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AN INQ^UIRY 
 
 INTO 
 
 THE ORIGIN AND EARLY 
 
 HISTORY OF ENGRAVING, 
 
 UPON 
 
 Copper anti in TOlootr, 
 
 VOL. 1. 
 
AN INQUIRY 
 
 INTO 
 
 THE ORIGIN AND EARLY 
 
 HISTORY OF ENGRAVING, 
 
 UPON 
 
 Copper antr m ISEootr, 
 
 WITH 
 
 AN ACCOUNT OF ENGRAVERS AND THEIR WORKS, 
 
 FROM THE 
 
 INVENTION OF CHALCOGRAPHY BY MASO FINIGUERRA, 
 
 TO THE TIME OF 
 
 MARC ANTONIO RAIMONDI. 
 
 BY WILLIAM YOUNG OTTLEY, F.S.A. 
 
 VOL. L 
 
 LONDON: 
 
 PRINTED FOR JOHN AND ARTHUR ARCH, 61, CORNHILL, 
 BY J. M'CREERY, BLACK-HORSE-COURT. 
 
 1816. 
 
Digitized by the Internet Archive 
 
 in 2011 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/inquiryintoorigi01ott 
 
 f 
 
TABLE OF THE CONTENTS 
 
 OF 
 
 VOLUME THE FIRST. 
 
 -TREFACE 
 
 •• page vii, 
 
 CHAPTER I. 
 
 The Process employed in Wood Engraving. The Antiquity of this art in China. 
 Earl,e.t account of Wood Engraving in Europe. Papillon's story of the two Cunio. 
 i-xanuned. And judged authentic . 
 
 page 1 
 
 CHAPTER II. 
 . The Decree of the Government of Venice, 1441. Specimen of old Venetian Wood 
 Engraving described. Supposition that the Venetians obtained this Art from the 
 Chinese, at a very early period. And that other European Nations discovered the 
 Secretin the course of their Traffick with Venice. The Art, perhaps, improved in 
 Germany. S, ence of old writers with respect to Wood Engraving^ 'accounted for. 
 No evidence that it was invented in Europe. Opinion of those who ascribe its Origin 
 to he Invention of Playing Cards, unsupported by Evidence. Remarks on the early 
 Use of Playing Cards. Early Wood Engravings of Germany, and the Low Countries 
 Specimens described. StBridget. A Print preserved at Lyons, dated IS84. Doubt-' 
 
 doubt Itfr^^^' 1'/'' "^""^ "^""^ "''' ^ °^*^' «f-^-»> ^hereisno 
 doubt Its Companion, the Annunciation. Reasons for suspecting these two Print, 
 
 to be Italian. Other ancient Wood Engravings, with Dates,'&c. '. Jage 46 
 
 CHAPTER III. 
 
 Early Block-Books of Germany and the Low Countries. Probability that some of 
 them are as early as 1420. The Artists who executed them unknown. And eveTthe 
 Schools to which most of them appertain. Sketch of the Amelioration and Advance 
 ^ent of the Arts m the Low Countries. Few of the Block-Books have any th nTto 
 recommend them, except their Antiquity. The best of them are probably the Prl! 
 
xxu 
 
 auctions of Flanders, or of Holland. Three of them described. The Biblia Paupe- 
 rum; the Historic, seu Procidentia Virgims Marice, ex Cantico Canticorum ; and 
 the Speculum Humance Sakationis. Brief Recapitulation of the foregoing Documents. 
 Introduction of Wood-cuts into some of the first Books printed in Italy . page 99 
 
 CHAPTER IV. 
 
 Of the Invention of Chalcography. 
 
 Engraving on Metals with the Burin, practised by the Ancients. Works of Xiello — 
 much practised in Italy during the Fifteenth Century. The Process used in making 
 such Works described. Maso Finiguerra, a Florentine Goldsmith, eminent in 
 that way. His Practice of taking Impressions of his Engravings in Sulphur : also on 
 damped Paper. The former Method considered. One of these Sulphurs described. 
 Foian's Account o( Finiguerra' s Practice of taking Impressions on Paper considered. 
 His Discovery of that Method supposed to have taken place not later than 1-140. 
 The Researches of Mariette and Gaburri, in hopes to find Prints bearing his Name 
 or Cypher. Impressions from Works of Niello of Anonymous Italian Goldsmiths 
 discovered. An Impression, conjectured to be from one of Finiguerra's Engravings, 
 described. The Conjecture confirmed by Zand Discovery of an undoubted Impres- 
 sion from one of Finiguerra's Works of Niello, at Paris. Zani's Account of his Dis- 
 covery. His Description of another Print at Paris, by the same Artist. The proba- 
 bility that Finiguerra lived to perfect, in some degree, his Invention ; and that he 
 engraved some Plates for the purpose of Publication. A third Engraving, supposed 
 to be by Finiguerra, of which Zani met with two Impressions .... page 259 
 
 CHAPTER V. 
 
 Impressions from Works of Niello of the ancient Italian Goldsmiths, in the Durazzo 
 Collection, described. Specimens of the same kind in the possession of the Author. 
 Remarks on the gradual progress of the Art of taking Impressions from engraved 
 Plates in Italy. Bartsch's opinions concerning the establishment of Chalcography, 
 examined page 320 
 
 CHAPTER VI. 
 
 The Works of Ancient Engravers of the Florentine School, described. Baccio Baldini. 
 Sandro Botticelli. Antonio del Pollajuolo. Ancient Prints of this School by un- 
 known Artists. Other early Florentine Engravers, Gherardo. Robetta. page 349 
 
TO THE RIGHT HONORABLE 
 
 GEORGE JOHN EARL SPENCER, K. G. 
 
 &c. &c, &c. 
 
 ,% THIS WORK 
 
 IS RESPECTFULLY DEDICATED, 
 
 WITH A DUE SENSE OF 
 
 THE ADVANTAGES DERIVED IN THE COURSE OF 
 
 ITS PROGRESS, 
 
 FROM THE USE OF MANY RARE AND VALUABLE MATERIALS 
 
 CONTAINED IN 
 HIS lordship's MAGNIFICENT LIBRARY, 
 
 BY THE AUTHOR. 
 
PREFACE. 
 
 1 HE following work owes its origin to the circumstance of my 
 having, many years ago, when in Italy, chanced to meet with a 
 small print; which, as well from its style of design and delicate 
 finishing, as from the imperfect method in which the impression 
 appeared to have been taken off, I was led to conjecture might be a 
 genuine specimen of the abilities of Maso Finiguerra, the Inventor 
 of Chalcography. 
 
 It happened that the painting and sculpture of the early Italian 
 schools, and especially the school of Florence, had occupied much 
 of my previous attention ; and that I had already, more than once, 
 visited Florence, Pisa, Orvieto, Assisi, and Siena, for the express 
 purpose of collecting drawings, faithfully copied from the original 
 frescoes and bassi-relievi of the early artists, with a view to illus- 
 trate the history and progress of the Arts of Design, from the dawn 
 of their improv^ement in Italy, in the thirteenth and fourteenth cen- 
 turies, to the sera of their meridian splendour, under Julius the 
 Second and Leo the Tenth. In the course of this pursuit, conti- 
 nued for several years with great eagerness, I naturally became 
 somewhat conversant with the various changes of style which 
 
 b2 
 
TIU 
 
 PREFACE. 
 
 took place in the painting and sculpture of the Italian schools, at 
 different periods of the before mentioned interval ; and many of 
 those minute details, which, although they escape the notice of 
 the more general observer, often furnish, nevertheless, the best 
 criterion for judging of the age or school to which a work of art 
 appertains, were to me familiar. In short I became so far a 
 connoisseur in the very early pictures commonly known under the 
 generic and opprobrious term, Gothic, that I sometimes found my- 
 self in a situation to pronounce as to the probable authenticity 
 of a picture attributed to Cimabue, Giotto, Giovanni da Fiesole, 
 or Luca Signorelli, with the same confidence that others feel in 
 deciding as to the originality of a work of Raffaele, Titian, or Do- 
 menichino. 
 
 I have indulged myself in this apparent digression from the im- 
 mediate subject of the present work, because it was the information 
 which I had acquired during the pursuit therein mentioned, that 
 first occasioned me to suspect that the engraving above spoken of 
 might be by the hand of Maso Finiguerra ; and finally led me to 
 the intimate conviction that such was really the case. This con- 
 viction was naturally followed by a desire of impressing others with 
 the same belief: a genuine print by Finiguerra was a desideratum 
 in the history of the art, and, indeed, was considered necessary 
 by many writers, in order to render the evidence of Vasari worthy 
 of credit, and thereby to establish the claims of Italy to the honour 
 of the invention in question. With this view, therefore, I entered 
 into a minute examination of the different passages in which any 
 mention is made of Finiguerra, or of his supposed discovery, by 
 Vasari and other old writers ; and I had already prepared a disser- 
 
PREFACE. ix 
 
 tation of some length, in which I endeavoured to enforce the pre- 
 tensions of the small engraving above mentioned ; when, upon the 
 appearance of a work by Zani, under the title of * Materiali,' &c. 
 my vanity was flattered, on the one hand, by the perfect assurance 
 that 1 had judged rightly in ascribing my print to Finiguerra, and 
 mortified, on the other, by learning that a similar discovery had been 
 previously made, or at least previously published, by that indefati- 
 gable inquirer. 
 
 I was not surprised to find, upon a perusal of Zani's book, that 
 although we had both referred in many places to the same written 
 authorities, and even cited the same passages, we differed in some 
 of our conclusions ; that some things, which to me appeared of 
 consequence, had escaped his observation ; and that his work fur- 
 nished many others which had escaped my own. In short I was 
 induced to continue my labours ; especially as it was represented to 
 me by my friends, that a work upon the origin and early history of 
 engraving was much wanting in the English language, and as I 
 even flattered myself with being able to add something new to the 
 stock of information already published upon the subject by the 
 writers of the continent. 
 
 Amongst those who strongly advised me to the completion of 
 my design, I cannot omit to mention my neighbour and friend 
 the Rev. T. F. Dibdin, to whom it is in a great degree owing that 
 my book does not still remain unfinished. It is true, that had 
 I further delayed its publication, the work might perhaps by 
 degrees have been rendered less imperfect than it will now be 
 found : but there is always a danger in procrastination ; and the 
 greater probability is, that but for the encouraging assurances 
 
jfc PREFACE. 
 
 which I received from him, it would never have been published 
 
 at all. 
 
 About three years ago, I had the pleasure of becoming acquainted 
 with Mr. S. W. Singer, who was at that time employed in a work 
 upon the origin and history of Playing-Cards; and it was principally 
 at the suggestion of that gentleman that I undertook to preface my 
 Inquiry concerning the Invention of Chalcography, by some remarks 
 upon the early use of Engraving in Wood. In the course of this part 
 of my work, which I originally hoped to comprize within the limits 
 of one chapter, I have more than once had occasion to express my 
 obligations to Mr. Singer, for several pieces of valuable information; 
 as well as for his liberality in the loan of curious books, and espe- 
 cially of his copy of the ' Speculum HumancB Salvationia,'' which through 
 his kindness I had the opportunity of examining for some months. 
 
 It happened that that part of the present Inquiry which treats of 
 early Wood-Engraving, was finished before Mr. Singer's work was 
 far advanced ; and at his request, a copy of the book, so far printed, 
 w^as sent to him for his inspection. I have thought it necessary to 
 notice this circumstance, in order to account for the mention of 
 this work in several passages of Mr. Singer's book, Avhich, having 
 been finally completed before my own, has now been many weeks 
 in the hands of the public. Mr. Singer, I find, differs with me in 
 opinion upon several points ; but I think, upon the whole, we are 
 less frequently at variance as to facts than consequences. There 
 are two or three passages of his work, only, to which I think it 
 necessary to offer a few words in reply. 
 
 Mr. Singer, I find, (p. 87), approves the opinion oflered by me 
 at page 54 of this work, that the silence of Marco Polo in his.Tra- 
 
PREFACE. tl 
 
 vels, as to the use of Wood-Engraving amongst the Chinese, (who, 
 there appears to be no doubt, practised it before his time), makes in 
 favour, rather than otherwise, of the supposition that that art was 
 well known, at the time he wrote, in his own country. Mr. Singer 
 admits also (p. 95) that the account given by Papillon of certain 
 wood-engravings said to have been executed at Ravenna, about the 
 year 1284, by two persons of the name of Cunio, bears every ap- 
 pearance of truth ; and agrees with me, that the decree of the 
 government of Venice of 1441, respecting wood-engraving, is good 
 evidence that that art had been in common use, as well in Italy as 
 elsewhere, long previously to that date : and yet he cannot allow the 
 probability of the truth of my opinion, stated at pages 45 and 69, that 
 the outlines of the three packs of cards which were furnished for the 
 use of Charles the Vlth, king of France, in 1392, at the low price of 
 fifty sous for the whole, must have been first printed, and afterwards 
 gilt and coloured by the hand. " It is possible," Mr. Singer ob- 
 serves, (p. 105), "that the cards of Gringonneur were very rude 
 " performances, seeing that a mad king could have but little discri- 
 " mination in works of art;" he adds, that "the expression ' d, or et 
 " a diverses couleurs' seems to imply, that Gringonneur's cards were 
 ** painted, and not printed;" and that "it should be observed too, 
 " that he is called Peintre." He concludes with remarking, that, 
 " had there been any solid ground for Mr. Ottley's conjecture, the 
 " French writers woidd have seized upo7i it with avidity." 
 
 To the last of Mr. Singer's reasons for condemning my hypo- 
 thesis, I have only to say, that if it be really a good one, we ought 
 both of us to have confined ourselves to a simple statement of the 
 few facts we have been able to collect, without venturing to offer any 
 
xii PREFACE. 
 
 novel opinion or conjecture, founded upon them. A very good reason 
 may however be given why none of the French writers upon the 
 subject of cards have anticipated me in the opinion above men- 
 tioned : they were not thoroughly persuaded that the art of wood- 
 engraving was practised in Europe even so early as the commence- 
 ment of the fifteenth century; much less did they think it probable, 
 like Mr. Singer and myself, that it was in use in Italy, and perhaps 
 in France and Germany, more than a century before. 
 
 Mr. Singer's other reasons for differing with me in opinion with re- 
 spect to Gringonneur's cards, do not to me appear forcible; and I 
 cannot but express my surprise that he should not have observed, that 
 the description given by Lanzi of certain playing-cards preserved in 
 the Durazzo collection, and supposed to have been fabricated at 
 Venice about the year 1400, (see p. 49), exactly corresponds with 
 the account given of those of Gringonneur. Both were 'a or ct a 
 diverses couleurs :' the outlines of the Venetian cards being first 
 printed, the ground behind the figures was afterwards gilt, and the 
 figures themselves were coloured by hand ; and I think there is 
 every reason to believe that the cards furnished by Gringonneur 
 were manufactured in the same manner. That Gringonneur should 
 have been honoured with the title of Peintre, can furnish no reason- 
 able objection to my opinion that he was only an illuminist or 
 colourer of printed cards, (and perhaps other wood-cuts); since the 
 ancient card-makers of Germany were known by the corresponding 
 appellation of Briefmaler. Besides, if, as Mr. Singer agrees with 
 me in believing, the art of wood-engraving was commonly known 
 as early as the thirteenth century, and (p. 107) was used in the 
 manutacture of devotional figures, before cards were commonly 
 
PREFACE. xiii 
 
 known, what hypothesis can be more reasonable, than that that art 
 was had recourse to in the fabrication of cards, immediately upon 
 their coming into general use ? To what purpose could it be more 
 readily applied ? Where, it may be asked, was this art of wood- 
 engraving, during the interval of an hundred and thirty-nine 
 years, which took place from the time when it was practised by the 
 two Cunio, to that in which the wood-cut of St. Christopher, dated 
 1423, was executed ?* 
 
 The next part of Mr. Singer's work upon which I think it neces- 
 sary to remark, is a passage which occurs at p. 128. Mr. Singer "WP^ 
 there observes, that I am the first writer who has endeavoured 
 to shew, that the style of art which pervades the wood-cuts 
 of the Biblia Pauperum, the Speculum HumancE Salvationis, and the 
 Historia ex Cantico Canticorum, is that of the Low Countries, and 
 not of Germany ; after which, he proceeds to say, that " it Avould 
 " be presumption in him to enter the lists with a judge so compe- 
 " tent," as he is pleased to consider me, " to decide upon the coun- 
 " try to which the style of art which pervades these rude perform- 
 " ances belongs, if such puerile efforts can be said to have any 
 " distinguishing character of this kind," &c. I am sorry that my 
 
 * Mr. Singer's objections to my opinion " but there can be no doubt that they were 
 
 that Giingonueur's cards were printed, are " among the first objects it produced, and 
 
 the more extraordinary ; since, in other parts " we have every reason to conclude, that they 
 
 of his work, he expresses his behef that " were printed from engraved blocks of 
 
 wood-engraving was used in the manufacture " wood, at least as early as the commence- 
 
 of cards long before. Indeed, at p. 230, I " ment of the fourteenth century, if they 
 
 find the follosving passage : " At what time " were not derived together with this art 
 
 " the application of xylography to the pur- " from the eastern world at an earlier period ; 
 
 " pose of multiplying cards took place, it is " a supposition which is not entirely devoid 
 
 " not now possible to ascertain with certainty; " of probability." 
 
xiy PREFACE. 
 
 friend should have thought it necessary in this place to preface his 
 condemnation of my opinion, as to the style and merit of the cuts 
 alluded to, with a compliment. As, however, he has omitted to 
 (yive his reasons for differing with me so decidedly upon these points, 
 it will be sufficient for me to refer the reader to the third Chapter of 
 this work ; in many parts of which I have endeavoured to shew, 
 that the wood-engravings in the three block-books above men- 
 tioned, although in the dry manner of the time, are far from 
 deserving the appellation of rude performances, or puerile efforts of 
 the art. 
 
 It is not my intention to discuss all the various passages of Mr. 
 Singer's book in which his opinion happens to be at variance with 
 my own: he himself observes, (p. 128), that in treating of the 
 origin of typography, he has taken a different view of the subject. 
 I cannot, however, help remarking, that in his argument concerning 
 the last-mentioned important question, he displays more frequently 
 the zeal of an advocate than the deliberation of an impartial in- 
 quirer. Thus, at p. 110, Mr. Singer opens his examination of the 
 claims of Harlem to the invention of typography, by stating, that 
 that city, in order the more effectually to establish those claims, 
 " deemed it expedient to accuse the Germans of theft, in having stolen 
 " the art from thence;" after which he says : " let us examine with 
 " care, and with an unprejudiced mind, the testimonies in her behalf, 
 " that we may decide impartially," &c. What would be thought 
 of the judge who should deliver an opinion as to the guilt of a 
 prisoner, before the jury had heard the evidence for or against him! 
 At pp. 116 and 145, and following pages, Mr. Singer intimates 
 his suspicions that the magistracy of Harlem improperly lent their 
 
PREFACE. XV 
 
 influence in support of a story which they must have known 
 to be false ; and at p. 144, after speaking of a book of rude 
 wood-cuts, in the collection of the Marquis of Blandford, which 
 contains several leaves of MS. with the spurious date, as he himself 
 considers it, of 1344, he thus expresses himself: " Had the advo- 
 " cates for Haerlem stumbled upon any thing half so conclusive as 
 " the date of the manuscript in this case, they would have urged 
 " it as a strong and irrefragable argument in favour of their cause." 
 In the third Chapter of the present work, the reader will fmd that 
 I have taken some pains to explain the grounds of my conviction 
 that the cuts of the Biblia Pauperum, the Speculum, and the Book of 
 Canticles, were not only executed in the Low Countries, but also 
 that they were in part engraved by the same artist. Mr. Singer 
 answers all this by shortly observing, (p. 128), "that it will be 
 " allowed, that the evidence founded upon this parity of style is 
 " equivocal;" and in another place, (p. 131), he says: "Mr. Ottley 
 " argues from the similarity of style in the design, and the knack of 
 " the execution : surely," he continues, " these are not infallible 
 " guides ; and more certain demonstration seems necessary in a 
 " decision of so much importance." I am by no means satisfied 
 with this brief mode of getting rid of an argument which happens to 
 oppose itself to the writer's hypothesis. On the contrary, 1 think 
 that it may fairly be maintained, that parity of style, in two or more 
 works of art, generally furnishes a very satisfactory ground for the 
 belief that such productions were executed in the same school, and 
 at nearly the same period ; and that if, in addition to this general 
 similarity of style, we observe in them the same peculiar knack in 
 
 the execution of the parts, which I have noticed in some of the cuts 
 
 c2 
 
xvi PREFACE. 
 
 ofeachof the three Block-Books above mentioned, (a pecuHarity 
 which may be compared to that by which the hand-writing of one 
 individual is distinguished from that of another) we have then the 
 strongest possible evidence that such performances were the work 
 of the same hand.* 
 
 I should greatly exceed the ordinary limits of a Preface, were 
 I to attempt to answer all the parts of Mr. Singer's argument, 
 concerning the invention of typography, which are opposed to my 
 own : but it is necessary I should observe, that he has greatly mis- 
 taken my intention, when, at p. 130, he states, that all that I have 
 attempted to shew is, the probability that the Speculum was printed 
 before the year 1472. An attempt to deniomtrate this does indeed 
 make one branch of my argument; but it is only a branch of it, — and 
 I have written to little purpose if the evidence and the arguments 
 which I have adduced in the course of my inquiry appear to lead 
 to no further conclusion. It is true that I have not felt myself" 
 
 * Lest, liowever, the resemblance which equally against the antiquity of most of the 
 
 I have noticed in the style of execution, in other block-books. The pages of text in tl)e 
 
 some of the cuts of the three block-books ^rs Mf/nora«rf/, which Mr. Dibdiiuhiiiks the 
 
 above mentioned, should on all sides be ad- most ancient of all, (and Mr. Singer seeins to 
 
 mitted to be so perfect, as fully to justify the join in the opinion) are distinguished in the 
 
 conclusion that the same wood-engraver was same manner, and so are the pages of the 
 
 employed upon each of those works, Mr. block-book of the Jpoca/i/pse, and those of 
 
 Singer prepares a mode of avoiding the in- all the editions of the Biblia Pauperum. It 
 
 ference which would, otherwise, necessarily is something to urge against Mr. Singers 
 
 follow the establishment of such a fact. He argument, (which is at variance with the 
 
 suggests, iu his note at p. 131, that " the opinions of every writer upon the subject 
 
 " existence of « species of signature in the of typographical inquiry that I know of) 
 
 " Biblia Pauperum," (Mr. Singer means the that one of the latter editions of the 
 
 initial letters by which the cuts are distin- Biblia Pauperum, in which the text is 
 
 guished) " might be urged in proof of its translated into the German language, happens 
 
 " being executed posterior to 1470." This to bear the date of 1470. See Heinecken, 
 
 argument, were it well founded, would make " Idee Generale," p. 325. 
 
PREFACE. xvii 
 
 adequate to pronounce a decided judgment upon the question which 
 I have discussed ; but this my want of confidence in a matter of so 
 much importance, can furnish no additional strength to the oppo- 
 site party ; and I must conclude these remarks upon Mr. Singer's 
 work by observing, that to some of the most important parts of 
 the evidence, and the argument which I have brought forward in 
 favour of the side I have taken, he does not appear to me to have 
 offered any satisfactory answer.* But to return to the object of 
 the present undertaking. 
 
 The title-page of this work will, I believe, be found to convey a 
 sufficiently correct idea of its contents. The first five chapters 
 consist principally of inquiry concerning the authenticity of do- 
 cuments, relating to the antiquity of the art of wood-engraving 
 and the invention of chalcographj% and of argument founded upon 
 the results of such inquiry. The extreme paucity of contempora- 
 neous Avritten documents respecting the origin or early use of en- 
 graving, and the dubious light in which some of these have been 
 viewed by most of our modern writers, seemed to render this mode 
 of treating the subject peculiarly necessary ; and I have sometimes, 
 whilst pursuing my investigations, felt disposed to consider myself as 
 a sort of literary pioneer, whose business it was to remove obstruc- 
 tions, and clear the way for those who are to follow. How far I 
 
 * Especially the fact, which I think I have appears to me to make strongly in favour of 
 sufficiently proved, that the edition of the the traditions recorded by Junius and Guic- 
 Speculum, printed partly from engraved ciardini, and I have argued accordingly. Mr. 
 blocks, and partly with moveable type, which Singer (note, p. 129) does " not see the ad- 
 has heretofore been commonly considered " vantage which is derived to Harlem from 
 ihejirst edition of that work, was in reality " this discovery." 
 the third. This extraordinary circumstance 
 
xviii PREFACE. 
 
 have performed this task, it is not fbr me to judge; but I hope the 
 writer, who at some future period may undertake to compose a 
 more regular history of the origin and early progress of engraving, 
 may find that, by discussing points of controversy so much at length 
 as I have done, I have in some measure facilitated his labours. 
 Even in the sixth and following chapters, wherein I have given 
 the best account I am able of the early engravers on copper, and 
 catalogues of their works, I have not unfrequently found myself 
 called upon to examine doubtful evidence, or to controvert com- 
 monly received doctrines. 
 
 . It were vain to suppose, that the opinions which I have hazarded 
 upon these various occasions, should all prove to be well founded. 
 He who quits the beaten path, in hopes of discovery, may chance 
 to be repaid for his toil : but he will often find himself entangled in 
 difficulties which he did not foresee; and sometimes opposed by 
 obstacles which he is unable to surmount. A work like the present 
 must necessarily contain many errors, and for such I claim the in- 
 dulgence of the reader. 
 
 I have only to add, that in the progress of my inquiries I have 
 seldom, if ever, taken any thing from another writer without 
 acknowledging it ; and that it has always been my wish to preserve 
 a due respect towards those who have written before me, when per- 
 chance I happened to differ from them in opinion. If, in the 
 warmth of argument, I should occasionally appear to have deviated 
 from this rule, I am sorry for it ; and I particularly wish to assure 
 INIr. Bartsch, to whose extensive and valuable woi-k I owe much of 
 the information which is contained in my own, that I am very far 
 from entertaining the most distant idea that the keepers of the 
 
PREFACE. x\x 
 
 Imperial cabinet of prints at Vienna have not, at all times, been as 
 faithful guardians of the early specimens of Italian engraving 
 entrusted to their care, as of those of Germany.* 
 
 In the course of this work I have had occasion to express my 
 acknowledgments to several gentlemen, and especially to Francis 
 Douce, and Thomas Lloyd, Esqrs. for their kindness in the loan 
 of curious and valuable materials, as well as for many interesting 
 communications, which their experience enabled them to furnish : 
 but I have still to return my best thanks to William Alexander, 
 Esq. for the obliging attention which I have at all times expe- 
 rienced from him, during my researches in the extensive collec- 
 tion of ancient engravings at the British Museum ; a collection, of 
 which his gentlemanly politeness, and his acquirements as an artist, 
 render him, in every respect, so worthy a superintendent and 
 guardian. 
 
 * I have thought it necessary to make the me in the heat of disputatioD at p. 343, might 
 above declaration, in consequence of a friend otherwise admit of being construed into a 
 having suggested, that an expression used by serious accusation. 
 
 Kensington, June Tth, 1816. 
 
DIRECTIONS 
 
 FOR PLACING THOSE CUTS WUICH ARE NOT INSERTED IX THE LETTER-PRESS. 
 
 1. St. Bridget, from a very early print in the possession of Earl Spencer, 
 
 To face vol. i. page 86 
 
 2. St. Christopher, the earliest known print, with a date (1423), discovered at 
 
 Buxheim, near Memmiugen : now in the possession of Earl Spencer ... 90 
 
 3. Composition from the Book of Canticles 147 
 
 4. Madonna, from a print in ttiello by Maso Finiguerra, in the possession of the 
 
 Author 304 
 
 5. Coronation of the Virgin, from a print by M. Finiguerra, in the National 
 
 Cabinet at Paris 308 
 
 6. Imperator, Villi, a fac-simile of a print forming part of a set of supposed 
 
 Tarocchi Cards 385 
 
 7. Speranza, XXX Villi, a fac-simile of another Card of the same set 393 
 
 8. Fac-simile of a Vignette to the 12th Canto of Dante, printed at Florence 1481, 420 
 
 9. Copy of part of Pollajuolo's celebrated print of a Battle of naked Figures . . 446 
 
 10. A young Man bearing a yoke on his shoulders, from Andrea Mantegna, 
 
 To face vol. ii. page 494 
 
 1 1 . Fac-simile of part of the celebrated print of the Sea Monsters, by A. Mantegna 508 
 
 12. Madonna, from Martin Schongauer, jA'Vtt' S ^^^ 
 
 13. Copy of a drawing in the British Museum, containing an inscription respect- 
 
 ing the time of the death of Israel van Mecken 660 
 
 14. St. Anthony seated without the city walls, from Albert Durer 723 
 
 15. Holy Family, from Albert Durer 726 
 
 Four Prints from the Original Wood-Blocks engraved by Albert Durer, 
 in the possession of P. E. Boissier, Esq. 
 
 16. The Last Supper 
 
 17. Christ brought before Pilate 
 
 I 
 
 ^»'" '■■"■" > 730 
 
 18. Christ taken down from the Cross 
 
 19. The Ascension 
 
 20. St. John the Baptist, copy of part of a print by Julio Campagnola 768 
 
 21. Woman seated on a Chair, &c. from Marc' Antonio Raimondi 806 
 
 22. Poesy, from Marc' Antonio Raimondi 807 
 
CHAPTER I. 
 
 The Process employed in Wood Engraving — The Antiquity of this Art in 
 China — Earliest account of Wood Engraving in Europe — PapiUo?is 
 story of the two Cunio — examined — and judged authentic. 
 
 J. HE art of engraving the designs of figures, and other objects, 
 on blocks of wood, and of multiplying such representations, by means 
 of impressions taken from them on paper, appears to have been prac- 
 tised in different parts of Europe, long before it was discovered 
 that engraved plates of metal could also be applied to similar pur- 
 poses. Some account, therefore, of the ancient practice of Wood 
 Engraving, will properly precede our inquiry concerning the Inven- 
 tion of Chalcography. 
 
 B 
 
2 PROCESS OF WOOD ENGRAVING. [chap. i. 
 
 But first I will speak briefly of the process by which works of 
 this kind are executed : for I have had occasion to observe, that 
 books, relating to particular arts or sciences, are often in a great 
 degree unintelligible to all those who are not previously informed 
 on the subjects they treat of, merely because the authors of them, 
 taking it for granted that the rudiments of those studies were 
 familiar to all who were likely to peruse their books, omitted, 
 at the beginning, to explain a few first principles; without a know- 
 ledge of which it was impossible for any one to understand their dis- 
 course ; although, in some cases, afew words would have been suffi cient 
 for this end. The following short account of the method employed 
 in wood engraving will, in a great measure, obviate similar objec- 
 tions in the present instance ; and will, at least, inform the reader, 
 who has not hitherto considered the subject, concerning those im- 
 portant distinctions between the two arts of Wood Engraving 
 and Copper-Pl'VTE Engraving,* without a clear idea of which it 
 would be difficult for him to comprehend our subsequent argument. 
 Of course this is not intended for the instruction of the artist. 
 
 The process is as follows. The artist, having decided upon 
 the subject and dimensions of his intended work, most usually 
 prepares a correct design on thin paper. This drawing is either 
 a simple outline of the proposed subject, or finished with hatchings 
 to an effect similar to that which the print is intended to produce. 
 A block of wood, of a close grain, f and of a flat and even surface. 
 
 * It is totally inconceivable how the au- i/onnaire des Arts de Peinture, Scuipiure, 
 thors of the great French Encyclopedia should &c. — 1792. 8ro. tofii. ii. p. 478. 
 have committed so great an error, as to say, f Box-wood, from its hardness, and the 
 " La TheoriE de la graviire en hois est la closeness of its grain, is now preferred, espe- 
 " meme que celle de la gravnre a I'eau forte cially for delicate work. It is, however, diffi- 
 " <^- au burin, &.c." — Who would not be led to cult to procure it of dimensions sufficient for 
 suppose from such a remark, that the strokes large engravings. Sometimes several pieces 
 intended to prhit black in wood engraving of box are mortised together, so as to form 
 were cut into the wooden block, in the same one large block. The old German wood en- 
 manner as in engravings on copper ? Die- gravers generally used peartree ; at least we 
 
CHAP. I.] PROCESS OF WOOD ENGRAVING. 3 
 
 corresponding to the size of the drawing, is then procured. The 
 drawing, meanwhile, has been rendered transparent by rubbing it 
 over on the back with oil, turpentine, or varnish. Another piece of 
 fine paper is now rubbed all over, on one side, with red or black 
 chalk, or charcoal; or, if the wood be of a dark tint, with white 
 lead, or whiting. This paper is laid, with its smeared side down- 
 wards, upon the prepared block; and the drawing, also with its 
 face downwards, is laid upon it. The artist then passes over all the 
 lines of the drawing with a blunt steel point, or with a hard pencil, 
 by which means, upon removing the drawing and the smeared 
 paper from the block, he finds all the lines of his drawing faintly 
 traced upon the wood in a reversed direction.* He next strengthens 
 the different outlines and hatchings of his design with a pen and 
 ink, or with a hard pencil, giving to each stroke its proper thick- 
 ness, and, to the whole, an effect in every respect resembling that 
 which the print is designed to have when finished. Skilful de- 
 signers often make their drawing at once on the wooden block, with- 
 out having recourse to this double process. 
 
 The design on the wooden block being thus completed with a pen 
 or pencil, nothing noAv remains but to engrave, and afterwards to 
 print it. 
 
 In engraving on copper, every line or touch which is intended 
 to be dark in the impression, is cut into the copper, Avhich is thus 
 hollowed in all those parts intended to receive the printing ink. In 
 wood engraving, the reverse is the case; the surface of the block 
 being left in its original state in all those parts which are intended 
 
 are infoimed that all the blocks of the cele- way of his own. I understand, that if the 
 
 brated triumph of Maximilian, engraved from block is rubbed over with wax, and the draw- 
 
 the designs of Hans BiirgJimair, shortly be- ing, with its face downwards, is laid upon it^ 
 
 fore the death of that emperor, (135 of which it is found that the outline may be transferred 
 
 are still preserved in the imperial library at to the surface of the block by friction. The old 
 
 Vienna,) are of that wood. Bartsch, " Peintre German wood engravers are said to have glued 
 
 Graveur," torn. vii. p. 229. the drawing itself, first made transparent, upon 
 
 * This is one way of doing it : but, of the block, and to have cut through it in 
 
 course, in such matters, every artist foljoivs a the manner used by the Chinese. ^ 
 
 B 2 
 
4. PROCESS OF WOOD ENGRAVING. [chap, i; 
 
 to receive the ink, and to be dark in the impression. The business 
 of the wood engraver is, therefore, to cut away and excavate the 
 wood witli gouges, and other instruments, in all those parts which 
 are intended to be white in the impression ; which parts, of course, 
 are all those whereon no traces of the pen or pencil appear. 
 
 When the work is finished, the original and even surface of the 
 block remains in the places marked with the pen or pencil, and in 
 no others ; the Avood being every where else holloAved out to such 
 a depth, as to render it easy for the printer to apply a black tint 
 to the projecting surface, by means of a dabber, without soiling 
 the parts excavated and intended to a])pear white, and thus impossible 
 for the paper, in the moment of receiving the impression, to come 
 in contact with any parts of the block, except such as are intended 
 to be impressed. 
 
 The greatest difficulty in Avood engraving occurs in clearing out 
 the minute quadrangular lights, occasioned in the shadows by one 
 row of hatchings being crossed at a right angle by other hatchings. 
 To do this, so that each stroke shall preserve the freedom of the 
 pen, is indeed a task of extreme delicacy ; for that which, in draw- 
 ing or in copper-plate engraving, is done with one sweep of the pen 
 or burin, is here to be effected by a multiplicity of minute and tedi- 
 ous operations. Hence those artists of the present day, who are 
 accustomed to make designs for wood engraving, avoid cross- 
 hatchings as much as possible; depending, for the force of their 
 shadows, upon the thickness and proximity of the strokes, not, as 
 in copper-plate engraving, upon crossing and re-crossing them with 
 other strokes. 
 
 But however great the difficulty of representing the cross hatch- 
 ings in wood engraving, it was surmounted by the German artists 
 of the beginning of the XVIth century, many of Avhose prints have 
 all the freedom of masterly pen draAvings.* 
 
 * Upou this subject I shall have occasion meanwhile, I will only caution the reader, 
 to speak more fully in a subsequent page; that the doubts of Mr. La?J(/seer, as to these 
 
CHAP, i] THE ANTIQUITY OF WOOD ENGRAVING. 5 
 
 The Origin of Engraving in Wood, like that of many other 
 useful arts, is obscured by clouds, which the learned have in vain 
 laboured to dispel. The want of evidence, contemporaneous, or 
 
 old prints being really printed not from en- 
 graved wooden blocks, but rather from tablets 
 of cast metal, are rendered futile by the ac- 
 tual existence of a very great number of the 
 old wood blocks themselves ; and, amongst 
 others ([ speak it upon the unquestionable 
 authority of Mr. Douce, who had them for 
 some time in his own possession), several of 
 those of tiie " small set of the Passion," by 
 Albert Durer. 
 
 Mr. Landseers hypothesis (and I must 
 own it is a very ingenious one, since it fur- 
 nishes the hint for a new mode of manufac- 
 turing prints from cast metal blocks) seems 
 to me to have been founded upon false pre- 
 mises. He takes it, for granted, that wood 
 engraving, or, as he expresses himself, that 
 which has generally been considered wood en- 
 graving, was used by the old German artists, as 
 " being obviously the easiest mode of pro- 
 ducing the effects which their authors had in 
 view," {Lectures, page 202). Now, says he, 
 many of these old prints, which are called 
 wood cuts, are full of cross hatchings, which 
 could not, by any method we are acquainted 
 with, have been executed on wood without 
 extreme labour and difficulty ; and, therefore, 
 I suspect " that they are either etchings — 
 the lights being corroded away ; or, which is 
 yet more likely, that a prototype or matrix 
 ■was cut in intaglio, probably with the gra- 
 ver, in which the tablets, from whence the 
 prints are taken, were cast in the manner of 
 letter-types." 
 
 But the fact appears to be, that wood en- 
 graving was resorted to by the greatest artists 
 
 of Germany, as the most eligible mode of 
 multiplying their designs, not because it was 
 a process of small labour, but because it re- 
 quired mechanical dexterity, and little else. 
 Tlie designer finished his drawing with firm 
 and decided strokes of the pen upon the 
 block, or on paper which was afterwards glued 
 upon it : inferior artists brought up under his 
 eye, and, perhaps, in his house, were very 
 capable of cutting away the wood between 
 the strokes of the pen: little or no knowledge 
 of drawing was necessary in the operation : 
 all that was required was sharp tools and 
 care. Thus an expert and able designer like 
 Albert Durer, or Hans Burghmair, could 
 find employment for a score of young men, 
 whose labours, as their value was entirely 
 dependent upon the skill of the designer, 
 were no doubt procured at a moderate price. 
 It is likewise to be remembered, that the 
 value of labour did not bear the same pro- 
 portion to the price of the metals in those 
 early times as it does now. 
 
 In engravings on copper, the original artist 
 was obliged to execute the whole work him- 
 self, at least such was the custom of Albert 
 Durer, and the other engravers of his time, 
 whereas his superintendence alone was suffi- 
 cient in engravings executed on wood. One 
 more remark will, I think, suffice to show 
 the advantages which the designers of Ger- 
 many derived from resorting to wood engrav- 
 inij; the block, when once finished, wascapa- 
 ble of furnishing maiii/ thousand impressions, 
 whereas an engraving on metal could fur- 
 nish, comparatively, but a very limited number. 
 
d WOOD ENGRAVING IN CHINA. [chap. i. 
 
 nearly contemporaneous with the truth sought for, has hitherto 
 rendered every attempt for its attainment unavailing; and conjecture 
 and hypothesis must still be employed to fill the chasms which 
 proofs cannot be found to occupy. That it is of Asiatic original, 
 appears to be the best founded opinion ; and if the name of its in- 
 ventor is destined ever to be known, it is most probable that it will 
 be found among the records of Eastern nations. 
 • Of all the nations Avith which we are acquainted, China seems to 
 have the best claim to the invention. 
 
 It is well known that the Chinese, in writing their language, do 
 not describe words by means of a combination of letters, each ex- 
 pressive of a particular sound, as is the case in European languages ; 
 but that they represent each word of their endless vocabulary by 
 one distinct character serving to indicate it alone ; if, indeed, those 
 characters can properly be termed the representations of words, 
 which are often, individually, expressive of a sentiment that could 
 not, in speaking, be expressed without the assistance of many words. 
 The prodigious number of these characters, amounting, according 
 to some accounts, to eighty thousand, renders it impracticable for 
 them to print their books with moveable types. To cast them 
 separately would be an endless undertaking ; and, were it done, by 
 far the greater part of them would be of very rare occurrence.* 
 
 " The method they pursue," says du Halde, " is as follows. The 
 " work intended to be printed is transcribed by a careful writer upon 
 " thin transparent paper. The engraver glues each of these written 
 " sheets, with its face downwards, upon a smooth tablet of pear 
 " or apple-tree, or some other hard wood ; and then, with gravers 
 ** and other instruments, he cuts the wood away in all those parts 
 " upon which he finds nothing traced ; thus leaving the transcribed 
 " characters ready for printing. In this manner he prepares as 
 " many blocks as there are written pages. He then prints the num- 
 " ber of copies immediately wanted; for he can always print more, 
 
 * J. B.du Halde, " Description, &c. de I'Empire de la Chiue." 4to. 1736 — torn. ii. p. 299. 
 
