, Pietro, 46 c, 190^, 21 5 ^. 
 Nic . . ., Antonio, 202^. 
 Nicolo di Lorenzo della Magna, 
 211. 
 
 Pacini, Bernardo, 39 «, ^, 1 35 c, 
 i5o<:, 2o8«, 339*, 351. 
 
 Pacini, Pietro da Pescia, 7*, 10*, 
 f, 26, 27*, 41, 47, 52, 56 tf, 
 65a, 100, 104, 126, 135*, 137^, 
 *, f, 150*, 155 Z', 156,164,167, 
 227 d, 230 c, 232 «, 250 «, 25 1 a?, 
 256 *, 269, 289 a, 328 «, 329, 
 
 330 K 336 ^, 339 a-, 342 ^, ^, 
 
 3475 349, 361 ^ 388*, 390^, 
 
 392 «,^ 396 <^, 400 a, 417, 425- 
 Pagolini, Battista, 42 *, 437. 
 Panizzi, Valente, 66. 
 Pavia, Giovanni Stefano di Carlo 
 
 da. See Giovanni Stefano da 
 
 Pavia. 
 Pavia, Carlo da. See Carlo da 
 
 Pavia. 
 Peri, Lorenzo, i a, 30 <r, I'i^S^t 
 
 240 b, 341 b. 
 Perini, Jacopo da Villa Basilica, 
 
 "4/> 184/, 185^, 304^. 
 Pocavanza, Jacopo, 8 A, 18 f, 209 d, 
 
 243/, 248/ 
 Pocavanza, Ridolfo, 202 A, 291 b. 
 Pulinari, dirimpetto a San. See 
 
 Apollinare. 
 
 183 
 
 Quarengi, Pietro (Venezia), 56 b. 
 
 Rossegli, Alessandro di Francesco, 
 5- 
 
 Sabio, Rinaldo de, 209 c. 
 Saltamacchia, Carlo, appresso le 
 
 Scale di Badia, 130^, 414/^ 
 Sermartell, Stamperia di, 308 d. 
 Sfera, Francesco di Jacopo dalla. 
 
 See Francesco di Jacopo. 
 Siena, alia Loggia del Papa, 13817, 
 
 p, 202 k, 207 d, 251 h, 302 /, 
 
 3:ii. 
 Simone da Milano, 226. 
 Sinbeni, Agosto, 306 *, 334^. 
 Socio Peretano, 402. 
 Spera. See Francesco di Jacopo. 
 Speziali, Consoli dell' universita 
 
 degli, 357- 
 Stefano Fantucci Tosi. See Tosi, 
 
 Stefano Fantucci. 
 Stella, All' insegna della, 154^, 
 
 234^^, 3i6f. 
 
 Testuggine, all' insegna della, 154/, 
 
 217 /, 250 h. 
 Tosi, Diacinto, 370 c. 
 Tosi, Francesco (alle Scale di Badia), 
 
 238 c, 294 d, 405 m. 
 Tosi, Francesco, Eredi di, 98 g, 
 
 240 d, 291/, 302 d, 367 h, 371 d, 
 
 427/ 
 Tosi, Stefano Fantucci, 185^, 326. 
 Tozi, Zanobi, da Prato, 373 b. 
 Treviso, Giuseppe di Pietro. See 
 
 Giuseppe di Pietro. 
 Tubini, Antonio di Domenico, 3 b, 
 
 i8tf, 27 «, 89, 198, 303 a, 324, 
 
 343 «> 390 '■, 425 b. 
 
 Uberti, Lucantonio degli. See 
 Lucantonio. 
 
 Vescovado, presso il, 20^, "jod, 
 243^,283^,294^,311^,334^, 
 398 a, 407 e. 
 
 Vuolfio, Giovanni, Inglese, 54 i, 
 404*. 
 
Zanobi dalla Barba (Barbetta), 6, 
 21,57, 84, 109, 147 «, 157 «,^ 
 181^, 184^, 228, 233, 239, 
 267, 273 a, 290, 293, 324. 
 
 Zanobi Bisticci. See Bisticci, 
 Zanobi. 
 
 Zanobi Pratese (da Prato), 138/, 
 
 285 e. 
 Zucchetta, Bernardo, 35, 39 a, 49, 
 
 77^, 80, 150 f, 208 tf, 280 «, 
 
 281 tf, b^ 342 e, 400 ff, 418, 
 
 433- 
 
 PRINTED BY CHARLES WHITTINGHAM AND CO, 
 
 AT THE CHISWICK PRESS, TOOKS COURT, 
 
 CHANCERY LANE, LONDON. 
 