CHAP. I.] WOOD ENGRAVING IN CHINA. 7 
 
 " if they are required, Avithout the lahour of re-composition ne- 
 " cessary in typography : nor is any time lost in correcting the 
 " proof sheets, for, as he is guided in his engraving by the strokes 
 " of the written copy, or perhaps the original of the author him- 
 " self, it is impossible for him to make any mistakes, if the copy 
 " is written with exactness. 
 
 " The advantage of this mode of printing is, that the booksellers 
 " are not obliged to print a greater number of copies of any work 
 " than there is an immediate demand for; and consequently they 
 " do not run the risk of only selling half their impression, and 
 " of being ruined by useless expense, as often happens to Eu- 
 " ropean publishers. Besides, after having taken off thirty or 
 " forty thousand copies, they can easily have the engraved blocks 
 " retouched, and fitted to throw off other editions." 
 
 In printing, the Chinese do not use a press, as we do in 
 Europe ; the delicate nature of their paper would not permit of it: 
 " When once, however, the blocks are engraved, the paper is cut, 
 " and the ink is ready, one man," says du Halde, " with his brush 
 " can, without fatigue, print ten thousand sheets in a day.* 
 
 " The block to be printed must be placed level, and firmly fixed. 
 " The man must have two brushes; one of them of a stiffer kind, 
 " which he can hold in his hand, and use at either end. He dips it 
 " into the ink, and rubs the block with it ; taking care not to wet 
 " it too much, or to leave it too dry : if it were wetted too much, 
 " the characters would be slurred ; if too little, they would not 
 " print. When the block is once got into a proper state, he can 
 " print three or four sheets following without dipping his brush into 
 " the ink. 
 
 " The second brush is used to rub over the paper, with a small 
 •' degree of pressure, that it may take the impression : this it does 
 
 * Dix miUe feidUes. Had this number cipher extraordinary, in honour of Chinese in- 
 been stated in figures, I should have given dustry. The account is absolutely incredible, 
 the printer credit for having introduced a 
 
8 WOOD ENGRAVING IN CHINA. [chap. i. 
 
 " easily, for, not being sized with alum, it receives the ink the instant 
 " it comes in contact with it. It is only necessary that the brush 
 " should be passed over every part of the sheet with a greater or 
 " smaller degree of pressure, and repeated in proportion as the 
 " printer ftnds there is more or less ink upon the block. This 
 " brush is soft, and of an oblong form."* 
 
 Thus, with great neatness, but on one side of the paper only, the 
 Chinese print their books, which are often embellished with en- 
 gravings in outline, of figures, landscapes, or other subjects, executed 
 in the same manner. 
 
 This art of printing from engraved blocks of wood appears to be 
 of very high antiquity amongst the Chinese; and, indeed. Father 
 du Halde gives the following passage, cited by an old Chinese au- 
 thor, from the moral writings of the celebrated Emperour Von Vang, 
 by which some writers have been led to conjecture that it was prac- 
 tised by them more than three thousand years ago ; for that Prince 
 flourished 1120 years before Christ.f " As the stone Me," (a word 
 signifying ink in the Chinese language) " which is used to blacken 
 " the engraved characters, can never become white; so a heart 
 " blackened by vices will always retain its blackness." This pas- 
 sao'e, however, is not cited by du Halde to prove the antiquity of 
 printing amongst the Chinese, but solely in reference to their Ink, 
 which it is possible might have been used by them, at a very ancient 
 period, to blacken, apd thereby render more easily legible, the cha- 
 
 * Du Halde, torn. ii. 299, 300. The close the young shoots of the cocoa-nut tree, 
 extreme thinness and pliancy of the Chinese The Chinese use their paper without damp- 
 paper renders a small degree of pressure ing it. 
 
 sufficient. In the Museum at the India- f Idem, tom.ii. p. 294.1tis remarkable, that 
 
 House, however, I was shown, as a part of Papillon, " Traite de la Gravure en Bois." 
 
 the apparatus used in Chinese printing, a kind torn. i. p. 30— and since him, Jansen, " Essai 
 
 of rubber, made somewhat in the form of a sur I'Origine de la Gravure." torn. i. p. 73, 
 
 cushion. This, and the brush, which accom- have both cited this passage with a reference 
 
 panied it, for putting on the ink, were made, to the antiquity of Chinese printing, 
 as I was informed, of the fibres which en- 
 
CHAP, i] WOOD ENGRAVING IN CHINA. 8 
 
 racters of engraved * inscriptions. The art of printing, he informs 
 us in other parts of his book, was not discovered in China until 
 about fifty years before the Christian era, under the reign of Ming 
 Tsong I. the second Emperour of the Tartarian dynasty, f 
 
 The Chinese were not acquainted Avith the art of making paper 
 until ninety-five years after Christ, before which period they had 
 been accustomed to transcribe, or print their writings, in volumes 
 of silk or cloth, cut into the form of leaves. ^ 
 
 So says Father du Halde; whose authority I give without any 
 comment, as the defence of Chinese chronology makes no part of 
 the present undertaking. That the art of block- printing was prac- 
 tised by the Chinese, and also by some other eastern nations, seve- 
 ral centuries previous to the knowledge of such an art amongst the 
 nations of Europe, is, on all sides, admitted; and it would be useless 
 labour to collect the proofs of that which no one is disposed to 
 deny. § 
 
 With respect to the period at which Wood Engraving was first 
 PRACTISED IN EuROPE, the Opinions of the learned have been greatly 
 at variance ; some writers having dated its commencement but a 
 little earlier than the invention of typography, to which it is sup- 
 posed to have given rise ; whilst others have considered it of much 
 more ancient usage. It has also been a question, and it is a ques- 
 tion to which, perhaps, no certain answer can now be given, whe- 
 ther we derived it from the Chinese ; or, without any previous know- 
 ledge of their practice, discovered it ourselves. On the one hand, 
 we have no historical evidence that this art was invented in Europe; 
 and, on the other, it has been contended, that we possess very scanty 
 
 * The ancient Romans and the Etruscans, ^ Tlie reader will find many curious parti- 
 
 if I mistake not, often coloured the letters of culars relative to oriental block-printing in 
 
 their engraved inscriptions with a red colour, the first volume of Papillon, " Traite Histo- 
 
 and upon some occasions gilded them. rique, Scc. de la Gravure en Bois." 8vo. 
 
 t Du Halde— torn. i. p. 3o3 and 413. Paris, 1766. 
 
 X Du Halde— tom. ii. 288. 
 
10 PAPILLON'S ACCOUNT OF [chap. i. 
 
 accounts of that kind of intercourse between China and the inha- 
 bitants of Europe, in early times, which might give hkehhoodto the 
 supposition that it found its way to us from that country ; and, 
 moreover, that the writings of the earhest European travellers, who 
 visited China, are silent upon the subject. The question is, there- 
 fore, one of great difficulty, as we are left to decide concern- 
 ing it, on one side, or the other, not so much upon the evidence of 
 facts, as upon the preponderance of probabilities. The arguments 
 respecting it, however, will best develope themselves in the course 
 of our inquiry. 
 
 The earliest document in favour of Wood Engraving in Europe 
 that I am acquainted with (if document that may be called which 
 so many critics have agreed in condemning as spurious) is given by 
 Papillon; a writer on whom Heineken did not hesitate to pronounce 
 the severe sentence, that " he found him too ignorant to merit any 
 " notice." * Papillon, however, has since found a defender in Zani; 
 whose learning and deep research into the subjects I am treating of, 
 certainly entitle him to respect, and Avhose authority will be ad- 
 mitted as a sufficient ground for niy granting a further hearing to 
 the French writer in this place : especially as his case has not been 
 fairly stated, and as the importance of the facts he records, renders 
 an inquiry into their authenticity well worth the labour. 
 
 * The sentence was more severe than the vishly says in a note (Idee Generale, p. 239), 
 
 oflfence merited. Papillon had understood " Je n'aurois pas nomme ici Papillon, si je 
 
 the generic term aha (a term properly ap- " n'avois pas cite, sur sa foy, dans mon ou- 
 
 plied to denote gaming of all sorts) to signify " vrage Aleraand, I'edit de St. Louis de I'an- 
 
 cards. It was at most a venial error, and " nee 1254. Mais apres avoir cherche et lA 
 
 could indeed be defended upon the ground " moi-meme cet edit dans la Bibliotlieque 
 
 that cards might very properly be included in " Royale de Paris, j'ai vu que cet ecrivain 
 
 its meaning. — Even the authors of the Voca- " est trop ignorant, pour etre allegue A 
 
 bolario della Crusca use it to denote cards, " I'avenir." — Heineken's own readers are the 
 
 (Venezia, 1763. t. i. p. 4'24. § xii.). They sufferers, since his book contains several er- 
 
 say, " Carte diciamo anche a un mazzo di rors, which a httle more respect for the la- 
 
 " Carte dipinte, delle quali ci serviamo per bours of other writers, and, amongst the rest, 
 
 " giucare. Lat. alea, charts lusorix, &c." for those of Papillon, would perhaps have 
 
 Heineken, how ever, is very angry, and pee- prevented his committing. 
 
CHAP, i] THE TWO CUNIO, A.D. l-28o. 11 
 
 The nature of the investigation makes it necessary, in the first 
 place, that I should insert an extract of considerable length, from 
 Papillon's book; in the course of Avhich I shall occasionally offer a 
 short observation of my own, by which the reader will be the better 
 prepared for the argument which follows. 
 
 " It is more than thirty-five years ago," says Papillon, " since I 
 " mislaid three sheets of paper, upon which I had written the de- 
 " scriptions of certain ancient books of wood engravings. For a 
 " long time there only remained a very confused idea of them in my 
 " mind : I remember to have searched for those papers more than 
 " twenty times in the course of writing my book, or upon the occa- 
 " sions of my sending such parts of it as Avere finished to the press. 
 " By accident, on the day of All-Saints, in the year 1758, I chanced 
 " to discover those manuscript sheets, which had given me so much 
 " uneasiness, amongst a bundle of papers for hanging rooms, which 
 " my deceased father was, at one time, accustomed to manufacture, 
 " The circumstance gave me the greater pleasure, as, from the 
 " name of a Pope, I discovered in these writings an epoch of en- 
 " graving prints, and characters, in wood, certainh' much more an- 
 " cient than any hitherto known in Europe ; accompanied by a story 
 " relative to this subject, at once curious and interesting. I had 
 " so far lost the remembrance of all this, that I had not de- 
 " signed to make even the slightest mention of it in this history 
 " of my art.* Tliis is the proper place to speak of it : but, first, 
 " I must inform my readers how it came to my knowledge. 
 
 *" J 'avols tellement perdue le souvenir de " en bois sont sans date et sans noms de 
 " tout cela, que je n'avois pas daign6 en dire la " Graveurs, de faqon que Ton ne peut rai- 
 " nioindre chose dans cette Histoire de men " sonnablement remonter plus haut, pour leur» 
 " Art." And, in fact, his book seems to " antiquite, qu'au commencement du quiii- 
 have been, for the most part, written before " zienie siecle, quoique la Gravure en bois 
 he happened to find the memoranda so long " ait pu itre inveniie dans k quatorzieme,'' 
 mislaid : for in the preceding paragraph &.C. He, therefore, appears to have intro- 
 (tom. i. p. 82.) he conjectures that engraving duced this narrative, just as he found it, with- 
 in wood may have been invented in the xivth out taking the trouble to alter that which he 
 century. " Toutes les anciennes Gravures had previously written, however contradictory. 
 
12 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " When I was a very young man, and employed by my father, 
 " almost every week-day, in different places, to paste or arrange 
 " our papers for the hanging of rooms, it happened that in 1719 
 " or 1720, I was sent to the village of Bagneux, near Mont-Rouge, 
 " to a Mr. De Greder, a Swiss Captain, who there possessed a very 
 " pretty house. After I had papered a closet for him, he em- 
 " ployed me to paste certain papers, in imitation of Mosaic, upon 
 " the shelves of his library. One day, after dinner, he found me 
 " reading in one of his books, and was, in consequence, induced to 
 " shew me two or three very ancient volumes, which had been lent 
 " to him by a Swiss officer, one of his friends, that he might examine 
 " them at his leisure : we conversed together about the prints con- 
 " tained in them, and concerning the antiquity of Engraving in 
 " Wood. I will now give the descriptions of these ancient volumes; 
 " such as I wrote them in his * presence, and as he had the good- 
 " ness to dictate, and explain to me, 
 
 " Upon a * cartouch,'-f- or frontispiece, decorated with fanciful 
 " ornaments, (which, although gothic, are far from disagreeable,) 
 " and measuring about nine inches in width, by six in height; with, 
 " at the top of it, the arms, no doubt, of the family of CuNio, are 
 
 * " Telle que je I'ecrivis devant lui, et English language by which to express its 
 
 " qu'il eut la bonte de me I'espliquer et de meaning. It is used to denote those fantastic 
 
 " me la dieter." (p. S4). We have, there- ornaments which were formerly introduced 
 
 fore, no other than a correct copy of that in decorating the wainscots of rooms; and 
 
 which Papillon w rote more than thirty-five frequently served the purpose of frames, sur- 
 
 years before, with these ancient books before rounding inscriptions, small paintings, or 
 
 him, and in the presence of M.de Greder; other devices. These car/oMc^ei were much 
 
 not an account w ritten by memory. in vogue in the sixteenth and seventeenth cen- 
 
 Papillon was born in June lG98 : in 17 19 turies, for the frontispieces of books of prints ; 
 
 or 17*:0, therefore, when he saw the book and, indeed, Callol and Delia Bella etched 
 
 in question, he was in his 21st or 22d year, niany entire sets of small subjects, surrounded 
 
 In 1758, when he recovered the manuscript by similar ornaments. From the irregularity of 
 
 memoranda which he had so long mislaid, their forms, the terms— tablet, shield, or 
 
 he was, of consequence, about GO. pannel — would be but ill expressive of tlieir 
 
 f I am obliged to retain the French word character. 
 cartoncli, since I can iiiid no term in tlie 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. 13 
 
 " rudely engraved the following words, in bad Latin, or ancient 
 " gothic Italian, with many abbreviations :" 
 
 [So far Papillon himself, who described what he saw before him. 
 The coat of arms at top, says he, is no doubt that of the family 
 of Cunio : as for the inscription, he could not determine whether 
 it was in Latin, or in old Italian; much less could he read it. It 
 is, however, probable that he was able to make out the names 
 of Alexander, Pope Honorius IV., and the two Cunio. Mr. de 
 Greder deciphered, and translated the inscription, and dictated to 
 him to this effect :] 
 
 "THE HEROIC ACTIONS, REPRESENTED IN FIGURES, 
 " Of the great and magnanimous Macedonian King, the bold and 
 " valiant Alexander; dedicated, presented, and humbly offered to the 
 " most holy father Pope Honorius IV., the glory and support of 
 " the Church, and to our illustrious and generous father and mother, 
 " by us Alessandro Alberico Cunio, Cavaliere, and Isabella Cunio, 
 " twin brother and sister: first reduced, imagined, and attempted to 
 " be executed in relief with a small knife, on blocks of wood, made 
 " even arid polished by this learned arid dear sister; continued, and finished 
 " by us together, at Ravenna, from the eight pictures of our invention, 
 " painted six times larger than here represented; engraved, explained 
 ^' by verses, and thus marked upon the paper, to perpetuate the number 
 " of them, and to enable us to present them to our relations and friends, in 
 " testimony of gratitude, friendship, and affection. All this was done 
 " and finished by us when only sixteen years of age." * 
 
 * The cramped style of this inscription, in " saint pere le Pape, Honorius IV, la gloire 
 the French, furnishes, I think, most satisfac- " et le soutien de I'Eglise, et a nos illustres 
 lory evidence, that it was bona fide, and lite- " et genereux pere et mere, par nous Alex- 
 rally, translated from a Latin original: " andre Alberic Cunio, Chevalier, et Isabella 
 Les Chevaleukeux Faits " Cunio, frereetsoeurjumeaux,premierement 
 en Figures. " reduit, imagine et essaye de faire en relief, 
 " Du grand et magnanime Macedonien " avec un petit couteau, en tables de bois, 
 « Roi, le preux et vaillant Alexandre, dedie, " unies et polies par cette sgavante et chere 
 " presente et offert humblement au tres- " soeur, continues et acheves ensemblement 
 
14 PAPILLON'S ACCOUNT OF [chap. i. 
 
 Having given this inscription, as dictated to liim in French by 
 Mr. de Greder, Papillon continues his remarks — " This cartouch 
 " is enclosed in a square, formed by a simple black line, one-twelfth 
 " of an inch in thickness ; a few light hatchings, irregularly placed, 
 " and executed without precision, indicate the shadows of the or- 
 " naments. The whole, like the prints which follow, was taken 
 " off, according to all appearances, with a pale tint of indigo in 
 " distemper, by passing the hand several times over the paper, 
 " after it had been laid on the block; in the simple manner used by 
 " the manufacturers of cards in printing their addresses, and the 
 " wrappers in which they enclose their packs of cards. The ground, 
 " or field of the print, not having been sufficiently hollowed out in 
 " the block in some places, has occasioned the paper, Avhich is of a 
 " brownish colour, to be smeared in those parts; in consequence of 
 " which the following memorandum was written on the margin be- 
 " neath; that the fault might be rectified. It is in gothic Italian, 
 " which M. de Greder had great difficulty to decipher, and was, 
 " no doubt, written upon this proof, probably the first taken from 
 " the block, by the hand of the Chevalier Cunio, or that of his 
 " sister." 
 
 " The ground of the wooden blocks must be hollowed deeper, 
 " that the paper may not touch it any more in receiving the im- 
 " pression." * 
 
 Papillon resumes his remarks. " Immediately following this frontis- 
 " piece," says he, "are the eight pictures, engraved in wood, of the same 
 " dimensions, and surrounded by a similar fillet: they have, also, a few 
 
 " d Ravenne, d' apres les huit tableaux de " fini, Sg^s seulement I'un et I'autre de seize 
 
 " notre invention, peints six fois plus grands " annees parfaites." 
 
 " qu' ici representes; tallies, expliques en The dedication appears to have been writ- 
 
 '' vers, et ainsi marques sur le papier, pour ten by the brother. 
 
 " en pprpetuer le nombre, et en pouvoir * This written memorandum, like the 
 
 " donner A nos parens et amis, par recon- printed inscription, Papillon, it is to be re- 
 
 " noissance, amitie et affection. Ce fait et gretted, has only given iu French. 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. as 
 
 " light hatchings to indicate the shadows. At the bottom of each of 
 " these prints, between the broad hne or fillet Avhich bounds the sub- 
 " ject, and another parallel line, distant from it about the breadth of 
 " a finger, are four Latin verses, engraved upon the block, which 
 " poetically explain the subject; and above each is its title. 
 " The impressions of all of them resemble that of the frontispiece ; 
 " being of a grey tint, and spotty ; as if the paper had not been 
 " damped or wetted before it was laid upon the engraved blocks. 
 " The figures, Avhich are passable in respect to their outlines, although 
 " of a semi-gothic taste, are sufficiently well characterized and 
 " draped ; one may perceive by them, that, in Italy, the arts of 
 " design were then beginning, by degrees, to experience melioration. 
 " The names of the principal personages represented, are engraved 
 " under their figures : as Alexander, Philip, Darius, Campaspe, and 
 " others. 
 
 " First subject. Alexander mounted on Bucephalus, whom he 
 " has tamed. Upon a stone are these words : Isabel. Cunio pinx. 
 " et scalp. 
 
 " Second subject. The passage of the Granicus : near the trunk 
 " of a tree are engraved these words : Alex. Alb. Cunio Equ. pmx. 
 " Isabel. Cunio Scalp. 
 
 " Third subject. Alexander cutting the Gordian knot. Upon 
 " the pedestal of a column are these words: Ale ran. Alhe. Cunio 
 " Equ. pinx. et scalp. This print is not so well engraved as the 
 " preceding. 
 
 " Fourth subject. Alexander in the tent of Darius. This print 
 " is one of the best, both for composition and engraving, of the 
 " whole set. Upon the border of a garment, the following words 
 " are engraved : Isabel. Cunio pinxit et scalp. 
 
 " Fifth subject. Alexander generously giving Campaspe, his 
 " mistress, to Apelles, who was painting her picture. The figure of 
 " this beauty is far from unpleasing. The painter appears trans- 
 " ported with joy at his good fortune. At the bottom, upon a sort of 
 
16 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " antique tablet, are these words : Alex. Alb. Cimio Eqiies. pinx. et 
 " scalp. 
 
 " Sixth subject. The famous battle of Arbella. Upon a hillock 
 " of earth are these Avords : Alex. Alb. Equ. et Isabel. Cunio Pictor. 
 " et Scalp. This also is one of the subjects, the best composed, de- 
 " signed, and engraved. 
 
 " Seventh subject. The vanquished Porus, conducted into the 
 " presence of Alexander. This design, independent of its merit, is 
 " very remarkable, as it is composed very much like that of the 
 " same subject by the celebrated Le Brun : one would almost think 
 " that he had copied this print. The figures of Alexander and 
 " Porus have equally an air of grandeur and magnanimitj-. Upon a 
 " stone, near a bush, are engraved these words: Isabel. Cunio pinx. 
 " et scalp. 
 
 " Eighth, and last subject. The Glory and grand Triumph of 
 " Alexander, upon his entry into Babjdon. This piece is also well 
 " composed, and was executed, like the sixth, by the brother and 
 " sister conjointlj'^; as these characters, engraved at the foot of a 
 " wall, testify: Alex. Alb. Equ. et Isabel. Cunio, Pictor. et Scalp. 
 " This print has been torn at top : a piece, about three inches in 
 " length by one inch in height, is wanting. 
 
 " Upon the blank leaf, which follows this last print," continues 
 Papillon, " are these words, badU^ written in old Swiss characters, 
 " with ink so pale that they are scarcely legible." 
 
 [Of course Papillon could not read Swiss — Mr. de Greder, there- 
 fore, translated them for him into French.] 
 
 " This precious book was given to my grandfather Jan. Jacq. 
 " Turine, a native of Berne, by the illustrious Count de Cunio, 
 " magistrate (podesta) of Imola, who honoured him with his liberal 
 " friendship. Of all the books I possess, I esteem it the most; on ac- 
 " count of the quarter from whence it came into our family, the 
 " science, the valour, the beauty of the amiable twins Cunio, 
 " and their noble and generous intention of thus gratifying their 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. 17 
 
 " relatives and friends. Behold their singular and curious history, 
 " in the manner in which it was several times related to me by 
 " my venerable father, and according to which I have caused it 
 " to be written more legibly than I myself could have done it, * 
 
 [The signature of this ancient possessor of the book does not 
 appear.] 
 
 " That which follows," says Papillon, " is written with blacker 
 " ink ; but in the same kind of characters, although better 
 " formed. 
 
 " The young and amiable Cunio, twin brother and sister, were 
 " the first children of the son of the Count di Cunio, which he 
 " had by a noble and beautiful Veronese lady, allied to the fa- 
 " mily of Pope Honorius IV. when he was only a Cardinal. This 
 " young nobleman had espoused this young lady clandestinely, 
 " without the knowledge of the relations of either of them ; who, 
 " when they discovered the affair, by her pregnancy, caused the 
 " marriage to be annulled, and the priest, who had married the two 
 " lovers, to be banished. The noble lady, fearing equally the 
 " anger of her father and that of the Count di Cunio, took refuge 
 " in the house of one of her aunts, where she was delivered of 
 " these twins. Nevertheless, the Count di Cunio, out of regard to 
 " his son, whom he obliged to espouse another noble lady, per- 
 " mitted him to bring up these children in his house, Avhich was 
 " done with every instruction and tenderness possible, as well on 
 " the part of the Count, as on that of his son's wife, who con- 
 " ceived such an affection for Isabella Cunio, that she loved and 
 " cherished her as if she had been her own daughter ; loving 
 " equally Alessandro Alberico Cunio her brother, who, like his 
 " sister, was full of talent, and of a most amiable disposition. 
 " Both of them made rapid advances in various sciences, profiting 
 
 * The style of this memorandum, as given of a cramped translation from old writing in 
 in the French, is also very unlike Papillon's another language. Tlie same observation ap- 
 usual manner of writing. It bears every mark plies to the longer narrative which follows. 
 
 D 
 
]8 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " by the instruction of their masters ; but especially Isabella, who, 
 " at thirteen years of age, was already considered as a prodigy ; for 
 " she perfectly understood and wrote Latin, composed verses, had 
 " acquired a knowledge of geometr}', Avas skilful in music, and 
 " played upon several instruments : moreover, she was practised 
 " in drawing, and painted with taste and delicacy. Her brother, 
 " urged on by emulation, endeavoured to equal her; often, how- 
 " ever, acknowledging, that he felt that he could never attain so 
 " high a degree of perfection : he himself was, nevertheless, one 
 " of the finest young men of Italy; he equalled his sister in beauty 
 " of person, and possessed great courage, elevation of soul, and 
 " an uncommon degree of facility in acquiring and perfecting him- 
 " self in whatever he applied to. Both of them constituted the 
 " delight of their parents, and they loved each other so perfectly, 
 " that the pleasure or chagrin of the one, or the other, was di- 
 " vided between them. At fourteen years of age this j^oung gen- 
 " tleman could manage a horse, was practised in the use of arms, 
 " and in all exercises proper for a young man of quality ; he also 
 " understood Latin, and had considerable skill in painting. 
 
 " His father, having, in consequence of the troubles of Italy, 
 " taken up arms, was induced, by his repeated solicitations, to 
 " take him with him the same year," (viz. at the age of 14) " that, 
 " under his eyes, he might make his first campaign. He was in- 
 " trusted with the command of a squadron of twenty-five horse, 
 " Avith which, for his first essay, he attacked, routed, and put to 
 " flight, after a vigorous resistance, almost two hundred of the 
 " enemy ; but his courage having carried him too far, he unexpectedly 
 " found himself surrounded by many of the fugitives; from whom, 
 " nevertheless, with a valour not to be equalled, he succeeded in dis- 
 " engaging himself, without sustaining any other injury than that of 
 " a wound in his left arm. His father, who had flown to his suc- 
 " cour, found him returning with one of the standards of the 
 " enemy, with which he had bound up his wound : he embraced 
 " him, full of delight at his glorious achievements, and, at the same 
 
CHAP, i] THE TWO CUNIO, A. D. 1285. 19 
 
 " time, as his wound was not considerable, and as he was desirous 
 " to reward such great bravery upon the spot, he solemnly made 
 " him a knight, (although he was already one by his birth,*) dub- 
 " bing him in the same place where he had given such great proofs 
 " of his extraordinary valour. The young man was so transported 
 " with joy at this honour, which he received in the presence of 
 " the troops commanded by his father, (who, in consequence of 
 " the death of his father, which had recently happened, was now be- 
 " come Count di Cunio,) that, wounded as he was, he instantly de- 
 " manded the permission to go and see his mother ; that he might 
 " inform her of the glory, and of the honour which he had just 
 " acquired ; which was granted by the Count, the more readily, as 
 " he was glad to have this opportunity of testifying to that noble 
 " and afflicted lady, (who had always remained with her aunt a few 
 " miles from Ravenna) the love and esteem which he ever con- 
 " tinned to entertain for her ; of which he certainly would have 
 ** given more solid proofs by re-establishing their marriage, and 
 " by publicly espousing her, had he not felt it his dutj^ to cherish 
 " the wife his father had obliged him to marry, by whom he had 
 " several children. 
 
 " The young Knight, therefore, immediately set out, escorted by 
 " the remains of his troop, out of which he had eight or ten men 
 " killed, or wounded. With this equipage, and these attendants, 
 " Avho bore testimony to his valour wherever he passed, he arrived 
 " at the residence of his mother, with whom he staid two days ; 
 " after which he repaired to Ravenna, to show a similar mark of re- 
 *' spect to the wife of his father, who was so charmed by his noble 
 " actions, as well as by his attentions towards her, that she herself led 
 " him by the hand to the apartment of the amiable Isabella, who, 
 " seeing him with his arm bound up, was at first alarmed. He 
 " remained a few days in this city ; but, impatient to return to his 
 
 * Probably this expression in the original (Knight) was anciently, perhaps, as it is now 
 only meant that the young Cunio was a patri- in Italy, synonymous with gentleman, or 
 cian by birth. The term " Cavaliere" nobleman. 
 
 D 2 
 
20 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " fiather, that he might have an opportunity of distinguishing him- 
 " self in new exploits, he set off before his wound was yet healed. 
 " The Count reprimanded him for not having sent back his troop, 
 " and for not remaining at Ravenna till he was cured, and would 
 " not permit him to serve again during the rest of the campaign : 
 " shortly after, when his arm was perfectly healed, he sent him 
 " home, saying to him pleasantly, that he did not choose to be 
 " outdone by him all the remaining time that the troops would 
 " continue in action that year. It was soon after this, that Isabella 
 " and he began to compose and execute the pictures of the ac- 
 " tions of Alexander. He made a second campaign with his father, 
 " after which he again worked upon these pictures, conjointly with 
 " Isabella, who applied herself to reduce them, and to engrave them 
 " on blocks of woods. After they had finished and printed these pieces, 
 " and presented them to Pope Honorius, and to their other relations 
 " and friends, the Cavalier joined the army for the fourth time, 
 " accompanied by a young nobleman, one of his friends, called 
 " Pandulfio ; who, enamoured of the lovely Isabella, was desirous 
 " to signalize himself, that he might become more worthy of her 
 " hand, before he espoused her. But this last campaign was fatal 
 " to the Cavalier Cunio : he fell, covered with wounds, by the side 
 " of his friend, who, whilst attempting to defend him, was also 
 " dangerously wounded. Isabella was so much affected by the 
 '' death of her brother, which happened when he was not yet nine- 
 " teen, that she determined never to marry : she languished, and 
 " died when she had scarce completed her twentieth year. The 
 " death of this beautiful, and learned young lady, was followed by 
 " that of her lover, who had always hoped that his attentions and 
 " affection towards her would be rewarded by her consent, at 
 •' length, to become his, — and also by that of her mother, who 
 " could not survive the loss of her beloved children. The Count di 
 " Cunio, who had been deeply afflicted by the death of his son, 
 " could scarcely support that of his daughter. Even the Countess 
 " di Cunio, who loved Isabella with great tenderness, fell ill of 
 
CHAP. I] THE TWO CUNIO, A. D. 1285. 21 
 
 " grief for her loss ; and would have sunk under it, had she not 
 " been supported by the manly fortitude of the Count. Happily 
 " the health of the Countess was, by degrees, re-established. Some 
 " years afterwards, the generous Count di Cunio gave this copy of 
 " the actions of Alexander, bound * as it now is, to my grandfather ; 
 " and I have caused the leaves of paper to be inserted, upon which, 
 " by my orders, this history was written." 
 
 [Papillon resumes his observations.] 
 
 " From the name of Pope Honorius IV. engraved on the frontis- 
 " piece of these ancient prints of the actions of Alexander, it is 
 " most certain that this precious monument of engraving on wood, 
 " and of the art of taking impressions, was executed betAveen the 
 " years 1284 and 1285 ;t because that Pope, to Avhom it was 
 " dedicated, governed the church only for the space of two years ; 
 " that is, from the second of April 1285, to the third day of the 
 " same month in the year 1287 : the epoch, therefore, of this ancient 
 " specimen of engraving, is anterior to all the books, printed in 
 " Europe, that have been hitherto known. Mr. Spirchtvel, the offi- 
 " cer who was the possessor of this copy, and the friend of Mr. de 
 " Greder, was one of the descendants of Jan. Jacq. Turine, who 
 " was the ancestor of his mother. The death of Mr. de Greder 
 " having taken place many years ago, I am unable to learn where 
 " this book is at present to be seen, so that its authenticity might 
 " be established to the satisfaction of the public, and that which 
 " I have written be confirmed. It is, hoAvever, very probable that 
 " the copy which Avas given to Pope Honorius, may be preserved in 
 " the Library of the Vatican, at Rome." 
 
 * Note of Papillon to this passage. " the attack of the worms: the cover has 
 
 " This ancient and Gothic binding is made " been eaten by them into holes in many 
 
 " of thin tablets of wood, covered with lea- '^ places." 
 
 " ther, and ornamented with flowered com- f Papillon should have said 1285 — or 
 
 " partments, which appear simply stamped 1286. It is possible, indeed, that the work 
 
 " and marked with an iron a little warmed, was begun in 1264. 
 " without any gilding. It has not escaped 
 
•22 PAPILLONS ACCOUNT OF [chap. r. 
 
 I will not add to the length of this extract, by transcribing the 
 account that Papillon has left us of two other ancient books of 
 wood engravings, which he saw, upon the same occasion, in the 
 house of Mr. de Greder ; as they had no marks from which their 
 dates might be conjectured.* I shall proceed, with all due impar- 
 tiality, to notice the opinions of different writers respecting the 
 genuineness of the above interesting narrative ; and to set forth, 
 on the one hand, the arguments that may be advanced in its favour; 
 and, on the other, the difficulties which oppose themselves to our 
 belief of it. 
 
 I have already observed, that most authors (by which I mean 
 more especially those who have treated on the subject of engrav- 
 ing) appear to have considered the whole account as absolutely 
 spurious. Several of the German writers, indeed, are so well satis- 
 fied on this point, that they deem its very refutation unnecessary. 
 Neither Heineken, in his " Idee Generale," and " Dictionnaire des 
 " Artistes," — nor Huber, in his " Manuel des Amateurs," nor Bartsch, 
 in his " Peintre Graveur," have even deigned to notice it. It was 
 enough, that Italy had dared to advance her claims to the invention 
 of copper-plate engraving ; that she should put forth pretensions 
 to priority in wood engraving also, was too much to be borne. It 
 would however be unfair to infer, that these writers withheld their 
 pens, because they knew not how to disprove the evidence of Papillon 
 and the Swiss officer ; — no doubt they thought that so palpable a for- 
 gery, as they considered it, was best treated with silent contempt. 
 
 Heineken, I fmd, indeed, had mentioned the story in a previous 
 work, although with such little alterations, as he thought requisite, 
 to fit it for his purpose ; for, instead of the name of Pope Honorius, 
 in the dedicatory inscrii)tion, he inserted that of Pope Urban ; and 
 added, moreover, that Papillon, when he wrote the account, was 
 onl\^ fourteen years of age ; whereas it is certain that he was, at least, 
 one and twenty. 
 
 * One of them contained figures of tlie of ancient Kings and Heroes. 
 Prophets and Sibyls ; the otlier, the portraits 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. 23 
 
 These misrepresentations did not escape the censure of De Murr ; * 
 and Heineken, who, doubtless, considered some explanation neces- 
 sary, afterwards wrote a long chapter on the subject of Papillon's 
 book, and more especially on that Avriter's account of the two Cunio, 
 which appeared in his work, printed in 1786, under the title of 
 " Neue Nachrichten." 
 
 After a few general remarks, similar to those in his " Idee 
 Generale," upon the folly and credulity of Papillon, and the nu- 
 merous errors of liis book ; and an unsuccessful attempt to show that 
 the honest eulogium, shortly before bestowed upon the French 
 writer's labours, by some learned journalists of Germany, was no 
 other than " satyr in disguise," he enters upon an elaborate ex- 
 amination of the subject in question. Through this examination it 
 is unnecessary to accompany him, as the result of his inquiries 
 may be sufficiently collected from the following extract. 
 
 " It will readily be imagined," says Heineken, " that during my 
 " stay at Paris, throughout the j'^ear of 1769, 1 was very desirous to get 
 " some more certain intelligence respecting these wood engravings. 
 " That there was something wrong f about Papillon, I had, indeed, 
 " a right to conclude from the general tenor of his book, and especially 
 " from his description of these engravings, which I have faithfully 
 " translated : nevertheless, I hoped to learn something further on 
 
 * Christophe Theophile de Murr, (Biblio- nated in carelessness, or in design, I shall leave 
 
 theque de Peinture, de Sculpture, et de Gra- the reader to determine, 
 vure; 2 vols. 12mo. Frankfort, 1770) after + Heineken takes some pains to show that 
 
 having given Papillon's narrative of the two poor Papillonw&s not in his right mind ; and, 
 
 Cunio, verbatim, observes as follows — " Je ne amongst his other arguments for that purpose, 
 
 " sQai pas pourquoi Mr. de Heineken, quotes a passage from his book, 1. 1. p. 335, 
 
 " au second volume Von Kilnstlern und in whichhe says," Par un accideiit etunefata- 
 
 " Kiindstsachen, p. sxxvi. cite si fausse- Utt commune a phisieurs graveurs, aussi bien 
 
 " ment ce trait curieux et remarquable. Au qu^mo'i, Le Fer re est devetiu aliened' esprit :" 
 
 " lieu d' Honore,i\ met Vrbain; il dit, que asif a little pleasantry of expression, such as the 
 
 " Mr. Pa^i7/o« etoit alors 14 ans. Mais il French writers, especially, have ever felt them- 
 
 " en avoit au moins 21, etant ne I'an I698." selves at full liberty to indulge in, could really 
 
 Whether these blunders of Heineken origi- constitute fit grounds for a statute of lunacy. 
 
24 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " the subject in a conversation with himself: but when I repre- 
 " sented to him the extreme improbabihty of wood engravings 
 " having been executed at Imola, or Ravenna, in 1285; a thing 
 " mentioned by no Itahan writer whatever; and also that the 
 " chronology of Pope Honorius IV., did not at all agree with that of 
 " Count Cunio ; for that although the history of Ravenna did mention 
 " a Count Alberico Cunio, he did not live at the time of Honorius, 
 " but of Urban VI. and Martin V. ; I could get nothing from 
 " him, except that he could not read the " Old Latin, or Gothic 
 " Italian imcription on the engraved frontispiece, and was absolutely 
 " ignorant in what language it was really written. That which he 
 " had written, he repeated, was merely a faithful record of what 
 " De Greder had dictated to him. 
 
 " Now, although, in my further researches," continues Heine- 
 ken, " I could discover nothing more ; for Bagneux is not far from 
 " Paris, and is often resorted to as a place of amusement; and 
 " although all the connoisseurs of Paris laughed at my talking about 
 " that Romance of Papillon, and Mr. Mariette, in particular, as- 
 " sured me that I should make myself ridiculous by even men- 
 " tioning Papillon, (for that I could not but know that he (Mariette) 
 " who was so thoroughly acquainted with Italy, must long ago have 
 " discovered such a work, had such a work, executed in 1285, existed,) 
 " I am, nevertheless, still of opinion that such wood-cuts of the 
 " Life of Alexander the Great do exist; although not of the an- 
 " tiquity which Papillon supposed. There is no such book, 
 " engraved by the Count Cunio and his sister at Ravenna, and dedi- 
 " cated to Pope Honorius IV., to be found in the Vatican library ; 
 " if I may rely on the information of the Counsellor Bianconi, 
 " and the prelate Bottari : but still there must be something true 
 " in Papillon's account ; for, from 7ny knowledge of his character, 
 " and his manner, when I conversed with him, I am firmly per- 
 *' suaded that he did not invent that which he told me. That a 
 " history of Alexander the Great, engraved in wood after a ma- 
 " nuscript dedicated to Pope Honorius, might have been printed at 
 
CHAP. I.] 
 
 THE TWO CUNIO, A. D. 1285. 
 
 m 
 
 " the latter part of the fifteenth century, when such works were 
 " most frequent; and that these wood-cuts might have been the 
 *' work of an engraver called Cunio, is by no means impossible ; 
 " especially as there really existed painters of that name at 
 
 " Milan* The Swiss Captain may answer for the ro- 
 
 " mance about the twins." 
 
 Heineken cannot be accused of want of candour upon this 
 occasion. He appears like a pleader, who, after having rigidly 
 cross-examined a suspected witness, is at length convinced of his 
 veracity. The reader will, however, soon find that he was him- 
 self in error, when he asserted that there was no Count Alberico 
 Cunio in the time of Honorius the IVth; and will learn, in a sub- 
 sequent chapter, how far he ought to bow before the boasted om- 
 niscience of Mariette. The truth is, that upon these, as upon all 
 other subjects, much knowledge still remains to be obtained, even 
 by him who knows the most. + 
 
 * Unfortunately, however, we have no ac- 
 count of any artist of the name of Cunio 
 (always excepting the twins) until late in the 
 sixteenth century. 
 
 •f That Mariette, whose reading and eru- 
 dition, upon all matters relating to the arts 
 of design, were certainly very extensive, should 
 now and then have forgot this maxim, (as 
 upon the occasion of his conversation with 
 Heineken) will hardly be wondered at, by 
 any one who peruses the extravagant compli- 
 ments lavished upon him by all the cognos- 
 centi of his day ; and more especially by the 
 writers of Italy. The following specimen, 
 extracted from a letter written by Monsignor 
 Bottari to the editor of the Lives of the 
 Painters, by Giambattista Passeri, and pre- 
 fixed to that work, upon its publication at 
 Rome, in 1772, in 4to, may suffice. After 
 
 having bestowed a well-merited eulogium on 
 the work in question, he says: 
 
 " The first account which I had of these 
 " Lives, I received from the most learned 
 " Sig. Pietro Mariette; who, in a letter 
 " addressed to me, and printed at the begin- 
 " ning of the sixth volume of the ' Lettere 
 " Pittoriche,' at p. 10, says: I kwve a Life 
 " of Pietro da Cortona in MS. by Gio. 
 " Battista Passeri, which is unfinished; and 
 " that part of it which is done, is ill done- 
 " But let not this criticism of Monsieur 
 " Mariette surprise you, for in matters of 
 " this kind he is the most erudite and insati- 
 " able {incontentabile) man now living, or, 
 " perhaps, that ever did live ; nor is it pro- 
 " bable that there will ever be another pos- 
 " sessed of a museum more rich in works of 
 " this kind, or more interesting, as well for 
 
 % 
 
 E 
 
26 PAPILLON S ACCOUNT OF [chap. i. 
 
 Strutt mentions the story of the two Cunio, but considers it worthy 
 of but httle credit; an opinion, in the formation of which his own 
 miscomprehension of the original French appears to have had no 
 small share. " If this story be true," says he, " and such engravings 
 " with the foregoing title ever did exist, they must have been ex- 
 " ecuted in the years 1284 or 1285; for Honorius IV., to whom the 
 " work is dedicated, sat only those two years in the Papal Chair. 
 " But, as Papillon gives this story upon the sole evidence of the 
 " Swiss officer, and had never seen any part of the engravings, 
 " the generality of authors have not been inclined to give much 
 " credit to the fact, which at best is exceedingly doubtful." * Now 
 it is most evident, from Papillon's account, that he had seen these 
 prints with his own eyes, and examined them at his leisure. The 
 Swiss officer merely assisted him by deciphering and translating 
 the inscriptions upon the frontispiece, and the manuscript his- 
 tory of the two Cunio, inserted at the end of the book, after the 
 prints. 
 
 Padre della Valle, in his preface to the fifth volume of his edition 
 of Vasari, (Siena, 1791 to 1794) gives Papillon's narrative at length, 
 and shows no inclination to question its authenticit^^ " It would be 
 " no matter of wonder," says he, "if at Ravenna, which, during the 
 
 " its printed books, as its manuscripts ; which work of wood engraving, like that described 
 
 " treasures, had Passeri had an opportunity by Papillon, did exist, in his " Idee Gene- 
 
 " of seeing them, would, doubtless, liave en- rale," published two years after his visit to 
 
 " abled him to make this life of Pietro da Paris : no doubt, lest Mariette, who was 
 
 " Cortona more elegant, more ample, more then alive, should laugh at him for imagining 
 
 " correct, and more rich, as he did the that such a work could have escaped Itis re- 
 
 " others," &c. Thus the injustice of the searches: but, in 1786, Mariette having then 
 
 French critic's censure (for Passeri's work been more than ten years dead, he took cou-^ 
 
 is deservedly admired) furnished an excellent rage, and boldly asserted the right to speak 
 
 opportunity for a highflown panegyric. his own opinions ! 
 
 Heiiieken, it is to be observed, did not say * Dictionary of Engravers. — vol. ii. Es- 
 
 one word of Papillon's story of the two say, p. 13. 
 Cunio ; or of his decided opinion, that some 
 
CHAF. I.] 
 
 THE TWO CUNIO, A. D. 1285. 
 
 ^ 
 
 " middle ages, was the Athens of the line arts, some one, amongst the 
 " numerous artists, who flocked to it, not only from the different cities 
 " of Italy, but also from countries on the other side of the Alps, 
 " and even from Greece, should have invented the art of engraving 
 " in wood for the purposes of impression."* Lanzi, I am obliged to 
 confess, is not of the same opinion : he, indeed, mentions Papil- 
 lon's account, but acknowledges " that it contains some things so 
 
 * He conjectures, indeed, that the term 
 allumhiar, used by Dante in speaking of 
 Oderigo d'Agubbio, the miniature painter, 
 (Canto xi. del Purgatorio). 
 O, dissi lui, non se tu Oderisi 
 L'hoiior d'Jgobbio, et Thonor di quell' arte, 
 Ch' alliiminar t chiamata in Parisi ? 
 might include, in its meaning, the art of en- 
 graving the outlines of the figures, intended to 
 be coloured, in wood ; and, he observes, that 
 " certain manuscripts of Dante, and in other 
 " ancient books, are to be seen impressions," 
 (he speaks of letters) " v\'hich appear to have 
 " been made with engraved pieces of wood ; 
 " because we find in them that great degree 
 " of regularity and resemblance, which, with- 
 " out incredible labour and diligence, could 
 " not be obtained by a pen directed by the 
 " hand of any copyist, which cannot be, at 
 " all times, equally firm and obedient." 
 
 Bullet had the same idea. See Zani, p. 17b. 
 
 This extreme regularity in the characters of 
 many old manuscripts has been often observed, 
 and gives sufficient ground for the opinion, 
 that some mechanical process was, at least 
 occasionally, resorted to by the ancient Cali- 
 graphists. I think there is reason to believe, 
 that stensils were often used by those who 
 wrote the large choral books, containing the 
 different services performed in the Roman 
 
 Catholick churches ; the smaller letters in 
 which are, sometimes, above an inch in 
 height : but I have not, hitherto, seen any old 
 manuscript in which the letters appear to be 
 stamped in the manner described by Padre, 
 della Valle. 
 
 As for the celebrated MS. of the four 
 gospels, by Ulphilas, believed to be of the 
 fourth or fifth century, and preserved in the 
 hbrary of Upsal, in Sweden; the characters 
 of which are said to have been printed in 
 gold and silver, on coloured parchment, by 
 means of iron types heated ; I can only say, 
 that the account is entirely beyond my com- 
 prehension. I have not, indeed, read the- 
 learned dissertation which M. Ihre, a pro- 
 fessor of eloquence at Upsal, wrote concern- 
 ing this book. Fournier speaks of it, p. 1)8. 
 Fapillon, vol. i. p. 12 and 77. Heineken 
 " Idee," p. 248 : and J arisen, " Essai sur la 
 Gravure," vol. ii. p. 18 and 162. But whatever 
 method the old Caligraphists may have 
 adopted, to procure uniformity in the size 
 and shape of their letters, it does not, I think, 
 appear to have had any influence in promot- 
 ing the Art of Printing, whether from wooden 
 blocks or with moveable types. The copy- 
 ists of manuscripts, who lived by their pen, 
 would, as Heineken observes, have been glad 
 that Typography had never been invented. 
 
 E 2 
 
28 PAPILLON'S ACCOUNT OF [chap. i. 
 
 " very hard to be believed, that he judges it the safest mode to say 
 " nothing concerning it." * 
 
 Zani views the matter in a very different light. " The long and 
 " particular description which Papillon gives of these prints," says 
 he, " is an indubitable proof that he had viewed them, at his conve- 
 " nience, with his own eyes — for we cannot suppose, that that 
 " professor dreamed such a story, or that he intended to amuse 
 " his readers with a romance of his own invention. 
 
 " I am aware," he adds, " that some amateurs will laugh at 
 " Papillon, as well as at myself, for having been so easily induced 
 " to believe him, and for thinking to bring forward, as an authentic 
 " monument of the priority of Italy, even in wood engraving, a 
 " work which no writer has hitherto known. It is impossible, 
 " they will say, that there should be only one copy of it in the 
 " world ; and that this should have escaped the diligence of 
 " the celebrated Fussli, the compiler of the great dictionary of 
 " painters, and the countrj^man of M. Spirchlvel and M. de 
 " Greder. 
 
 " He, however, who should reason in this manner," continues 
 Zani, " might, upon the same grounds, deny the loss of many 
 " manuscripts, and even of printed books, which, according to the 
 " testimony of credible authors, have become a prey to the flames; 
 " or have perished during the anarchy of revolutions, or the dis- 
 " tresses occasioned by wars. The learned part of my readers will 
 " not require examples. Nevertheless, let him, who wants such 
 " conviction, search throughout all the libraries of Europe for the 
 
 * " Storia Piltorjca," torn. i. p. 74. Bas- pillon's account. The truth is, that, in tlie 
 
 sano. 1793-6. It is probable, that if Latizi absence of the proofs which Zani some time 
 
 bad been informed of the circumstances after pubHshed relative to Finigtierra's disco- 
 
 which Zani afterwards discovered, relative to very, lie had enough to do to defend the pre- 
 
 the family of Ciinio, he would have formed tensions of Italy, even to priority in copper- 
 
 a different opinion of the authenticity of Pa- plate engraving. 
 
CHAP, i] THE TWO CUNIO, A. D. 1285. 29 
 
 " book, entitled 'MeditationesReverendissimi patrisdominiJohannis 
 " de Turrecremata,' printed at Rome by Ulric Han, in 1467, and he 
 " will be presently informed by the learned librarians, that of that 
 " edition there exists but one copy, which is preserved in the library 
 " of Nuremberg.* This book is, therefore, unique. Now let 
 " us suppose, that, by some accident, this book should perish ; 
 " could our descendants, on that account, deny that it had ever 
 " existed .'^ 
 
 " And what," continues our writer, " will those, who argue in 
 " this manner, say, when they read in my large w^ork,-}- that so great 
 " is the rarity of ancient prints, that, notwithstanding my most 
 " diligent search in the frequent journeys which I have under- 
 " taken, I have not chanced to see two impressions of many en- 
 " gravings of the fifteenth century, which, nevertheless, is an age far 
 " less remote than that of Honorius IV. 
 
 " For my own part," adds Zani, " I confess that I give full be- 
 " lief to the account of Papillon, because I find in it every mark of 
 " truth. It is not a single print that he describes, but a series of 
 " eight pieces, bearing in front of them a brief dedication, and 
 " accompanied by Latin verses. He shows how those two noble 
 " amateurs must have printed these engravings, by placing the 
 " paper upon the blocks, and passing their hands over it, in lieu 
 " of other modes of pressure. It is possible that, at this moment, 
 
 * "Unicum exemplumlibri hujus rarissimi di una Enciclopedia metodica delle Belle 
 
 " quod hactenus detegi potuit, idque optime Arti spettanti al Disegno ;" and is introduced, 
 
 " conservatum, UNiCA tanquani Ph^nix with some variations, in the latter part of his 
 
 " eMat in bibliotheca publica Norimbergensi." volume, entitled " Materiali," &,c. 
 Panzer, vol. ii. p. 407- n. 6. I have been It is greatly to be wished, that the author 
 
 informed, liowever, that the Imperial library may, at length, receive that general support 
 
 at Vienna, also, possesses a copy of this book. which may enable him to publish the fruits 
 
 "t" A very extensive work relative to engraving^ of his long studies; since, however, like 
 
 for which Zani has been collecting materials all other writers, he may have formed some 
 
 these thirty years. A detailed prospectus of erroneous judgments, there can be no doubt 
 
 the undertaking was first printed in 24nio. that his work will contain a large proportion 
 
 at Parma, 1789, under this title, " Prodrome of erudite and original matter. 
 
30 PAPILLQN'S ACCOUNT OF." [chap.j. 
 
 " I may be blinded by m\^ partiality to my own nation ; but, I 
 " would almost assert, that to deny the testimony of the French 
 " Avriter, would be like denying the existence of light on a fine 
 " sunshin)'^ day." * 
 
 So much for opinions — let us now examine the evidence upon 
 which this story rests. 
 
 The witness to the fact is but one. It behoves us, therefore, in the 
 first place, to inquire if he be a witness worthy of credit ; onej 
 whose word can be taken ; one, who, had he been interested in de- 
 ceiving us, would, nevertheless, have told the truth. 
 
 In all these respects, the character of Papillon stands unimpeached ; 
 and we have seen that Heineken himself, the determined opposer of all 
 Italian pretensions, bore testimony to the probity of the man, al- 
 though he condemned his book. In his " Idee Generale," he had pre- 
 viously expressed himself to the same purport. Speaking of engrav- 
 ing in wood in Italy, he there observes, " that he cannot name any 
 " artist of that country, who engraved in wood, before Ugo da 
 " Carpi, Dominico Beccafumi, and Baldassar Peruzzi ; paintersi 
 " who were nearly contemporaries, and who worked at the begin- 
 " ning of the sixteenth centur)^ What MaroUes says of the en- 
 " gravers upon wood in Italy, anterior to these masters," continues 
 he, " is simple conjecture. Florent le Comte has copied his faults, 
 " and Papillon has augmented them more than all the rest, in his 
 " treatise upon engraving in wood; a work, of which the first vo- 
 " lume (for I am not a competent judge of the second) is so filled 
 " with errors, fables, and trivial matters, that it is not Avorth the 
 " pains to refute them. Nevertheless, I am convinced that the 
 " author, whose character I am Avell acquainted with, believed 
 " all that he wrote, and erred only from ignorance. "-f- Papillon 
 was, therefore, an honest writer. 
 
 * Zani. " Material! per servire alia storia, " pendant je suis convaincd que I'auteur, 
 
 &c. deir Incisione in Rame e in Legno." " dont je connois le caractere, a ecrit tout 
 
 Parma, 1802. 8vo. pp. 84, 85, 86. " cela de bonne foi, sans en savoir davan- 
 
 t " Idee Generale," pp. 130, 151. " Ce- " tage." 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. 31 
 
 But, although honest in his testimony, would not such a person 
 as Heineken has described Papillon, be very liable to be deceived ? 
 To this simple question, it seems reasonable to answer, \ es ! But 
 was Papillon really so ignorant, so misinformed on the subject he 
 treated of, as Heineken's judgment would lead us to suppose? 
 Is the German writer's SAveeping condemnation of his book to 
 be admitted as just, without examination? Was he himself a 
 judge so competent, that from his sentence there should be no 
 appeal ? 
 
 It must indeed be admitted, that Papillon's work contains an ample 
 proportion of error. He wrote at a period when little had been done 
 towards the investigation of the early history of engraving by other 
 authors. He copied many of the mistakes of the French writers who 
 preceded him, and, perhaps, added some of his own. Zealous for 
 the honour of his art, he was induced, upon very slight evidence, 
 to insert, amongst the professors of wood engraving, many eminent 
 designers who, it is probable, never handled a burin. But it is 
 remarkable, that upon the very occasion which Heineken selected 
 to pass so severe a sentence upon Papillon, the latter was right, and 
 the former wrong. Heineken says, he cannot name any artist of 
 Italy Avho engraved in Avood prior to Ugo da Carpi, Domenico 
 Beccafumi, and Baldassar Peruzzi. The first of these can hardly 
 be supposed to have begun to engraAC before lolO, and most pro- 
 bably did not engrave till after that period. Beccafumi certainly 
 did not practise engraving till much later in the century ; and as 
 for the third, the contemporary and countryman of Beccafumi, 
 there is some reason, at least, to doubt Avhether he engraved at all. 
 Now there is no difficulty in pointing out Italian engravings on 
 Avood, anterior to these masters, some bearing the marks * of the 
 artists by Avhich they Avere executed, and others, their names. Of 
 
 * Witness the old Italian artist, who en- companied with the figure of a bird. He 
 "graved both on Mood and in copper, and will be spoken of in his proper place. 
 marked his prints with the initials I. B. ac- 
 
PAPILLONS ACCOUNT OF 
 
 [chap. 
 
 the latter description, Papillon mentions a large wood print, some- 
 what in the style of Mantegna, and certainly Italian, of a subject 
 of the Roman history, allegorically represented, and inscribed Opus 
 Iacobi ; and another large wood engraving, representing the Ma- 
 donna, S. Sebastian, and S. Rock, inscribed Iacobus; whom he 
 considers, and, probably, with some reason, a different artist from the 
 foregoing.* Heineken, it is possible, never saw these prints ; or, if he 
 did, mistook them for the productions of another school. The print 
 of the " Madonna with the two Saints," if it be, as I think, one that I 
 have seen (and shall, I hope, have an opportunity of describing here- 
 after) is decidedly old Italian. The other I am unacquainted with. 
 I will only, therefore, at present observe, that in the British Museum 
 there is a set of circular prints of subjects from the NewTestament, one 
 of which bears this inscription, 0/JZ/s/acoii. They are indisputably -f-Ita- 
 
 * Papillon. Tom. I. p. 140. 
 f Since writing the above, I find in 
 Heineken's Btnt J3acl)rirt)ten ( a work 
 published by him fifteen years after his 
 " Idee Generale) at p. 123, the following 
 title to a set of 12 large prints of the Tri- 
 umphs of Julius Caesar :— " Triumphus Caji 
 Julii Caesaris, qui quinquies trinmphavit. 
 Primtim et excellentissimum egit Gallicum. 
 Sequentem Alexandriiium. Deinde Poriti- 
 cum, Proximum Africanum, Novissimum 
 Hispaniensem. Edidit spectacula varii ge- 
 neris, a quo deinde Rumanorum Priiicipes 
 Caesares atque Imperatores appellati sunt 
 
 Manibus propriis hoc prae- 
 
 clarum opus in htcem prodire fecit, Jacobus 
 Argentoratemis, Germanus, Archetypus So- 
 lertissimus, anno virginei partus M. D. III. 
 idibus Februarii sub hemispherio Fenelo 
 jinem imposuit." 
 
 Not having had an opportunity of seeing 
 the original from which this inscription is 
 
 taken, I am unable to satisfy the curiosity of 
 the reader as to that part of it which Heine- 
 ken appears to have thought proper to omit. 
 But I happen to possess in my own collection, 
 two pieces which I suspect may be a part of 
 the above Triumphs. They have neither the 
 name nor mark of the designer or the engraver; 
 but are very much in the manner of the cir- 
 cular prints in the British Museum, mentioned 
 in the text. The style of them, however, is 
 decidedly Old Italian, as well as respects 
 their design, as the mode in which they are 
 executed. The artist, therefore, whoever lie 
 was, properly belongs to the Italian school; 
 notwithstanding he may have been of German 
 origin, or even a native of Strasburg; since it 
 is evident, from his style, that he must have 
 learned the principles of his art in Italy. 
 I consequently still feel myself justified in 
 leaving the passage in the text as I had origin- 
 ally written it ; more especially, as it is not 
 proved that both the Jacobi were the same 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285. 33 
 
 lian, and of the old dry taste of the XVth century. I shall describe 
 them in a future chapter. 
 
 The French Avriter, therefore, did not merit the unqualified 
 censure with which Heineken treated him. The materials of his 
 work may be ill arranged, and his book badly written ; but he does 
 not appear in the light of a person wholly incapable of judging of 
 the merits, or of the school, or of the antiquity, of any work of wood 
 engraving which might come under his cognizance. Papillon, 
 indeed, from his infancy* had begun to collect materials for illus- 
 trating the history of his favorite art, of which, as is well known, 
 he became a professor of some eminence ; having been instructed 
 in it by his father, who was also an engraver on wood. This prac- 
 tical experience, combined with research, could not but give him 
 great advantages, and render him the less liable to be deceived 
 in liis decisions. 
 
 His remarks, indeed, although it is still to be regretted that he was 
 not more particular in his description of the compositions of these 
 prints, and the number and situations of the figures in each, and 
 that he did not give us the inscriptions upon them in their original 
 language, are those of a man well accustomed to examine ancient 
 prints. The blocks, he says, appeared to have been printed by 
 means of the pressure or friction of the hand, with a light tint of 
 indigo, in distemper : he describes the impressions to be granulous, 
 if I may be allowed the term, in some places ; as if the paper had 
 
 person; and, as Heineken's expression is, same with Boldrinm,) Dom. Beccafumt, 
 
 " Ce que Marolles dit des graveurs sitr bois Baldassare Peruzzi, Ugo da Carpi, and 
 
 EN Italie, avant ces maitres, n'est qu'une Antonio da Trento, as being, all of them, 
 
 conjecture," &c. In his " Jgcue j^atfyit]}- Artists of the XVth century, instead of the 
 
 ten," indeed, p. 151, he observes, that the XVIth. Might not Papillon, had he read 
 
 Itahan wood engravers of the XVth century the passage, have retorted upon the German 
 
 more frequently inscribed their works with writer, by applying what he had said of i,e 
 
 names than those of Germany ; and, upon this Fevre : " Qu'il itoit devenu alieni d'esprit f 
 
 occasion, he most unaccountably speaks of * Papillon, torn. i. p. 374. 
 Nicolo Vicentino, (whom he considers the 
 
34 PAPILLON S ACCOUNT OF [chap. i. 
 
 been applied to the engraved block without being first damped. 
 Now it is well known, that many of the very early wood prints 
 were printed without any mixture of oil in the colour used tor 
 the purpose ; and there is good reason, likewise, to believe, that 
 the paper was often applied in its dry-* state. The observations 
 of Papillon are, therefore, not only evidence that he saw and 
 examined these prints Avith great attention, but that his eye was 
 habituated to very nice discrimination, touching all those particulars 
 which, perhaps more than any others that could be named, are guides 
 to enable us to judge of the antiquity of wood engravings. He was 
 consequently a competent witness. 
 
 The probity of Papillon's character seems to preclude the idea 
 that, in his account of the two Cunio, he had any intention to deceive. 
 Nevertheless, had these two ancient amateurs been of French 
 extraction, some motive at least for a forger\' might have been 
 assigned ; as it is, there appears none. But, putting France out 
 of the question, he shews no desire to exalt the pretensions of Italy 
 at the expense of Germany ; for of the two ancient books of wood 
 cuts which he saw at the same time with that of " the Actions of 
 Alexander," one is described to be German ■,f and, indeed, in another 
 part of his book, he awards to Germany the honor of ha\ ing first 
 practised the art of engraving in chiaro-scuro ; :}: although Italy, on 
 
 * The shining appearance of the backs of f It may not be irrelevant to observe, that 
 
 these old wood engranngs which «ere taken Heineken bears testimonv to the existence of 
 
 ofiFby friction, is, 1 think, a strong e\idence the other two books of old wood engravings 
 
 that the paper was commonly used dry. Wet which Papillon saw at the house of De Gre- 
 
 paper could hardly have supported the \iolence der, in company with that of " the Actions of 
 
 of the friction which appears to have been Alexander." 
 
 applied, and would not, I think, have been ;f The mode practised by Ugo da Carpi 
 
 capable of receiving such a polish. Besides, and others, by which the effect of chiaro- 
 
 ihe impressions being taken oflf with distem- scuro drawings is produced by means of two, 
 
 per, or water colour, this colour, if tlie paper three, or more blocks of wood, printed witli 
 
 had been used damp, would have run, and different tints, one after the other, upon Uie 
 
 prevented tlie desired neatness and precision same paper. 
 HI the impression. 
 
CHAP, i] THE TWO CUNIO, A. D. 1285. 35 
 
 the authority of Vasari, had long laid claim to that invention. The 
 story, moreover, is given by him as an insulated fact : it makes no 
 part of a favorite system ; nor is any hypothesis founded upon it. He, 
 therefore, certainly wrote, as Heineken expresses it, dt bonne foi. 
 
 There is, I think, no ground for the suspicion that M. de. Greder, 
 the Swiss officer, prepared this book for the purpose of deceiving 
 the young French artist ; nor is it likely, considering the nature of 
 Papillon's studies, that such a trick could have been practised upon 
 him. It was by accident that de Greder, one afternoon, found the 
 young man looking into one of his books ; upon which he took 
 occasion to shew him some very ancient ones, lent to him by his 
 friend Mr. Spirchtvel ; and they got into conversation upon the 
 antiquity of engraving in wood. 
 
 Here is no appearance of premeditation or design on the part of 
 de Greder : the occurrence was evidently unexpected. 
 
 It was then that Papillon first saw the book containing the 
 Actions of Alexander. I say that he first saw it, because if, as he 
 tells us, he wrote the long manuscript account of the Cunio family, 
 as translated and dictated to him by M. de Greder, it could hardly 
 have been finished in the remainder of that afternoon. The in- 
 scription upon the title-page, however, and the short memorandum 
 written on the same leaf, no doubt immediately called his atten- 
 tion. Nor can it be easily supposed that Papillon's scholarship 
 was insufficient to enable liim to make out, at least, the proper 
 names of Alexander, Pope Honorius IV. and the two Cunio ; even 
 without the assistance of De Greder who, it seems most probable, 
 immediately gratified him by translating the contents of " the 
 printed dedication ;" and afterwards (although, as he says, with 
 difficulty) " the short written memorandum" respecting the neces- 
 sity of hollowing out the blocks deeper in those places where the 
 paper was intended to be white in the impression. 
 
 Now if no fraud was practised by Papillon upon the public, nor by 
 M. de Greder upon Papillon, nor by M. Spirchtvel upon his fi-iend 
 De Greder, and no motive for such fraud can be assigned, it must 
 
 F 2 
 
aa PAPILLON S ACCOUNT OF [chap. i. 
 
 then be acknowledged that the whole story is supported by a chain 
 of evidence not easily to be broken ; for the book came to Spirchtvel 
 through his mother, who was the direct descendant of Jan Jacq. 
 Turine, the person to whom the Count di Cunio, the father of the 
 tAvins, presented it, some years after their death. 
 
 But the supposition that the whole could have been a forgery, 
 is still more satisfactorily refuted by the circumstances recorded 
 in the dedication of the work to Pope Honorius IV., and the sub- 
 sequent history of the two Cunio, the authors of it, in ancient 
 manuscript ; the very length of which renders it impossible to be 
 believed that it was forged, as Heineken would have us suppose, 
 for the purpose of giving a spurious attestation of the antiquity' of 
 the engravings; since a few lines would have answered the same 
 purpose, and have furnished less means of detecting the deceit in 
 future. 
 
 Heineken, as we have seen, thought he had discovered internal 
 evidence of forgery, both in the printed dedication and in the manu- 
 script history ; and urged in proof of it, in his conversation with 
 Papillon, that Count Alberico Cunio lived in the time of Pope 
 Urban VI. and Martin V., and not in that of Honorius IV. But he 
 was mistaken ; since a. Count Alberico Cunio is expressly mentioned 
 in the History of Faenza, under the year 1285 — the same in which 
 Honorius was made Pope ; and indeed the name of Alberico appears 
 to have been a favorite Christian name in the family. 
 
 The name of Cunio was not likely to have occurred to the Swiss 
 officers, or any one else, meditating a forgery like that alleged ; 
 since, although noble, and of high antiquity, it was not of sufficient 
 note to find a place in general history, and is not once mentioned in 
 the extensive Avork of " the Annals of Italy," by Muratori. 
 
 In the dedication of the engravings in question, we have seen the 
 name of Alessandro Alberico Cunio coupled with Ravenna ; and, 
 in the manuscript history, the Count di Cunio, the father of the 
 twins, is described as being afterwards magistrate of Imola. Now 
 both these cities are in the vicinity of Faenza, where the family, or 
 
CHAP. I.] 
 
 THE TWO CUNIO, A. D. 1285. 
 
 37 
 
 a branch of it, is spoken of by writers of undoubted credit in the 
 Xllth, the Xlllth, and the XlVth centuries.* These circumstances, 
 therefore, far from furnishing any just motive of additional doubt. 
 
 * The indefatigable Zaiii, whose opinion 
 on the subject has been already noticed, after 
 having given the French writer's account of 
 the two Ciniio, proceeds as follows : — 
 (Materiali, &c. p. 233.) 
 
 " Behold," says he, " that which Papillon 
 " has left us respecting the twins of the 
 " family of Cunio. Let the learned seri- 
 " ously consider the subject, that it may be 
 " determined whether this account is deserv- 
 " ing of being classed amongst the fabulous 
 " narrations of a writer of romance ; or whe- 
 " ther it merits belief, and is worthy of the 
 " most scrupulous examination. 
 
 " In the mean time I will present them 
 " with certain notices that I have happened 
 " to find in two other writers, respecting the 
 " family of Cunio. Biondo Flavio (His- 
 " toriae ab inclinatione Romanorum Imperii 
 
 " decades tres Venetiis, 1483) men- 
 
 " tions this family in several places, saying, at 
 " fol. 85, that ' mitltos habuit belli Duces ;' 
 " and he affirms that in 1380 he knew the 
 " famous Captain, Count Alberico Cunio, 
 " who was still living in 1401. 
 
 " Giulio Cesare Tonduzzi, in his Historic 
 " di Faenzci, printed in l675, makes mention 
 "at p. 191, under the year 1149, of the 
 " Count Guido Cunio; and, at p. 322, he 
 " relates that Onorius IV. of the family Sa- 
 " villi was elected Pope on the 2d of April 
 " in year 1285, in which year there happened 
 
 " a memorable affair at Faenza between the 
 " two families of the House of Manfredi. 
 
 " The circumstances of this affair were as 
 " follow : — The Frate Alberico, Car. Gau- 
 " dente,* having received a blow on the face 
 " from Man/redo, of the same family, pre- 
 " tended to be reconciled towards him, and 
 " afterwards invited him one day to dinner, in 
 " company with Alberghetto, his son. The 
 " dinner being ended, tlie revengeful Alberico 
 " called out : ' let the fruit come ;' upon which 
 " signal, his two sons, Francesco and Ugolino, 
 " rushed forth ; and, witli the assistance of cer- 
 " tain domesticks, killed the two guests with 
 " their daggers. In consequence of which 
 '' affair, the enmity which had subsisted 
 " between the murderers and the Count 
 " Alberico Cunio, son of the Count 
 " Bernardino di Cunio, in regard of 
 " Beatrice his wife, who was the daughter, 
 " and the sister of the two Manfredi who 
 " wei-e killed, was renezeed with increased 
 " acrimony. 
 
 " The same writer," adds Zani, " relates, 
 " at p. 441, that the family of Cunio re- 
 " moved in the course of time from Romagna 
 " to Lombardy ; and that, when he wrote, it 
 " flourished, as it still continues to do, in 
 " Milan; ranking amongst the most noble fa- 
 " milies of that city, and known by the appella- 
 " tion of the Conti di Belgoioso. At p. 473, 
 " under the year 1419, he speaks of the Count 
 
 • An order of knigbthood then used in Italy, not 
 very unlike tliat of the Knights Templars. BettimUi 
 calls it the Order of Frati Gaudenti, " Risorgimento 
 
 '- d'ltalia dopo il IMille." torn. ii. p. $35, 8vo. Bai' 
 
 sano, 1736. 
 
PAPILLON S ACCOUNT OF 
 
 [chap. I. 
 
 form together, such a phalanx of corroborative evidence in support 
 of tlie story, as, in my opinion, those who would impeach the truth 
 of Papillon's statement, can never break through. 
 
 The objections, on the other hand, which oppose themselves to 
 our belief of the story, are, it must be allowed, sufficiently formidable 
 in their appearance ; but they are not conclusive or unanswerable. 
 They are chiefly as follow : 
 
 First. — The relation of Papillon, it may be said, goes to establish 
 the practice of engraving in wood, and of taking impressions from 
 engraved blocks of wood in Italy, as early as the thirteenth cen- 
 tury ; whereas no satisfactory ground for the belief that such a prac- 
 tice prevailed in Europe, even so early as the fourteenth century, 
 had hitherto been produced ; and it is scarcely to be credited that 
 such an art should have been known in Europe at so early a period 
 
 " Alberico Cunio the younger ; and, at fol. 
 " slix. he places in the list of the Podesta, 
 " the Consuls, and the Governors of Faenza 
 " for the year 1315, a Count Bernardino 
 " Cunio. 
 
 " In the notices which I have here col- 
 " lected," continues Zani, " there is nothing, 
 " it is true, respecting the two twins of the 
 " family of Cunio; nevertheless, we may, 
 " I think, conjecture from these documents, 
 " that that Count Alberico, who, in regard of 
 " his wife Beatrice, was desirous to avenge 
 " the death of his father-in-law and his bro- 
 " ther-in-law, might have been the father of 
 " the amiable twins Alessandro Alberico and 
 " Isabella. 
 
 " Tonduzzi asserts, that, in the same year 
 " in which Honorius IV. was elected Pope, 
 " the enmity between the murderers and the 
 " Count Alberico Cunio was renewed ; and 
 " Papillon has told us, that the troubles of 
 " Italy occasioned the Count Cunio to take 
 
 " up arms; and that the two twins dedicated 
 " their work to Honorius IV. We read in 
 " the Italian writer, that Beatrice, the wife 
 " of Count Alberico, was of the House of 
 " Manfredi; that is, one of the first families 
 " of Faenza ; and we learn from the French 
 " author, that the father of the Count Cunio 
 " obliged his son to divorce the Veronese 
 " lady, whom he had clandestinely married, 
 " and to take for his consort one of a higher 
 " class of nobility. It is not improbable that 
 " this was Beatrice. 
 
 " Let not the lovers of art in Imola, 
 " Faenza, and Ravenna," adds Zani, " omit 
 " to consider and compare that which has 
 " been written by the two authors whom 
 " I have cited ; and let them use their most 
 " strenuous endeavours to establish a point so 
 " conducive to the glory of their country, by 
 " illustrating the history of the two twins of 
 " the family of Cunio, and placing so interest- 
 " ing a discovery in a clear light." 
 
CHAP. I.] THE TWO CUNIO, A.D. 1285. 39 
 
 as the thirteenth century, and that for more than a century after- 
 wards we shoukl find no trace of its use. 
 
 It was doubtless a strong feehng of this objection which occa- 
 sioned Heineken, in his " Neue Nachrichten," p. 109, to suggest the 
 opinion, that the book of " the Actions of Alexander" might have 
 been engraved by some Italian artist of the XVth century, from 
 a manuscript, ornamented with designs, which had been written, and 
 dedicated to Pope Honorius, two centuries before. But the diffi- 
 culties which stand in the way of such a conclusion are even greater 
 than those which it was intended to remove. 
 
 A work of this subject was very unlikely to have been dedicated 
 to the Head of the Church in those early times ; except, as is stated 
 in the dedication, in testimony of affection from the youthful twins, 
 his relatives ; who might, not unreasonably, be supposed to have 
 selected for their theme, the prowess of the Macedonian Chief, as 
 the first name of one of them was Alexander, and as he had embraced 
 the profession of a soldier. 
 
 But it is surely extremely improbable that, in the XVth century, 
 when the arts of design in Italy had advanced many steps towards 
 their perfection, and where better originals were, in consequence, easy 
 to be procured, an engraver of that country should have thought of 
 copying a series of designs of the Xlllth century; and that series, 
 not representing any sacred legend, to which the antiquity of the 
 original might have been supposed to give weight and authority, 
 but a fanciful delineation of the actions of Alexander the Great. 
 
 Still more improbable it is, that the engraver of such a work (suppos- 
 ing the manuscript to have been originally dedicated to Pope Hono- 
 rius IV. by the two Cunio, or by any body else) should have preserved 
 a dedication made to a person who had been dead two hundred 
 years before : and even then it will be necessar}'", before Heineken's 
 conjectvire can be supported, to insist that the printed dedication 
 was ignorantly, or intentionally, mistranslated by De Greder — that 
 Papillon could not even read the proper names engraved on 
 the dedication, and on the eight pieces Avhich followed it — and that 
 
iO PAPILLOiN S ACCOUNT OF [chap. i. 
 
 the whole of the manuscript history, which it has been shewn bears 
 every mark of authenticity, was an impudent forgery, executed 
 with great labour and research (for the author of it, as we have 
 seen, was better acquainted with the history of the Cunio family 
 than Heineken) to serve no earthly purpose whatever, except that 
 of practising a silly, and temporary deception, upon a young artist. 
 For, if it was a forger\% De Greder died without any further enjoy- 
 ment of his joke ; as poor Papillon mislaid his papers, and his 
 book did not make its appearance until thirty -live years after- 
 wards ! 
 
 Besides, the objections to " a Block-book," printed in the XVth 
 centur\^ in Italy (and the union of text with the figures certainly 
 entitles the work in question to that appellation) are nearly as great 
 as to a similar book supposed to be of the Xlllth century ; since 
 no other work of the kind, executed in Italy, whether of the Xlllth, 
 XlVth, or XVth century, is on record. 
 
 Leaving aside, tlierefore, the untenable hypothesis of Heineken, 
 I would obser\ e, in answer to the Jirxt objection, that we cannot 
 safely argue, from the silence of contemporaneous authorities, that 
 the art of engraving in Avood was not practised in Europe in those 
 early times ; however such silence may be an argument that it was 
 not an art in high repute. Nor is our ignorance of such records 
 a sufficient proof of their non-existence. As an illustration of the 
 ,truth of this remark, it will be enough to observe, that, were it not 
 for the accidental discovery, made towards the end of the last cen- 
 tury, of a decree of the magistracy of Venice, particularly relating 
 to engraving in wood, and bearing date 1441, we might to this day 
 have been without any positive proof that that art was practised in 
 Ital}^ previous to 1467 ; in which year the first book* printed there 
 with wood-cuts made its appearance. Now the decree in question, 
 which I shall presently produce, carries the art back at least to the 
 .beginning of the century; and gives, I think, good reason for us to 
 
 .* The Meditations of I. de Turrecremata before mentioned : see p. 29. 
 
CHAP. I.] THE TWO CUNIO, A. D. 1285 4l 
 
 suppose, that it Avas practised by the Venetians long previous to 
 that epoch. 
 
 It may be added, that the art of engraving in wood is never spoken 
 of by old historians as a new discovery, or as a new art ; and that, for 
 aught we know, it might have been commonly applied to the 
 purpose of furnishing devotional cuts of saints, and other objects of 
 superstition, to the common people, throughout Christendom, for 
 a very considerable time previous to its use in the manufacture of 
 playing cards ; a purpose, to which, nevertheless, there seems some 
 reason to believe that it was applied early in the XlVth century. 
 Nor is it any proof, or strong argument against the antiquity of such 
 a practice, that authentic specimens of wood engraving of those 
 early times are not now to be found. They were, it may be 
 supposed, for the most part, detached pieces ; whose merits, as works 
 of art, were not such as to render their preservation at all probable. 
 They were the toys of the day ; and, after having served the tempo- 
 rary purpose for which they were manufactured, were, no doubt, 
 swept away to make room for others of newer fashion ; especially 
 in Italy, where the advancement of the arts of design was far 
 more rapid than in any other country ; and where taste soon became 
 refined. 
 
 Indeed, the Italian artists, who lived in times when art was 
 approaching towards perfection, or had attained its zenith, despised 
 the rude productions of earlier centuries ; and there is reason to 
 believe that the cliief cause of the extreme rarity of most of the 
 Italian engravings on copper, of the XVth century, was the little 
 respect with which those first essays of the art were treated by such 
 as lived to admire the more perfect productions of Marc' Antonio. 
 
 Vasari even, when speaking of the engravings of Andrea Man- 
 tegna — which, though in a dry style, are admirable in their way — 
 thus expresses himself: " e ne fu allora tenuto conto, perche non 
 " si era veduto meglio."— " And they were then held in estimation," 
 (or taken care of) " because people had not yet seen better." Bal- 
 dinucci, in like manner, in his Life of Sandro Botticelli, informs us, 
 
 G 
 
42 PAPILLONS ACCOUNT OF [chap. i. 
 
 that " that artist engraved many plates from his own designs, which, 
 " in the course of time, were, for the most part, destroyed, or sup- 
 " pressed, in consequence of the great improvement Avhich took 
 " place in the art of engraving after his time." And yet Mantegna 
 and Botticelli were both, in their day, masters of high reputation. 
 It can, therefore, be no matter of wonder if the Italians omitted 
 to preserve the rude works of their early engravers in wood, with 
 the same care as appears to have been bestowed by the less polished 
 Germans, in the X\'th century, upon the barbarous productions of 
 their school, by pasting them into the covers of their manuscripts. 
 Some few specimens of early Italian wood engraving, however, 
 happily still exist, as will be presently shewn; and others, it is 
 probable, may be hereafter discovered. 
 
 The next, and second objection, that the book, which Papillon 
 has described, is not to be found, and that nobody has seen another 
 copy of it, has been already answered by Zani. As a further answer 
 to that objection, it may not be irrelevant to remind the reader, 
 that the two Cunio appear only to have taken off a very limited 
 mnnher of impressions from their engravings, as presents to their 
 near friends and relations ; whereas, of " the Meditations of I. de 
 " Turrecremata," and, indeed, of some other printed books, of which 
 not even one copy* is now known, there is every reason to suppose that 
 a considerable impression was published. 
 
 The youth of the tAvo noble amateurs, by whom these prints are 
 said to have been executed, may be urged as a third objection 
 to the truth of the story. The whole, it may be said, borders on 
 romance. 
 
 In answer to this objection, I must observe, that, taken in one point 
 
 * The DoNATUS, for example, printed vol. i. p. l60. The list of printed books, of 
 
 by SwEYNHEYMandPANNARTZ, in 1464, which only one copy is known, might pro- 
 
 (as is supposed) and of which 300 copies bably be augmented ; and others might per- 
 
 were published. " Not a single copy of this iiaps be mentioned, of which fragments only 
 
 " work is known, or has been described." So have been discovered, 
 says Mr. Dibdin : Bibliotheca Spenceriana, 
 
CHAP, i] THE TWO CUNIO, A. D. 1285. 43 
 
 of view, it is a strong evidence that Papillon's narrative is no forgery. 
 That he, or the Swiss officers, supposing the prints to have been 
 forged by either of them, with the intent to deceive, should, in- 
 stead of looking out for the name of some ancient artist to whom to 
 ascribe them, have pitched upon the names of Alessandro Alberico 
 and Isabella Cunio — two persons of noble family residing at Ra- 
 venna — (and those so young, that that circumstance alone Avas cal- 
 culated to give an air of improbability to the tale which it was 
 intended should be believed) is not within the range of credibility. 
 This apparent objection, therefore, to the truth of the story, becomes, 
 upon due consideration, a powerful argument in its favour. 
 