 FINISHED MAY 20, 1 897. 
 
 184 
 
I. FROM BERNARDINO, BELLEZZE E CASATI DI FIRENZE, S.A. 
 
ihE^ 
 
 2. FROM Savonarola's tractato dell' amore di ges^j, 1492. 
 
 ANT. MISCOMINI. (CAVALCA, SPECCHIO DI CROCE, 149O. 
 FRANCESCO DI DINO. [wiTH SAME BORDER AS IN CUT 3.]) 
 
3- FROM Savonarola's tractato dell' umilita, 1492. 
 
 ANT. MISCOMINI. 
 
4- FROM BONA VENTURA, AUREA LEGENDA B. FRANCISCI, 1509. 
 FILIPPO GIUNTA. 
 
5- ANGEL ANNOUNCING THE PLAY. USED IN MANY RAPPRESENTAZIOMI. 
 
 6. FROM THE riOR DI VIRTU, 1 498. FR. BONACORSI ED ANTONIO 
 
 VENEZIANO. 
 
7- FROM THE FIOR DI VIRTU, 1498. FR. BONACORSI ED 
 ANTONIO VENEZIANO. 
 
 FROM THE FIOR DI VIRTU, I498. FR. BONACORSI ED ANTONIO 
 VENEZIANO. 
 
 6 
 
9- FROM JACOPONE DA TODl'S LAUDE, I490. FRANCESCO BONACORSI. 
 
10. FROM THE VITA DI SAN BERNARDINO, S.A. 
 
{TLVNARE CIOE LARAGIONE DELLA LvNA O VERO 
 TACVINO PERFECTOIN LINGVA.FIORENTJNA. 
 
 II. FROM BERNARDO DE GRANOLACHIS, LUNARE, 149I. 
 L. DE MORGIANI E GIO. DA MAGONZA. 
 
 9 
 
12. FROM CALANDRl's ARITMETICA, I491. 
 L. MORGIANI E GIO. DA MAGONZA. 
 
 10 
 
13. FROM THE STORIA DI UBERTO E FILOMENA, S.A. 
 
 I I 
 
14- FROM THE STORIA DELLA MORTE, 1 5 72. 
 
 12 
 
15. FROM THE STORIA DI BRADIAMONTE, S.A. 
 
 13 
 
l6. FROM THOMAS k KEMPIS (geRSOn), IMITAZIONE DI CRISTO, I493. 
 
 MISCOMINI. 
 
 H 
 
1 7- FROM SAVONAROLA, PREDICA DELL' ARTE DEL BENE MORIRE. 
 
 ^5 
 
1 8. FROM LORENZO DE' MEDICI, LA COMPAGNIA DEL 
 MANTELLACCIO, S.A. 
 
 i6 
 
l^^^^^^^ ^fe^^^^^R^?^^gn_ 
 
 19. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
20. FROM S. AGOSTINO, SOLILOQUI, I49I. 
 
 18 
 
21. FROM THE FLORES POETARUM, S.A. 
 
 19 
 
22. FROM LUCA PULCl'S EPISTOLE, S.A. 
 
 20 
 
2 3- FROM MASETTO DA LAMPOLECCHIO, S.A. 
 
 24. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 21 
 
25. FROM THE STORIA DI IPPOLITO BUONDELMONTI E 
 DIANORA BARDI, S.A. 
 
 22 
 
26. FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A. 
 
 23 
 
2"]. FROM THE FIORETTl DI S. FRANCESCO, S.A. 
 
 24 
 
{[ La raprcfcntationc difanGfouanniSi Paulo ♦ 
 
 28. FROM LORENZO DE' MEDlCl'S RAPPR. DI S. GIOVANNI E PAOLO, S.A. 
 
 25 
 
29. FROM THE RAPPRESENTAZIONE DI S. AGATA S.A. 
 
 26 
 
30. FROM THE RAPPRESENTAZIONE DI S. ORSOLA, 1 5 54. 
 
 27 
 
32. FROM CAVALCAS SPECCHIO DI CROCK, S.A. 
 
 31. FROM THE RAPPRESENTAZIONE DI S. AGATA, S.A. P. PACINI. 
 
 28 
 
33- FROM THE EPISTOLE ET EVANGELI, I495. P" PACINI. 
 