 Not that the record itself can be shaken upon the ground that 
 such an account of early talents is incredible. Several of the finest 
 and most finished engravings of Lucas Van Leyden were executed 
 before he had completed his fifteenth year ; * and the history of the 
 arts furnishes many examples of early powers little less surprising. 
 
 A FOURTH objection, founded upon the alleged merit of some 
 of these prints of the Actions of Alexander, I must own, struck me, 
 upon my first perusal of Papillon's narrative, with much greater 
 force than any of the above ; and especially the resemblance which 
 that writer discovered between one of them and a picture of Le 
 Brun representing the same subject. In answer to this I would 
 observe, that it is no easy matter, in treating of works of art, to 
 find terms by which the exact share of merit possessed by any 
 individual performance is to be expressed. We are naturally 
 inclined to be liberal in our praises of that which, however defective. 
 
 * All writers agree, tliat Lucas van Ley- Mahomet," as it is called, is dated 1508. He 
 
 den was born at the end of May, or the is said to have astonished the artists of the 
 
 beginning of June, 1494, and that he died in time by a picture of S. Hubert, painted when 
 
 1533. His " Conversion of St. Paul," one of he was only twelve years of age. The very 
 
 his largest and most esteemed prints, is dated number of his works, considering their high 
 
 1509 ; but a great number of his engravings finish, and the shortness of his life, is, of itself, 
 
 are supposed to have been executed before little short of miraculous, 
 that period. His print of " Sergius, killed by 
 
 g2 
 
44 
 
 PAPILLON S ACCOUNT OF 
 
 [chap. I. 
 
 is better than we could have expected from the artist, or from the 
 period in which he Hved ; and it is well known that even Vasari, 
 a much greater artist, and incomparably a better writer than 
 Papillon, was obliged, at the close of his voluminous work, to 
 apologize for this his bias on the side of mercy.* The resemblance 
 which Papillon discovered, or thought he discovered, between one 
 of these prints and a picture of Le Brun, may be accounted for in 
 one, who, like him, was accustomed to venerate that which he knew 
 to be ancient, by the supposition of some accidental, although pro- 
 bably only partial, similitude in the situations or attitudes of some 
 of the principal figures. As to his eulogiums, it may be sufficient 
 to observe that he was better fitted to judge of the mechanism of 
 the art he practised, than qualified to estimate the merits of an 
 extensive historical composition in painting ; and, moreover, that, 
 when he wrote this account, he was a very young man. 
 
 Thus much for Papillon's interesting narrative respecting the 
 two Cunio : a document — for so, I think, I may now term it — from 
 which we learn, that engraving in wood was practised as early as 
 the THIRTEENTH CENTURY, in tliose parts of Italy, at least, which 
 border upon the Gulf of Venice, The examination of this document 
 has necessarily occupied many pages. The importance of the fact 
 to be ascertained will, however, it is trusted, be admitted in extenu- 
 ation of the writer. 
 
 * IJAutore a gli Artefici del Disegno, in- 
 serted, after Vasar'i& own life, at the end of 
 ilie last volume. Edizioiie d\ Bologna, 1648. 
 " To those to whom it should appear," says 
 he, " that I have praised certain masters, 
 " whether ancient or modern, beyond their 
 " deserts ; and who, upon comparing such 
 " ancient artists with those of our own time, 
 " should feel disposed to laugh ; 1 can only 
 " answer, that I have judged it proper to 
 " bestow praise not merely in proportion to 
 " the simple merit of the work 1 speak of> 
 
 " but also with a reference to the time and 
 " place in which it was executed, or other 
 " particular circumstances attending it, &c." 
 " Besides," adds Vasari, " one cannot ahrays 
 " hold the balance of the goldsmith in one's 
 " hand ; and those who have experienced the 
 " difficulties of writing, especially when com- 
 " parisons are to be made, which are always 
 " odious, and when it is necessary to pass 
 " judgment, will readily be induced to excuse 
 " me, &c." 
 
CHAP. I.] 
 
 THE TWO CUNIO, A. D. 1285. 
 
 4S 
 
 The distance between this epoch of wood engraving, and the 
 next of which we have any record, is, indeed, formidable. Time 
 may, perhaps, restore those hnks of the chain which are at present 
 
 wanting. * 
 
 * I am much inclined to consider the well- 
 known entry in a register of accounts of the 
 French court, about 1 392, relative to the cards 
 made by Jacquemin Gringonneur for Charles 
 VI., as a document proving the use of wood 
 engraving at that time; and, indeed, from the 
 inaDDer in which cards are spoken of in a 
 
 French romance finished in 1341, I think 
 we may reasonably conjecture that they were 
 manufactured from engraved wooden blocks, 
 in France, even in the early part of the four- 
 teenth century. Both these documents, toge- 
 ther with my reasons for the above opinion, 
 will appear in the ne.xt chapter. 
 
4a 
 
 THE DECREE OF THE 
 
 [chap. II. 
 
 CHAPTER II. 
 
 The Decree of the Government of Venice, 1441 — Specimens of Old Ve- 
 netian Wood Engraving described — Supposition that the Venetians 
 obtained this Art from the Chinese, at a very early period — and that 
 other European Nations discovered the Secret in the course of their 
 Traffick zmth Venice — the Art, perhaps, improved in Germany — 
 Silence of old writers, uith respect to Wood Engraving, accounted 
 for — No evidence that it was invented in Europe — Opinion of those, 
 who ascribe its Origin to the Invention of Flaying Cards, unsup- 
 ported by Evidence — Remarks on the early Use of Playing Cards — 
 Early Wood Engravings of Germany, and the Low Countries — Spe- 
 cimens described — St. Bridget — A Print preserved at Lyons, dated 
 1384 — doubtful — St. Christopher, 1423, the earliest Print with a 
 Date, of which there is no doubt — Its Companion, the Annuncia- 
 tion : Reasons for suspecting these two Prints to be Italian. Other 
 ancient Wood Engravings, with Dates, S^c. 
 
 L HE next -written document that I find, in Avhich positive men- 
 tion is made of wood engraving, is a Decree of the Government 
 of" Venice ; which Temanza,* an architect of that cit)^ had the good 
 
 * I know not upon what authority Lanzi, 
 torn. i. p. 75. asserts that we owe the discovery 
 of this document to Zanctti ; since it ap- 
 pears to have been first noticed by Temanza, 
 and published in a letter, addressed by him 
 to the Count Algarotti, inserted in 
 the Lettere Piltoricke, torn. v. pag. 320. 
 Indeed Temanza expressly tells Algarotti 
 (p. 311) that this discovery is the first fruit 
 of the labour which he had bestowed in read- 
 
 ing great part of the ancient laws of the old 
 company of Venetian painters, from which he 
 had made a selection then in his possession. 
 It is worthy of remark, that he produces this 
 decree as a proof that engraving was practised 
 in Venice before the time of Fiiiiguerra ; mak- 
 ing no distinction between the art of wood 
 engraving, and that of engraving in copper. 
 " Cose tulte," says he, " assai anieriori di 
 " tempo alpredetlo M aso (Finigberka)." 
 
CHAP. II.] GOVERNMENT OF VENICE, 1441. 47 
 
 fortune to discover amongst the archives of the old company of 
 Venetian painters. It has already been briefly noticed, and is as 
 follows : 
 
 " M CCCC XLI. October the 11th. Whereas the art and mys- 
 " tery of making cards and printed figures, which is used at 
 " Venice, has fallen to total decay ; and this in consequence of 
 " the great quantity of playing cards, and coloured figures printed, 
 " which are made out of Venice ; to which evil it is necessary 
 " to apply some remedy ; in order that the said artists, who are a 
 " great many in family, may find encouragement, rather than 
 " foreigners. Let it be ordered and established, according to that 
 " which the said masters have supplicated, that, from this time 
 " in future, no work of the said art, that is printed or painted on 
 " cloth, or on paper, that is to say altar pieces (or images *) and 
 " playing cards, and whatever other work of the said art is done 
 " with a brush and printed, shall be allowed to be brought or im- 
 " ported into this city, under pain of forfeiting the Avorks so 
 " imported, and xxx. livres and xii. soldi ; (pag. 6) of which 
 " fine, one third shall go to the state, one third to the Signori 
 " Giustizieri Vecchi, to whom the affair is committed, and one 
 " third to the accuser. With this condition, however, that the 
 " artists, who make the said works in this city, may not expose 
 " the said works to sale in any other place but their own shops, 
 " under the pain aforesaid, except on the day of Wednesday 
 " at S. Paolo, and on Saturday at S. Marco, under the pain 
 " aforesaid." 
 
 * Ancona (an altarpiece), probably a cor- pictures of the fifteenth century which were 
 
 ruption of eikhn icon, an image. It may ap- painted on cloth ; but none so early as 1440. 
 pear to admit of a doubt, whether the in- It is not improbable, that some of the co- 
 
 troduction of foreign pictures as well as loured wood prints above alluded to were of 
 
 prints, was not intended to be prohibited by a large size, and, perhaps, printed on several 
 
 this decree. I, however, think not. sheets of paper ; and that, in consequence, it 
 
 Cloth was seldom used for painting upon became necessary that they should be pasted 
 
 'till the sixteenth century : I say seldom, be- on canvasses, before they were coloured, and 
 
 cause I have seen a small number of Italian hung up as furniture. 
 
48 
 
 THE DECREE OF THE 
 
 [chap. II. 
 
 Then follows the subscription of the Proveditori del Comune, and 
 that of the Signori Giustizieri Vecchi. * 
 
 The Italian f writers argue, and I think fairly, that this decree is 
 of itself good evidence of wood engraving having been prac- 
 tised at Venice, at least as early as the commencement of the fif- 
 teenth century. The time that must have elapsed, say they, from 
 the first introduction of wood engraving into Venice, to its full esta- 
 blishment — when it furnished, perhaps, an article of beneficial 
 commerce, and certainly afforded the means of subsistence to a 
 very numerous body of artisans who practised it — cannot be com- 
 puted at less than twenty or thirty years ; nor can a shorter period 
 be supposed to have elapsed from that epoch till the year 1441 ; 
 when it is described to have fallen, as if gradually, into little less 
 than a total decay. 
 
 * Nella vecchia matriccola di questi nostri 
 pittori, (" Ella sa," says Temanzi, writing to 
 the Count Algarotti, " che qui s' appella ma- 
 tricola il libro delle leggi di catuua delle arti,) 
 al capo sxxiii. si legge : mccccxli. adi. xi. 
 Otubrio. Consciosia che Farte, S)- mestier, 
 delle carte, e figure stampide, che sefano in 
 Fenesia e vegnudo a total dejffaction, equesto 
 sia per la gran quantita de carte da zugar, 
 efegure depente stampide, Ic qual lienfate 
 defuora de Venezia, ala qual cosa i da me- 
 ter remedio, che i diti maestri, i quali sowo 
 assaii infameja, habiano piU presto utilitade, 
 che i forestieri. Sia ordenado, e statuido, 
 come anchora i diti maestri ne ha supplicado, 
 che da mo in avanti non possa vegnir over 
 esser condutto in questa Terra alcun lavorerio 
 dela predicta arte, che sia stampido, o de- 
 pento in tella, o in carta, come sono an- 
 chone e carte da zugare, e cadaun altro la- 
 vorerio dela so arte facto a penello, e stam- 
 pido, soto pena di perdere i lavori condutti, 
 e liv. XXX. e sol. xii. pag. 0. dela qual pena 
 
 pecuniaria un terzo sia del Comun, tin terzo 
 di signori justitieri vechi, ai quali questo sia 
 comesso, e un terzo sia del accusador. Cum 
 questa tamen condition, che i maestri, i quali 
 fanno de i predetti lavori in questa Terra, 
 non possano vender i predetti suo lavori fuor 
 delle sue botege sotto la pena preditta, salvo 
 che de merchore a S. Polo, e da sabado a S. 
 Marco sotto la penna predetta. 
 
 Nel millesimo, e zorno soprascritto fo con- 
 
 fermado lordene soprascritto per i specta- 
 
 bili, et generosi homini mis. Nicolo Bondi- 
 
 mero, mis. Jeronimo Querini, e mis. Andrea 
 
 Barbarigo honorandi provedadori de Comun. 
 
 Et per i spectabili signori justixieri vechi 
 mis. Jeronimo Contarini, e mis. Nadal Ma- 
 lipiero, el terze absente, mandando, e coman- 
 dando, che de cetero la sia observada in tutto, 
 e per tutto." 
 
 f " Lettere Pittoriche." torn. v. p. S21. 
 Lanzi " Storia Pittorica" torn. i. p. 75. — 
 Bassano. 1795-6. Zani " Materiali," &c. 
 p. 76. 
 
CHAP. II.] GOVERNMENT OF VENICE, 1441. 49 
 
 Temanza, indeed, possessed " certain fragments of wood prints, 
 " rudely engraved, and representing different parts of Venice in its 
 " ancient state;" which, from his knowledge of the various local 
 alterations that had taken place in the city since that period, 
 could not, he judged,* be of a later date than the commence- 
 ment of the century. 
 
 Lanzi ascribes to the same epoch, " certain ancient playing 
 " cards, which the Count Giacomo Durazzo, formerly the Im- 
 " perial Ambassador at Venice, possessed in his very rich cabinet 
 " of prints, now passed into the collection -f- of his nephew, the 
 " Marquis Girolamo. They are," says Lanzi, " of a much larger 
 " size than those used at present, and very thick, like the cotton 
 " paper found in ancient manuscripts. The figures are represented 
 " upon a gold ground, and are three kings, two queens, and Uvo 
 " pages {fanti), one of them on horseback: each card is marked 
 " bastone, spada or denajo. \ The style of design a good deal re- 
 " sembles that of Jacobello del Fiore; the work has been deemed 
 " printed by the best judges; the colours appear to have been laid 
 " on with a stensil. § I am unacquainted," adds Lanzi, " with a 
 " more ancient monument of the kind." 
 
 The edict in question is, I think, ample proof that wood en- 
 graving was known in Venice, at least, as early as 1400. But this 
 
 * Lett. Pitt. torn. v. p. 322. particular part of their cards, with a large 
 
 •\ This magnificent collection of ancient brush, without soiling the remainder. Each 
 
 prints, is, I believe, still in the possession of figure, of course, required as many stensils 
 
 the same family at Genoa. I shall have future as colours. This simple machine was for- 
 
 occasion to notice the rarities it contains. merlymuch used in the manufacture of paper- 
 
 J Sono ire Regi ; e in oltre due donne, hangings for rooms. That it was anciently 
 
 due fanti, iino a ca-callo; e ha ciascuno o resorted to in colouring wood engravings, ge- 
 
 ■bastone, o spada, o denajo." " Storia Pitto- nerally, is 1 think less certain. The expense 
 
 rica," torn. i. p. 76. and trouble required in preparing the neces- 
 
 § A thin plate of tin, or other metal, cut sary stensils, it is probable, prevented that 
 
 mto holes of various shapes and dimensions, mode of colouring from being adopted, except 
 
 as required; by means of which the ancient whengreat numbers of the same print were re- 
 
 folourers of cards were enabled to colour any quired to be tinted ; as was the case with cards. 
 
50. 
 
 ART OF WOOD ENGRAVING AT VENICE, [chap. ii. 
 
 is not all. It speaks of the art of making cards, and printed figures, 
 in terms which would have been every way appropriate, had the 
 edict had for its object the re-establishment of the oldest manu- 
 facture of Venice; and, when coupled with other circumstances, 
 especially the account of the two Cunio, furnishes a strong ground 
 for the conjecture, that engraving in wood had, from a very early 
 period, been practised by the Venetians, who may easily be sup- 
 posed to have learnt it in the course of their commerce Avith the 
 Chinese, and that through their means it became at length promul- 
 gated in various parts of Europe. * 
 
 * Palmer, in his History of Printing, 
 p. 5, suggests other means by which we may 
 have got this art from the Chinese. Speak- 
 ing of Block-Printing, he says ; " it is even 
 " demonstrable, from authentick testimonies, 
 " to have been practised in China and Japan 
 " above four centuries before it was known 
 " in Europe : it is not easy, I grant, to prove 
 " that we received it from them, because of 
 " their vast distance, and the little commerce 
 " between us, before the year 1440: yet there 
 " is no impossibility, but that it might have 
 " been brought us by some merchant, either 
 " by the way of Muscovy or the Red Sea, the 
 " Persian Gulph, or Arabia, of which opi- 
 " nion," adds he, " 1 could mention many 
 " authors." 
 
 Various modes, indeed, may be pointed 
 out by which this art might have got to us 
 from China or Tartary. We might have re- 
 ceived it from the Arabs, who, at a very re- 
 mote period, are known to have had inter- 
 course with the Chinese. Indeed, the travels 
 of two Arabs, who visited that country as 
 early as the ninth century, are in print, trans- 
 lated into the French language by the learned 
 Eusebe Renaudot (Pai'is, 1718. 8vo). It is 
 true the writer says nothing of engraving in 
 
 w'ood ; but he informs us, p. 23, " that all 
 " the Chinese, rich and pour, learned to read 
 " and to write," which is some evidence that 
 printing must then have been common in 
 China ; for the expense of manuscripts must, 
 at all times and in all places, have been be- 
 yond the means of the poorer classes of the 
 community ; and men seldom learn an art 
 which they can have little opportunity of 
 practising. 
 
 But now that I have mentioned this an- 
 cient narrative, I cannot refrain citing from 
 it the account of a custom, which the writer 
 informs us then prevailed in India or in China, 
 (for he seems to have spoken of those coun- 
 tries without sufficient distinction) : not that 
 it has any reference to the art of engraving ; 
 but because, as far as it goes, it is evidence 
 of a very early, though perhaps unobserved, 
 intercourse between the inhabitants of the 
 most remote parts of Asia, and those of Eu- 
 rope ; or else of some more ancient connex- 
 ion between the barbarous nations, who de- 
 luged Europe during the early centuries of 
 the Christian a;ra, and the southern parts of 
 Asia. 
 
 " Dans les Indes," says the Arabian writer, 
 (p. 37, 38) " lors qu'un homme accuse un 
 
CHAP, n.] PROBABLY DERIVED FROM CHINA. 
 
 51 
 
 Let us briefly examine the arguments by which such an hypo- 
 thesis may be supported ; taking as the basis of the discussion, first, 
 the known antiquity of this art in China ; and, secondly, the total 
 silence of old historians as to its invention in Europe. 
 
 " autre de quelque crime qui merite la mort, 
 " c'est la coustume de demander a I'accuse 
 " s'il soustiendra bien I'espreuve du feu, 
 " S'il respond qu'oiiy, alors on fnit chauffer 
 " un morceau de fer, jusqu'tl ce qiCil suit 
 " tout rouge. Ou luy dit ensuite d'estendre 
 " sa main, et on met dessus sept feuiiles d' un 
 " certain arbre qu'ils ont dans les Indes, et 
 " le fer rouge par dessus les feuiiles. II 
 " marche ensuite de coste et d'aufre pendant 
 " quelque temps, et apres cela il jette le fer. 
 " Aussi-tost on luy met la main dans une 
 " poche de cuir, qui est en mime temps ca- 
 " chetee avec le sceau du Prince: au bout 
 " de trois jours, s'il vient pour comparoistre, 
 " en disant qu'il na souffert aucune brulure, 
 " on luy ordonne de tirer sa main : sil ny 
 " paroist aucune impression du feu, il est 
 " declare innocent, et delivre du supplice 
 " dout il estoit menace. L'accusateur est 
 " condamne a payer un man d'or d'amende 
 " envers le Prince. Quelquefois ils font 
 " boiiillir de I'eau dans une chaudiere jusqu'd 
 " ce qu'elle soit si chaude que personne 
 " n'en puisse approcher. lis jettent alors 
 " dans la chaudiere iin anneau de fer, et 
 " commandent a celuy qui est accuse de 
 " mettre sa main dedans, et de retirer I'an- 
 " neau. J'en ay vu," says the Arabian writer, 
 " un qui y mit sa main de cette maniere, et 
 " qui la retira saine et entiere. L'accusateur 
 " est de mesme condamue k payer un man 
 " d'or." 
 
 The same custom prevailed in Italy, and, 
 perhaps, in other parts of Europe, about the 
 same time, or soon after, Bettinelli (Risorgi- 
 raentn d'ltalia, torn. ii. p. 369), after men- 
 tioning other superstitious methods, by which 
 the innocence or guilt of au accused person 
 was established during the low ages in Italy, 
 relates as follows : " The trial by fire obliged 
 " the accused person to carry in his hands, for 
 " the distance of nine or twelve paces, a plate 
 " of iron, of the weight of three pounds, 
 " heated till it was red hot ; or, else, he was 
 " to thrust his hand into an iron glove, heated 
 " in the same manner ; or into a cauldron of 
 " boiling water, from the bottom of which 
 " he was to take a ring. Immediately upon 
 " his hand being taken out of the iron glove, 
 " or from the cauldron, it was wrapped in a 
 " cloth, \\hich was sealed with the seal of 
 " the judge, and that of the accuser ; and, at 
 '•■ the expiration of three days, the hand was 
 " uncovered, in a public and formal manner, 
 " by breaking the seals ; when, if it was found 
 " to have sustained no visible injury, the ac- 
 " cused person was declared innocent." These, 
 and other similar practices, says Bettinelli, 
 are of German origin. The testimony of the 
 Arabian writer, however, and it is undoubted 
 authority, since he was an eye-witness, proves 
 them to be Asiatic. The two accounts re- 
 semble each other in so many minute parti- 
 culars, that it seems impossible the coinci- 
 dence should have been the effect of chance. 
 
 H 2 
 
^t EARLY IKTERCOURSE BETWEEN [chap. u. 
 
 The ancient use of wood engraving amongst the people of China, 
 Japan, and some other parts of the east, is not denied by those 
 Avriters who, nevertheless, are unwilling to admit that we are in- 
 debted to them for the discovery: the little intercourse, say they, 
 which took place between us previous to the fifteenth century, and 
 the vast distance of those countries, oppose the supposition that we 
 got it from them; and, moreover, the earliest European travellers 
 take no notice of Chinese printing. 
 
 To the first of these objections it may be answered ; that however 
 it is applicable to Europe in general, it is bj'^ no means applicable to 
 Venice. 
 
 The Venetians, even as early as the sixth century,* had rendered 
 themselves a naval and commercial poAver of some consideration. 
 The situation of their city, and the growing strength of their fleets, 
 secured them from the calamities to which their neighbours were so 
 often exposed ; and, little affected by the troubles and revolutions 
 of Italy, during succeeding centuries of anarchy and barbarism, they 
 silently pursued their course, solely intent on riches and aggran- 
 dizement. It appeared, to use the expression of an Italian writer, 
 as if thev had not determined to Avhat nation they should belong ; 
 but, meanwhile, they lent themselves to that which they thought 
 could best ser^' e them, and would be most productive of profit, -f- 
 
 The centre of their commercial operations was Constantinople, 
 where, even prior to the ninth century, they had the good fortune 
 to make themselves serviceable to the Greek Emperours, and were 
 well received. So intimate, indeed, Avas the communication between 
 the Greeks and the Venetians, that Ave learn, from the most ancient 
 chronicles, that the Greek language Avas commonly spoken in Ve- 
 nice ; the dresses of the people, as Avell as their customs, Avere for 
 
 * Busching. " La Italia Geografico-sto- f BettineU't. " Risorgimento d'ltalia," 
 
 rlco-polilica," Veuezia. 1780. bvo. torn ii. torn. ii. p. 279. 
 p. S9. 
 
CHAP. II.] VENICE AND CHINA. 5.3 
 
 the most part Greek ; and even their most maf^nificent buildings 
 were, in a great measure, the works of Greek artists. 
 
 In process of time, their credit became so firmly estabhshed at 
 Constantinople, that in 1189, a district of that city was given to them 
 by the Emperour. 
 
 After the tenth century, they acquired possessions and territory 
 in Tyre, at Jerusalem, and elsewhere ; insomuch, that, soon after 
 1200, the government gave directions to Marsilio Giorgio, that 
 he should compose a full and particular account of the places 
 under its dominion ; which work, if we except, perhaps, some 
 books of travels, may be termed the earliest specimen of Venetian 
 literature, * 
 
 The east thus became to the Venetians an inexhaustible source of 
 wealth ; for, by their skill and industry, they succeeded in extending 
 their commercial relations, even to the extreme parts of Asia. They 
 received into their magazines at Alexandria and Cairo, by sea, the 
 productions of Arabia, Persia, and the most remote parts of India; 
 and, thence, bringing them to Venice, distributed them to all parts of 
 Europe, as well by sea as by land carriage. 
 
 They succeeded, likewise, in establishing a direct traffic with Persia, 
 Tartary, China, and Japan; sending, for that purpose, several of their 
 most respectable citizens, and largely providing them with every 
 requisite. -f About 12.50, though some accounts say earlier, Niccolo 
 and ^laffeo (or jVIatteo) Polo, left Venice and proceeded to Constan- 
 tinople; whence, crossing the Black Sea, they visited Persia, Tar- 
 tary, and China. They staid several years at the court of Kublay, 
 the Great Chan of Tartarj% whose flattering and cordial reception 
 of the Venetian travellers is, I think, sufficient evidence of some 
 previous intercourse between the two countries. About 1269 they 
 returned to Venice; and in 1271, or the beginning of 1272, they set 
 out upon a second visit to Tartary and China, taking with them 
 Marco Polo, the son of Niccolo and the nephew of Maffeo : upon 
 
 * BettineUi, torn. ii. p. 281. t Bettinelli, torn ii. 282. 
 
54 IMPROBABILITY THAT WOOD ENGRAVING [chap. ii. 
 
 this occasion, they are said to have been entertained seventeen 
 years at the court of the Chan of Tartary. Marco, as is well known, 
 wrote the account of his travels, some time after the return of the 
 three citizens to Venice, which took place in 1295. * 
 
 The early and intimate intercourse between Venice and the nations 
 of the east, is, therefore, abundantly proved ; and this is all that was 
 wanted, to shew that the supposition of the Venetians having ac- 
 quired the art of engraving in w'ood through their means, is not 
 unreasonable. 
 
 But Marco Polo, it may be said, did not notice this art in the 
 account which he left us of the marvels he had witnessed in 
 China. The answer to this objection is obvious ; it was no mar- 
 vel; it had no novelty to recommend it; it was practised in 1285, 
 iis we have seen, at Ravenna; and had, perhaps, been practised 
 a century earlier in Venice. His mention of it, therefore, was not 
 called for, and he preferred instructing his countrymen in matters 
 Avith which they were not hitherto acquainted ; and relating won- 
 ders which, until corroborated by other testimony, were not be- 
 lieved, f 
 
 It is however necessary that I should give some further reasons 
 for the opinion above declared. Since the showing that we might 
 have got the art of wood engraving from the east, does not prove 
 that we did. And as for the silence of old writers respecting its 
 being invented in Europe, the same argument may be insisted upon, 
 with equal force, to shew that we did not derive it from the east ; 
 since no one has recorded it. I shall, therefore, with as much brevity 
 as the question will admit of, defend my hypothesis upon the simple 
 
 ground of probability. 
 
 « 
 
 * Tiraboschi. " Storia della Letteratura confirmed the truth of some of his accounts : 
 
 Italiana." Modena, 1788. 4to. tom. iv. p. Q], but that which, most of all, established his 
 
 ^^ seq. character for veracity, was the publication of 
 
 t His book, for a long time, was considered " The Travels of the two Arabs" in the nintli 
 
 as little better than a collection of fables of century, mentioned in a preceding note. — 
 
 hb own invention ; later travellers, however, Tiraboschi. tom. iv. p. 103. 
 
CHAP. II.] WAS INVENTED IN EUROPE. 55 
 
 An ORIGINAL and great invention, and that of which we treat 
 well merits that name, is amongst the rarest of human occurrences. 
 We combine, we modify, we improve ; Ave correct that which was 
 before defective ; and thus, by slow degrees, arts and sciences are 
 brought to perfection. But of original and great inventions, it will 
 not, I think, be going too far to say, that one of them is more than 
 falls to the average proportion of an age. 
 
 Such fruits of the human intellect, and especially those which 
 relate to the sciences, or the fine arts, cannot be looked for, except 
 from man in a state of civilization, peace, and comparative happi- 
 ness; and were consequently very unlikely to be produced in 
 Europe during those rude centuries in which the means of plunder 
 and aggression on the one hand, and the arts of self-preservation 
 on the other, constituted the chief occupation of men's thoughts, and 
 were the main spring of their actions. 
 
 It is indeed true, that in the Xlllth century Niccola Pisano, 
 and Giovanni Cimabue, the first a sculptor, the second a painter, 
 made the first steps towards the re-establishment and improve- 
 ment of their respective arts : but they were not the inventoi^s of 
 those arts, which, however degraded, had never entirely ceased to 
 be practised, even in the most barbarous times, by Greek as well 
 as by European artists. Still the times in which Pisano and Cima- 
 bue lived, although the dawnings of civilization had begun to appear 
 in Italy, were those of comparative darkness and ignorance. 
 
 The encreasing pomp of the Roman church, fostered as it was by 
 the enthusiasm of all classes of the people ; the rivalry of the diifer- 
 ent Italian cities, which vied with each other in testifying their 
 devotion to their patron saints, by works of superstitious magnifi- 
 cence, (and never was this religious rivalry more general throughout 
 Italy, than in the thirteenth and fourteenth centuries*) were causes 
 which could scarcely fail to operate powerfully towards effecting 
 
 * Witness the Duomo of Orvieto, the Francesco at jissisi, and the fagade of tlie 
 Campo Santo of Pisa, the Church of S. Duomo of Sieiuia; all of them striking exam- 
 
 I 
 
56 IMPROBABILITY THAT WOOD ENGRAVING [chap. ii. 
 
 the restoration of the fine arts : and yet, so forcibly were they 
 counteracted by the general distaste for literature and science, 
 which still prevailed, added, perhaps, to the disquietude of those 
 times, that had it not been for Giotto, (who may truly be said to 
 have been gifted by nature with a genius of most rare occurrence, 
 and who struck out a new path) painting would probably have con- 
 tinued, for nearly two centuries, Avithout experiencing any sensible 
 improvement; a supposition Avhich we are the better justified in 
 forming, as, from his time to the time of Masaccio, a period of 
 considerably more than a hundred years, little change in the art of 
 painting, that can be called improvement, did take place. 
 
 The thirteenth, or even the fourteenth century, therefore, was not 
 likely to have been productive of an Invention like that we treat of, 
 even in Italy, where letters and science, nevertheless, revived sooner 
 than in other parts of Europe. 
 
 Some writers, however, have insisted that the principle of this 
 art, impresaion, was well known to the ancients ; and that this is 
 evident from their stamps of iron and other metals, still preserved in 
 our museums, with Avhich, as it is supposed, they marked their 
 names or other inscriptions on their bales of goods, and on various 
 articles of their manufacture ; and, moreover, that this practice of 
 applying stamps continued to be used throughout Italy, and in 
 other parts of Europe, during the low ages. 
 
 The art of taking impressions from engraved blocks of wood, 
 according to these writers, is little else than a modified application 
 of a principle of universal notoriety from time immemorial, and 
 consequently, scarce merits the name of an invention. Nay, 
 Typography itself, it should seem, is no new invention : the idea 
 of it, say they, was familiar to Cicero; and it is also known that the 
 ancient artists, in stamping their inscriptions upon their lamps of 
 
 pies of the religious eeal and costly magni- and sculpture ; to say nothing of a very large 
 ficence of those centuries, and decorated proportion of the principal churches in other 
 with numerous works of early Italian painting parts of Italy. 
 
CHAP. II.] WAS INVENTED IN EUROPE. 57 
 
 Terra-Cotta, used each letter separately, as our bookbinders do 
 in lettering their volumes : the idea of moveable characters, there- 
 fore, say they, was no novelty. * 
 
 The stamps and signets of the ancients, their lamps, their 
 vases, and their bassi-relievi of clay, which first being cast, or 
 pressed into form, by means of molds, were afterwards finished by 
 the tools of the modeller — and often, in parts, marked with letters, 
 or ornaments, by the simple operation of stamping — sufficiently 
 prove, I acknowledge, that they were no strangers to the art of 
 impression. It also appears that they had stamps of separate 
 letters. 
 
 But it is to be observed that the mode of impression here spoken 
 of, in which the effect is produced by the simple operation of 
 pressing one body against another body of softer texture, and 
 thereby occasioning a change of form in its surface, is very distinct 
 from that which is the subject of our inquiry : for the effect which 
 is produced in the impressions taken from engravings on Avood, is 
 not that of a change of form in the surface of the paper on which 
 
 * " On sail que les Grecs et les Remains " idee d'imprimer avec des types mobiles." 
 
 " avoient des bagues qui leur servoient non- J akseh, Essaisur I' Originede la Gravure. 
 
 " seulement de cachets, mais qu'ils appo- torn. i. p. 75, et torn. ii. pp. 34, 35. 
 
 " soient aussi sur difFerens objets. lis con- Cicero, in refutation of the opinion, that the 
 
 " noissoient meme les lettres mobiles, ainsi universe was the efiect of the accidental union 
 
 " qu'on en a des preuves sur les lampes de of numberless atoms {De Natura Deorum, 
 
 " terre cuite, telles queM.deMurr {Journal lib. ii. cap. 37) thus expresses himself: Cur 
 
 " zur Kunstgeschichte, torn. ii. p. 182) dit non idem putet, si innumerahiles unius et 
 
 " en avoir v(i a Venise et au Cabinet de viginti formcz litterarum, vel aurece, vel 
 
 " Portici, et dont ils se servoient a peu pres qualeslibet, aliquo conjiciantur, posse ex his 
 
 " de la meme maniere que le font aujour- in terram excussis annales Ennii, deinceps 
 
 " d'hui nos relieurs pour les etiquettes sur les legi possint ejfici. St. Jerome, also, re- 
 
 " dos des livres. commends the practice of teaching children 
 
 " M. de Murr pense meme que les Ro- to read and spell, by means of separate letters 
 
 " mains avoient des planches xylographiques ; cut in hard wood, 'or ivory. See Lambinet 
 
 " et, s\nyaxA'M..Yi&c\ier {Beschreibung typo- " Origine de I'lmprimerie." torn. i. pp.45 
 
 " graphischen Seltenkeiten Erste Liefening. et seq. (8vo. Paris, IS 10). 
 " p. 33) Ciceron s'etoit deja forme une 
 
 I 
 
58 IMPROBABILITY THAT WOOD ENGRAVING [chap. n. 
 
 such impressions are taken, but a change of colour ; the parts im- 
 pressed on the white paper being rendered apparent, not by any 
 indentation of the paper in those parts, but by the black tint with 
 which the projecting surface of the block was charged previous 
 to the operation of printing it; which tint, by that operation, was 
 transferred to the paper. 
 
 Unless, therefore, some evidence be brought to prove that the 
 ancients used their stamps, not only to impress wax. clay, and other 
 soft bodies, but, also, that they applied them charged with ink, 
 or some other tint, for the purpose of stamping paper, parchment, 
 or other substances, little, or not at all, capable of indentation — 
 (and we are hitherto without such evidence), we shall still have 
 reason to believe that they were wholly unacquainted Avith the art 
 of which we treat. * 
 
 * Abundant evidence, in support of this 
 opinion, might easily be brought forward- 
 La wi/we?, before cited (torn. i. pp. 51, 52) 
 describes an ancient stamp in intaglio, 
 which was evidently intended to be used upon 
 wet clay, and is au interesting illustration of 
 the observations offered in the test. 
 
 " En 1808," says he, " dans une fouille 
 pres de Nasium, ancienne forteresse des 
 Gaules, chez les Leuci, aujourd'hui Nais, 
 village situe sur la riviere d'Ornain, departe- 
 ment de la Meuse, on trouva deux pelites 
 pierres en forme de tablettes, ckargees d'in- 
 scriptions sur leur tranche seulement, et non 
 sur leur surface. Les caract^res ne pou- 
 voient etre lus, parce qu'iis etoient graves en 
 sens inverse. M. Barthelemi, proprietaire, 
 envoya ces pierres ii I'Academie Celtique de 
 Paris. M. Dulaure, charg6 de les examiner, 
 a juge que les tablettes ou ces caractcres 
 etoieut empreints durent etre dans I'origine 
 dfes esp^ces de sigilla ou formes matrices 
 qu'on appliquoit sur une matitire molle ou 
 mise en fusion. 11 a vu qu'iis servoient ^ 
 
 iniprimer sur un vase contenant des medica- 
 mens composes ; la vertu de ces medicamens 
 et le nom du medecin qui les avoit prescrits 
 ou du pharmacien qui etoit charge de les 
 vendre. Voici la premiere inscription de ce 
 genre : 
 
 Q. Jun. Tauri Anodif 
 Num. ad omn. Lipp. 
 
 Le savant Dulaure lit : Quinti Junii Tauri- 
 dii anodinum ad omnes It/ppas. Remede 
 anodin de Quintus Junius Tauridius pour 
 tons les maux d'yeux .... Memoires de 
 VAcademie Celtique de Paris, 1808, Nos. 9 
 et 10, avec planches." 
 
 Jansen, " De I'lnvention de I'lraprimerie," 
 Paris, 1809, 8vo. p. 190, observes: " On 
 sait que les Romains avoient coutume de 
 marquer leurs vases. Ou trouve une infinite 
 de ces vases de terre charges d'inscriptions, 
 sur lesquels on peut voir les recueils d'anti- 
 quites de M. le Comte de Caylus. Fasa 
 sianare veut naturellement dire cacheter des 
 vases, des bouteilks, et c'est ce qui se prati- 
 
CHAP. II.] WAS INVENTED IN EUROPE. 59 
 
 Such a conclusion is less derogatory to the genius and talent 
 of the ancients, than it would be for us to suppose that they had 
 discovered the rudiments of this art, but were unequal, during so 
 many centuries, to the task of bringing it to perfection ; for as to 
 the idea, which some writers have suggested, that the ancients were 
 aware of the advantages which might be derived from the art of 
 printing, and yet did not choose to practise it, I must own it has 
 no place in my belief 
 
 The transition, therefore, from the use of these stamps, in what- 
 soever manner they Avere applied, to the art which we term print- 
 ing, or taking impressions from letters or engravings, by means of 
 black or any other tint, on paper, was not an obvious transition. 
 The world appears to have existed more than two thousand years 
 without its having occurred to any one to make it ; and it seems 
 very improbable, that it should have fallen to the lot of the unen- 
 lightened and degraded inhabitants of Europe, during the anarchy 
 of the twelfth or thirteenth century, to be the means of effecting 
 that, to which the united talents of the sages of Greece, Egypt, and 
 Rome, had been incompetent. 
 
 Lanzi justly observes, that the stamps of the ancients, and the 
 impressions from seals of metal, found on deeds and conveyances of 
 the low ages, 'prove nothing more, than that mankind walked for 
 many succeeding centuries upon the borders of the two great 
 inventions of Typography and Chalcography, without having the 
 luck to discover either of them ; and appear neither to have had 
 any influence upon the origin of those arts, nor to merit any place 
 in their History. * 
 
 Upon the Avhole, the most reasonable conclusion appears to be 
 that the Venetians acquired the art of wood engraving at a very 
 early period of their intercourse with the people of Tartary, Thibet, 
 and China; that they practised it, amongst the other arts which 
 
 quoit. On mettoit le iiom du consul sur le annee etoit le vin qu'on y conservoit, See." 
 bouchoudelabouteille,pourfairevoirdequelle * Storia Pittorica, torn. i. p. 92. 
 
 I 2 
 
60 THE WOOD ENGRAVERS OF VENICE [chap. n. 
 
 they had learned from their Eastern * friends, as a means of bene- 
 ficial traffic with the continent of Europe ; and that, in the course 
 of time, the artists of Germany, and other parts, found out their 
 secret and practised it themselves. But to return to the edict of 
 which we were speaking. 
 
 It is to be observed, that the government of Venice did not deem 
 it necessary to provide against the importation of printed figures 
 and cards of foreign manufacture until 1441 ; which is, I think, some 
 evidence that, in the beginning of that century, they were not 
 manufactured in such large quantities, or of so good a quality, in 
 other parts of Europe, as they were afterwards. For the Venetian 
 merchants of that period, Avhose commercial relations extended to 
 every part of civilized Europe, would not have failed to import 
 such articles of devotion, luxury, or amusement, long before, had 
 not the demand for them been fully supplied by their own artists, at 
 as cheap a rate as they could be imported from foreign parts. 
 