 34. FROM BOCCACCIO'S NINFALE FIESOLANO, 1568. 
 29 
 
35- FROM THE STORIA DI S. MARGHERITA, S.A. 
 
 30 
 
36. FROM THE STORIA DI S. MARGHERITA, S.A. 
 
37- FROM THE STORIA DI S. MARGHERITA, S.A. 
 
 32 
 
38. FROM THE RAPPR. DEL GIUDIZIO DI SALOMONE, S.A. 
 
 33 
 
39- FROM THE NOVELLA DI GUALTIERI E GRISELDA, S.A. 
 
 34 
 
40. FROM THE RAPPRESENTAZIONE DI S. VENANZIO, S.A. P. PACINI. 
 
 35 
 
41. FROM THE RAPPRESENTAZIONE Dl S. FELICITA, 1554. 
 
 36 
 
dcUa o:ationc mentalc 
 
 42. FROM SAVONAROLAS ORAZIONE MENTALE, S.A. 
 
 37 
 
43- 
 
 FROM LA FESTA DI SANCTA FELICITA, S.A. 
 
 38 
 
44- FROM THE RAPPRESENTAZIONE DI OTTAVIANO, S.A. 
 
 39 
 
45. FROM THE RAPPRESENTAZIONE DI S. ANTONIO ABBATE, S.A. 
 
 46. FROM THE RAPPRESENTAZIONE DI S. ROSANA, S.A. 
 
 40 
 
47- FROM THE RAPPRESENTAZIONE DI BARLAAM E JOSAFAT, S.A. 
 
 48. FROM THE RAPPR. D'UN MIRACOLO DEL CORPO Dl GESU, S.A. 
 
 41 
 
49- FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 50. FROM THE NOVELLA DI GUALTIERI E GRISELDA, S.A. 
 
 42 
 
51. FROM THE NOVELLA DI GUALTIERI E GRISELDA, S.A. 
 
 52. FROM LA SALA DI MALAGIGI, S.A. 
 (lUIGI PULCI'S MORGANTE MAGGIORE, 1500. P. PACINI.) 
 
 43 
 
53- FROM THE RAPPR. DELL' ANNUNZIA2I0NE DI MARIA, S.A. 
 
 54. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 44 
 
55- FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 56. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 45 
 
57- FROM THE RAPPR. DI S. GIOVANNI GUALBERTO, S.A. 
 
 46 
 
58. FROM THE RAPPRESENTAZIONE DI S. EUFROSINA, S.A. 
 
 47 
 
59- FROM THE RAPPRESENTAZIONE DI S. GIOVANNI BATTISTA, S.A. 
 
 48 
 
6o. FROM THE RAPPR. DI S. 
 
 PANUNZIO, S.A. 
 
 49 
 
6l. FROM THE RAPPR. DI S. GIOVANNI BATTISTA 
 
 (by fed belcari), s.a. 
 
 50 
 
62. FROM THE KISTORIA ET MORTE DI LUCRETIA, R.A. 
 
 63. FROM THE LAMENTO DEL DUCA GALEAZZO SFORZA, I505. P. PACINI. 
 
 51 
 
64. FROM THE RAPPR. DI S. LORENZO, S.A. 
 
 65. FROM THE STORIA DI LAZZARO, MARTA E MADDALENA, S.A. 
 
 P. PACINI. 
 
 52 
 
67. FROM THE RAPPRESENTAZIONE DI S. GIORGIO, S.A. 
 
 66, FROM THE EPISTOLE ET EVANGELI, 1495. P. PACINI. 
 
 53 
 

 f^^ll I <fc ■ ■TlfcS.i S'i^J'a »■ EaJL 
 
 68. FROM THE CONTRASTO DI CARNEVALE E QUARESIMA, S.A. 
 
 ngf-r-yararj 
 
 
 69. FROM THE CONTRASTO DI CARNEVALE E QUARESIMA, S.A. 
 
 54 
 
70. FROM THE NOVELLA DI DUE PRETI, S.A. 
 
 ^^:^ir 
 
 2rr-x-E-nEnrTr^Tx:;zxrg-z'-rrern ■ 
 
 71. FROM THE NOVELLA Dl DUE PRETI, S.A. 
 
 55 
 
:?:«-4l^ >fy~^~^~^-^-^-^-isi-i»-i^-i»-^-iSt-&-i»-it-i3t :;; 
 
 rv»«MH»'«'-«-^«^»-'J^^-'^r-^:^^^-**t^ 
 
 72. FROM LA CACCIA DI BELFIORE, S.A. 
 
 73. FROM LAUDE DEVOTE DI DIVERSI AUTORl, S.A. P. PACINI. 
 
 56 
 
74. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 75. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 57 
 
76. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 77. FROM ESOPO, FAVOLE, I495. P. PACINI. 
 
 58 
 
B JJEBaiBLiIgliSIllPIIlE 
 
 lymiHHi-im-iui-nif-HH-iiii-ii 
 
 m 
 
 78. FROM ENEA SILVIO PICCOLOMINI, STORIA DI DUE AMANTI, S.A. 
 
 79. FROM THE EPISTOLE ET EVANGELI, I495. P- PACINI. 
 
 59 
 
8o. FROM THE EPISTOLE ET EVANGELI, I495. P. PACINI. 
 
 SEaE^^^^^^^^S 
 
 ^^^MQ 
 
 81. FROM THE EPISTOLE ET EVANGELI, I495. P. PACINI. 
 
 60 
 
>*^*^*B 
 
 82. FROM THE EPISTOLE ET EVANGELI, I495. P- PACINI. 
 
 83. FROM THE EPISTOLE ET EVANGELI, I495. P. PACINI. 
 
 61 
 
|h:^ff^.?/7('.?.7^^(4^.t(''^l^(J(.?[((Ai))g]EE>)>)^)>)>Jll^^ 
 
 84, FROM THE EPISTOLE ET EVANGELI, 1495. P. PACINI. 
 
 l:I3m6MMJ(-e?(irfflF)THF)^^^ 
 
 85. FROM THE EPISTOLE ET EVANGELI, 1 495. p. PACINI. 
 
 62 
 
IllBl'tBlllffliMiiMinSflignfMrmTfafiMriE 
 
 86. FROM THE EPISTOLE ET EVANGELI, 1495- P- PACINI. 
 
 87. FROM THE EPISTOLE ET EVANGELI, 1495. P. PACINL 
 
 63 
 
B. FROM THE EPISTOLE ET EVANGELI, 1495. P. PACINI. 
 
 jtl-HIMm-lllHIIIiHIII-HIIHIIHIII-llll-im-mh-llll-Hg 
 
 89. FROM THE EPISTOLE ET EVANGELI, 1495. ^- PACINI. 
 
 64 
 
90. FROM THE EPISTOLE ET EVANGELl, I495. ^- PAC™I. 
 
 rg?7(7r?(yn^P)i-^^^^)F)^)y)T-^T)ii 
 
 E3 
 
 5^(i(-I^v'i(i(^(i(I("^(^^V)^)V)>^^)^)V)^)^7i=™ 
 
 
 gl. FROM THE EPISTOLE ET EVANGELl, I49S. P. PACIN'L 
 
 65 
 
feBCT^™OT)Tl>^>)>)>)>)>)>^>)CT?Y^EEEa[Ill 
 
 la^)>)^l^)^)^)^')T»)l^^^^^^l^w>>^^%)^)v^^)■^^^^^^T)T^^m 
 
 92. FROM THE EPISTOLE ET EVANGELI, I495. ^- PACINI. 
 
 93. FROM THE EPISTOLE ET EVANGELI, 1495. P- PACINI. 
 
 66 
 
94- FROM THE EPISTOLE ET EVANGELI, 1495. ^- PACINI. 
 
 |«|»»»3>»»»a>3>3»»»»3>?>»»3l3)a3>»3)»3i>l;;i 
 
 95. FROM THE EPISTOLE ET EVANGELI, I495. ^- PACINI. 
 
 67 
 
«Hiril--IIII-llll-IHI-lin-l!«-!lll-]1IHIIHIIHIIlRllHIII-ilil4ai 
 
 '-lHlll-mi-lUI-flll-iHMH-IIIIHlll-IIH--(HI-llll<, 
 
 96. FROM THE EPISTOLE ET EVANGELI, I495. P. PACINI. 
 
 97. FROM BOCCACCIO'S NINFALE FIESOLANO, 1568 
 
 68 
 
98. FROM Boccaccio's ninfale fiesolano, 1568. 
 
 99. KROM Boccaccio's ninfale fiesolano, 1568. 
 
 69 
 
K lC(iCff(C<C»(((C»<t(C((IO>3>^)^>9;»99)^3»)3) m 
 
 MC«lC(C(Ctt(C(C(C(e(Cftlft3)»»»««»3)3)i)»3^ 
 
 100. FROM Boccaccio's ninfale fiesolano, 1568. 
 
 loi. from Boccaccio's ninfale fiesolano, 1568. 
 