 It is therefore probable, that, although the art of engraving in 
 wood had been practised in many parts of Europe, as well as in 
 Venice, prior to 1400, the Venetian engravers continued to be more 
 numerous, and, perhaps, more skilful, than those of other countries, 
 until some time after that period ; but that, at length, wood 
 
 * Bmching, before cited, (torn. ii. p. 15,) ference is made to another document, appa- 
 
 cnumerates several sorts of manufacture which rentlj' respecting them, as well as the painters, 
 
 it is probable the Venetians learned in their of the year 1345. — The showy productions 
 
 intercourse with the East, and which, he says, of ancient Venetian manufacture are even 
 
 they exclusively possess; especially a parti- now proverbial throughout Italy, under the 
 
 cular mode of making looking-glasses and appellation of " le galanterie di Venezia." 
 
 glass beads. Temanza (Lett. Pitt. torn, v, Mr. Douce possesses, in his highly valu- 
 
 p. 327) mentions a complaint preferred by able and interesting collection, a curious chart 
 
 the Venetian looking-glass makers against the of Venetian workmanship of about 1400: it 
 
 painters, previous to 1436, for endeavouring is neatly drawn with a pen, and folded in a 
 
 to prevent them from ornamenting their look- manner very similar to many of the oriental 
 
 ing-glasses with painting, without having re- manuscripts. The style of the cover in which 
 
 course to them ; which the company of paint- it is enclosed, and, indeed, its whole appear- 
 
 ers seem to have considered an infringement ance, is truly Asiatic, 
 of liieir privileges. Upon this occasion a re- 
 
CHAP. II.] INCORPORATED WITH THE PAINTERS. 61 
 
 engraving became improved by the artists of other parts ; and that 
 these, after the use of playing cards Avas become general, so in- 
 creased in number and dexterity, as to be able to furnish their 
 cards and printed figures at a lower price, and of a better quality, 
 than the Venetian artists themselves could do ; thus menacing 
 entirely to supersede the use of the productions of an ancient Vene- 
 tian manufacture, even in the city of Venice itself. Under these 
 circumstances the government prudently stept forward for the pro- 
 tection of its own citizens Avith the above decree ; Avhich, as Zani 
 observes, was intended to favor those artists who resided within the 
 city of Venice exclusivelv, bj^ prohibiting the importation of such 
 kind of works, not only from distant parts of Europe, but even from 
 places under the dominion of the Venetian republic* 
 
 We learn from this document, that the artists who engraved in 
 wood were incorporated with the painters of Venice, making part of 
 the same company, as the barbers anciently did, with the surgeons, 
 in this country. 
 
 This sort of union was common with the artists of those early times 
 throughout Italy. The professors of painting, indeed, held the first 
 rank, but all those who practised any art or handicraft at all con- 
 nected with it, were included in the same corporate body. Thus 
 the company of S. Luke at Venice comprised the engravers in wood, 
 who manufactured cards and printed figures, and painters of the 
 lowest order; besides the makers of trunks, chests, and various other 
 articles of furniture, which it was customary, in those times, to 
 decorate with carved-work and painting ; also the carvers and 
 gilders, who prepared the gold grounds upon which paintings were 
 executed, and the ponderous decorations that surrounded them ; all 
 which things were finished before the painter commenced his 
 labours, as the picture and its frame were never separated. The 
 
 * Zani, " Materiali, &c." p. 77. Zani as a matter of course, that all these foreign 
 
 makes this remark in reference to a passage manufacturers of cards were Germans : " qui 
 
 in Heineken, (Idee Gmerale, p. 245) who, saiis doute," says he, " eioient des Alle- 
 
 after noticing the decree in question, observes, mands." 
 
G2 SILENCE OF OLD WRITERS RESPECTING [chap. ii. 
 
 painters' company at Bologna comprised even the saddlers, and those 
 Avho made the sheaths of swords and daggers ; because such things 
 were often ornamented with painting and gilding : that of Florence 
 comprised all those artists who worked in metal or on wood, and 
 to Avhose arts the knowledge of design was in a greater or less 
 degree necessary.* 
 
 The silence of old writers, as to the art of engraving in wood, has 
 already been noticed, and I have endeavoured to account for it. 
 In addition to the arguments which I then used, I must observe 
 that it is probable that, for a very long time, the nature of this art 
 remained a secret, known to few, except those who practised it ; and that 
 it was commonly confounded with painting or drawing. The representa- 
 tions of saints, and other devotional subjects, which the first wood 
 engravers produced, were rudely engraved and printed in outline; 
 and then daubed over with a few gay colours, in the manner so 
 long afterwards continued in Germany and the low countries ; so 
 as to catch the eye of the vulgar, who no doubt considered them 
 as pictures, and, like the vulgar of our own times, so denominated 
 them. Being manufactured with little labour, they were sold at a 
 cheap rate, and perhaps sometimes distributed gratis to the common 
 people, who hung them up in their private oratories, or in other 
 parts of their dwellings. Hence it is reasonable to suppose, that 
 they w^ere little esteemed by the richer classes of the community, 
 who considered them as paintings of an inferior kind, and them- 
 selves employed artists of eminence to execute more finished pic- 
 tures of such devotional subjects as they required, on vellum, or 
 
 * La n zi, Sloria Pittorica, torn. i. pp. 30, many interesting records which, although they 
 
 3 1 . The company of painters at Venice, he might have been imperfect as laws, would, no 
 
 says, was established previous to 1290. Un- doubt, have thrown further Jight upon the 
 
 fortunately the original books of this an- arts of the early Venetians — and, amongst the 
 
 cient company were destroyed a little be- rest, perhaps, upon their wood engraving — 
 
 fore 143fi, and new ones written in their are irrecoverably lost. 
 
 stead ; in '.\hich, however, such of the See a second letter written by Temanza to 
 
 ancient laws and regulations as were then Count Algarotti, inserted p. 32,S of the fifth 
 
 deemed profitable were inserted. Hence vol. of the " Lettere Pittoriche." 
 
CHAP, n.] WOOD ENGRAVING ACCOUNTED FOR. 63 
 
 on board. It is, therefore, not extraordinary that the ancient use 
 of wood engraving should have escaped the notice of contempora- 
 neous historians, since many of them were, perhaps, unconscious 
 even of the existence of such an art; and those who were acquainted 
 with it, considered it as an art of small importance. 
 
 Similar observations apply to playing cards. These were, no 
 doubt, at first designed and finished by the hand ; but soon became 
 manufactured in large quantities by the engravers in wood. Never- 
 theless, persons of elevated rank still continued to employ artists of 
 superior ability to paint them with the greatest delicacy in minia- 
 ture ; and it is related that Filippo Maria Visconti, Duke of Milan, 
 when a young man, paid no less than fifteen hundred crowns of 
 gold for a pack of cards. * It is probable that the old Venetian 
 cards described by Lanzi, which, although printed, had the ground 
 behind the figures gilded, were intended for the use of the higher 
 classes of the community. 
 
 Heineken,-f- and some other writers, haA-e ascribed the invention 
 of engraving in wood to the manufacturers of cards ; but they 
 have been unable to produce any evidence in support of such an 
 opinion. 
 
 * Filippo Maria Visconti was born 1392, " aureis emerit auctore vel in primis Marti- 
 
 and died 1447. It is therefore probable, as " a7io Derthonensi ejus Secretario, qui De- 
 
 Zani observes, (Materiali, &c. p. 186) that " orum imagines, subjectasque his animalium 
 
 these cards were purchased prior to 1412. " figuras, et avium miro iugenio, summaque 
 
 It will be seen from the original passage in " industria perfecit," &c. 
 
 which the circumstance is recorded by De- Cards, indeed, appear to have been ex- 
 
 cembrio in his life of the said Fisconli, (Me- ecuted in various manners for people of high 
 
 diolain apiid MeJchioris Malatestcc, 1630, distinction, and of various materials. Janseii 
 
 cap. l.xi. p. oS) that these cards were very (torn. i. p. 86, " Essai sur I'Origine de la Gra- 
 
 different from such as are now used. vure") tells us, that Bre/^Ao^describes a pack 
 
 " Variis etiam ludendi modis ab adoles- of piquet cards, in which the figures were en- 
 
 " centia usus est ; nam modo pila se exer- graved and gilt on plates of silver. Judging 
 
 " cebat, nunc folliculo : plerunque eo hidi from their style of design, he was of opinion 
 
 " genere, qui ex imaginibus depictis Jit in that they were the work of some artist of the 
 
 " quo praecipue oblectatus est adeo ut inte- Low Countries in the sixteenth century. 
 
 " grum eorum ludum mille et quingentis -|- Idee Generale, p. 237, et seq. 
 
64 EARLY USE OF PLAYING CARDS [chap. ii. 
 
 The argument of these writers is briefly as follows : the use of 
 playing cards having become general, say they, the artists, whose 
 occupation it was to make them, finding the great length of time 
 which was required to design them with the hand, began to think 
 that much labour would be saved were they to engrave their outlines 
 upon blocks of wood, and print them ; and that, therefore, they in- 
 vented the art in question. This mode of reasoning seems founded 
 upon the agreeable supposition, that the means of accomplishing any 
 desired purpose are ahva) s to be ready at the call ; and could be 
 applied, with equal force, in support of the opinion, that wood 
 engraving had been invented two centuries earlier, for the purpose 
 of satisfying the popular demand for the images of saints. 
 
 The truth is, that we have no evidence whatever of wood 
 engraving having been invented in Europe, but, on the contrary, 
 many I'easons to suppose that we got it from the East ; amongst 
 which may be named the mode of printing used by our early en- 
 gravers on Avood, and the custom, still, I understand, preserved in 
 Germany, of gluing the design itself, which it is intended to engrave, 
 upon the wooden block : both of them methods Avhich exactly re- 
 semble those practised, from time immemorial, by the Chinese. 
 
 I am of opinion with Breitkopf, that wood prints of saints,* 
 and other devotional subjects, preceded the use of Avood engraving 
 in the manufacture of playing cards ; and, indeed, if wood en- 
 graving was practised, as I have endeavoured to shew, prior to 
 1285, such must have been the case ; since we have no good autho- 
 rity for supposing that cards came into any thing like general use 
 until considerably after that period. 
 
 That, upon the use of playing cards becoming prevalent, the 
 artists who were accustomed to engrave the figures of saints, and 
 other devotional subjects, were not tardy in applying the art they 
 had so long practised, to the purpose of manufacturing those articles 
 of amusement, may well be believed. Nor could the additional 
 
 * So I learn from Jansen, " Essai sur TOrigine de la Gravure," torn. i. p. 104. 
 
CHAP. II.] EARLY USE OF PLAYING CARDS. 65 
 
 encouragement, which the great demand for playing cards occa- 
 sioned, fail to stimulate the exertions and increase the numbers of 
 the professors of engraving in wood. The use of cards, therefore, 
 although it does not appear to have given rise to the invention of 
 that art, powerfully operated towards its further promulgation ; and 
 is, on that account, in a considerable degree connected with its early 
 history. 
 
 In one point of view, indeed, the antiquity of cards becomes 
 a feature of great importance in our inquiry ; because, whatever 
 documents can be produced which prove their general use in 
 any European countrj^ at any early period, may, without an 
 unreasonable stretch of hypothesis, be brought in evidence, that 
 the art of wood engraving was known in that country at that 
 time. For, before Avood engraving was resorted to in the manu- 
 facture of cards, they must have been designed and painted by the 
 hand ; and the labour required in preparing entire packs of cards 
 in that manner, must have made them far too expensive an amuse- 
 ment to be indulged in by any but the more opulent classes of 
 society, and, consequently, must have acted as a prohibition against 
 their general use. 
 
 The early history of playing cards themselves is, however, in- 
 volved in great obscurity ; and I am the less disposed to enter upon 
 the difficulties of its discussion, as a gentleman,* much better fitted 
 for the task than I am, has been some time emploj^ed upon a work 
 relative to that curious subject, which, when completed, will, I have 
 no doubt, satisfy the inquiries of those who are lovers of research, 
 as far as the materials and evidence, now existing, can furnish the 
 means. Referring the reader, therefore, to that work for fuller in- 
 formation, I shall content myself with a slight review of the question. 
 
 Anstis, in his History of the Order of the Garter, produces a 
 passage, cited from a wardrobe computus, made in the sixth year of 
 
 * Mr. IV. S. Singer, to whose liberal communications upon the subject, and of 
 kindness I am indebted for several interesting whose name future mention will be made. 
 
 K 
 
66 
 
 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 our King Edward the First, (a. d. 1277) in which mention is made 
 of a game entitled " The Four Kings." The words are " Walter© 
 Sturton, ad Opus Regis, ad ludenclum ad qiiatuor reges, viii.s. yd." 
 and hence that writer conjectures that playing cards were then used 
 in England ; a supposition which might seem the less unreasonable 
 since we have no account of any game played in Europe, in which 
 Four Kings were used, except in cards. * Still it is possible that 
 this game might have been the oriental game of chess, which Avas 
 sometimes played with four kings. 
 
 * Mr. Strutt, who has given this passage, 
 in p. 185 of his Sports and Pastimes (2d edit.) 
 proceeds to observe, that, in the opinion of 
 those learned in Asiatic history, cards were 
 used in eastern parts of the world long before 
 they were known in Europe ; and hence he 
 considers it not improbable, that Edward the 
 First, who, before his accession to the throne, 
 had resided nearly five years in Syria, might 
 have learned the game of' The Four Kings' in 
 that country, and introduced it at court upon 
 his return to England. He admits, however, 
 that the total silence of every kind of autho- 
 rity respecting card playing, from the above 
 period until 1463, (an interval of more than 
 one hundred and eighty years) when Edward 
 the Fourth, upon the petition of the card 
 makers of London, prohibited the importa- 
 tion of foreign cards, appears to constitute a 
 powerful objection to such a conjecture. 
 
 Still Mr. Strutt justly observes, that the 
 silence of ancient documents respecting card 
 playing " is by no means a positive proof 
 " that the game of ' The Four Kings' was not 
 " played with cards, nor that cards did not 
 " continue to be used during the whole of the 
 " above-mentioned interval in the higher cir- 
 " cles, though not perhaps with such abuses 
 " as were afterwards practised, and which 
 " excited the reprehension of the moral and 
 
 " religious writers. Besides," continues he, 
 " at the time that cards were first introduced, 
 " they were drawn and painted by the hand 
 " without the assistance of a stamp or plate : 
 " it follows of course that much time was re- 
 " quired to complete a set or pack of cards : 
 " the price they bore no doubt was adequate 
 " to the labour bestowed upon them, which 
 " necessarily must have enhanced their value 
 " beyond the purchase of the under classes of 
 " the people ; and, for this reason," continues 
 he, " it is, I presume, that card playing, 
 " though it might have been known in Eng- 
 " land, was not much practised until such 
 " time as inferior sets of cards, proportion- 
 " ally cheap, were produced for the use of 
 " the commonalty; which seems to have been 
 " the case when Edward the Fourth ascended 
 " the throne," &c. 
 
 With respect to the objection which, ac- 
 cording to the same writer, some have urged 
 against the antiquity of playing-cards ; viz. that 
 in those early times there was no paper proper 
 for their fabrication, I shall only observe that 
 it appears to me to be ill-founded. Two 
 sheets of the ancient cotton-paper pasted to- 
 gether, and rubbed over with size, would have 
 constituted a body of sufficient strength and 
 thickness for any purpose required in playing- 
 cards. 
 
CHAP. II.] EARLY USE OF PLAYING CARDS. 
 
 67 
 
 The Abbe Longuerve declares, that the use of cards was pro- 
 hibited to the clergy by a Council held at Cologne in 1281;* and 
 Papillon informs us, that cards were forbidden by an edict of 
 S. Louis, upon his return from the Holy Land in 1254.-f- Both 
 these writers, it is now commonly believed, were mistaken in the 
 sense in which they understood the prohibitory passages in these 
 two edicts. Dice and other games of hazard, it is said, were referred 
 to, but not cards. 
 
 The celebrated Tiraboschi, however, cites a manuscript of one 
 Sandro di Pipozzo di Sandro,| entitled, " Trattato del Governo 
 della Famiglia," composed in 1299, in Avhich playing-cards are ex- 
 pressly mentioned ; and Heineken informs us, that in a book entitled 
 
 * See Zani, p. 79, and note 73, p. 152. 
 The words which Longuerve considered ap- 
 plicable to cards, were these: Item (Clerici) 
 " ad aleas et taxiUos non hidant, nee hiijus 
 " modi ludis intersint." (Hartzheim, "Con- 
 cilia Germanise," vol. iii. p. 364. 
 
 •f- Papillon, torn. i. p. 80. The words in 
 this edict of S. Louis of 1254, which Papil- 
 lon understood as relating to cards, are : 
 " Praeterea prohibemus districte, ut nullus 
 " homo Itidat ad taxillos, sive aleis, aut 
 " scaceis." Heinekett, " Idee Generale," 
 p. 239. Zani, p. 153. 
 
 J Tiraboschi — " Storia della Lettera- 
 tura Italiana," torn. vi. p. 1194. Modena, 
 1788 al 1794. This manuscript was first 
 referred to by the authors of the Foca- 
 holario della Crusca, who, beside other 
 mention of it, cite from it these words : se 
 giucherd di danari, o cost, a alle carte gli 
 apparecchierai la via, &c. There are, how- 
 ever, it seems, two or three copies of it ; aud 
 Zani, " Materiali, S)'c." p. l60, appears in- 
 clined to believe this passage relative to cards 
 
 to be an interpolation of a copyist of the be- 
 ginning of the fifteenth century ; although I 
 think without sufficient reason. The truth is, 
 that Zani, in consequence of having, as he 
 thought, detected the fallacy of some pre- 
 tended documents in favor of the antiquity of 
 cards, and finding the early Councils silent re- 
 specting them, became sceptical to all. He 
 appears to have had no idea that card-playing 
 could at any time have been considered as an 
 innocent amusement ; a reflection which, had it 
 occurred to him, (and he himself cited a pas- 
 sage from Morelli's Chronicle which might 
 have given him the hint) would in a great 
 degree have obviated his objections. How- 
 ever, some of the documents which he dis- 
 credited have since been confirmed ; and 
 others have been discovered which furnish rea- 
 son for the belief that cards, of some kind or 
 other, were in use, in various parts of Europe, 
 even earlier than had heretofore been com- 
 monly supposed. Perhaps, ere this, he has 
 found that the passage in Sandro di Pipozzo 
 
 K 2 
 
68 
 
 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 " Das gulden Spiel," (the Golden Game) printed by Gunther Zainer 
 in 1472,* in folio, it is said, that playing cards were first introduced, 
 or came, into Germany in the year 1300. 
 
 It may seem somewhat extraordinary, that in opposition to this 
 document, which he himself brought forward, Heineken should 
 have attempted to shew that cards were invented in Germany. -f 
 Mr. Singer argues from it, with more plausibility, that they found 
 their way into Germany from Italy ; where he is of opinion, with 
 Breitkopf, that they were first used. 
 
 Charles V. king of France, w^ho died in 1380, is said to have 
 banished from his kingdom all games of hazard, and to have ho- 
 nored Jean de Saintre with his favor, because he abstained from 
 playing at cards or dice ;:|: and the archives of France contain an 
 
 * Idee Generale, p. 241. " U est dit," 
 says he, " Tit. V. que le jeu de cartes a 
 commence d prendre coiirs en Alemagne en 
 ISOO. Nun ist das spil vol untrew, und ah 
 ich gelesen han, so ist es kommen in tiiet- 
 schland, der ersten in demjar, da man zalt 
 Ton crist geburt tausend dreihundert jar." 
 The passage is also given by Jansen, who 
 differs, however, from Heineken respecting 
 the year in which the book was printed. He 
 says it was printed by Gunther Zainer at 
 Augsburg in 1478. He adds: " Mais il 
 faut croire, dit M. de Murr," (for Jansen 
 has seldom any opinion of his own) " que 
 cette epoque est reculee de cinquante ans de 
 trop; et, suivaut M. de Heineken, ii est 
 impossible de determiner au juste le temps 
 de leur invention." Jansen, " Origine de la 
 Gravure," tom. i. p. 88. 
 
 + " Id6e Generale," p. 239. Heineken was 
 however, afterwards, obliged to give up his 
 hypothesis, and admit, that the Italian game, 
 called Trappola, was, in all probability, as 
 
 Breitkopf had conjectured, more ancient than 
 his favourite German game of Lansquenet. 
 Compare his Jdee Generale (p. 233, &c.) 
 
 with his Bcue Dacjbncfjten, pp. 136, 137, 
 
 138, and 139, in the last of which pages he 
 is forced to confess, that " the passage in 
 the lOillOen jfjpicl of 1472, means no more 
 than that playing-cards did not come into 
 Germany before 1300; and that, therefore, it 
 cannot be concluded that, at that early period, 
 cards, printed on paper or pasteboard, existed 
 in Germany ; although," he says, " it is still 
 probable that playing-cards, which were known 
 in Italy in 1299, might have made their ap- 
 pearance in Germany as soon as 1300." 
 
 % See Zani, note 77, p. 155, and note 79, 
 p. 162, who quotes Bullet, " Recherches 
 Historiques sur les Cartes a jouer," a Lyon, 
 1757- Bullet cites the following passage 
 from the Chronicle of this Jean de Saintre : 
 " Et vous qui etes noyeux joueux de Cartes 
 et de Des, Sfc." The words are supposed to 
 be spoken by the king to his attendants. 
 
CHAP. II.] EARLY USE OF PLAYING CARDS. 
 
 69 
 
 entry, in a book of accounts, of one Charbot Poupart, treasurer, 
 about 1392, which is as follows : 
 
 " A Jacquemin Gringonneur Peintre pour trois jeux de Cartes 
 a or, ei a diverses couleurs, de plusieurs devises, pour porter de- 
 vers le dit Seigneur (Charles VI.) pour son ebatement, LVI sols 
 parisis." * 
 
 With respect to this last document, I must observe that I think 
 it evident, from the moderate price paid for these three packs of 
 cards, that they must have been first printed from engraved 
 blocks of wood, and afterwards gilt and coloured by hand ; although, 
 no doubt, with more than an ordinary degree of care, as they were 
 for the king's use. f It is also remarkable, if I rightly understand 
 the expression : " de plusieurs devises," that these packs of cards 
 were of three distinct sorts. | 
 
 Cards, however, were used in France considerably before this 
 period, if we can rely on the authenticity of a manuscript of 
 
 * Heineken, " Id^e Geuerale," p. 237. 
 Jansen, " Essai sur I'Origine de la Gravure," 
 torn. i. p. 85. Zani, note 77, p. 155. 
 
 •f- I am surprised that it should not have 
 occurred to any of the numerous writers on 
 this subject, that the price here mentioned 
 must have been, even in the fourteenth cen- 
 tury, wholly inadequate to the labour of 
 drawing and colouring three packs of cards 
 by the hand. The artists who coloured cards, 
 or other wood prints, were probably styled 
 painters, in France, as well as in Ger- 
 many, where, as we shall presently find, they 
 were termed Briefmaler. We have seen 
 that they made part of the company of paint- 
 ers at Venice; and there is, I think, good 
 reason to be of opinion that the term painter 
 was anciently applied to denote any artist 
 whose business it was to lay on colours, 
 whether on paper, on board, on canvass, or on 
 
 any other material, as it is indeed by the 
 common people to this day. 
 
 Meerman, however, amongst others, cites 
 the above document in proof of the opinion, 
 that all the playing-cards of the fourteenth 
 century were drawn, in the manner of the 
 miniatures in ancient manuscripts, by the 
 hand. This it was necessary for him to 
 insist upon, before he could produce his 
 hero, Lawrence Coster, as the inventor of 
 wood engraving. See Jansen, " de I'lnven- 
 tion de I'lmprimerie," p. lyi. 
 
 % Possibly they were of the kinds described 
 by Conrad Gesner in the passage which will 
 be cited in a note to a subsequent page of 
 this chapter. Zani (Materiali, p. 181) sus- 
 pects that they might have been composed of 
 the figures of men, quadrupeds, and birds, 
 hke those made for Filippo Maria Fisconti, 
 mentioned in a preceding note. 
 
70 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 M. Lancelot, entitled " Renart le Contrefait," which, at fol. 95, con- 
 tains the following passage : 
 
 " Si comme fols et folles sont 
 Qui pour gaigner au bordel vont ; 
 Jouent aux dez, aux cartes, aux tables, 
 Qui a Dieu ne sont delectables." 
 
 " This romance," says Jansen, who cited it upon the authority of 
 M. Van Praet, " is in verse, and was composed by an anonymous 
 writer, who appears to have been a native of Champagne. He 
 informs us, at fol. 83, of the period at which he wrote." 
 
 " Celui qui ce roman escript, 
 Et qui 1ft fist sans faire faire, 
 Et sans prendre autre exemplaire, 
 Tant y pensa et jour et nuict, 
 En I'an mil iij cent xxviij. 
 En analant y mist sa cure 
 Et continua I'escripture. 
 Plus de xiij ans y mist au faire ; 
 Aincoit qu'il le pense parfaire, 
 Bien poet veoir la maniere." 
 
 " This passage fixes the entire completion of the romance in 
 1341. The author," adds Jansen, " records many facts anterior 
 " to this date ; he speaks of Philippe de Valois as still living."* 
 
 Contrasted with the testimony of the above romance, is a French 
 manuscript in folio, of" the legendary life of Alexander the Great," 
 preserved in the Bodleian Library. It is beautifully written on 
 vellum, and most superbly decorated with miniature paintings. At 
 the end of the MS. is this inscription : 
 
 * Jansen, " Essai sur I'Origine de la Gravure," torn. i. pp. 99, 100. 
 
CHAP. II.] EARLY USE OF PLAYING CARDS. 71 
 
 " Komans du boin Roi Alixandre — qui fu perescript le xv'm jour de 
 " Decembre I'an M.ccc.xxxviii." 
 
 Then follows, in letters of gold : 
 
 " Che Hire fu perfais de la enluminure au xviii jour dAvril per 
 " Johan de Guse I'an de grace m.ccc.xliiii." 
 
 The text of this MS. is interspersed with highly wrought illumi- 
 nations of a square form ; independently of which the bottom margins 
 of the pages are ornamented with the representations of a vast va- 
 riety of games and sports, in small figures, arranged in the man- 
 ner of friezes. These miniatures appear to have no connexion, 
 whatever, with the matter contained in the text ; and are purely 
 decorative. The games of chess, and tables, (if I rightly remember) 
 occur frequently ; but I could find no representation of card-play- 
 ing; and hence I conclude that cards could not have been in general 
 use, at that time, in the place where this MS. was illuminated.* 
 
 Mr. Singer, however, has recently discovered a very curious 
 document, relative to the early use of playing-cards, in an illu- 
 mination in another French manuscript romance, supposed to 
 be likewise of the fourteenth century ; although, probably, some 
 years later than the above. It is remarkable (and it goes a good 
 way towards confirming Mr. Singer's hypothesis, that cards were 
 first used in Italy) that the group represented appear to be playing 
 with Italian cards, a card, the face of which is visible, being 
 marked with pieces of money, or denari.f 
 
 This valuable MS. was formerly in the possession of the Duke 
 of Roxburgh, and is, I am informed, now preserved in the library 
 at Lee Priory in Kent. 
 
 * Mr. Strutt has often availed himself of copied them from him. 
 the miniatures in this MS. in his work of •}• The public will, I believe, be gratified 
 
 " Sports and Pastimes ;" and, indeed, as I with an engraving of this curious miniature, 
 
 neglected, when at Oxford, to transcribe the in Mr. Singer's work, 
 inscriptions at the end of the volume, I have 
 
72 EARLY USE OF PLAYING CARDS. [chap. ir. 
 
 It may be observed that the writer of the Romance of" Renart le 
 Contrefait," classes card players with those who played at dice, and 
 other games of hazard ; and we have already seen cards reprobated 
 by King Charles the Fifth : both of them circumstances which may 
 seem ill to accord with the silence of the Councils of those early 
 times respecting cards. For had card-playing been then in general 
 use, and classed with games of hazard, destructive to good morals, 
 it is contended by some writers that those Councils would not have 
 failed to prohibit it in their synods, as they did other games much 
 more innocent in their tendency, under severe penalties. 
 
 Upon such grounds, Zani, who has taken great pains to elucidate the 
 subject, by reference to the early Councils,* is led to conclude that 
 playing-cards are not so ancient as has been commonly supposed. 
 
 The people of Germany, he suspects, were amongst the last Avho 
 were acquainted with their use. His suspicion " is founded upon 
 " the following words of the Synodus Herbipolensis, anno Christi 
 " 1446 (Hartzheim, Conciha Germanise, tom. v. p. 333) : Ludus 
 " alearum, scaccorum, chorearum, taxillorum, annulorum, et glo- 
 " borum Monachis, et Monialibus prohibemus districte. Now if in 
 " this Synod," says he, " we find even the game of chess rigor- 
 " ously prohibited, which is rather a game of talent than of for- 
 " tune, we must reasonably conclude, that playing-cards, of which 
 " it makes no mention, were not then known."-!- 
 
 The first German Council, indeed, in which Zani found playing- 
 cards prohibited, is the Synodus Bambergensis, anno Christi 1491 
 (Hartzheim, tom. v. p. 597). The passage is as follows : — " Titulus 
 " XVL Usum tabernarum, prseterquam in itinere constituti et ne 
 " tabernas in domibus suis teneant, ludosque taxillorum et char- 
 " tariim, et his similes in locis publicis, praesertim inter Laicos, 
 " omnes et singuli Clerici in Pra^laturis etiam, et in sacris Ordinibua 
 " constituti, sibi hac sacrse nostrse Synodi prohibitione sub excom- 
 " municationis poena noverint esse interdictos, et prohibitos. In 
 " the Synodus Caminensis, 1492 (p. 661)," continues Zani, " cards 
 
 
 Zani, " Materiali, 8cc." p. 152, et seq. t Wer.i, p. 158, 159. 
 
CHAP. 11.] EARLY USE OF PLAYING CARDS. 73 
 
 " are also prohibited; and in the Varmiensis Sj'^nodus, 1497, cap. 
 " xxxvii. (p. 664) are named : Mercantias, choreas, ludos taxil- 
 " lorum, scurriha verba et turpia (Clerici) omnino vitent, — but 
 " nothing is said of cards." 
 
 The silence of the German councils respecting playing cards, 
 'till the year 1491, seems indeed remarkable; especially when con- 
 trasted with the manner in Avhich we have seen them spoken of 
 in France as early as the middle of the fourteenth century : to say 
 nothing of the other documents cited by Heineken from Gunther 
 Zainer's Gulden Spiel, and the Chronicle at Ulm. 
 
 In Italy, France, and Spain, cards do not appear to have escaped 
 this censure so long ; and hence it may seem reasonable to con- 
 clude that they began to be productive of pernicious effects sooner 
 in those countries than in Germany. 
 
 Nevertheless, I am not inclined to dispute the antiquity of playing 
 cards in Germany ; especially as it seems doubtful how far the 
 framers of the early Councils might have deemed a specific mention 
 of them necessary to their prohibition. Upon this question I shall 
 now offer a few remarks, with a view to reconcile such apparent con- 
 trariety of testimony ; lest the alleged silence of those Councils, with 
 regard to cards, should be too easily admitted as proof against their 
 early use ; and employed, as Zani has employed it, as a weapon 
 by which to overthrow all other documents, however apparently 
 genuine, that may be brought forward in favor of their antiquity. 
 
 The chief point to be decided is, whether or not the early Coun- 
 cils could have intended to prohibit playing-cards under the term 
 Alea. Heineken appears to have thought not ; and Zani adopted 
 the same opinion after considerable research : and yet it may, at 
 least, admit of a doubt, whether the evidence brought forward by 
 the last mentioned writer, in confirmation of that opinion, might not 
 be used, with equal effect, in support of an opposite conclusion. 
 
 In considering the question, it is necessary, in the first place, to 
 ascertain the proper acceptation of the word alea — so often found in 
 the decrees of the Councils, and in the writings of old authors ; and 
 
 L 
 
74 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 it is evident that, in determining this point, we must keep in view, not 
 the ancient derivation of the term, but simply the force and meaning 
 attached to it in the times in which those documents were written. 
 
 Amongst the many works which Zani examined for this purpose, 
 he mentions (Materiah, &c. p. 156) several interesting tracts inserted 
 in Gronovius (Thesaurus Grsecarum Antiquitatum, Lugduni Bata- 
 vorum, 1697-99, vol. vii. col. 905, et seq.) " from amongst which," 
 says he, " I shall select that of Bulengerio, that of Souterio, and 
 " another of Senftlebio. The first tell us (cap. Iviii. col. 924) that 
 " ALEA proprie dicitur de talis, tesseris, calculis, et omnibus fortuitis, 
 " quae vetita: — the second thus writes (lib. i. cap. xxx. col. 1062) ; 
 " Quum ALEA dicatur omnis ludis in varietate fortunse consistens, 
 " factum est, ut figurata locutione Alea saepe sumatur ; and the 
 " third writer (cap. ii. col. 1135) quotes the definitions of various 
 " other authors, beginning thus : — 
 
 " S. Isidorus, lib. xvii. cap. 57. Alea est Indus tabulae inventae 
 " a Graecis in otio Trojani belli a quodam milite, nomine Alea, a 
 " quo et ars nomen accepit." 
 
 " Polydorus Virgilius, fib. ii. cap. 13. Ita apud nos sexcenti 
 " sunt modi ludendi ad aleam : est enim alea omnis ferme Indus, 
 " qui in varietate fortunae consistit, ut sunt tesserae cum primis, et 
 " CHARTiE LUSORi^, cum quibus qui se valde delectant, maxime 
 " omnium semper egent." 
 
 " Sipontinus ad Praefat. Plinii. Alea dicitur omnis Indus magna 
 " ex parte in fortunae varietate consistens, sed proprie de tesseris 
 '• dicitur. 
 
 " Raderus, ad lib. xiv. ep. xii. Mart. Alea propria est hujus ludi, 
 " quamvis de omni generathn ludo alEjE dicatur, speciatim tamen 
 " tesserae convenit." 
 
 " Ita enim Joh. Rauchbar, p. ii. quaest. xxv. num. xxiii. Alea, 
 " inquit, omnes fortunae lusus tam simplices, quam mistos complec- 
 " titur, ut sunt tesserarum, talorum vel taxillorum, cuborum, scru- 
 " porum, astragalorum, chartarum, vel foliorum, lutriculae (forte 
 " latrunculorum), fritilli, equorum hgneorum." 
 
CHAP. 11] EARLY USE OF PLAYING CARDS. 75 
 
 The majority of these passages, it is evident, describes the word 
 ALEA as age7ieric term, applicable, by custom, to all games of fortune. 
 But Zani unaccountably thought otherwise. 
 
 " From all these deiinitions," says that writer, " and from the 
 " many others that I might in this place have quoted, it appears to 
 " me, we may infer that the word alea, as used by all the authors 
 " Avho wrote before playing-cards were known, signified no other 
 " than all sorts of games of dice, and more especially that game 
 " which we translate from the Greek, Aleossi. Because, if we were 
 " to extend its meaning so as to include playing-cards, we might 
 " then insist that they had been in use from the earliest period of 
 " the Christian sera, and even antecedent to it. For Hartzheim (vol. i. 
 " p. 131) makes us acquainted with a manuscript of the Canons of 
 " the Apostles which was given by Pope Adrian the First to the 
 " King Charles, where, at cap. xlii. and xliii. are these Avords : 
 
 " Episcopus, aut Presbyter, aut Diaconus, alece atque ebrietati 
 " deserviens, aut desinat, aut certe damnetur. 
 
 " Subdiaconus, aut Lector, aut Cantor similia faciens, aut desinat, 
 " aut communione privetur. Similiter etiam Laicvis." 
 
 It is not easy to comprehend Zani's meaning in the above passage. 
 His inference is certainly a bad one ; for the early occurrence of the 
 term alea, supposing it to have been used generically, could never be 
 brought in proof of the existence of any particular game, at any parti- 
 cular period ; any more than the ancient use of the words quadruped, 
 or tree, could be produced as evidence that any particular tree, or any 
 particular quadruped, was known to the ancients. Zani proceeds : 
 
 " The great improbability that cards were ever intended to be 
 " comprehended in the simple term alea, being thus demonstrated, it 
 " becomes fair to argue, that the silence of the Synods, the Councils, 
 " and the Edicts of Princes, as well as that of contemporaneous 
 " authors, respecting playing-cards (inasmuch as the said Synods, &c. 
 " prohibited so many other games), proves most amply that, in their 
 " time, they were not even invented ; and that if they had been 
 " invented, and it was thought proper to prohibit them, they would 
 
 L 2 
 
76 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 " have been distinguished by the name by which they are called at 
 " present, or by some other which might have characterized them. 
 " For, otherwise, how could those, who were addicted to play, have 
 " known that cards were prohibited under the generic term alea ?" 
 
 Zani's assumed demonstration, as has been just now observed, is 
 inadmissible. Did we however find that the early Councils were 
 constant in the specific mention of all the games of chance which they 
 intended to prohibit, their silence respecting cards, until so late as 
 1491, would be favorable to his subsequent argument? But this 
 does not appear to have been the case; and, consequently, his 
 reasoning is far from being conclusive. 
 
 The word alea originally designated a particular game, which 
 was a game of chance. It afterwards became a generic term, embracing 
 in its meaning all games, the result or success of which depended in a 
 greater or less degree on chance, and was thus used in the early Councils. 
 In process of time, various other games of chance, different from 
 those at first practised, came to be invented, and amongst the rest 
 Flaying-Cards. Does it follow as a necessary, or as a probable con- 
 sequence, that because some of the newly invented games differed 
 in their manner from those games of chance which were at first 
 used, they should therefore l^e separately specified in the prohibitory 
 decrees of Councils and Princes, who, under the generic term alea, 
 had been long accustomed to forbid all games of fortune .^ Is it 
 likely, as Zani has imagined, that a gamester of the thirteenth, 
 fourteenth, or fifteenth century, supposing cards to have been 
 then in use, could have been ignorant, that, under the term alea, 
 they Avere intended to be prohibited ? It may, indeed, be fairly con- 
 tended that the use of the term alea, in any early council, is not 
 sufficient to prove that cards were then known ; since the term was 
 undoubtedly used many centuries previous to the invention of cards : 
 but it does not follow that cards could not then have been known, 
 and intended to be prohibited under the term alea, because, as it was 
 a generic word, it might very pioperly have included cards within 
 its meaning. 
 
CHAP. II.] EARLY USE OF PLAYING CARDS. 
 
 77 
 
 The chief argument in favour of Zani's opinion, that I am aware 
 of, (and, were there nothing to oppose to it, it would seem one of 
 considerable weight) is, that Cards were particularly specified in 
 the prohibitory decrees of later councils. But this argument becomes 
 a weak one, when, in addition to the many opposing documents in 
 favor of the antiquity of cards, given in the text, and others of the 
 same kind wliich could be brought forward, it is observed, that 
 although playing-cards are named in some of the later Councils, 
 they are not in all : for we have seen them specifically prohibited 
 in the Synodus Bambergensis, 1491, and yet no mention is made 
 of them in the Synodus Varmiensis, in 1497. 
 
 When, in addition to such considerations, we call to mind, that 
 undoubted evidence exists of the general use of playing-cards 
 throughout many countries of Europe, long previous to 1490,* it 
 
 * Jansen, " Origine de la Gravure," torn. i. 
 p. 88, has the following note : " Suivant 
 " M. Neubronner, administrateur a Ulm, les 
 " archives de cette ville contiennent un an- 
 " cien manuscrit sur velin, appele le livre 
 " rouge (a Uteris initialibus rubris) oxi il y a 
 " une defense de jouer aux cartes, datee de 
 " 1397." 
 
 Query : Can this be the Manuscript Chro- 
 nicle, completed in 1474, in which Heineken 
 discovered a memorandum relating to the ex- 
 portation of playing-cards r See p. SO. 
 
 John I. king of Castile, is said to have pro- 
 hibited cards in 1387. The authenticity of this 
 document is questioned by Zaiii, (" Materiali," 
 p. 164, et scq.) but apparently upon insuffi- 
 cient grounds. Mr. Striitt (Sports and Pas- 
 times, p. 285, 2d edition) tells us, on the 
 authority of Bullet, that " the Provost of 
 Paris, Jan. 22, a. d. 1397, published an 
 ordinance, prohibiting the manufacturing part 
 of the people from playing at tennis, dice, 
 cards," &.c. That cards were known in 
 
 France prior to 1400, is, indeed, acknow- 
 ledged by Zani himself ; who cites a passage 
 from the Sermons of Frere Oliviero Maillard 
 (Lions, 1498), " Videtis quod habetis in sta- 
 " tutis vestris ; uuiiquid anno millesimo tjua- 
 " dringentesimofuit prohibitum quod omnes 
 " ludi chartarum," &.c. &,c. 
 
 Zani (" Materiali, "p. 155) seems incredu- 
 lous concerning the existence of the book called 
 ©a.iS gulbcn .§picf, mentioned by Heineken, 
 and said to be printed by Gimther Zainer at 
 Augsburg, in 1472 or 78, in which cards are 
 said to have been introduced into Germany in 
 the year 1300 ; and, indeed, if such an ancient 
 printed book does exist, containing a passage 
 respecting German playing-cards, it is of itself 
 sufficient to overturn his system. That it does 
 however exist, there can be little ground of 
 doubt, since Heineken cited the original pas- 
 sage in the German, and mentioned the name 
 of the printer ; and the passage was also, as 
 we have seen, cited by Jansen, a more recent 
 author ; with the additional intelligence, that 
 
78 EARLY USE OF PLAYING CARDS. [chap. ii. 
 
 will not, I think, be going too far to conclude, that cards might have 
 been intended to be prohibited, with other games of chance, by the 
 early German Councils, under the generic term alea ; and, at least, 
 that their not being mentioned by a Council of any particular 
 period, is no evidence that they were not then known. 
 
 But, independent of the probability that the early Councils might 
 have intended the prohibition of cards under the generic term alea, 
 other arguments, accounting, in some degree, for their silence re- 
 specting cards, may be adduced. There is reason to believe, as 
 has already been suggested, (see note, p. 67) that, at first, they were 
 considered as an innocent diversion ; and it is also probable, that 
 for some time after they had begun to degenerate into a means of 
 gambling, especially confined, perhaps, to the higher classes of 
 society, they might escape ecclesiastical censure. 
 
 Cards, as is Avell known, are, in Spain, termed naipes ; by which 
 name, with the alteration only of the p into a b, they were also 
 anciently known in Italy ; although in this latter country they were 
 likewise called carte. It would appear from the following passage 
 in the " Cronica del Giovanni Morelli," of the year 1393, that as late 
 as that period the Italians considered cards in the light of an innocent 
 and childish amusement : " Non giuocare a Zara, ne ad altro giuoco 
 " di dadi, fa de' giuochi che usano i fanciulli ; agli aliossi, alia trottola, 
 " a' ferri, a' 7iaibi, etc. — Not to play at hazard, or at other games of 
 " dice, but at such plays as are used by children, as cockle-shells, 
 " tops, ferri (I know not what this game was), cards," &c.* 
 
 But after the year 1400 they began to be considered no longer so, 
 and were severely censured by S. Bernardino ; who, in his forty-second 
 
 the book was printed at Augsburg, and the Italian cards. It is, however, quite as pro- 
 alteration of its dale (perhaps a correction), bable that they were the manufacture of Ger- 
 from 1472 to 1478. many or the Low Countries. 
 
 As to the foreign cards, the biportation of * Morelli was bom in 1371, and began to 
 
 which into England, was prohibited under write his work in 1393. It was printed at 
 
 Edward the Fourth, I am aware that it is possi- Florence in 1718. The passage cited is at 
 
 ble they might have been French, Spanish, or p. 270. Zani, p. 182. 
 
CHAP. II., EARLY USE OF PLAYING CARDS. m 
 
 Sermon, " contra Alearum Ludos," (artic. iii. cap. 11,) says: " Et 
 
 " idem est judicium sicut de tabulariis, ita etiam de tabellis 
 
 " taxillis taxillorum Tertiae autem participantes 
 
 " sunt qui fiunt participes ex naibis seu carticellis, de quibus innu- 
 " merabilia mala egrediuntur;" and at cap. iii. he repeats, " Sed 
 
 •' etiam contra omnes tabularia, taxillos, et carticellas sicut 
 
 " sunt tabularia, taxilli, et carticella, sive naibi." 
 
 Saint Antonino, archbishop of Florence, Avho was born in 1389, 
 and died in 1459, also speaks of cards as no longer amongst the 
 amusements of children, although he is not quite so severe in his 
 expressions respecting them as S. Bernardino. After mentioning 
 games of hazard, he says, " Et idem videtur de chartis, vel naibis, 
 " quamvis sit ibi aliquid industriae, principaliter tamen est fortunae. 
 " Ludus autem scaccorum non est fortunae ; sed industriae."* 
 
 Upon the whole, it appears probable that, although cards had 
 been long before known in Italy, as well as in other parts of 
 Europe, they did not come into general use, as affording the means 
 of amusement and gambling to grown persons, until after the year 
 1400. Although even this datum must be taken in a limited sense ; 
 since card-playing appears to have prevailed sooner in some coun- 
 tries than in others. But to return to the subject of engraving on 
 wood. 
 
 I have already expressed the opinion that wood engraving was 
 first introduced into Europe by the Venetians ; that the latter got this 
 art from China ; and that, in the course of the commerce Avhich took 
 place between Venice and the continent of Europe, the art gradually 
 became known. I have also argued from the decree of the govern- 
 
 * These two passages from the writings of their use. I have no doubt that my friend 
 
 S. Bernardino and S. Antonino will be found Mr. Singer, in his treatise on this subject, 
 
 in 2^a«j (pp. 171 and 177), who has, indeed, will know how to turn these documents 
 
 collected together a prodigious number of (which Zani has thrown together, and left 
 
 passages, from old as well as modem writers, in the shape of materials) to their proper 
 
 relative to cards ; without, however, com- account, 
 jng to any conclusion as to the antiquity of 
 
80 WOOD ENGRAVING IN GERMANY [chap. ii. 
 
 ment of Venice, dated 1441, that, some time prior to that period, it 
 had been improved b);^ the artists of other parts, who, as we have 
 seen, became, in their turn, exporters of playing-cards and other 
 wood-prints. 
 
 The inhabitants of Germany and the Low Countries appear more 
 especially to have devoted themselves with eagerness to the prac- 
 tice of this art ; their productions in which, it is probable, began to 
 constitute a branch of their commerce soon after the year 1400.* 
 
 If we may beUeve Heineken, who quotes the authority of an 
 ancient Chronicle in manuscript, which he found at Ulm, " they 
 " used to send their playing-cards in large bales, as well into Italy, 
 " as to Sicily and other parts, by sea, receiving in return for them 
 " spices and other merchandize." -f The term kartenmacher, or 
 card-maker, is mentioned in the Burger-buche of Augsburg, in 
 1418; I and in that of Nurenberg, in 1433 and 1438 ;§ and certain 
 it is, that, from the commenceiuent of the lifteenth century, it is 
 a more easy task to trace the history and progress of wood-engraving 
 
 * So we may fairly infer from the Venetian Zvlin, complevit hoc opus 1474, utlD UtltfC ber 
 
 decree, if the supposition be admitted, that jSubrih : 
 
 some of the foreign wood engravings which it ^W^m ^picI.l^anDcI. 
 
 prohibited were the productions of Germany, ,^ , ^^ , , ... , ^ , , 
 
 or the Low Countries. ^^^^ ^^^^ ^^^^ ^^^^ ^tm^^t, mtn m- 
 
 t Heineken quotes the words in the Ger- cfrcn unb anDcre IDaarcn t!Cr?tocljcn, tooraujS 
 
 man {Idee Generale, p. 245), but without bic .lEcnge der €ibartenmacl)er, jSn ^k\) i)ier 
 
 informing us of the date of the manuscript, aufgcljalten, ah^untijmcn i.^t. 
 or of the period to which the passage refers. The above memorandum being written 
 
 In his MtVii J[)acl)Cic|jttn (178G), p. 139, (perhaps after the book was completed) under 
 
 he is more explicit : for, besides again quoting the Kubrick, it is impossible to determine to 
 
 the original passage (although with some slight what period it relates. 
 
 verbal alteration ; and, consequently, we may J Brietkopf, " lir.iiprung bcr .§piclf<arten" 
 
 presume, with more accuracy), he informs us — 2 Thiel. It is remarkable that the earliest 
 
 that it is found in an old Chronicle, finished mention of the term " Kartenmacher" in Ger- 
 
 in 1474, preserved in the library of the Stadt- many, is found in the records of the city of 
 
 house of Ulm. "Jfn bcr ^tabtbihllOtljeli ?U Augsburg, which was one of the principal 
 
 lijtm f anb iclj cine €l)ronitie bcr <f)tabt llllm in depots of the ancient Venetian merchants. 
 Haanu.simptf, too am <Enbe $U]it: Georg § ifeineAen, i^tue JSacljnrljten, p. i38. 
 
CHAP. II.] AND THE LOW COUNTRIES. 81 
 
 in those countries, by a reference to existing monuments of its early 
 use, preserved in the Hbraries of old monasteries, and the cabinets of 
 the curious, than in Italy, where there is reason to believe the art 
 was not prosecuted with equal diligence, and, consequently, did not 
 attain that perfection which might ensure to it the same encourage- 
 ment and general regard. 
 
 " The artists who engraved in wood," says Heineken, " were 
 " termed, in Germany, Formschneidee, (cutters of moulds) an ap- 
 " pellation by which they are still known. But they no longer form 
 " a separate body as they did anciently, and are now very much 
 " neglected, in consequence of the decided preference which has 
 " so long been given to engravings on copper. 
 
 " The method adopted in printing wood engravings of saints and 
 " other subjects," continues Heineken, " was anciently the same 
 " as that used in the manufacture of cards. After the engraved 
 " block was charged with the black tint, a sheet of paper was laid 
 " upon it, which was damped,* that it might the more easily attach 
 " itself to the block ; the friction of a rubber, made of hair, or of 
 " pieces of cloth, was then applied to the paper, which was thus 
 " rubbed backwards and forwards till the impression of the engraving 
 " was transferred to the paper. The traces of this operation will 
 " readily be discovered by any person who examines our ancient 
 " wood-prints, and the old books of devotional representations 
 " printed only on one side of the leaf; the back of the paper being 
 " generally found polished, and sometimes soiled by the process of 
 " rubbing off the impression. 
 
 " Besides these engraved blocks, the manufacturers of cards em- 
 " ployed thin plates of metal cut into holes, to guide them in finish- 
 " ing their cards with colours. Of these patterns or stensils it was 
 " necessary for them to have several, according to the number of 
 " the colours which the figures on their cards required. This," says 
 
 * I have given my reasons for being of this mode of printing wood engravings, in a 
 opinion that the paper was often used dry in note at p. 34. 
 
 M 
 
82 WOOD ENGRAVING IN GERMANY [chap. ii. 
 
 Heineken, (desirous to support the hypothesis that wood engraving 
 owes its origin to cards) " naturally gave rise to the practice of 
 " illuminating wood-prints of other kinds, of which we so often find 
 " examples in our ancient books :" as if the origin of the custom ol" 
 colouring prints of all sorts, might not, with equal verisimilitude, 
 be traced to the illuminations in ancient manuscripts. " These 
 " colourers," continues he, " formed also a distinct body, under 
 " the appellation of Briefmaler (painters of cards)."* 
 
 Jost Auimon, in the cuts which he executed for the Avell known 
 book of Arts and Trades, published in 1564, has represented amongst 
 the rest, the figure and employment of the Formschneider, or en- 
 graver in wood ; and separately, the figure and occupation of the 
 Briefmaler, or painter of cards ; — treating them as distinct trades : 
 but Merian, who inserted the same figures of Jost Ammon in the 
 German translation of Garzoni, Piazza Universale, published at 
 Francfort, in 4to. in 1649, has employed the figure of the Briefmaler, 
 to represent the card-maker, because in his time the person who 
 painted the cards, and had formerly been termed Briefmaler, was 
 known by the appellation of Kartenmacher.\ 
 
 The same persons who manufactured cards, says Heineken, sold 
 also the prints of saints ; from which kind of traffic they had the bet- 
 ter reason to expect good profits, as the devotion of the j)eople of 
 Germany for the images of saints, was excessive during the four- 
 teenth and at the commencement of the fifteenth century ; and as 
 the clergy distributed such pieces amongst the populace upon all 
 occasions. 
 
 The above writer saw in the library of Wolfenbuttel several prints 
 of this kind, " representing stories of sacred writ and other devo- 
 " tional subjects, with some text opposite to the figures ; the whole 
 
 * Idee Genhale, pp. 243, 244. employment it was to illumine playing-cards 
 t Id^e G^nerale, p. 244. There is some as well as other wood-prints, but that, after- 
 obscurity in this passage, in the original. wards, the Briefmaler and the Kartenuiacher, 
 Heiiieken's meaning, I believe, was, that or manufacturer of playing-cards, became 
 anciently, the Briefmaler was a person whose two distinct trades. 
 
CHAP, ii:] AND THE LOW COUNTRIES. 83 
 
 " engraved in wood. These pieces," says he, " are of the same 
 " dimensions as our plaving-cards : thev measure three inches and 
 " a quarter in height, by two inches and a half" in width. Tliere 
 " are also, in the same library, at the end of the book intitled Ars 
 " Moriendi, five prints, in which are engraved divers figures of 
 " angels, devils, dying persons, saints, &c. similar to our playing- 
 " cards, and of the same size, — each figure being marked with a let- 
 " ter of the alphabet."* 
 
 The dimensions of the prints which Heineken here describes, 
 furnished, in his opinion, a strong evidence that they had been made 
 in imitation of cards ; — that cards had been their prototype. Now, 
 if I can judge from his account of them, the first of these engravings 
 must have been printed on paper of a duodecimo size, and then 
 doubled; for each devout representation had some text facing 
 it, alluding, no doubt, to its subject : so that the resemblance 
 between these prints and playing-cards could not, after all, have 
 been very great. The five prints which he found at the end of the 
 Ars Moriendi were, each of them, marked with a letter of the 
 alphabet, — no doubt a proof that they were part of a set. Now, in 
 another part of his book he informs us "that playing cards were 
 " termed in Germany, 3Bmfe — letters, [epistohe) and that they 
 " are so called to this day. The common people do not say, give 
 " me a game or a pack of cards, but a g>piel 3Sriefe, (a game or a 
 " pack of letters) or I want a card, but I want ein 93rieft, that is, I 
 " want a letter. "f This observation is used by Heineken to shew 
 that the Germans did not get their playing-cards from the French ; 
 " for if we had had them originally from France," sa3^s he, " they 
 " would have retained the same name with us by which they were 
 " anciently known and are still called in France." 
 
 But I must observe that whatever weight this remark may be en- 
 titled to, as furnishing an argument to prove that the Germans did 
 not get their cards from France, it is very far from assisting to 
 support its writer's hypothesis, that the use of cards gave rise to 
 
 * Idee Generale, p. 249- t Ibid. p. 240. 
 
 M 2 
 
84 WOOD ENGRAVING IN GERMANY [chap. ii. 
 
 the invention of engraving in wood, and the subsequent apph- 
 cation of that art to the manufacture of the images of saints, and 
 other devotional pieces ; since we might more reasonably conjecture 
 from it, that the persons who manufactured and sold these prints of 
 saints, &c. each accompanied with some short inscription, or marked 
 with a letter of the alphabet, were, on that account, termed Brief- 
 maler (painters of letters — epistohe) than that they were so called 
 because they manufactured cards, which in their nature bear no ana- 
 logy to letters whatever. 
 
 It is therefore probable that the term Briefmaler was used in Ger- 
 many before playing-cards, such as are now used, were known in 
 that country ; and applied to denominate those artizans who manu- 
 factured these sets of coloured images of saints and other religious 
 subjects, accompanied, perhaps, by short admonitory sentences. 
 And, if the rage for holy mysteries and religious games, so general 
 throughout Europe in the centuries which preceded the Reformation, 
 be considered, it will not be a very extravagant stretch of conjecture 
 to suppose, that, in early times, a set of those devout representations, 
 accompanied by inscriptions, and marked with the letters of the 
 alphabet, might even have been termed a Spiel Briefe,* or a game 
 
 * Since writing the above, I have been Pandectarum seu Partitionum Universa- 
 
 favored by Mr. Singer with a passage ex- Hum, Conradi Gesneri. Tiguri 1548. 
 
 tracted from a writer of the sixteenth cen- foL Titttlus x\\. de Grammatica, fol. 17. 
 
 tury, by which it appears that, even as late Gesner's book is little other than an index to 
 
 as that period, sets of prints, such as I have books which treat upon general subjects. The 
 
 described, (though others seem to have been above passage, for example, is the only one 
 
 of profane subjects) continued to be manu- on cards, and is given without any comment, 
 
 factured and sold under the appellation of The reader, indeed, is referred to Lndovicus 
 
 cards; although playing-cards, such as are Vh'es, who, in his dialogue called " Ludus 
 
 now used, had long before become common. Chartarum seu Fo/iorum," p. 48, edit. Basil, 
 
 " Chartee lusorise variis in locis impresse, 1555, gives a short account of Spanish and 
 
 elegantissime, aut Parisiis apud Wechelium French packs of cards, but says nothing of 
 
 cum senleiitiis veterum poetarum : et alia; their origni. 
 
 cum rythrais Gallicis; et alia; in Germania A further argument in support of my hy- 
 
 cum sententiis Biblicis lingua vernacula." — pothesis, has been furnished by my friend, 
 
CHAP. II.] 
 
 AND THE LOW COUNTRIES. 
 
 85 
 
 or pack of letters ; and used, perhaps, as a devout recreation, in a 
 way not very dissimilar from that in which cards appear to have 
 been used upon their first introduction into Europe; — that is, with- 
 out any relation to gambling. 
 
 The persons Avhose occupation it had been to fabricate these sets 
 of devout images, were of course the best fitted to execute and ma- 
 nufacture any other sorts of work that required the same process : 
 playing-cards being afterAvards introduced into Germany, they 
 would, therefore, presently apply themselves to the manufactory of 
 them; still, however, retaining the appellation of Briefmaler (paint- 
 ers of letters) by which they had been originally designated ; and in 
 like manner these new productions might be termed Spiel Briefe, be- 
 cause they were packages or sets of coloured prints, issuing from 
 the workshop of the Briefmaler.* 
 
 Mr. Fuseli, an artist whose elevated and 
 powerful genius is no less honorable to 
 Switzerland which gave it birth, than the 
 example of his works, and the eloquence of 
 his discourses, have proved beneficial to the 
 arts in the country which he has adopted. 
 " In the vulgar tongue of Zuric," says Mr. 
 Fuseli, " and still more in that of the 
 " Roman Catholic Cantons of Switzerland, 
 " Helgen which is a corruption of Heiligen 
 " — holy — saints — is used to denote a figured 
 " print — Estampe. The reason for this is 
 " evident — the first prints represented the 
 " figures of saints or other devotional sub- 
 " jects, and were, on that account, termed 
 " Helgen ; the term, in process of time, 
 " became generic, and is now used to d&- 
 " note prints of any kind, even of the most 
 " profane subjects." 
 
 I was not aware, when I framed the above 
 hypothesis, that such evidence could be 
 brought forward in its support. 
 
 * Nevertheless, if I may depend upon 
 Heineken " l^tnt Bai\)nc])tin," p- 138, no 
 mention of the term Briefmaler is found in 
 the old German Chronicles, so early as there is 
 of the term Kartenmacher. Still that writer 
 insists, and Brietkopf, he says, is of the same 
 opinion, that the term Briefe is more ancient 
 than that of Karten, cards. The term Kar- 
 tenmacher, as has already been observed, 
 occurs in 1418, in the Burgerbuche of Augs- 
 burgh. 
 
 Heineken argues " that all writings in 
 " which the term Kartenmacher or Karten- 
 " maler is found, are more modern than the 
 " invention of printed playing-cards, in Ger- 
 " many ;" (here, no doubt, he means to infer, 
 that diough the Itahans first introduced the 
 use of cards, the Germans first discovered 
 the art of engraving and printing them) 
 " and if," says he, " you find mention, in 
 " the city books of Nuremberg, in 1433, of 
 " a Kartenmacherin, and, in 1438, of a 
 
80 
 
 WOOD PRINT OF ST. BRIDGET. 
 
 [chap. II. 
 
 /- Here, then, is an hypothesis which appears to be full as well 
 supported by evidence, and as reasonable as that of Heineken. 
 It is, however, but an hypothesis, and may require further proof 
 If true, it necessarily carries back the art of engraving in wood, 
 in Germany and the Low Countries, to a much earlier epoch than 
 that from which the German writers have hitherto been accustomed 
 to date its origin ; and they will consequently pardon me for having 
 suggested it. 
 
 Besides these small cuts, however, the old artists of Germany 
 and the Low Countries engraved devotional subjects of larger di- 
 mensions. One of these, bearing every mark of high antiquity, I 
 am enabled to present to the reader, by favour of the Right Hon. 
 the Earl Spencer, K. G. who possesses the original, and has most 
 obligingly permitted it to be copied for the present work. 
 
 By the inscription over the head of the figure, which is neverthe- 
 less, in part, unintelligible, being a good deal rubbed, we discover 
 that it was intended to represent St. Bridget, who is seated writing. 
 The figure evinces itself the work of an artist of no mean talents : 
 
 " Kartenmalerin, (whereas you do not find 
 " mention of a Briefma/er, until 1477,) it 
 " only proves that printed playing-cards, or 
 " Brief e, were invented before 1433, and 
 " that already, in 1433, they were known in 
 " Germany by the name of Karten, cards ; 
 " but that, towards the year 1477, the pro- 
 " fession of Kartenmacher had become se- 
 " parated from that of the Briefmaler, or 
 
 " iiluminist of wood-prints in general." 
 
 " The word Karten,'^ he says, " is de- 
 " rived from the word Cartone, and owes its 
 " introduction to the commerce of the Ger- 
 " mans with Italy." 
 
 " Playing-cards," Heineken again observes, 
 " are still called by the ancient term, Briefe, 
 " in some provinces, and especially in coimtry- 
 " places." 
 
 The above passage, if I may be allowed 
 to interpret it in my ovra way, will be found 
 rather confirmatory than othenvise of the 
 hypothesis in the text. 
 
 I suppose that the better informed classes 
 of the community discovered, before 1433, 
 that the ancient term Briefe was, by no 
 means, an appropriate appellation for playing- 
 cards, such as zcere then in use; and very 
 properly changed it for the foreign name, 
 Karten — cards — to distinguish cards from 
 other prints ; especially those of sacred images ; 
 whereas the common people satisfied them- 
 selves with calling them by their old name, 
 little mindful of its etymology ; and never 
 considering that their Spiel Briefe were no 
 longer what they had been. 
 
dbfig-ifabif 
 gOtfrtUttSf 
 
CHAP. 11.] WOOD PRINT OF ST. BRIDGET. 87 
 
 the proportions are good ; the attitude is easy and natural ; and the 
 folds of the drapery are marked with intelligence, and well cast. 
 The face and hands are expressed with few lines, but in a masterly 
 manner. On the other hand, the total absence of every principle 
 of perspective, in the bench upon which St. Bridget is seated, and 
 the desk which supports her book, is very remarkable ; and gives to 
 the entire composition an effect not very unlike that of the figures 
 of the Evangelists, sometimes found in manuscripts of the very early 
 centuries.* 
 
 Upon the whole, I am inclined to consider this engraving as the 
 production of an artist of the Low Countries, (where a better style 
 of art prevailed in the fourteenth and fifteenth centuries, than was 
 common, in those times, in Germany,) and of a date not later than 
 the close of the fourteenth century : since, after that period, an 
 artist, who was capable of designing so good a figure, could scarcely 
 have been so grossly ignorant of every effect of linear perspective, 
 as was evidently the case with the author of the performance be- 
 fore us.-f- 
 
 The impression appears to have been taken off, with a light tint 
 
 * It has, by the bye, a good deal of re- from this circumstance ; as the print appears 
 
 semblance to the Greek drawing of St. to have been coloured without the smallest 
 
 Luke, engraved in my " Italian School of degree of care. 
 
 Design." " Ces armoiries,"says Jawse/i, "del'Iuvention 
 
 t I shall leave the partisans of Lawrence de I'lmprimerie," (p. 53.) speaking of Coster's 
 
 Janszoon, or Coster, to make what they can seal, of which he also has given a copy, " qui 
 
 of the armorial bearings introduced in one sont celles de la famille du fils prune d'un des 
 
 «omer of this ancient engraving. Lawrence premiers comtes de HoUande, ont ete portees 
 
 bore the same arms, but with the addition of par quelques-unes des plus illustres maisons 
 
 a bar of bastardy and a lambel, as appears de ce pays, telles que celle de Brederode, de 
 
 by his seal given in Meermari. The lion iu Teylingen, de Langerack, de Soutelande, et 
 
 the print of St. Bridget is tinted yellow, and de Warmont," 8cc. It is possible that the 
 
 Iialf the shield (that part of it which is under same arms might have been borne by some 
 
 the animal's feet and belly) is of a dark crim- town or monastery in the Low Countries, 
 
 son ; but I think no conclusion as to the where the print, perhaps, was published, 
 proper blazoning of the arms, can be drawn 
 
88 WOOD PRINT AT LYONS, DATED 1384. [chap. ir. 
 
 in distemper, by means of friction, in the manner already described, 
 and was afterwards rudely daubed over with a few gay colours, 
 which were not, I think, laid on by means of stensils, such as, it is 
 supposed, were used in painting cards, but by the hand. These 
 colours, as they very much obscure the merit of the original print, 
 are omitted in the copy.* 
 
 If we can depend upon the correctness of M. Thiery,f the library 
 of the academy at Lyons possesses a print, pasted into a folio volume, 
 entitled " La Legende Doree," at the bottom of which is inscribed 
 ScHOTiNG of Nuremberg, with the date 1384. He adds, that an- 
 other engraving, still more ancient, is preserved in the library of 
 the Vatican at Rome. 
 
 Of the more ancient print in the Vatican I have no account, and 
 I am obliged to add, that I fmd no mention of the Nuremberg print 
 of 1384, in the recent French writers on the subject of engraving. 
 Perhaps they discovered, upon examination, that what Thiery took 
 for a 3, was in reality a figure of 4, or even a 5. But it is very 
 possible that the Parisian authors may not have been at the trouble 
 to visit Lyons for the purpose, and that the date may be genuine. 
 This, I much hope, may prove to be the case ; as we are, it must 
 be confessed, greatly in want of documents with which to fill up 
 the chasm between the epoch of the two Cunio, and that of the 
 
 * The face and hands are lightly tinted coat of arms and the crown, are tinted a 
 
 with flesh colour. The hat and the wallet, bright yellow. The ground is coloured with 
 
 supported upon the pilgrim's staff, and the verdigrease. The last part of the operation 
 
 drapery of St. Bridget (except the veil upon of the illuminist, appears to have been that 
 
 her head, part of which is black, and the re- of giving what he, no doubt, considered a 
 
 mainder, with the thin drapery folded round few masterly touches, with a sort of lake, 
 
 her throat, white) are of a tint similar to that mixed with a large proportion of gum, which 
 
 of soot diluted with much water. The bench has occasioned those parts to have a shining 
 
 upon which St. Bridget is seated, and the appearance. The broad border round the 
 
 desk, the staff, the letters S. P. Q. R. the print is of this colour, 
 
 glories round the head of the saint, and those t " Guide des Amateurs, &c. d Paris," 
 
 j-ound the Virgin and Child, the lion in the 1787. pp. 427, 428. 
 
CHAP. II.] WOOD PRINT OF ST. CHRISTOPHER, A. D. 1423. 
 
 89 
 
 decree of the government of Venice. For although the retrospec- 
 tive allusions of that decree render it evidence that the art of wood 
 engraving had been practised at Venice very long previous to its 
 date ; still, for the sake of those who will not be satisfied with any 
 thing short of a due array of stubborn and incontrovertible proofs, 
 I would gladly be enabled to produce other monuments of its 
 ancient use: and I cannot conceal my surprise that Zani, who 
 argued in favour of the authenticity of the account of the two 
 Cunio, should not have perceived, that by endeavouring, as he did, 
 to throw doubt upon almost all other early records of wood en- 
 graving, he was doing all in his power to render that account the 
 more difficult of belief 
 
 The earliest print, bearing a date, of the existence of which we 
 have at present any certain knowledge, was discovered by Heineken ; 
 who thus described it in his writings : " I found," says he, " in the 
 " Chartreuse at Buxheim, near Memmingen, one of the most an- 
 " cient convents in Germany, a print of ' Saint Christopher carry- 
 " ing the infant Jesus across the sea :' opposite to him is the hermit 
 " holding up his lantern to give him light; and behind is a 
 " peasant, seen in a back view, carrying a sack, and climbing the 
 " ascent of a steep mountain. This piece is of a folio size, and 
 " coloured in the manner of our playing-cards ; at the bottom of it 
 " is this inscription : 
 
 " Cristafen fatienx Hie quacunque tuerts. 
 •♦ 3[lla neiiipe Tiie morte mala nan mortms. 
 " iHillestnuj cccc° n tercto. 
 
 " At least," continues Heineken, " we know from this piece, 
 " with certainty, that the figures of saints, and, also, letters, were 
 " engraved in 1423. Nor can any fraud be suspected in this in- 
 " stance. The print is pasted within the cover of an old book of 
 " the fifteenth century." ** Some one of the ancient monks of 
 
 N 
 
90 WOOD PRINTS OF ST. CHRISTOPHER [chap. ir. 
 
 " the convent perhaps desired to preserve it, and at that time no 
 " one troubled himself about the Antiquity of Engraving, or dis- 
 " puted upon the question."* 
 
 It was due to Heineken that I should describe this most interest^ 
 ing specimen of early wood engraving in his own words ; since, but 
 for his research, it might have continued to lie unnoticed in the 
 convent of Buxheim, perhaps, for centuries to come. It has now 
 found an asylum worthy of so precious and rare a document, in the 
 splendid library of Earl Spencer, Avhere it is preserved in the same 
 state in which Heineken discovered it, pasted in the inside of one 
 of the covers of a manuscript in the Latin language,-)- of the year 
 1417. Lord Spencer, Avith a liberality for which he is eminently 
 distinguished, has permitted it to be faithfully copied, of the same 
 dimensions as the original, for the present work ; and the reader 
 will therefore be a competent judge of its merits, — except as respects 
 the colours, with which, like the last described print, it was tinted 
 after printing, and which it has been judged proper to omit, that its 
 true pretensions, as a work of engraving, ma)^ the better appear. 
 
 I shall say but a few words concerning this engraving, as a work 
 of art. The principal group is composed with dignity ; and, indeed, 
 as respects its arrangement, is not inferior to many pictures of the 
 same subject, executed by esteemed artists of later times. The 
 reciprocity between St. Christopher and the sacred infant, is well 
 conceived ; the head of the saint is expressive ; and the drapery, 
 floating over his shoulder, is folded in a grand style. But the ex- 
 tremities, and some other parts of the figures, are so defective in 
 point of drawing, as to give reason to suspect that the artist, who 
 
 * " Idee Generale," p. 250. the print of " The Annunciation," in the same 
 
 t The MS. isentitled " Laus ViRGiNis." volume; both of the dimensions of tlie ori- 
 
 See Mr. Dibfiins " Bibliotheca Spenceii- ginals, and accurately executed. A bud copy 
 
 ana," vol. i. p. iv. Mr. Dibdin has given a of the print of " St. Christopher" is intro- 
 
 fac-simile of the group of St. Christopher duced in Janseii's work so often cited, copied, 
 
 •and the Child, and another of the Angel, in I believe, from one made by De Murr. 
 
^juanmipf Dirmwre mala ix6mnma\$<i xfimo :i^ 
 
CHAP. II.] AND THE ANNUNCIATION, A. D. 1423. 91 
 
 prepared the design from which the print was immediately en- 
 graved, had no part in the invention of the piece ; except that of 
 introducing the fish under the feet of the saint, the diminutive mill 
 in the fore-ground, and the other accessories ; all of them so far 
 beneath criticism, that one would almost suppose it had been his 
 intention, by surrounding St. Christopher with such absurdities, to 
 bring the saint into disrepute. 
 
 Within the other cover of the same manuscript, another wood- 
 print is pasted, representing " The Annunciation of the Virgin." 
 It is undoubtedly the production of the same artist who engraved 
 the St. Christopher, although being free from some of the above 
 defects, it is a more agreeable print. The subject did not require 
 the introduction of naked limbs, which the best painters of those 
 times Avere but ill qualified to design ; Avhereas it allowed fuller scope 
 to the artist's abilities in casting drapery, — a part of the art with the 
 principles of which even the most inferior designers of the fourteenth 
 and fifteenth centuries were not unacquainted. Both these prints 
 were, I think, originally printed on the same paper; which was 
 probably intended to be folded, and inserted in that state in a book 
 of devotion ; when, as was the case with the ancient Dyptici, and 
 many of the small portable altar-pictures of those times, the two 
 subjects would have faced each other. They are of the same 
 height, and very nearly of an equal breadth ; are printed upon 
 a paper rather thick than otherwise, with black oil-colour, or what 
 is commonly termed printing-ink, and are tinted, (apparently at the 
 time), with precisely the same colours. 
 
 It is further remarkable, that these prints shew no signs of having 
 been taken off j like the St. Bridget, by means of friction, but were 
 evidently printed with a press. 
 
 In this respect, and in the black ink with which they are printed, 
 they differ from all the very early wood-prints of Germany, or the 
 Netherlands, that I am acquainted with ; these latter (I speak 
 more especially of the ancient block-books) being taken off" with a 
 brownish tint, apparently in distemper, by means of friction. 
 
 n2 
 
92 WOOD PRINTS OF ST. CHRISTOPHER [chap, ir. 
 
 The invention of the press has been commonly considered con- 
 temporary with the invention of typography ; because we find no 
 instance in which it appears to have been used, in Germany, or the 
 Low Countries, previous to its apphcation for the purpose of print- 
 ing moveable characters. A proper black ink for printing made its 
 appearance in Germany simultaneously with the introduction of 
 the press ; and the first Bible that issued from the press of Gutten- 
 berg, at Mentz, soon after 1450, is printed with ink, which, for 
 blackness and consistency, has never been since surpassed. 
 
 Here, however, are two specimens of engraved wooden blocks 
 executed in 1423 — for there appears no ground whatever to dispute 
 the date — and printed with black printing-ink, and a press. 
 
 I am aware that it is possible, notwithstanding the blocks were 
 engraved in 1423, that the impressions might have been taken 
 off some thirty or forty years afterwards : * but this is certainly not 
 very probable. I am rather inclined to be of opinion, that although 
 neither the press, nor a black oil-colour, were used for printing Avood 
 engravings in Germany, or the Netherlands, at so early a period, 
 they might have been elsewhere. 
 
 What if these two prints should prove to be — not the productions 
 of Germany, but rather of Venice, or of some district of the territory 
 then under the dominion of that republic ? 
 
 It may be remembered that the decree of Venice of 1441, speaks 
 of such figures as being absolutely printed " Carte e figure stam- 
 
 * I know of no certain specimen of wood Another work of the same printer, also 
 
 engraving, printed with a press, and black decorated with wood engravings (if, indeed, 
 
 printing-ink, in Germany or the Low Coun- such miserable designs can properly be 
 
 tries, prior to the yezrs 1461 and 1462. termed decorations), is in the possession of 
 
 Of the first date, there exists, in the library Lord Spencer, and will be found described 
 
 of Wolfenbuttel, a book of fables, illustrated in the first volume of Mr. DibiUn's " Biblio- 
 
 by a hundred and two wood-cuts, which was theca Spenceriana." It is known by the name 
 
 printed at Bamberg, by Albrecht Pfister. It of " The Histories of Joseph, Daniel, Ju- 
 
 is mentioned by HmjeATAi (" Idee Generale," dith, and Esther," is dated 1462, and is a 
 
 p, 275), who lias given a copy of one of the book of such extreme rarity, that only on^ 
 
 P""'s- other copy of it is known. 
 
CHAP. 11] AND THE ANNUNCIATION, A. D. 1423. 93 
 
 PIDE che si fanno in Venezia." It is true the decree applies the same 
 term to the cards and other wood-cuts which were imported from 
 other parts ; but this would naturally occur : as those who framed 
 the decree cannot be supposed to have examined the backs of such 
 prints as came from Flanders, Germany, or other parts, that they might 
 distinguish whether they were taken off by friction, or in the manner 
 practised in Venice, by means of a press. It was sufficient that the 
 Venetians saw a great number of wood-cuts of foreign manufacture, 
 which operated to the detriment of their own artists ; the different 
 process by which they might have been executed was a matter of 
 no importance, and it is probable ^vas never noticed by them. 
 
 This ancient use of the word printed (stampide), in the Venetian 
 decree, did not escape the notice of Heineken. " Printing," says he, 
 " was not yet known, and yet the word printing was used."* I wish 
 that writer had informed us whether the word printing was in use 
 at so early a period in Germany. I am inclined to think it was 
 not.f 
 
 Nevertheless, as these prints were found in Germany ,| I should not 
 have suggested a doubt that they were the productions of any other 
 
 * Id^e, &c. p. 246. T doubt whether the term printing was used 
 
 •f Heineken, after describing an edition of in Germany or the Netherlands until after the 
 
 the Block-book, called the Book of Anti- establishment of typography. 
 
 Christ, " Idee Generale," p. 392, says : " d la J Buxheim, however, it may be worth re- 
 
 " fin de ce teste I'editeur dit : iBtt 5iunB« marking, is at no great distance from Augs- 
 
 " Ijann^S pCifFmaltr fjat basi purl) ?U Buren^ burg ; which, in the fifteenth century, and 
 
 " facrg, 1472. Le Junghannss peintre de some centuries earlier, was one of the great 
 
 " cartes a ce livre a Nuremberg en 1472, depots of the Venetian merchants, through 
 
 " sans avoir ajoute, s'il a dessine, ou grav6, which, by land-carriage, they furnished the 
 
 " ou seuleraent imprime cet ouvrage." southern parts of Germany with the nume- 
 
 An edition of the Ars Moriendi, mentioned rous articles of their commerce and manufac- 
 
 by Heineken (p. 421), ends with a similar ture. A print of this age, being found in 
 
 colophon: Germany, is, therefore, by no means a cer- 
 
 m^ -Sportr, iat m pucjj '"'" P-"""^ '^^' '' '!' ""[ ^"'""^" manufacture. 
 
 J473 oruffsmntEr. ^^^ BettineUi "Risorgimeutod'Italia,"tom.ii. 
 
 pp. 284. SOI. 
 
94 WOOD PRINTS OF ST. CHRISTOPHER [chap. ir. 
 
 than the German school, were it not that the print of the Annun- 
 ciation, especially, bears so striking a resemblance to the style of" the 
 old Italian schools as, of itself, to furnish a very strong ground for 
 such an opinion. 
 
 Those who are acquainted with the style of art which, founded by 
 Giotto, and promulgated by his school, prevailed more or less 
 throughout Italy, from the beginning of the fourteenth until towards 
 the middle of the fifteenth century, will, I think, discover this simi- 
 litude in the general arrangement of the composition — the simplicity 
 and lightness of the architecture, with unornamented circular arches, 
 supported by a single slender pillar, and pilasters — the graceful 
 attitude of the Virgin — and especially her drapery, which, wholly 
 unlike the angular sharpness, the stiffness, and the flutter of the 
 ancient German school, is divided into a few easy folds, by lines of 
 gentle curvature.* 
 
 After all I may possibly be mistaken in my opinion ; f and lest. 
 
 * The upper corner of this print, on the ally in the inscription on pictures, &c. until 
 
 left, where, no doubt, the figure of God the towards the middle of the fifteenth centuiy. 
 
 Father was introduced, has been torn of ; pro- 1 have now before me a facsimile of the 
 
 bably by some Iconoclast of the sixteenth inscription on the monument of Francesco 
 
 century. de Flore, a Venetian painter (the father of 
 
 f Let the amateurs of Venice, and other Jacobello del Flore, also a painter), dated 
 
 parts of Italy, search the libraries of their 1433, in Gothic or semi-gothic characters, 
 
 ancient convents : perhaps specimens of early Unfortunately, it is all written in capitals, 
 
 Italian xylography, subject to no such doubt, whereas the inscriptions on the two prints 
 
 may still be found. Meanwhile I feel myself before us are almost entirely in minuscules ; 
 
 justified in assuring the reader that I have the C is formed in precisely the same manner 
 
 not, hitherto, discovered any thing which as that with which the inscription commences 
 
 militates against the opinion given in the text. in the print of St. Christopher. Indeed the 
 
 The characters in the inscriptions on these inscriptions on these two prints are in charac- 
 
 two prints are, it is true, what are commonly ters of somewhat a less Gothic form than 
 
 called German, or black-letter ; but such those commonly found on the early wood-cuts 
 
 characters as Lanzi observes (" Storia Pit- of Germany, or the Low Countries, and are 
 
 torica," torn. i. p. 34 — 92), prevailed very less perplexed by abbreviations, 
 generally throughout Italy, and more especi- 
 
CHAP. 11.] AND THE ANNUNCIATION, A. D. 1423. 
 
 95 
 
 in that case, I should mislead others, I have caused the print to be 
 copied on a reduced scale ; that those, who have not an opportunity 
 of seeing the original, may have some means afforded them of judg- 
 
 ing for themselves. 
 
96 WOOD PRINTS WITH EARLY DATES, [chap. ii. 
 
 The next print in point of antiquity, hitherto known, bearing a 
 date, of the authenticity of which there appears no ground of doubt, 
 is a wood engraving of a quarto size, which was found in the Abbey 
 of St. Blasius, in the Black Forest. It represents " The Martyrdom 
 " of St. Sebastian," and is dated 1437 : under it is a prayer (doubt- 
 less printed from the same block), and a repetition of the date, 
 thus : M.cccc. XXXVII.* 
 
 Jansen informs us, that " M. Krismer, the librarian to the con- 
 " vent of the Chartreuse, at Buxheim," where the St. Christopher 
 was discovered, " shewed De Murr an ancient Avood engraving, 
 " coloured in the manner used by the German card-makers, which 
 " was pasted into a manuscript, entitled, ' Sermonum Partem 
 " * Hyemalen, de Nicolas Dunkelspul,' This print, which is seven 
 " inches and a half in height, by five inches and a half in width, 
 " is very much soiled, having been printed with a rubber. De Murr 
 " says, that he cannot compare it with any other ancient wood 
 " engraving that he has seen, although he is acquainted with so 
 " many. It contains three subjects ; the upper part of the print 
 " being divided by a thick perpendicular line, into two compart- 
 " ments, each of three inches in height. In the compartment to 
 " the right, St. Dorothy is represented, seated in a garden ; the 
 " infant Jesus is offering her roses, with which he has his lap fdled. 
 " Before her is a basket full of the same flowers. In the left com- 
 " partment, St. Alexis is represented lying at the foot of some steps, 
 " upon which stands a man, who is pouring liquor upon him out of 
 " a vase. Near the perpendicular line before mentioned, is the 
 " following date, written with a pen : 
 
 " Anno dn. 1.4.4.3. 
 