 70 
 
I02. FROM BERNARDO GIAMBULLARl'S COSTANZA E BIAGIO, 1 556. 
 (from a LOST EDITION OF BOCCACCIO'S NINFALE?) 
 
 103. FROM THE RAPPR. DI ABELE E CAINO, 1554. 
 (from a lost edition of BOCCACCIO'S NINFALE ?) 
 
 71 
 
104- FROM Savonarola's operetta sopra i dieci commandamenti, s.a. 
 
 L. MOROIANI AND G. DI MAGONZA. 
 
 105. FROM Savonarola's compendio di revelazione, 1496. p. pacinl 
 
 72 
 
RI M Umri^ Mf^Mt-I |.)V)HH UWhiL UJSSEE 
 
 □ILJ3/mt-L .i-»4m4 mwii nnvm i-i rffrmra 
 
 io6. FROM Savonarola's compendio di revelazione, 1496. p. pacini. 
 
 ^ «^j<t'»^^g^.jg>Sj^>^{!k^^<^rs«^*^Mys 
 
 K Fj^^'if^rf^^jisr^ 
 
 ^:^\( '.^^3^ij^^ 
 
 107. from Savonarola's tractato d. oratione mentale, s.a. 
 
 73 
 
o^^j?pi^^^^<g^i^a^^^^ 
 
 I <>\^:m^iSTi^.^i^^Ji^i^;^^:ii^:^f^\o\ 
 
 Io8. FROM S. ANTONINO'S SOMMA, 1507. P. PACINI. 
 
 74 
 
log: FROM Savonarola's trattato del misterio della messa, s.a. 
 
 75 
 
I lO. FROM s. bonaventura's meditazioni, s.a. miscomini. 
 
 ( = EPISTOLE ET EVANGELI, 1495.) 
 
 76 
 
pe a"g ^*i'- ■^i i c .jnc 3 » i g ^*g ■«'* *»fc ■"» -j'" •*"'■ tnM -rm w] 
 
 III. FROM Savonarola's arte del bene morire, s.a. 
 
 77 
 
112. FROM JACOPO DA CESSOLE'S LIBRO DI SCACCHI, 1 493. MISCOMINI. 
 
 113. FROM JACOPO DA CESSOLE'S LIBRO DI SCACCHI, 1493. MISCOMINI. 
 
 78 
 
114- FROM JACOPO DA CESSOLE'S LIBRO DI SCACCHI, 1493- MISCOMINI, 
 
 )»?-^>3V)>)T.^?-^MV)M^\^V^)V}|.)l^g?yc^S3 
 
 ^^^yy^^^fWWm^jjfy^iSBU 
 
 115. FROM JACOPO DA CESSOLE S LIBRO DI SCACCHI, I493. MISCOMINI. 
 
 79 
 
Il6. FROM THE RAPPR. DI DUE PELLEGRINI CHE AND. A S. GIACOMO, 1554. 
 (from a lost edition of the LIFE OF AESOP?) 
 
 latiililAiilililil iiilii^^ 
 
 117. FROM THE RAPPRESENTAZIONE DI S. GRISANTE E DARIA, 1559. 
 
 (from a lost EDITION OF THE LIFE OF AESOP.) 
 
 80 
 
1 1 8. FROM THE RAPPRESENTAZIONE DEL CARNEVALE E DELLA 
 
 QUARESIMA, 1554. (fROM A LOST EDITION 
 
 OF THE LIFE OF AESOP ?) 
 
 119. FROM THE STORIA DI FLORINDO E CHIARASTELLA, S.A. 
 (from a LOST EDITION OF THE LIFE OF AESOP?) 
 
 81 
 
Q^^^^MI 
 
 ^^^^^^ag 
 
 lE£lLi(i4I^J:^^?fyy-■i7^f^^ 
 
 I 20. FROM ANTONIA DI BERN. PULCl'S RAPPR. DEL FIGLIUOL PRODIGO, S.A. 
 