 " The characters and the ink are conformable to the body of the 
 " manuscript. This date indicates the time when the copyist finished 
 
 * Heiiieken, Btw Bacljrjcljten, p. 143. 
 
CHAP, ii] WOOD PRINTS WITH EARLY DATES. y? 
 
 " it, and caused it to be bound ; as is confirmed by the inscription at 
 " the end of the volume. The lower part of the print is entirely 
 " occupied bj'^ a representation of Christ bearing his cross, at the 
 " moment when he is met by his mother, whom one of the soldiers 
 " is pushing aside. Simon of Cyrene raises the end of the cross to 
 " assist our Saviour in carrying it. The style of the engraving is 
 " very rude." * 
 
 It is evident that this print, which like the preceding was most 
 probably of German manufacture, must have been executed pre- 
 vious to 1443. 
 
 It appears that the old German wood engravers manufactured 
 prodigious quantities of these religious cuts, Heineken relates, that 
 in one of his journeys through Franconia, Swabia, Bavaria, and the 
 Austrian territories, he visited the libraries of many of the ancient 
 convents ; and that he found great numbers of them pasted at the 
 beginning, and at the end, of the old books of the fifteenth century. 
 " Thus," says he, " these images, which were dispersed and lost 
 " amongst the laity, Avere, in part, preserved by the monks, who 
 " pasted them into the first printed books with which they orna- 
 " mented their libraries." -f- Heineken might have added; and 
 into their more ancient manuscripts, of which we have just had 
 examples. 
 
 There can be little doubt that the custom of engraving the 
 images of saints, and other devout representations, prevailed in 
 Germany and the Low Countries at least as early as the fourteenth 
 century ; and it is very probable that specimens of that age may 
 still exist among the wood-prints preserved in the German con- 
 vents ;:}: although from the want of dates upon them, it may now be 
 
 * Jansen, " Origine de la Gravure," &c. the Protestant religion in their country, and 
 
 torn. i. p. 236. the consequent abolition of their convents, 
 
 f " Idee Gen^rale," p. 251. possess fewer means of producing similar 
 
 J It will occur to the reader, that in these evidence of the antiquity of their wood 
 
 respects the Germans have the advantage of engraving. 
 
 the Dutch ; who, since the establishment of 
 
 O 
 
98 EARLY WOOD PRINTS. [chap. n. 
 
 difficult, or even impossible, to distinguish them from the wood-cuts 
 of the fifteenth century. 
 
 In process of time, the practice gave rise to a more extended 
 appHcation of the principle of impression : — " After having pro- 
 " duced the representations of saints," says Heineken, " it was not 
 " difficult for the artist to engrave historical subjects, and entire 
 " sets of prints, and to accompany them with explanations of their 
 " meaning, engraved in the same manner on wood ; whether for 
 " the instruction of youth, or for the purpose of exciting devotion. 
 " And thus," says he, " originated our first books printed from 
 " engraved wooden blocks."* But of these I shall speak in the 
 next chapter. 
 
 * " Idee Generale," p. 251. 
 
CHAP. III.] EARLY BLOCK-BOOKS, 99 
 
 CHAPTER IIL 
 
 Earli/ Block-Books of Gennany and the Low Countries. Probability 
 that some of them are as early as 1420. The Artists, who executed 
 them unknown — and even the Schools to which most of them apper' 
 tain. Sketch of the Amelioration and Advancement of the Arts in 
 the Low Countries. Few of the Block-Books have any thing to 
 recommend them, except their Antiquity. The best of them are pro- 
 bably the Productions of Flanders, or of Holland. Three of them 
 described — The Biblia Pauperum ; Historia, sen Providentia Vir- 
 ginis Marise, ex Cantico Canticorum ; Speculum Humana; 
 Salvationis. Brief Becapitulation of the foregoing Documents — 
 Introduction of Wood-cuts into some of the first Books printed in 
 Italy. 
 
 /\T what period the wood engravers of Germany, and the Low 
 Countries, began to illustrate their sets of prints with such pro- 
 portions of text as to render them instructive, as well as amusing, to 
 the lower classes of the people, and to entitle them to the appella- 
 tion of Books (for the honor of having advanced this second step 
 towards the invention of typography appears to belong exclusively 
 to them), it is impossible to determine. But we cannot, I think, 
 place the commencement of that practice later than the year 1420 ; * 
 and it is very probable that, in some parts, it was used earlier. 
 
 * Mr. Dibdin has kindly permitted me to " Mr. Horn, a gentleman long and well 
 
 extract the following note from his splendid " known for his familiar acquaintance with 
 
 and interesting work, the " Bibliotheca " ancient books printed abroad, was in pos- 
 
 SpENCEBi ANA :" vol. i. p. iv. " scssion of a copy of the Biblia Paupe- 
 
 O 2 
 
100 
 
 GENERAL REMARKS CONCERNING [chap. hi. 
 
 Almost all Avriters * agree, that, in the sequel, it gave rise to the 
 idea of printing with moveable characters, and to the consequent 
 discovery of typography. Now, although we were to refuse credit 
 to the account of Lawrence Coster ; and although the expressions in 
 the well known process of 1439,-f- between Guttenberg and his 
 associates, at Strasburg, are not so clear as to leave no doubt 
 whether they refer to block-printing or to printing with moveable 
 characters, — still we can hardly place the first attempts of Guttenberg 
 to print with moveable characters later than the year 1440 ;| and it 
 
 " RUM, of the Ars MoRiENDi, and of the 
 " Apocalypse, all bound in one volume; 
 " which volume had, upon the exterior of the 
 " cover, the following words, stamped at the 
 " extremity of the binding, towards the edge 
 " of the squares : 'Hic Liber Relegatus 
 
 " ' rUIT PER PlEBANUM — ECCLESIE 
 
 " ' Anno Domini 142 (8).' Mr. Horn, 
 " having broken up the volume and parted 
 " with the contents, was enabled to supply 
 " me with the foregoing information upon 
 " the strength of his memory alone : but he 
 " is quite confident of the three following 
 " particulars: — 1. That the works, contained 
 " in this volume, were as have been just men- 
 " tioned : 2. That the binding was the ancient 
 '' legitimate one ; and that the treatises had 
 " not been aubsequenthj introduced into it : 
 '< and, 3. That the date was 142 odd — but 
 " positively anterior to the year 1430." 
 
 The cautious manner in which the above 
 testimony is given by Mr. Horn, his certainty 
 as to the first three figures of the date, his 
 uncertainty as to the fourth, joined to the 
 known respectability of that gentleman's cha- 
 racter, all combine to stamp it with the un- 
 doubted marks of authenticity. It is to be 
 regretted that we are left in ignorance as to 
 the specific editions of the three block-books 
 
 in question, which were enclosed in this an- 
 cient binding. 
 
 * All, indeed, that I know of, except 
 Meerman. 
 
 •f- If we may rely upon the correctness 
 of the Latin translation of this document, 
 there can be little doubt that it refers to 
 printing, and to printing with a press; but 
 whether to printing with moveable characters, 
 or to block-printing, appears less certain. 
 Mr. Douce is of the latter opinion — or rather, 
 he considers the evidence so obscure as to 
 admit of a doubt whether it refers to printing 
 at all. Lambinet, " Origine de I'lmpri- 
 merie," tom. i. p. 20, speaking of SchcepHiu's 
 first publication of this process, cautiously 
 observes : " 11 prouve par ces titres, ou plutot 
 par le sens quil leur donne, que Guttenberg 
 fit a Strasbourg les premiers essais de son art, 
 par des caract^res mobiles de bois, et qu'il 
 parvint a y imprimer avec des characteres 
 metalliques." 
 
 J It is probable thai the art of printing 
 with moveable characters was brought to per- 
 fection in 1450, and perhaps even earlier. 
 The first Bible printed by Guttenberg (and it 
 must have been some years in preparation), 
 was certainly published between 1450 and 
 1455. This is proved by the memorandum of 
 
CHAP. Ill] THE EARLY BLOCK-BOOKS. lOl 
 
 is surely not too much to ascribe to the commencement of block- 
 printing a priority of at least twenty years ; more especially if the 
 great extent of Germany be considered, the consequent probability 
 that the earliest block-books might have been printed in parts very 
 remote from those in which typography was first thought of, and 
 the httle likelihood that such productions, which Avere chiefly in- 
 tended for the less opulent classes of society, should have found 
 their way to distant cities for some time. 
 
 However this may be, it is certain that, for many years after the 
 invention of typography, the engravers in wood continued to publish 
 their block-books ; in doing which, they no doubt found their ac- 
 count, as no expensive apparatus was required in that mode of 
 printing, and as their blocks being once engraved, they could at 
 any time take off as few, or as many copies of their works, as they 
 chose, or had an immediate demand for.* 
 
 From the time that wood engraving became connected with the 
 manufacture of books, we may date its more general diffusion and 
 improvement ; and thus the art of printing, which owed its origin 
 to xylography, became at length its greatest support. Moreover, 
 from this period the productions of the wood engraver, collected in 
 the form of volumes, became less exposed to loss or injury; and, 
 consequentlj^ many of them are preserved to our time. 
 
 In this view of the subject, it might appear proper that I should 
 here say something concerning the invention of typography ; nor 
 should I shrink from the task, could I flatter myself with the hope 
 
 an illuminator, or binder, of the name of moveable characters), those who have not 
 
 Cremer, with the date ]456, upon a copy of seen it will scarcely form an adequate idea, 
 
 this rare book preserved at Paris. A fac- Mr. Dibdin, in the first volume of his 
 
 simile of this memorandum is given by Mr. " Bibliotkeca Spenceriana," has given a well 
 
 Dibdin, in the eighth number of Valpy's executed fac-simi/e of the type with which it 
 
 Classical Journal — together with a copious is printed, to which I refer the reader, 
 disquisition upon the Bible itself. * Heineken, " Idee Gmhale," Sec. 
 
 Of the perfection of this magnificent spe- p. 2H5. Two editions of the " Biblia Paiipe- 
 
 cimen of early typography (and it is probably ru/n," which will benoticedinasubsequentpage 
 
 the first work of magnitude printed with of this chapter, bear the dates 1470 and 1475i 
 
102 GENERAL REMARKS CONCERNING [chap. hi. 
 
 of discovering the truth, amidst the chaos of contradictory testimony 
 and discordant opinion with which that important question is 
 enveloped. The origin of many useful arts is involved in doubt 
 and obscurity ; and of this art, more especially, it may be said, that 
 the great number of controversial volumes which have been, and 
 still continue to be, written, by men of research, for the purpose of 
 illustrating its origin, is a sufficient argument to deter any one, whose 
 studies, like my own, have not been particularly directed to the 
 subject, from venturing upon its discussion. 
 
 But although, for the above reasons, I shall avoid, as far as pos- 
 sible, taking part in this controvers)^ I shall reserve to myself 
 the liberty of offering such occasional remarks upon the subject, 
 as, in the course of my inquiry respecting engraving, may be sug- 
 gested by the evidence before me ; especially when such evidence 
 appears likely to elucidate obscure or misrepresented facts, or to 
 expose the fallacy of unwarranted conclusions. 
 
 The authors of the wood-cuts, which constitute what are termed 
 the old block-books, are all of them unknown : the epochs and the 
 schools, even, to which most of them belong, still remain to be 
 ascertained. 
 
 If we could trust Heineken, the last of these points would 
 be soon settled : every thing, he tells us, originated in Germany. 
 With that patriotic writer, the circumstance of playing-cards having 
 been known about 1376, in France, is a sufficient proof that they 
 were known previously in Germany.* " Nay, our total ignorance 
 " respecting the first engravers in wood is also a great argument 
 " for Germany. For if that art had been invented in any other 
 " country," says he, " the ancient writers of that country would not 
 " have failed to record it."-f- As if the same argument might not 
 with equal force be urged against Germany by the writers of any 
 
 * " Idee G6nerale," p. 241. " L'Origine " qii'on Jes connoissoit, vers ce terns, en 
 
 " des Cartes a jouer est assez prouvee par ces " France." 
 " circonstances, et i7 s'ensuit qiielles ont ttt \ Idem, p. 285. 
 " en usage en Akmagne avant 1376, parce 
 
CHAP. 111.] THE EARLY BLOCK-BOOKS. io3 
 
 otlier country; since the old German authors preserve the same 
 profound silence respecting the invention of wood engraving as do 
 those of other European nations. 
 
 That, which proof cannot be found to establish, is to be supported 
 by assertion. " Although," continues he, " it is very indifferent, as 
 ^' regards the art itself, to know who was the first engraver, it is not 
 " indifferent to the curious to be informed at least in what country 
 " they must look for the commencement of engraving ; and I am 
 " fully convinced that those who search for it out of Germany will 
 " lose their labour." * 
 
 We learn in another part of his book that the central parts of 
 Germany have his preference. Speaking of engraving in copper (and 
 it is evident, from the general tenor of his discourse, that he wishes 
 to inculcate similar doctrine respecting the origin of engraving in 
 wood), he says, he is persuaded that the first inventors of the art 
 resided either at Culmbach, at Nuremberg, or at Augsburg.f 
 
 The Dutch writers, on the other hand, with Meerman| at their 
 head, are of opinion that wood engraving was invented in Hol- 
 land ; and that the chief part of the early block-books were 
 printed, if not engraved, by their hero Coster, a personage who, 
 it is as confidently asserted by the adverse party, never had 
 existence. 
 
 It would be no easy task to apportion to the contending parties 
 their respective shares of praise. The pretensions of each have been 
 exaggerated ; and, when once more has been asked than is really 
 
 * " Id6e Generale," pp. 285, 286. Novi Testament)," or, " Biblia Pauperum," 
 
 t Idem, p. 222. the"Historia,seuProvidentiaVirginisMariae, 
 
 % Meerman ascribes the invention of xylo- ex Cantico Canticorum," the " Ars Mori- 
 
 graphy to Lawrence Coster ; or, as he calls endi/' and the " Historia S. Joannis Evan- 
 
 him, Lawretit Janszoon ; but supposes that geUstae, ejusque Visioues Apocalypticae,' were, 
 
 he had previously invented the art of printing all of them, according to Meerman, printed 
 
 with moveable characters. The first editions by Lawrent Janszoon, or his heirs. See 
 
 of the " Speculum Humanae Salvationis," Jansen, " De I'lnventiou de I'lmprimerie," 
 
 (in Dutch), the " Figurae typicse Veteris atque p. 85, et seq. 
 
104 GENERAL REMARKS CONCERNING [chap. in. 
 
 due, we are naturally inclined to hesitate, before we admit the jus- 
 tice even of those claims which may be well founded. I shall, 
 therefore, in treating of these block-books, equally refuse my assent 
 to the unsupported assertions of Heineken, and to the overstrained 
 hypothesis of Meerman ; chusing rather, for my guides, when such 
 can be found, the unsuspected testimony of authors who took no 
 part in the dispute, 
 
 A short review of the promulgation and advancement of the arts 
 of design, generally, in that part of the continent of Europe which 
 comprises Germany and the Netherlands, may assist us in forming 
 our conjectures as to the school from which some, at least, of these 
 ancient books of wood engravings were derived. 
 
 It is remarkable that we have no account even of the painters who 
 flourished within this vast tract of country previous to the close of 
 the fourteenth century, and that all the earliest among them Avere 
 natives of the Low Countries. 
 
 Descamps, who copies Van Mander, commences his history of 
 Flemish and German art, with Hubert and John Van Eyck, of 
 Maaseyk on the banks of the Meuse : the former was born in 1366 
 and died in 1426: the latter, who invented oil-painting, was born 
 four years after his brother Hubert, and died in 1441. Roger of 
 Bruges, and Hugues vander Goes, of the same place, are next 
 mentioned. Then follow Albert van Ouwater of Harlem, contem- 
 porary, or nearly contemporary of the Van Eycks ; Guerard of 
 Harlem, his disciple ; and Dirk van Harlem, Avho was born about 
 1410 and died 1470; Hans HemmeHnck or Memmihnck of Bruges, 
 one of whose pictures Avas dated 1479; Guerard vander Meire of 
 Ghent, Jan Mandyn of Harlem, and Volckaert of the same city ; 
 Quintin Met/is of Antwerp ; Jerom Bosche of Bois-le-Duc, cele- 
 brated for his talent in subjects of whimsical and extravagant 
 imagery ; and Cornelius Enghelbrechtsen of Leyden, who was born 
 in 1468 and died in 1533. 
 
 Nor can Van Mander, although he was himself a Fleming, be 
 accused of any undue partiality to the Loav Countries, in thus de- 
 
CHAP, in.] THE EARLY BLOCK-BOOKS. 105 
 
 voting the early part of his work so exclusively to the history of the 
 Dutch and Flemish painters. These were really artists of ability and 
 reputation, whose performances were not only esteemed in Germany 
 and the Low Countries, but also in Italy, whither they found their 
 way in considerable numbers at an early period, and were highly 
 prized. And, in truth, in an account written in the early part 
 of the sixteenth century,* by an anonymous writer, supposed to be 
 a native of Padua, in which are described the works of art then exist- 
 ing at Padua, Cremona, Milan, Pavia, Bergamo, Crema, and 
 Venice, we find frequent and respectful mention of the works of 
 most of the above-named artists of Holland and the Low Countries ; 
 whereas, of the painters of Germany we find no mention whatever : 
 except of Albert Durer, and of one Jeronimo Todeschino, concern- 
 ing Avhom I can find no information in other writers. 
 
 In short, whoever will be at the pains to look over the list of the 
 painters of these countries, with a map of Germany before him, will 
 be presently convinced that all those, whose names have been deemed 
 worthy of remembrance, from the time of the Van Eycks to that of 
 Albert Durer, were, if we except Michel Wolgemut, natives and 
 residents either of Holland or Flanders. The immense tract of 
 country, properly called Germany, had, no doubt, its artists ; but 
 they were inferior to those of the Low Countries : insomuch that 
 the German school of painting can hardly be said to have com- 
 menced before Albert Durer.f 
 
 * Notizia d'opere di Disegno della prima commences with the discovery of oil-paint- 
 
 me(a del secolo xvi. &c. &c. Scritta da un ing. There can be little doubt, that Van 
 
 anonimo di quel tempo. Pubblicata e il- Mander could have given us an account of 
 
 lustrata da D. Jacopo Morelli, 8vo. Bas- some of those painters who lived prior to 
 
 sano, 1800. The anonymous author pro- that invention, had he chosen it, as well 
 
 bably wrote above seventy years before Netherlanders as Germans. The names, 
 
 the publication of Van Mander's book. indeed, of a few, have been preserved in the 
 
 t Descamps, La Vie des Peintres inscriptions on their pictures : amongst which 
 
 Flamands, Allemands, et Hollandois, %vo. may be mentioned Thomas de Mutina, 
 
 4 torn. Paris, 1753. It is indeed true that or Muttersdorf, in Bohemia; who, it is 
 
 Descamps, following Van Mander, only said, lived at Prague about 1297, and ac- 
 
106 GENERAL REMARKS CONCERNING [chap. hi. 
 
 This may in some degree be accounted for : the difficulties and 
 danger attending long journeys by land in those early times, pro- 
 bably prevented that frequent intercourse between the inhabitants 
 of the central parts of Germany and those of Italy, which was faci- 
 litated to the inhabitants of Holland and Flanders, by their nu- 
 merous sea-ports and their active commerce with the Mediterranean : 
 and hence the Dutch and Flemish artists may have had many 
 opportunities of improvement, which were denied to their less for- 
 tunate contemporaries residing in the inland parts of the Continent. 
 
 That which has been said respecting the early painters of these 
 countries, will, in a great measure, be found applicable to their 
 first engravers on copper ; most of whom appear to have flourished 
 in the Netherlands, or on the western borders of Germany. I 
 speak as well of the few whose names are known, as of others, 
 whose prints are distinguished only by initial letters or monograms ; 
 because, in several cases, we have good grounds for conjecturing 
 the places where they resided. 
 
 Thus the artist who marked several of his engravings on copper with 
 the initials (f;3* and the dates |^ 5^. I£5A, we have, I think, 
 reason to believe, resided at Bocholt, or in its vicinity ;* because of 
 
 cording to Chretien de Meckel (Catalogue cient artists first mentioned are in oil, I 
 
 des Tableaux de la Galerie Imperiale de shall only observe, that I think it most likely 
 
 Vieniie, Basle, 1784, 8vo.) painted in oil; that he was deceived. This, however, is not 
 
 Nicolas Wurmser of Strasburg, and a subject connected with the one under con- 
 
 Theodoric of Prague, who flourished sideration. I shall therefore refer those of 
 
 1357, and whose pictures at Vienna are also my readers, who wish further information 
 
 said to be in oil. Also Hans Muoltscher concerning these and other supposed ancknt 
 
 of Ulm, in Suabia, one of whose altar-pieces specimens of oil-painting, to the judicious 
 
 in the Truchsessian catalogue of pictures (a observations of Lanzi {Storia Pitt, torn i. 
 
 collection sold in England some years ago) p. 58. et seq.) 
 
 was dated 143fj ; and JoHANN and Ivo * Mr. UarfscA conjectures (Peintre Gra- 
 
 Stiugel, whose names, with the date 1438, veur, torn. 6. p. 1.) that he was a Swiss — 
 
 and the qualilicalion, Tribuui in Memminghen but I think upon very slight grounds. We 
 
 (in Suabia) were inscribed upon another pic- have, in fact, no account of any Swiss en- 
 
 ture in the same collection. As to Meckel's graver on copper, of the fifteenth century, 
 assertion that the paintings of the three an- 
 
CHAP. III.] THE EARLY BLOCK-BOOKS. 107 
 
 the affinity which his works bear to those of Francis van Bocholt and 
 Israel van Mecken, both of whom resided at Bocholt ; added to the 
 circumstance of Israel's having copied several of his engravings, 
 ]Mr. Bartsch is of opinion that the place from Avhich Israel took his 
 name, is the small town of Meghen or Mecken, (called also, by 
 the inhabitants, Mekenen,) which is situated upon the river 
 Meuse, three leagues above Bois-le-duc, upon the frontiers of the 
 county of Ravenstein.* It is not a great distance from Bocholt, a 
 town in the bishoprick of Munster. Martin Schongaver, the best 
 engraver that these countries produced in the fifteenth century, 
 although descended from a family of Augsburg, is said to have been 
 born at Colmar in Alsace, where he resided, and died in 1499.-f- It 
 is highly probable that the ancient artist, who marked his engravings 
 with the initials i'TK'* i 4^H, or J EC. accompanied by an in- 
 strument of a singular form, supposed to have been used in en- 
 graving, was a native of Holland; and that the word 3^ 1^0 ft 
 generally engraved at the top of his prints, and which some have 
 read ZwoTT, means no other than the town of Zwoll in Holland, 
 where perhaps he resided. :{: It is certain that his style very much 
 resembles that of some of the Dutch and Flemish painters of the 
 fifteenth century. Besides these, might be mentioned the ancient 
 artist who engraved several of the designs of Jerome Bosche, and 
 who, it is highly probable, lived at Bois-le-duc ; and several others 
 
 * Peiutre Graveur, torn. 6. p. 194. no other than the usual. mark of abbreviation. 
 
 •f Idem, p 104. But it is also possible that the word Zwoll 
 
 J An example of two I's joined together with a similar cross-stroke, may be intended 
 
 in a similar manner by a cross-stroke resem- as an abbreviation of Zwollen sis— native 
 
 bling that used in crossing two t's, is to be or inhabitant of Zwoll. I learn from Mr. 
 
 observed in one of the inscriptions to the Dibdin, that the same kind of abbreviation 
 
 second print of " the block-book of the occurs, almost invariably, in the books 
 
 Canticles," which will be described in a sub- printed in the Abbey of St. Alban, in the 
 
 sequent part of this chapter, where the word fifteenth century ; and that it is also found 
 
 '' pelles" is thus represented .p^tt- The '" '^e books printed by Ferandus, at Brescia, 
 
 two last letters of the word are, it is true, A. D. 1473-1480. 
 wanting ; and hence this cross-stroke may be 
 
 p 2 
 
108 GENERAL REMARKS CONCERNING [chap. hi. 
 
 • 
 
 whose engravings bear so strong a resemblance to those of the above- 
 described artists, as to give us every reason to consider them of the 
 same school. 
 
 From all this it is fair to infer that, however the arts of painting 
 and engraving may have been practised throughout Germany, 
 long previous to the commencement of the fifteenth century, 
 the honor of having first contributed to their improvement belongs 
 more especially to the artists of the Low Countries, and others who 
 inhabited the western extremities of Germany. And hence I am 
 strongly of opinion, that those early block-books, whose pretensions 
 to antiquity are not unattended by some claims to our approval of 
 them as works of art, appertain more properly to the ancient schools 
 of Holland and Flanders than to that of Germany : an opinion, 
 indeed, which a comparison of some of the best of them with others, 
 professedly and indisputably executed in Germany, will tend not a 
 little to support. 
 
 I know but of three works of the kind that are entitled to this dis- 
 tinction: the " BiBLiA Pauperum," or " Poor Man's Bible," the 
 " HisTORiA SEU Providentia Virginis Marine ex Cantico Can- 
 TicoRUM ;" and the " Speculum Human^e Salvationis." As for 
 the "Ars Memorandi," the "Historia Sancti Johannis Evange- 
 lists, ejusqueVtsiones Apocalyptic^," and the "Ars Moriendi," 
 of which there are so many editions — and all the other block-books 
 which Heineken has so elaborately described — they are evidently 
 of another and very inferior school ; and, whether executed in Ger- 
 many, or in the Low Countries, were probably the rude manufacture 
 of the ordinary card-makers.* I shall, therefore, content myself 
 
 * I speak, however, of these rude pro- beggar led by a dog," which, ps he justly 
 
 ductions of the early wood engravers gene- observes, is by no means devoid of spirit ; 
 
 ral/t/ — to say that they are all of them abso- and a good figure of " St. Micliael :" but 
 
 lutely devoid of merit would be going too still the general character of these books is 
 
 far. Mr. Dibdin, in his " Bibliotheca such as I have stated in the text. The 
 
 Spenceriana," has selected from the Apoca- shortness of the figures, and the dispropor- 
 
 lypse, a small group of " a lame and a blind tionate largeness of the heads, evidently prove 
 
CHAP. Ill] THE EARLY BLOCK-BOOKS, 109 
 
 with speaking of the three first-mentioned books, more especially as 
 the imperfections of the latter furnish no satisfactory evidence of 
 their precedence in point of antiquity.* 
 
 I am aware that some readers will not be a little surprised, that 
 my researches for the purpose of discovering the school to which the 
 best amongst the ancient block-books belong, should have thus led 
 to a conclusion so contrary to the doctrine which Heineken laboured 
 with so much assiduity to establish ; especially if they happen to 
 have read La Serna Santander, who, in the first volume of his 
 Dictionnaire Bibliographique, (p. 37) roundly asserts, " that that 
 writer has proved, demonstratively, that all these books with images 
 engraved in wood, were originally engraved and printed in Ger- 
 many." 
 
 The truth is, that Heineken has proved no such thing ; and that 
 Santander, whose book is written with great spirit, might, had he 
 chosen to be at the pains, easily have detected the fallacy of many of 
 his arguments. But an unqualified approval of them suited his pur- 
 pose better ; and Heineken's pretended demonstration was used by 
 Santander as a ponderous weapon, with which the more effectually to 
 
 them to be the designs of artists of an inferior roughly versed in all those minute distinctions, 
 
 class. But, whatever may be their preten- by which the dates and country of ancient 
 
 sions, the reader will the more readily ex- manuscripts are ascertained, and well stored 
 
 cuse me for limiting myself to the descrip- with antiquarian knowledge, (particularly in 
 
 tion of the three block-books first mentioned : the epochs of the various changes which took 
 
 as, independently of Heineken's works, a de- place in the dresses of the different classes of 
 
 tailed account of most of the others, accom- the people of Germany and the Netherlands, 
 
 panied by fac-similes of some of the prints and the alterations which were made in the 
 
 they contain, will be found in the Biblio- construction of armour from the thirteenth 
 
 theca Spenceriana : Lord Spencer's library to the close of the fifteenth century) would 
 
 being eminently rich in these scarce speci- be an interesting work, and might probably 
 
 mens of the infancy of printing, as it is indeed throw much light on this obscure subject, 
 
 in every thing rare and curious in the His- The task, however, would not be an easy 
 
 tory of Typography, - one ; more especially as the books themselves, 
 
 * An inquiry into the age and school to which a frequent reference would of 
 
 to which these different block-books ap- course be necessary, are of extreme rarity, 
 pertain, if undertaken by a person the- 
 
110 THE EARLY BLOCK-BOOKS. [chap. hi. 
 
 discomfit Meerman, and all other advocates of a system of typo- 
 graphical history which he had undertaken to oppose. 
 
 Most, indeed, of the late writers upon bibliography have taken 
 upon trust all that Heineken has said relative to the early block- 
 books. Nor is it surprising that authors, whose subject only led 
 them incidentally to speak of the art of engraving, should have 
 thought themselves safe in reiving upon his decisions ; since his nu- 
 merous works are, (most, or all of them, ostensibly) upon the sub- 
 ject of engraving, and evince, it must be admitted, no small share 
 of erudition. It cannot also be denied that his account of the early 
 block-books is rich in interesting details, which had escaped the 
 observation of those who preceded him, and is consequently highly 
 valuable. 
 
 But Heineken's knowledge of the arts of design, notwithstanding 
 his fondness for the subject, was not such as to render him, by any 
 means, a sure guide in matters of taste ; and he is often captivated 
 with the worst, whilst he passes by, unnoticed, that which merits 
 praise. 
 
 Had Lambinet examined the ancient block-books, assisted by 
 any one who had a knowledge of drawing, he would not have said 
 of them: (" Origine de I'lmprimerie," p. 6:2) "lis se ressemblent 
 " presque tons. Les figures qui y sont representees sont grossierement 
 " faites, au simple trait, dans le gout Gothique," &c. He would 
 have learned that, although in " the Gothic taste," they are not, all 
 of them, " rudely executed ;" and he would have seen that the 
 figures, in the three works which I am about to describe, are not 
 " in simple outline," but slightly and not inelegantlj^ shaded by 
 hatchings. 
 
 But that which most of all is calculated to awaken caution in the 
 reader of Heineken's works, is the excess of his patriotism ; in the 
 indulgence of which he awards all honour and all praise to Ger- 
 many. It is not by scraping together every iota of evidence or 
 argument, that can be brought to favor one side of a question, leaving 
 the other, at the same time, wholly undefended, that we can hope 
 
CHAP. III.] BIBLIA PAUPERUM. Ill 
 
 to discover truth. Of such a method, the result must ever be over- 
 strained hypothesis and unjustified conclusions: conclusions by 
 which, nevertheless, in proportion to the skill of the writer, those 
 Avill be in danger of being misled who want the patience necessary 
 to investigation, and the acuteness by which semblance is to be 
 distinguished from reality. 
 
 HisTORiAE Veteris et Novi Testamenti, seu 
 
 BiBLIA PaUPERUM. 
 
 Heineken begins his account of the ancient block-books with 
 Avhich he was acquainted, with the " Biblia Pauperum," or Poor 
 Man's Bible ; without, however, warranting its precedence, in point 
 of antiquity, to some of the rest. 
 
 This work is no other than a book of forty leaves of a small folio 
 size, printed by means of friction, from the same number of engraved 
 blocks of wood,* on one side of the paper only ; in which respect, as 
 well as in the brown tintf apparently unmixed with oil,]: with which 
 
 * It is, however, possible, that two pages J The great rarity and increased value of 
 
 may have been engraved on one block, as we these ancient vporks of wood engraving, pre- 
 
 shall find was the case with the book of Can- eludes the idea of making experiments, by 
 
 tides, under which circumstance the number which to ascertain, more decidedly, whether 
 
 of blocks would be twenty instead of forty. I or not they are really printed with colour un- 
 
 am led to suspect this to be the fact, from an mixed with oil. The general appearance of 
 
 observation made by Lfl?«6u;cf (torn. i. p. 66) those which I have seen is certainly such as 
 
 on a copy of the Biblia Pauperum at Basle. I have described in the text ; and, if we 
 
 Four of the prints in that copy, I. K. L. M. can credit Heineken, the fact is beyond 
 
 appear to have been taken off from blocks a doubt. Speaking of the " Specu- 
 
 which had been broken and afterwards joined, lum Humana Sahationis," {Idee Gene- 
 
 t The tint with which some of the ancient rale, p. 441. note) he says. " Cette de- 
 
 block-books are taken off, is more of a grey ; " trempe, employee dans nos anciens ouvrages, 
 
 and indeed the later editions of one or two " est d'une composition si foible, quune hu- 
 
 of them are printed witli common printing- " midite, taut soil pcu forte, est capable de 
 
 ink and a press ; of which kind Lord Spen- " I'emporter. C'est ce qui est arrive a 
 
 cer's library contains specimens. But these " quelques exemplaires, quand ils ont ete 
 
 last were certainly published long after the " longtems enfermes dans les armoires des 
 
 establishment of typography. « Bibliotheques voutees, ou dans des endroits 
 
m 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 the prints are taken off, it resembles most of the other early block- 
 books. These printed pages are placed two by two, facing each 
 other ; the second print being opposite to the first, the fourth to the 
 third, and so forth : by these means the blank sides of each two 
 leaves are likewise opposed to each other, and being pasted together, 
 give to the whole the appearance of a book printed in the ordinary 
 way on both sides the paper. 
 
 The prints differ a little in size, being from nine inches and a half 
 to ten inches and a quarter in height, by about seven inches and 
 a half in breadth. Each print contains three sacred historical sub- 
 jects disposed in compartments, side by side, and four half-length 
 figures of prophets and other holy men in niches; two of them 
 above and two beneath the central subject ; in the manner repre- 
 sented in the subjoined sketch : 
 
 " rien moins que sees. Je sais par expe- 
 " rience gu'une liqueur un peu forte, enleve 
 " entierement cette encre, quoique t'em- 
 " preiiUe y reste. II y en a qui croyent que 
 " cette detrempe a empeche les premiers 
 " imprimeurs d'imprimer ces ouvrages des 
 " deux cotes. Mais, c'est pl(it6t parceque 
 
 " I'impression est faite avec le frottoir, 
 " comnie Ton s'en apper§oit evidemment 
 " par I'empreinte, qui est bieii forte, et qui 
 " laisse voir le dessein sur le papier, meme 
 " quand Tencre est effac6e : par cette raison 
 " on a ete empeche d'imprimer encore des 
 " vignettes au revers." 
 
CHAP. III.] BIBLIA PAUPERUM. 113 
 
 The inscriptions, which are written in the Latin language, with 
 rhythmical terminations, commence at the top of each print, in the 
 vacancies on either side the two half figures in niches, by the texts 
 of the Bible from which the subjects are taken. The prophets and 
 saints have underneath them their names ; and additional inscrip- 
 tions, relative to the stories represented, are introduced on labels 
 and in other spaces below. 
 
 The central compartments represent the history of the New Tes- 
 tament ; those on either side, stories from the Old Testament, typical 
 of, or alluding to, the central subjects. 
 
 Thus, on one side " the Annunciation," in the first print, " the 
 Temptation of Eve" is represented ; and, on the other, " Gideon with 
 the Fleece." Upon a scroll above, on the left, over the Temptation 
 of Eve, is this inscription : " Ecce virgo concipiet et pariet filium ;" 
 and below, " vipera vim perdit, sine vi pariente puella :" lower 
 down, upon another scroll, are these words : " porta hec clausa erit 
 et non aperietur." On the other side, in like manner, over the 
 Gideon, is this inscription : " descendit dominus sicut pluvia in 
 vellus:" lower down; " rore madet vellus pluviam sicut arida 
 tellus ;" and, at the bottom, the title of the principal subject; 
 " virgo salutatur innupta manens gravidatur." 
 
 Each print, to guide the bookbinder in placing it, is marked witha 
 letter of the alphabet, immediately over the central subject. The first 
 twenty prints are marked from ^^ to \^ ; after which a second al- 
 phabet commences, for the last twent}^ prints, the letters of which 
 are distinguished from those of the former, by being placed between 
 two points, thus- *^* 
 
 The marks which distinguish the various editions of this work 
 will be noticed hereafter : meanwhile I must observe, that the copy 
 before me (Lord Spencer's) is of that edition which Heineken terms 
 " the second," but which I am inclined to think earlier than that 
 which he places as " the first." 
 
 In the following catalogue the reader will find a fac-simile of the 
 letter by Avhich each print is distinguished, and a specification of 
 
 a 
 
114 BIBLIA PAUPERUM. [chap, iiii 
 
 ■i 
 
 the three subjects it represents, with the verses accompany- 
 ing them.* A few specimens of the cuts are also copied, that 
 those who have not an opportunity of seeing the original work, may 
 be, in some degree, enabled to judge of the style and abilities of 
 the ancient artist by whom it was executed. 
 
 No. 1. ^ 
 
 Eve tempted by the Serpent. The Annunciation. Gideon and the Fleece. 
 Vipei-a vim perdit Rore madet vellus 
 
 Sine vi pariente puella. Pliiviam sicut arida tellus. 
 
 Virgo salutatur innupta manens gravidatur. 
 
 The figure of the Virgin in the compartment representing " the 
 Annunciation" has considerable merit. The composition is also in 
 other respects remarkable ; the artist having introduced the body of 
 the infant Christ descending amidst the rays which proceed from 
 God the Father ; according to the doctrine of Valentine, a heretic 
 of the second century : that, "Christum corpus de coelo attulisse, et 
 per Mariam tanquam per tubum, et fistulam transiisse." Zani re- 
 marks, that several other ancient masters have fallen into the same 
 error, and especially Italians.f Perhaps, indeed, the reason for 
 the original introduction of the group of Eve tempted by the Ser- 
 pent, as typical of the incarnation of Christ, may be traced to the 
 heresy of the sect of the Ophites, a branch of the Valentinian sect, 
 who imagined that the serpent by which our first parents were de- 
 ceived, might have been Christ himself | 
 
 A copy of the whole of this first leaf of the Biblia Pauperum, is 
 
 * Or rather some of the verses — in which Mosheim's Ecclesiastical History, vol. i. 
 I have followed Heineken. p. 230. (Edinburgh, 1803.) 
 
 + Materiali, &.c. p. 110. See, also, % Mosheim, vol. i. p. 234. 
 
CHAP. III.] 
 
 BIBLIA PAUPERUM. 
 
 115 
 
 given by Schelhorn (Amoenit. torn. iv. p. 296). The reader is here 
 presented with a faithful representation of the central subject. 
 
 Moses and the Burnitig 
 Bush. 
 
 Lucet et ignescit 
 
 Sed non rubus igne calescit. 
 
 2. b 
 
 The Nativity, 
 
 Aaron's Rod producing 
 a Flower. 
 
 Hie contra moreni 
 Producit virgula florem. 
 
 Absque dolore paris virgo Maria maris. 
 
 The middle compartment of this leaf is also prettily composed, and 
 
 ft 2 
 
116 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 has, moreover, some novelty to recommend it. The infant is, bona 
 fide, placed in the manger. 
 
 3. C 
 
 Ahner visiting David The Adoration of the The Queen of Shehas 
 
 at Hebron. 
 Plebs notat hec gentes 
 Cbristi jungi cupientes. 
 
 Magi. 
 
 Visit to Solomo7i. 
 
 Hec typate gentem 
 
 Notat ad Christum venientem. 
 
 Christus adoratur aurura thus mirra locatur. 
 
CHAP. 111.] 
 
 BIBLIA PAUPERUM. 
 
 117 
 
 The Presentation of 
 the First-born in the 
 
 Temple. 
 Hec presentatur 
 Partus prior ut redimatur. 
 
 4. 6 
 
 The Purijication. 
 
 The Mother of Smmiel 
 
 dedicating her Son to the 
 
 Service of the Temple. 
 
 Oblatum Christum 
 Samuel te denotat istum. 
 
 Virgo libans Christum Simeonis recipis istum. 
 
 Rebecca sending her 
 Son Jacob to Laban. 
 
 5. e 
 
 The Flight into Egypt. Michol assisting David 
 
 to descend from the 
 Window. 
 Liquit tecta patris Par Mycol Davit 
 
 Jacob formidine fratris. Saul insidias sibi cavit. 
 
 Herodis diram Christus puer effugit iram. 
 
 The Adoration of the 
 Golden Calf. 
 
 6. f 
 
 The Sojourn of the Holy 
 
 Family in Egypt, and 
 
 the Destruction of the 
 
 Idols. 
 
 Per Moysen sacrum 
 Teritur vituli simulacrum. 
 
 Dagon falling to the 
 Ground before the Ark. 
 
 Archa repentine 
 
 Fit Dagon causa ruiue. 
 
 Ydola presente Christo cecidere repente. 
 
 Saul causing Abime- 
 
 lech and all the Priests 
 
 to be beheaded. 
 
 Saul propter Davit 
 Christos domini vere stravit. 
 
 7. S 
 
 The Murder of the In- 
 nocents. 
 
 The Prediction of the 
 Death of the Sons of 
 Eli. 
 
 Uno sublato 
 
 Stirps est data regia furto. 
 
 Isti pro Christo mundo tolluntur ab isto. 
 