 «tn ltW»Kmttt«B«M«M«HKMa 
 
 121. FROM ANGELO POLITIANO'S GIOSTRA DI GIULIANO DE' MEDICI, S.A. 
 
 82 
 
iBUdbJbmgrag 
 
 ZCn trtSMttUMKHi^K 
 
 H « M K uitnuttn w K M « li^MH »« rtltti 
 
 122. FROM THE RAPPRESENTAZIONE DI S. APOLLONIA, 1 554. 
 
 123. FROM THE RAPPR. D'UN MIRACOLO DEL CORPO DI GEStj, 1555. 
 
 83 
 
124. FROM ENEA SILVIO PICCOLOMINl'S STORIA DI DUE AMANTI, S.A. 
 
 P. PACINI. 
 
 125. FROM ENEA SILVIO PICCOLOMINl'S STORIA DI DUE AMANTI, S.A. 
 
 P. PACINI. 
 
 84 
 
IWK SCKXMX MHSCKKM WunNMK H tf » M 
 
 126. FROM ENEA SILVIO PICCOLOMINl'S STORIA DI DUE AMANTI, S.A. 
 
 127. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 85 
 
128. FROM PULCl'S MORGANTE MAGGIORE, 150O. P. PACINI. 
 
 B 
 
 f i^^^^ (^/;k v^ c.<:^y^> ^±^^ ( v^ -^^^^ 
 
 129. FROM THE RAPPRESENTAZIONE DI S. EUSTACHIO, S.A. 
 
 86 
 
■L^^^vV:, ?CTT?»G5^-^77 -^Tr t^V>xVj^ : 
 
 130, FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 131. FROM PULCIS MORGANTE MAGGIORE, 150O. P. PACINI. 
 
 87 
 
132. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 133. FROM PULCIS MORGANTE MAGGIORE, 150O. P. PACINI. 
 
 88 
 
134- FROM PULCIS MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 I » tft(e(C(etttfrt(t(C(C(cttfti3>a)3)i)3j»j)»3)a)^)a)»3)j>i»ti 
 
 135. FROM IL SAVIO ROMANO, 1558. 
 
 89 
 
136. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI, 
 
 Wi:(-IIW-IIIHlH-iMf-IIM-llll-flll-IIll-lllll'lll--lll-llll-lll|-lll 
 
 137. FROM PULCIS MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 90 
 
vr?f?rfcfrrcrrrrr<^rcfcrcrci3n)3>0n)a3)3)3)3)3)3);iR 
 
 K .(CCC<aC(CCC(C(CK(C(C{WCI3)0l3)3>»»O)3)»3)5)3lO K 
 
 138. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 3|«^j»2>S^Cl^»^^'»^j>5r«j^J5iirS 
 
 ^sfr^i-smini 
 
 139. FROM PULCl'S MORGANTE MAGGIORE, ISOO. P. PACINI. 
 
 91 
 
140. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 141. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 92 
 
142. FROM PULCl'S MORGANTE MAGGIORE, 1495. P- PACINI. 
 
 iKMUMKHUMllltUKltltltltKMltStK 
 
 143. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 93 
 
m mss^^m^ ^^^^^^^^^ 
 
 C?ciClC«efttttt<C<CftatfSJMit3»0)3>3i>:»^);»J>J>l»JiHI 
 
 144. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 m t;i-ULm;*'*-*'*^*-^*it!^Hhfviif;S E3 
 
 mu N KUUHJI ttKMKKIINNItHlCK NHItf^ 
 
 145. FROM PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 94 
 
146. FROM s. bonaventura's meditazioni sopra la passione, s.a. 
 
 95 
 
clIlOAHESPRESlRA/^DE'IDIA'ET ETHIOPIA' 
 
 «: PRESTOGIOVANMIDE'IHDIAETETHIO 
 
 147, FROM GIULIANO DATl's MAGNIFICENTIA DEL PRETE JANNI, S.A. 
 
 96 
 
148. FROM JACOPO DA CESSOLE'S LIBRO DI SCACCHI, 1 493. MISCOMINI. 
 
 97 
 
^^^^^^^^^^^^^^^11 
 
 m^^A^.£s^:^^.i^.^<^j^^ 
 
 149. FROM THE RAPPRESENTAZIONE DI S. PAOLINO, S.A 
 
 150. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 98 
 

 151. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 «L*»>>r^-^^^ 
 
 ^-^ >^^>-*>>-^-^-J. » 
 
 152. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1 5 00. P. PACINI. 
 
 99 
 
153- FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500 P. PACINIi 
 
 154. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 150O. P. PACINI. 
 
 100 
 
rFT^9 9 -a ¥.3^J.gg.;B3 
 
 155. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 156. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 lOI 
 
1 57- FROM LUIGl PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI, 
 
 158. FROM LUIGI PULCI'S MORGANTE MAGGIORE, 1500. P. ;>ACINI. 
 
 102 
 
:^/k--j^/^-T^^!a>j^ii^F!v^^y.igj:^^a 
 
 159. FROM LUIGI PULCl'S MORGANTE MAGGIORE, 1 5 00. P. PACINI. 
 
 f:3^s^)3^^:^^^j^:k'.,^^^M 
 
 t6o. from LUIGI PULCl'S MORGANTE MAGGIORE, 1500. P. PACINI. 
 
 103 
 
■— <<"^~»<— — * 
 
 m(VMi>VJi\ 
 
 
 l6l. FROM THE RAPPRESENTAZIONE Dl S. PAOLINO, S.A. PACINI. 
 
 162. FROM THE STORIA DI MARIA PER RAVENNA, S.A. 
 104 
 
E3 
 
 ^>i,^r7^»T;^w:^rr^^^j^^ 
 
 163. FROM THE STORIA DI MARIA PER RAVENNA. S.A. 
 
 164. FROM THE STORIA DI MARIA PER RAVENNA, S.A. 
 
 101; 
 
165. FROM THE STORIA DI MARIA PER RAVENNA, S.A. 
 
 
 166. FROM THE NOVELLA DELLA FIGLIUOLA DEL MERCANTE, S.A. 
 
 106 
 
167. FROM THE NOVELLA DELLA FIGLIUOLA DEL MERCANTE, S.A. 
 
 gsjK i ^»y^^^'t/ :57?zz?::??g^K ^.F3T(z^T/uvvi^ 
 
 168. FROM THE NOVELLA DELLA FIGLIUOLA DEL MERCANTE, S.A. 
 
 107 
 
^'K3IWi^^<i\VAV^V^V^^i^Vlt^Vi^V■^g| 
 
 169. FROM THE NOVELLA DI GUALTIERI E GRISELDA, S.A. 
 
 170. FROM THE STORIA DI OTTINELLO E GIULIA, S.A. 
 108 
 
■ W If _'TCh, \ ^J I ' 
 
 JniMinP"*"««""maa 
 
 172. FROM THE REFORMA ET STATUTI NUOVI DI FIRENZE, 1513 
 
 |.]iii7m-smTTT3mTiTfTnirn?rrm33 
 
 Q milM£iJI«»"»""i^»"»"'ii»iH«lMM ig 
 
 171. FROM TEBALDEO, SERAFiNO AQUILANO, ETC., CANZONI, S.A. 
 
 109 
 
-?;( (7;^l.'e.Y<!>^C>7rcX-^'^0X-^^3^S^^c>Tsi ^'< 
 
 ^i^ C^L^^a^G-c^iC^^f^iUirJ^^^i^^^^^^ 
 
 173. FROM THE ESOPO VOLGARE, 1496. P. PACINI. 
 
 a ssar>>AV A>j-»j».»-»-». ^j.^V».»,^.».'i 
 
 e 
 
 174. FROM THE ESOPO VOLGARE, I496. P. PACINI. 
 I 10 
 
^^^>V^»^S4l><2gg>^J^i^»^^«^ 
 
 175. FROM THE RAPPRESENTAZIONE DI S. VENANZIO, S.A. PACINI. 
 
 
 [gtiiTiitfiiiW itf^iif'itirrCTTvrritTa 
 
 176. FROM THE CONTRASTO DEL CARNEVALE E BELLA QUARESIMA, S.A. 
 
 Ill 
 
Bqr3'::f:^::^ctc3=f:^B>trfefcfefcggg 
 
 BB[ga^;^^gr?gi»&fc^fefc:fefc^ifq 
 
 177. FROM CASTELLANO CASTELLANI S MEDITAZIONE BELLA MORTE, S.A. 
 
 178. FROM TEBALDEO I SETTE DOLORI DELL' AMORE, S.A. 
 
 I 12 
 
179- FROM THE RAPPRESENTAZIONE DI S. GUGLIELMA, 1554. 
 
 i::ii-nr-H«-iiii-f(ir-i)!i-iiii-iin-iiiHin-Hii-)Hi-iiii-iiii-iiH-iiii-ixi 
 
 180. FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO DI 
 GES^, 1572. J AC. CHITI. 
 
 "3 
 
►►►►►►-►^♦•►^ 
 
 "3:551 113 i i* ^ ^ ^ ^ '^™ 
 
 aigrLiLrprg r rr rr egrgpggrgiLerg DnDa 
 
 i 
 
 l8l. FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555- 
 
 114 
 
l82. FROM THE RAPPRESENTAZIONE DI S. DOROTEA, S.A. 
 
 115 
 
Vvv^^nl 
 
 f^tTyyy/yyvvyyyyy/yvvyyyy^yv/yy^p 
 
 183. FROM THE NOVELLA DEL GRASSO LEGNAIUOLO, S.A. 
 
 184. FROM THE RAPPRESENTAZIONE DI S. GUGLIELMA, 1 57 2. J. CHITL 
 
 116 
 
185. FROM FEDERICO FREZZl'S QUADRIREGIO, 1508. P. PACINI. 
 
 ^mm^v^m^m^/wp^yp'/i^/ii^^/^Ji^/i/'Jl 
 
 186. FROM FEDERICO FREZZl'S QUADRIREGIO, 1508. P. PACINI. 
 
 117 
 
187. FROM LORENZO DE' MEDICl'S SELVE D'AMORE, S.A. B. ZUCCHETTA. 
 
 118 
 
1 88. FROM THE RAPPRESENTAZIONE DI S. VENANZIO, S.A. 
 TUBINI E GHIRLANDIS. 
 
 I II 
 
iSg. FROM THE CONFESSIONE DI S. MARIA MADDALENA, S.A. 
 
 120 
 
igi. FROM THE LEGGENDA DEL ROMITO DEI PULCINI, 1572. JAC. CHITI. 
 
 190. FROM PAMFILO SASSO'S STRAMBOTTI, S.A. 
 
 121 
 
1 92. FROM THE STORIA DELLA REGINA STELLA E DI MATTABRUNA, S.A. 
 
 122 
 

 (@ 
 
 ) 
 
 f}^*^Sii' jjvfN 
 
 "j^S^j? y-^JwL/ 
 
 
 I^Q^^^^Tf 
 
 3^3 >*^f^ 
 
 — -^fi^SI >^-"*v. 
 
 A\ 
 
 ^^2^^^ 
 
 ^K^jgr^^ 
 
 /i 
 
 ^^^^^SeS*""'' 
 
 ^^^ tJ 
 
 / -^ 
 
 m: T# ^' 
 
 T/^a / 
 
 /^ 
 
 i«i7 'la' 
 
 L-'m 
 
 (r 
 
 
 H 
 
 ^ 
 
 t \^ 
 
 1^^; 
 
 vl 
 
 ^Sl ^^ 
 
 /& ^llff 
 
 71 
 
 \ 
 
 ^ff^^S^3^p^^~^ 
 
 . Ffl i ^r 
 
 / n 
 
 3s 
 
 ^^^■wi-^^ 
 
 T^^^^LaJjjl 
 
 /''^ 
 
 1 
 
 
 HlfS^t 
 
 Hj^^^wmJ/i 
 
 ^ i 
 
 n fl 
 
 
 vH^y >^i^^^~ 
 
 ^P^^ 
 
 
 I 1 
 
 
 _^\ /I ft rt y%. A 
 
 B^P^^fjA*' 7 
 
 
 B W 
 
 
 "^^^^ 
 
 ^^^^1 
 
 ^^B^sl 
 
 
 i ^ 
 
 ^^M 
 
 JL^SPI 
 
 J^^^^^Kmmk 1 
 
 J^^Bl^ 
 
 n M^ 
 
 Wf^-~ 
 
 BCJ^S^^I 
 
 w^ix2ifff^s^j^yf\ M 
 
 
 ^ff saB 
 
 
 Mr/''' 1/ 
 
 ^^Stk 
 
 ^2 
 
 M ^1^r\B^ 11 
 
 lS%'^'il^ 
 
 ^^Sti L^___^K 
 
 
 ^easr 1 
 
 ^^ 
 
 ^S 
 
 
 K^^ 1 
 
 193. FROM THE STORIA DI S. ANTONIO DA PADOVA, ISS?. 
 
 123