 The composition on the right, in this leaf, although by no means 
 excellent as a whole, contains a figure of a woman with an infant 
 
118 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 in her arms, which possesses great beauty. It is here copied, 
 together with the figure of an old man, extracted from the left-hand 
 compartment of the leaf described under No. 16. Both these figures 
 bear testimony to the artist's talents in drape^}^ At the same time, 
 I must caution the reader that they are to be deemed selections, 
 rather than fair samples of his general abilities ; since, in groups of 
 several figures, he is not often equally successfiil. 
 
 AV<K 
 
 David consulting God 
 respecting his Return 
 after the Deathqf Saul. 
 
 Ad patriam Davit 
 Defuncto Saul remeavit. 
 
 8. !) 
 
 The Return of the Holy 
 Fam ily from Egypt . 
 
 The Return of Jacob 
 to his OIV71 Country. 
 
 Formidat fratrem 
 
 Jacob ardet \isere patrem. 
 
 Ad loca sancta redit Ihesus egiptoque recedit. 
 
CHAP. Ill] BIBLIA PAUPERUM. .119 
 
 9. t 
 
 ThePassageoftheRed John baptizing Christ. TheTwoSpieshearing 
 
 Sea. the Bunch of Grapes. 
 
 Hostes merguntur Flumen transitur 
 
 Per maris iter gradiuntur. Et patria mellis aditur. 
 
 Dum baptisatur Christus baptisma sacratur. 
 
 10. [\ 
 
 Esati selling his Birth- Christ tempted in the Adam and Eve seduced 
 
 right. Wilderness. by the Serpent. 
 
 Lentis ob ardorera Serpens vicit Adam 
 
 Proprium male perdit honorem. Vetitam sibi sumeret escam. 
 
 Christum temptavit satanas ut emn superarat. 
 
 11. 1 
 
 The Dead Body of the The Resurrection of La- The Widoivs Son re- 
 Widoivs Son before zarus. stored to Life by 
 
 Elijah. Elijah. 
 
 Est vidue natus Per tiia dona deus 
 
 Per helyam vivificatus. Vitam dedit huic heliseus. 
 
 Per te fit christe redivivus Lazarus iste. 
 
 12. HI 
 
 Abraham and the Three The Transfiguration. Shadrach, Meshach, 
 Angels. and Abednego, in the 
 
 Fiery Furnace. 
 Tres comtemplatur Panditur en isti 
 
 Abraham solus veneratur. Gentili gloria Christi. 
 
 Ecce dei natum cernunt tres glorificatum. 
 
 13. XI 
 
 Nathan reproving Da- Mary Magdalen at the Miriam, the Sister of 
 
 vid. Feet of Jesus, in tJie Aaron, punished with 
 
 House of the Pharisee. Leprosy. 
 
 Voce natan tactus Hec lepre tacta 
 
 Rex pravos corrigit actus. Pena fit munda reacta. 
 Hanc a peccatis absolvit fons bonitatis. 
 
120 BIBLIA PAUPERUM. [chap. in. 
 
 u. 
 
 D avid, withthe Head of ChrisCs Entry into Jeru- The Children of the 
 Goliah. salem. Prophets coming to 
 
 meet Elijah, 
 Hostem qui stravit Gloria nate Dei 
 
 Laudatur carmine Davit. Tibi convenit hec helysei. 
 
 Carmen hebreorum te laudet criste bonorum. 
 
 15. 1^ 
 
 Darius requested hy Christ driving the Mo- Judas Maccabeus giv- 
 Esdras to build the ney-lenders otit of the ing orders for the Pu- 
 Temple. Temple. rificationoftheTemple. 
 
 Templum mundari Et tua sancta deus 
 
 Jubet hie et festa vocari. Mundare studet Machabeus. 
 
 Christus vendentes templo repellit ementes. 
 
 16. 1 
 
 Joseph sent by his Father Judas Iscariotpropositig Absalom encouragiiig 
 unto his Brethren. to the High Priest to the People to rebel 
 
 betray Christ. against his Father. 
 
 Turba malignatur Nititur in fata 
 
 Fratrura puer nominatur. Patris proles scelerata. 
 
 In mortem Christi conspirant insimul isti. 
 
 17. 15 
 
 Joseph sold to the Ish- Judas receiving theThirty Joseph sold to Poti 
 maelites. Pieces of Silver. phar. 
 
 Te signal Christe Convenit hoc Christo 
 
 Nummis venundatur iste Quidquid puero fit in isto. 
 
 Qui cristum vendis Judas ad tartara tendis. 
 
 The Mamm falling 
 from Heaven. 
 
 Se tenet in manibus 
 Que Melchisedech dedit isti. Se cibat ipse cibus. 
 
 Rex sedet in cena turba cinctus duodena. 
 
 
 18. t 
 
 Melchisedec meeting 
 
 The Last Sujiper 
 
 Abram. 
 
 
 Sacra notant Christi 
 
 
CHAP. Ill] BIBLIA PAUPERUM. 124 
 
 19. t 
 
 Micaiah prophesying Christ, after having The Groom of King 
 the Death of Ahab. washed his Disciples Joram crushed to Death 
 
 Feet, abo7it to go to the in the Gate. 
 
 Mount of Olives. 
 Mycheam cedunt Premitur a popolo 
 
 Prophete qui male credunt, Non credens hie helyseo. 
 
 Gethsemane transit Ihesus inde suis valedicet. 
 
 20. X) 
 
 The Five Foolish Vir- Christ in the Garden — The Fall of the Angels, 
 gins with their Lamps the Soldiers sent to take 
 extinguished. him having fallen to the 
 
 Ground. 
 
 Virginibus fatuis Serpens antiquus 
 
 Aufertur spes data gnaris. Cecidit de sede repulsus. 
 
 Sunt sic prostrati cristum captare parati. 
 
 21. ♦fl.. 
 
 Abner treacherously Judas betraying Christ Tryphon's treacherous 
 killed by Joab. with a Kiss. manner of taking Jo- 
 
 nathan captive. 
 Alloquitur blande Verba gerens blanda 
 
 Joab hunc perimitque nephande. Parat arma tryphonque nephanda. 
 
 Per pacem Christe tradit hys te proditor iste. 
 
 22. ♦b* 
 
 Jezebel endeavouring to Pilatewashing his Hands. Daniel accused by the 
 compass the Death of Babylonians. 
 
 Elijah. 
 
 Femina trux istum Gens hec crudelis 
 
 Danipnat sic impia cristum. Facit in mortem danielis. 
 
 Et fera plebs ausa dampnare Ihesum sine causa. 
 
 R 
 
122 
 
 BIBLIA PAUPERUM. 
 
 [chap. hi. 
 
 Ham tincovering the 
 Nakedness of his 
 Father Noah. 
 
 Nuda vei*enda videt 
 
 Patris dum cham male ridit. 
 
 23. X* 
 
 Christ crowned with 
 Thorns. 
 
 The Children mocking 
 the Prophet Elijah. 
 
 Percutit ira dei 
 Derisores helysei. 
 
 Pro nobis criste probrum pateris pie triste. 
 
 24. 
 
 .6. 
 
 Isaac carrying the Wood 
 for his oivn Sacrifice. 
 
 Christ hearing the 
 Cross. 
 
 The Widow ofSarepta 
 
 holding Two Pieces of 
 
 Wood in the form of a 
 
 Cross. 
 
 Mistica sunt signa 
 
 Crucis hec vidua duo lisrna. 
 
 Ligna ferens criste 
 Te presignat puer iste. 
 
 Pert crucis hoc lignum cristus reputans sibi dignum. 
 
 25. , ^ ♦ 
 
 The Sacrifice of Ahra- Christ on the Cross, with The Srazeti Serpent, 
 ham. the Madonna fainting. 
 
 Signatum christum Icti curantur 
 
 Puerum pater immolat istum. Serpentem dum speculantur. 
 
 Eruit a tristi baratro nos passio Christi. 
 
 The Creation of Eve. 
 
 Femina prima viri 
 De costa cepit oriri. 
 
 Moses striking the 
 Rock. 
 
 26. .f. 
 
 The Crucifixion, and the 
 Soldier with the Spear 
 tchich pierced our Savi- 
 ours Side. 
 
 Est sacramentum. 
 
 Christi dans petra fluentem. 
 
 De Cristo munda cum sanguine profluit uuda. 
 
CHAP. III.] 
 
 BIBLIA PAUPERUM. 
 
 123 
 
 Joseph let doicn into 
 
 the Well. 
 Hanc in cysternam 
 Detruditur iste veternam. 
 
 27. .%. 
 
 The Entombment of 
 
 Christ. 
 
 Mirra conditur et ab hys christus sepelitur. 
 
 Jonah cast into the 
 Sea. 
 Jonas glutitur 
 Tamen illesus reperitur. 
 
 David cutting off the 
 
 Head of Goliah. 
 Signans te christe 
 Golyam conterifc iste. 
 
 28. 
 
 Christ's Descent to 
 Limbo. 
 
 Sampson killing the 
 Lion. 
 Ut vis sampsonis 
 Destruxit ora leonis. 
 
 Fit cristi morte baratri destructio porte. 
 29. .1. 
 
 Sampson carrying off The Resurrection of our 
 
 the Gates of Gaza. Saviour. 
 
 Obsessus turbis 
 Sampson valvas tulit urbis. 
 
 Jonah vomited up from 
 the Whales Belly. 
 De turaulo criste 
 Surgens te denotat iste. 
 
 Quem saxum texit frangens tumulum ihesus exit. 
 
 .\i 
 
 Rubeyi searching for his 
 Brother in the Well. 
 
 The Daughter ofSion 
 seeking for her Spouse. 
 
 30. ♦ <JV ♦ 
 
 The Three Maries and 
 the Angel at the Sepul- 
 chre. 
 Ruben sublatum Hec pia vota gerit 
 
 Puerum timet esse necatum. Dum sponsum sedula querit 
 
 Quod vivas criste certum docet angelus iste. 
 
 31. ♦"(♦ 
 
 The King of Babylon 
 giving orders to re- 
 lease Daniel from the 
 
 Den of Lions. 
 Rex jocundatur Sponso quesito 
 
 Hunc ut vivum speculatur. Fruitur jam sponsa cupito 
 
 Te monstrans piam solans criste mariam. 
 R 2 
 
 Christ appearing 
 
 to 
 
 Mary Magdalen in the 
 Garden. 
 
 The Daughter ofSion 
 
 discovering her 
 
 Spouse. 
 
124 BIBLIA PAUPERUM. [chap. hi. 
 
 32. ♦til* 
 
 Joseph discovering him- Christ appearing to his Thel^eturnoJ the Pro- 
 self to his Brethren. Disciples. digal Son. 
 Quos vexit pridein Flens amplexatur 
 Blanditur fratribus idem. Natum pater ac recreatur. 
 His ihesus apparet surgentis gloria claret. 
 
 The Angel appearing The Incredulity of Jacob wrestling with 
 
 to Gideon. St. Thomas. the Angel. 
 
 Angelus hortatur Ihsrael est dictus 
 
 Ne quid gedeon vereatur. Luctans Jacob benedictus. 
 
 Te pateris christe palpari se dat ut iste. 
 
 34. 
 
 Enoch taken up into The Ascension. Elijah received up into 
 
 Heaven. Heaven. 
 
 Enoch translatus Celitus effectus 
 
 Celestibus est sociatus, Helia per aera vectiis. 
 
 Sanctus sanctorum christus petit astra polorum. 
 
 S5. .^. 
 
 Moses receiving the The Descent of the Holy Elijah's Sacrifice con- 
 Tables of the Law. Ghost upon the Apostles. sumed by Fire from 
 
 Heaven. 
 Est lex divina Celica flamma venit 
 
 Moysi data vertice Syna. Et plebis pectora lenit. 
 
 Pectora verorum replet almum pneuma virorum. 
 The subject in the centre is by no means inelegantly composed. 
 It is copied in the " Bibliotheca Spenceriana," vol. i. p. xxvii. 
 
 5Q. A* 
 
 Solomon causing his The Coronation of the Hester and Ahasiierus. 
 Mother tosit by hisside. Virgin. 
 
 Ingressam Matrem Hester ut ingreditur 
 
 Salomon sibi collocat istam. Et assuueruin veneratur. 
 
 Assumendo piam venerate criste mariam. 
 
CHAP. III.] 
 
 BIBLIA PAUPERUM. 
 
 125 
 
 The Judgment of 
 Solomon. 
 
 Dicat nunc juste 
 Dandus matri puer iste. 
 
 37. r. 
 
 The Last Judgment. 
 
 The AmalcMte, who 
 slew Saul, killed by 
 the order of David. 
 Ob domini cristum 
 Sic David judicat istum. 
 
 Judicio damnandos reprobos simul atque nephandos. 
 
 The Destruction of 
 Korah, Dathan, and 
 Abiram. 
 
 Hi terre dantur 
 
 Quia cristo non famulantur. 
 
 38. t 
 
 Hell. 
 
 Sodom destroyed by 
 Fire from Heaven. 
 
 Ob crimen vite 
 Traduntur sic Sodomite. 
 
 Sic affliguntur penis qui prava sequuntur. 
 
 Mr. Dibdin has also inserted a fac-simile of the middle subject of 
 this leaf at p. xxviii. of the work above mentioned. It is worthy of 
 remark that the subject is treated in a manner very similar to one 
 of the alto-relievos of Niccola or Giovanni Pisano on the fa9ade 
 of the Duomo at Orvieto, executed about 1300. 
 
 The Feast of the Chil- 
 dren of Job. 
 
 Job nati gaudent 
 
 Quia sic feliciter audent 
 
 39. ♦ t ♦ 
 
 Christ bearing the Souls Jacob's Vision of the 
 of the blessed in his Ladder. 
 
 Mantle. 
 
 Angelus est visus 
 
 Jacob in hoc valde gavisus. 
 
 O ! pater in celis me tecum pascere velis 
 
 The front figure of Christ, in the compartment in the centre, has 
 a considerable share of grandeur. It is introduced, p. xxix., in 
 Mr. Dibdin's work. The design of " Jacob's Vision of the Ladder" 
 
126 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 is one of the most agreeable in the book, and is here copied. 
 
 40. ,\), 
 
 The Daughter ofSion The Reivard of the St. John lislem7ig to 
 crowned by her Spouse. JRighteous. Christ is the converse of an 
 
 about to place a Crown Angel, 
 
 upon the Head of a Per- 
 son tvho is kneeling be- 
 fore him. 
 Laus anime vere Sponsus amat sponsam 
 
 Sponsum bene sensit habere. Christus nimis et speciosam. 
 
 Tunc gaudent anime sibi quando bonum datur omne. 
 
CHAP. III.] 
 
 BIBLIA PAUPERUM. 
 
 127 
 
 This last leaf is copied entire in Heineken, " Idee Generale," 
 p. 393. The two figures of St. John and the Angel are remarkable 
 for their sober dignity of style, and I therefore close my selections 
 from the " Biblia Pauperum" with this specimen ; the upper part 
 of which will also be found copied in the " Bibliotheca Spen- 
 ceriana." 
 
 Of this work, in forty pieces, with the text in the Latin language, 
 Heineken describes four diiferent editions, besides another, aug- 
 mented by ten prints, which he terms the fifth edition. He declares 
 himself, however, unable to determine which is the earliest. " If," 
 
128 BIBLTA PAUPERUM. [chap. hi. 
 
 says he, " I place them one after the other, it is only to explain 
 " the difference between them ; for I must candidly confess, that I 
 " neither know which is the original, nor the epoch of either of the 
 " five. The engravers have copied each other with such exact- 
 " ness in preparing these editions" (he speaks here of the four first 
 editions with forty prints), " that there is very little difference be- 
 " tween one and the other : but there is some ; and those who 
 " examine them carefully, stroke by stroke, will find several small 
 " variations ; although the design, and the manner of engraving, are 
 " the same." Heineken then points out certain marks by which 
 these different editions are to be distinguished. 
 
 " The edition," says he, " which I call the first, is that where 
 " upon the twenty-first print marked ^^» the triangular space, over 
 " the two pillars that divide the central subject from the two lateral 
 " ones, is ornamented with a sort of star, thus : 
 
 w 
 
 " whereas in all the other editions the space has this ornament 
 
 ^ 
 
 " The first edition moreover differs from the others in another 
 " respect; the letters XI V* C of the second alphabet (num- 
 " hers 33. 34. 37. and 38.) have no points on each side of them, 
 " Avhereas in what I term the second and third editions they 
 " have points." 
 
 " The second edition," continues Heineken, " I consider that 
 " wherein the ornament between the two niches, at the top, in 
 
 " the print marked n (No. 28) is thus : 
 
 " and where, in the print » ^ » (35) the tiara of Moses has two 
 " horns at the top of it — in tliis manner :" 
 
CHAP. Ill] BIBLIA PAUPERUM. 129 
 
 whereas, in the third edition, as he afterwards tells us, " this tiara, or 
 " cap of Moses, has only a small button on the top of it, thus : 
 
 " The fourth edition," continues Heineken, " is more easily dis- 
 " tinguished ; the prints not being marked, like the others, with the 
 " letters of the alphabet. Perhaps it may be the most ancient. 
 " Who knows whether or not the copyist may have added 
 " these letters afterwards, to guide the printer in arranging the 
 " sheets?" 
 
 I should not have been thus minute in detailing the marks by 
 which Heineken distinguishes the various editions of this book, were 
 it not that Lord Spencer's copy, now before me, led me, upon my 
 first examination of it, to suspect some error in the German writer : 
 I mean independent of an error in the press, by which ♦ ^ ♦ is 
 termed No. 22 instead of No. 21. Nor could I account for it by 
 the supposition that this copy had been made up out of two incom- 
 plete copies of different editions; since the paper is evidently of the 
 same quality ; the tint with which the prints are taken off is the 
 same ; and there is nothing whatever to indicate that the book has 
 at any time undergone alteration. 
 
 Lord Spencer's copy wants the points on each side of the letters 
 TL T* C of the second alphabet; and in that respect corresponds 
 with Heineken's description of the Jirst edition ; whilst in all other 
 particulars it answers the description given by him of the second. 
 I find, however, that Heineken is correct in the description given 
 by him of the edition which he terms the Jint ; having lately had 
 an opportunity of examining the copy of the Biblia Pauperum, 
 preserved in the Bodleian Library, which is of that edition : but he 
 errs in asserting that the want of those points, on each side of the said 
 letters, is a distinction exclusively belonging to that edition ; since 
 the edition Avhich he calls the second is likewise without them. 
 
 I have already stated my belief that the edition which Heineken 
 places first (I say places first, because he confesses his inability to 
 
 S 
 
130 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 decide which, amongst all the editions he describes, is really the 
 original) is less ancient than that which he terms the second. 
 
 In Lord Spencer's copy, the paper, and the tint with which it is 
 printed, bear evidence of higher antiquity than the tint and paper 
 in the edition at the Bodleian Library. The figures likewise are 
 marked with greater intelligence, and have more spirit and ex- 
 pression : they appear moreover to have been engraved with greater 
 diligence ; although upon a sort of wood which Avas less calculated 
 for the purpose of engraving* than that used for the other; all of 
 them, I think, indications of its priority. 
 
 Still I must acknowledge with Heineken, that the prints in these 
 two editions (for I have not had an opportunity of seeing the others) 
 so nearly resemble each other, that it is no easy matter for a com- 
 mon observer to distinguish the difference between them> except 
 upon a careful comparison, much less to decide as to their respective 
 pretensions to originality. -j- 
 
 * The impressions in Lord Spencer's copy, 
 at least in many instances, have a sort of hori- 
 zontally striped and confused appearance, 
 which leads me to suppose that they were 
 taken from engravings executed on some kind 
 of wood of a coarse grain. 
 
 ■f I had not an opportunity of comparing 
 these two copies together : but I examined 
 the one only two days after I had carefully 
 examined the other. The memorandums 
 which I made relative to the Bodleian copy, 
 on the spot, are as follow : 
 
 Biblia Paiiperum — first edition, accord- 
 ing to Heineken — complete — forty prints. 
 The prints, however, coloured, and recently 
 pasted down upon broad margin, like an 
 ordinary book of prints. One of the colours 
 with which it is tinted is verdigrease, which 
 has become opaque, and thereby rendered the 
 strokes of the engraving, in those parts, very 
 difficult to distinguish. Another of the co- 
 lours which frequently occurs is a sort of 
 
 madder lake, shining, and apparently of the 
 same quality as that used on the St. Bridget, 
 though it is not laid on quite so thick. 
 
 The impressions in this copy have not that 
 striped confused appearance that those in 
 Lord Spencer's copy have ; the letters are 
 more easy to read, and the tint with which 
 they are printed is of a greyer hue. The paper 
 is of a lighter tint. The blocks appear to 
 have been executed with less care, and in a 
 ruder and less finished manner, than those of 
 Lord Spencer's edition, though still the hands 
 are often well indicated. Upon the whole I 
 am very much inclined to think Lord Spen- 
 cer's the earliest. Besides the copy of the 
 Bihlia Pauperum, which Heineken (Idee 
 Generale, 322), upon the authority of Meer- 
 man, mentions in the Bodleian Library, he 
 refers to another in the Library of Corpus 
 Christi College at Oxford. Tliis is an error. 
 No copy of the work exists in that col- 
 lection. 
 
CHAP, in.] 
 
 BIBLIA PAUPERUM. 
 
 131 
 
 The four first editions, according to Heineken, are correct copies 
 of each other. 
 
 The Jifth edition differs from them all ; not only in the number of 
 the prints, which is increased to fifty, but, also in the compositions 
 of the subjects, which, judging from a fac-simile given by Heineken 
 of the last print, were designed by an artist of a very different and 
 inferior school ; and are in a style not very unlike the more Gothic 
 productions of Israel Van Meek. They are engraved, however, 
 with great neatness of execution, and the characters of the inscrip- 
 tion are better formed, and cut with more precision, than those of 
 the former editions. I should judge this edition to be considerably 
 more recent than that from which I have made selections. It 
 nevertheless appears to be of extreme rarity, since Heineken knew 
 but of one copy of it, which was preserved in the library of the 
 convent of Wolfenbuttel. 
 
 I shall briefly mention the subjects by which this edition is aug- 
 mented, the verses accompanying them, the distinguishing letter 
 upon each, and the number of the leaf* 
 
 1. et 
 
 Jesse, fromwhose Sody The Birth of the Balaam and his Ass, 
 
 rises the Ge?iealogical 
 
 Virgin. 
 
 with the Angel. 
 
 Tree of Christ. 
 
 
 
 Sic de radice 
 
 
 Ex Jacob ista 
 
 Processit virgula yesse. 
 
 
 Processit stellula clai'a 
 
 The 3Iarriage ofTobit 
 
 and Sarah. 
 Fit tobie sara 
 Nutu dei copulata. 
 
 Sicut spina rosam genuit. 
 
 The 3Iarriage of the The Marriage of Isaac 
 Virgin. and Rebecca. 
 
 Ut impleantur 
 Promissa sic copulantur 
 
 Est desponsata Joseph hec virgo beata. 
 
 * The reader will observe that these letters 
 are of a very different form from those in the 
 
 edition already described. 
 
 S2 
 
132 BIBLIA PALPERUM. [chap. hi. 
 
 No. 3. contains the same subjects as No. 1. in the preceding 
 editions, 
 
 4 D 
 
 Moses visited by Jethro. The Visitation of Eliza- The Levite visiting his 
 
 bet/i. Father-in-law. 
 
 Hie consobrinum Hie gratulatur 
 
 Letanter suscipit ilium. Dum a socera visitatur. 
 
 Hec neptem visitat infans gaudendo insultat. 
 
 No. 5. contains the same subjects as No. 2. in the foregoing 
 editions. 
 
 6. f 
 
 The Ciranncision of The Circumcision of The Circumcision of 
 
 Abraham. Christ. Isaac. 
 
 Circumcisus Abi-am Hie preeepto tuo 
 
 Fiffuraiu denotat istam. Parat deus vulnere scisso. 
 
 Observando legem Ihesus patitur lesionem. 
 
 Nos. 7. to 17. inclusive, contain the same subjects as Nos. 3. to 13. 
 in the preceding editions. 
 
 18. ^ 
 
 Isaiah iceeping for Je- Christ ueeping for Jeru- The Lamentation of 
 
 rusalem. salem Jeremiah. 
 
 Hie mala futiira Flet jeremias 
 
 Deplorat maxima cura. Fmidendo guttulas pias. 
 
 Christus deplorat locum gemitibus. 
 
 Nos. 19. to 26. inclusive — Same subjects as Nos. 14. to 21. in the 
 preceding editions. No. 27. same as No. 23. in the foregoing 
 editions. 
 
 28. C» 
 Lamech tormented by The Scourging of Job abided by Satan 
 
 his Tuo Wives. Christ. in the presence of his 
 
 Wfe. 
 lUusus iste Christum judei, 
 
 Te figurat Ihesum Christe. Job leduut crimine rei. 
 
 Pelle thum plagas pro nobis sufferens istas 
 
CHAP. III.] 
 
 BIBLIA PAUPERUM. 
 
 133 
 
 29. 6* 
 
 A Concubine taking the Christ crotvned with 
 Croivn from the Head Thorns, 
 
 of a King. 
 
 Stultus est vere 
 
 Qui spem ponit in muliere. 
 
 Schimei insulting 
 David. 
 
 Spernit hie regem 
 Verbis factis sufferentem. 
 
 Pro corona nobis celestia dona. 
 
 Nos. 30. and 31. contain the same subjects as Nos. 22. and 24. in 
 the preceding editions. 
 
 32. fl** 
 
 Lamech, Tubal Cain, Christ nailed to the The Prophet Isaiah 
 and an Assistant, f org- Cross. sawed in tivo. 
 
 ing Nails. 
 
 Isti nunc parant Serra divisus 
 
 Quibus christum crucifigant. Fuit hie in arbore clusus. 
 
 Heu sic confixus sit pius et benedictus. 
 
 Nos. 33. 34. — Same subjects as Nos. 25. 26. in the preceding 
 editions. 
 
 35. 
 
 ?. 
 
 Joshua causintr the 
 Body of the King of 
 Ai to be taken dotvn 
 from the Cross. Jo- 
 shua, ch. viii. 
 
 Rex cum existit 
 Corpus deponere dixit. 
 
 Christ takeii doivnfrom 
 the Cross. 
 
 The Bodies of the 
 Seven Sons of Saul 
 taken down from the 
 Crosses, to ivhich they 
 had been affixed. — 
 //. Book of Kings 
 (viz. II. Book of Sa- 
 muel), ch. xxi. 
 
 Clavis confixi 
 
 Figura est ihesu christL 
 
 Hie propter festum optat deponere christum. 
 
134 
 
 BIBLIA PAUPERUM. 
 
 [chap. III. 
 
 36. I, 
 
 The dead Body of Christ 
 
 in the Laji of the Virgin. 
 
 Naomi lamentinsr the 
 
 Death of her Sons. 
 Hec natos plorat 
 Functos flebiliter orat. 
 
 Adam and Eve lament- 
 ing the Death of Abel 
 
 Deplorant multum 
 Extinclum pueruni istum 
 
 Fasciculum mirre puto dilectum redolere. 
 
 Nos. 37. to 50. inclusive, represent the same subjects at Nos. 27. 
 to 40. in the preceding editions. 
 
 The inscriptions in the five editions of the " Bibha Pauperum" 
 above described are in Latin. At length, in 1470, an edition was 
 published with the text translated into the German language. This 
 edition, like the four first, contains only forty prints : the designs are 
 by another hand. Heineken has given a copy of the first leaf, in 
 his Idee Generale, p. 323. The composition of the Annunciation, 
 in the centre, is not ungraceful ; but the style is more modern than 
 that of the other editions. The engravings, judging from this copy, 
 are executed in a slight manner. 
 
 The last print of this edition is marked with the arms of the 
 engraver (as Heineken supposes) and the date, thus : 
 
 mWo 
 
 but notwithstanding these arms, the name of the artist, and even 
 the place where the Avork Avas published, remain unknoAvn. 
 
 Another German edition of this book, by a different artist, is also 
 mentioned by Heineken : it has only forty prints, the last of Avhich 
 is marked thus : 
 
 IM< 
 
CHAP. III.] BIBLIA PAUPERUM. 135 
 
 The last figure is intended, it is supposed, for a 5. The artist who 
 engraved this edition is Hkewise unknown. 
 
 Besides these several editions of the " Biblia Pauperum," printed 
 with wooden blocks, there exist two in which the text is printed in 
 moveable characters ; one in the German, the other in the Latin 
 language. They were published from the press of Albrecht Pfister, 
 at Bamberg, about 1462; although they are without date, and are 
 considered the earliest examples of books printed on both sides of 
 the page, with metal types, and decorated with wood-cuts. 
 
 Both these editions will be found correctly described in Mr. Dib- 
 din's Catalogue of Lord Spencer's magnificent library. Heineken 
 appears to have seen only one of them, — the German, — and to have 
 been ignorant of the printer's name. Mr. Dibdin has given copies 
 of one or two of the engravings ; which, in truth, furnish no very 
 favorable sample of the arts of Franconia, in 1462 ;* and will, I trust, 
 be admitted as not a little corroborative of the judgment I have 
 given as to the comparative merits of the early schools of art in 
 Germany and the Low Countries. 
 
 The original composition of this short abstract of holy writ, illus- 
 trated by designs of the chief stories of the Old and New Testament 
 is, it is probable, of great antiquity. Heineken describes a manu- 
 script of it, which he considers of the fourteenth century ; and 
 informs us that upon the first leaf of an incomplete copy of the 
 second edition of the Biblia Pauperum, in the royal library at 
 Hanover, some ancient possessor of the book had written thus : 
 
 S. Ansgarius est autor hujus libri. 
 
 " A hand less ancient," continues he, " has added, in the Ger- 
 " man language, to the following effect : ' This book of devout and 
 
 * I can by no means agree with Mr. Dib- tion et d'ensemble que dans les dessins des 
 
 din as to the propriety of Camus's observa- editions anterieures.'" The word I am sure 
 
 lion, " that ahhough these cuts are ' encore escaped him inadvertently, for he justly ob- 
 
 tr^s-grossi^res, il y a cependant plus d'inten- serves of the cut representing " Elijah car- 
 
136 BIBLIA PAUPERUM. [chap. hi. 
 
 " pious images was (probably) lirst invented, in honour of God 
 " and for the devotion of the laity (the word probably is Avritten by 
 " a more modern hand) by S. Ansgarius, the first bishop of Ham- 
 " burg.' He who wrote the word probably, has added : vid. 'Claudii 
 " Ornhielmi historia, Sveonum Gothorumque ecclesiastica, lib. I. 
 " cap. 21. p. m. 70. item Tenzel, et la vieille Chronique et Histoire 
 " de Zeeland.' Ansgarius, a native of France, and a monk of the 
 " convent of Corbie," continues Heineken, " was sent into lower 
 " Saxony, and towards the North, to convert the Pagans ; on which 
 " account he Avas styled the Apostle of the Northern Nations. In 
 " the year 831, he was created the first Bishop of Hamburg, and 
 " in 844 he was translated to the Bishoprick of Bremen, Avhere he 
 " died in 864." 
 
 Heineken saw, " in the cloister of the church termed the Dome 
 " at Bremen, two bassirelievi sculptured in stone, the figures of 
 " which are of a middle size, and line for line the same as those in 
 " the German* edition of the Biblia Pauperum. One of them is 
 " in the first arch of the vault, close to the principal entrance of the 
 " church ; and represents, in the middle, the Annunciation ; and, 
 " on either side. Eve tempted by the Serpent, and Gideon with the 
 " Fleece. At bottom are the two busts of prophets, and the same 
 " Latin inscription : Legitur in Genesi, &c. in Gothic characters ; 
 " and also the same verses : 
 
 " Vipera vim perdit " Rore madet vellus 
 
 *' Sine vi pariente puella. " Pluviam sitit arida tellus. 
 
 •• Virgo salutatur innupta manens gravidatur. 
 
 ried up to heaven," that it is singularly gro- edition, which, indeed, as well as the others, 
 
 tesque and ridiculous; epithets very inap- he ascribes to the school of Germany. The 
 
 plicable to the prints in the first editions of inscriptions accompanying those bassirelievi, 
 
 the Bihlia Pauperum, which, although in a were in the Latin language, and, of conse- 
 
 dry style, were evidently designed by the quence, he cannot mean to compare tliem 
 
 Viand of one who, in his time, merited the to the engravings in the edition printed with 
 
 appellation of master. the inscriptions in the German tongue. 
 • Of course Heineken means the first 
 
CHAP. Ill] BIBLIA PAUPERUM. 137 
 
 " In the eighth arch of the vault is represented, in like manner, 
 " the baptism of Christ; and, on each side of it, Pharaoh drowned 
 " in the Red Sea, and the two Spies carrying the bunch of grapes ; 
 " with the same Latin inscriptions. It is probable that the other 
 " arches were anciently ornamented with the rest of these subjects, 
 " which may have been defaced and destroyed in the commo- 
 " tions and revolutions that have befallen Bremen." 
 
 Heineken seems to consider it not quite impossible that this 
 sculpture might have been executed under the directions of Ansga- 
 rius himself, — that is, in the middle of the ninth century. For my 
 own part, I am very much inclined to doubt the existence of any 
 cloister or church with an arched roof, divided, as this appears to 
 be, by groins, of so high an antiquity, throughout Germany, or, 
 indeed, anywhere else. 
 
 Ansgarius, however, might still have been the original author of 
 the " Biblia Pauperum." " The words of Ornhielm," as Heineken 
 observes, " are remarkable.* He says that books were attributed 
 " to Ansgarius, written by cyphers and images, (per numeros et 
 " signa,) Avhich were called pigmenta, — paintings. Perhaps," con- 
 tinues Heineken, " these words occasioned the ancient possessor 
 " of the copy at Hanover, to attribute the book to this bishop." 
 
 Such may indeed have been the case : but it is very possible 
 that that person had some further traditional authority for ascribing 
 it to Ansgarius. The bassirelievi in the cloister of Bremen, even 
 supposing them to be not earlier than the thirteenth or fourteenth 
 century, may still be considered as in some degree corroborative of 
 
 * These are his words : " lugenii monu- pericopas et sententias, ipsi iu quotidianum 
 
 menta aliqiia reliquisse videtur, sed quorum usum delectas excerptasque, ac numeris li- 
 
 nulla posterorum cura ad nos pervenerint. brorum capitumque enotatas, ut, cum usus 
 
 Et quidem quos per numeros et signa con- requirerit, ad mauum essent, excitandae pietati 
 
 scripsisse eum libros Rembertus memorat, ac resipiscentiae, nee non frequenti medi- 
 
 indigitatos pigmentorum vocabulo, eos con- tationi mortis ad extremi illius rigidissimi 
 
 tinuisse palam est quasdam aut e divinarum judicii." 
 litterarum, aut pie doctorum patrum scriptis, 
 
138 THE BOOK OF CANTICLES. [chap. hi. 
 
 the story ; since they might have been executed in honor of the 
 Apostle of the North, and in remembrance of his method of 
 instructing the people in the mysteries of the Christian religion, 
 upon the rebuilding or restoration of the church over which he 
 presided ; and were, perhaps, copied from or renewed upon 
 the authority of more ancient sculptures or paintings then in 
 existence, or even from manuscripts ascribed to Ansgarius 
 himself 
 
 But, however ancient the original invention oftheAvork,the age of 
 the several engraved editions of it without date, must still, in a great 
 measure, remain conjectural. The four editions first mentioned 
 appear to have been copied from each other. That from which 
 specimens have been given, is, in my opinion, as before observed, a 
 production of the Loav Countries or of Holland; and I am very 
 much inclined to think it of a date not later than 1420 ;* but I speak 
 with less confidence on this point, as, from the commencement of 
 the fifteenth century until near its close, very little change of style 
 is to be discovered in the designs of the artists of those schools. 
 
 HisTORiA SEU Providentia Virginis Mariae, 
 EX Cantico Canticorum. 
 
 Such is the title given by Heineken to a small folio volume com- 
 posed of thirty-two subjects taken from the Book of Canticles, and 
 printed, two on each leaf, from engraved wooden blocks, on one 
 side of the paper only. These prints are interspersed with passages 
 of text, engraved in large characters, on scrolls fantastically dis- 
 posed amongst the figures ; a circumstance which gives to the whole 
 work a very singular appearance, and no doubt occasioned Hei- 
 neken, who Avas blind to its real merits, to term it " the most 
 Gothic of all the block-books."f Lambinet, however, is incorrect 
 
 * See p. 99. ment upon this occasion (Idde, 8cc. p. 374) 
 
 t The impropriety of Heineken's judg- did not escape the notice of Mr. Dibdin, who 
 
CHAP. III.] 
 
 THE BOOK OF CANTICLES. 
 
 139 
 
 when he says that " some of the scrolls proceed from the mouths of 
 the figures." The leaves, like those of the " Biblia Pauperum," 
 are pasted back to back. 
 
 Heineken mentions tAVO editions of this book ; the first, of course, 
 in his opinion, engraved and published in Germany ; the second, 
 copied from it in Holland or Flanders. 
 
 Of the former edition, the Count Pertusati, he informs us, pos- 
 sesses a complete copy ; that Mr. Verdussen of Antwerp had one 
 similar ; and that a third copy is preserved in the Bodleian Library. 
 The Hotel de Ville at Harlem, possesses an incomplete copy of the 
 latter edition ; which, according to Meerman (p. 225) was purchased 
 from the heirs or descendants of Laurence Coster. This copy, 
 it appears, has, at the top of the first leaf, the following Flemish or 
 Dutch inscription engraved in wood. 
 
 IDit IS tie Uorsmicljeit ba jHarie trer rnolr* soUes* en 
 is seljete in latl). cati. 
 
 Heineken insists that " this inscription proves that the copy at 
 
 justly observes of the work before us (Biblin- 
 theca Spenceriana, vol. i. p. xxxvi) " that it 
 " is, upon the whole, very greatly superior to 
 " the generality of books of this description." 
 
 The same writer, however, has framed an 
 hypothesis relating to the mode in which the 
 impressions of this curious work were pro- 
 duced, which is not equally well-founded. 
 
 He observes (p. xlii) that " after the most 
 " careful examination of this very early and 
 " curious specimen of the graphic art, he 
 " inclines strongly to the opinion that it is 
 " the production of some metallic substance, 
 " and not struck off from wooden blocks." 
 
 I do not think it necessary to go into the 
 argument by which Mr. Dibdin endeavours 
 
 T 
 
 to support his opiniou, (formed, like that of 
 Mr. Landseer before noticed, upon the sup- 
 posed inadequacy of wood engraving to pro- 
 duce that sharpness and precision in the 
 strokes, by which the work I am speaking of 
 is distinguished,) because four pages of Lord 
 Spencer's copy, now before me, furnish 
 undoubted evidence that the engravings from 
 which the impressions were taken, were exe- 
 cuted on blocks of wood. This evidence I 
 shall presently produce — meanwhile, I feel 
 myself obliged to protest against what, upon 
 the same occasion, my friend has advanced, 
 relative to the priority of German over Italian 
 chalcography, and the silly credulity displayed 
 by Papillon in his story of the two Ciinio. 
 9 
 
140 THE BOOK OF CANTICLES. [chap. hi. 
 
 " Harlem is of a later edition, printed after the Latin one."* He 
 adds, " that it is well known that the first printed books have no 
 " titles, and more especially those printed from engraved wooden 
 " blocks." But there is, I think, reason to suspect that the above title 
 (which, from its being in the Flemish or Dutch language, whilst the 
 text of the Avork itself is in Latin, produces a strange anomaly) is 
 not genuine ; and that it is no other than a silly fraud devised by 
 some one of the compatriots of Coster, for the purpose of establish- 
 ing a fact which it is, in reality, better calculated to overthrow.f 
 Lord Spencer's copy of this book corresponds in every respect 
 with the description of the one at Harlem, except that it has no such 
 title : it is entire, and its margins are in such perfect preser\'ation, 
 as to leave no doubt that it is in the same state in which it was 
 published. 
 
 Heineken endeavours to draw another argument in favor of the 
 originality of the edition possessed by Pertusati, Verdussen, and the 
 Bodleian Library, from the various errors, in that edition, in the 
 Latin inscriptions on the scrolls ; which, he says, are corrected in 
 the other edition. But it is evident that this circumstance makes in 
 favor of an opposite conclusion. The artist who originally invented 
 the work must have been well acquainted with Latin, since it is, in 
 fact, no other than an union of many of the most beautiful verses 
 of the book of Canticles, with a series of designs illustrative of the 
 divine mysteries supposed to be revealed in that sacred poem ; and 
 consequently we have reason to consider that edition the original, in 
 which the inscriptions are given with the most correctness ; and to 
 ascribe the gross blunders in the other, to the ignorance of some 
 ordinary wood engraver by whom the work was copied. 
 
 * It is not very easy to understand what f Since writing the above, I find that 
 
 Heineken means in this passage — ^The text in Scriverius, in speaking of " the Book of 
 
 both the editions is in Latin. Heineken, Canticles," mentions the Dutch title. That 
 
 it may be proper to observe, has brought no title is, therefore, not a very recent inven- 
 
 proof whatever that either of the editions was lion, 
 published in Germany. 
 
CHAP. III.] THE BOOK OF CANTICLES. 141 
 
 But, independent of the inscriptions, in the edition possessed by- 
 Lord Spencer, being free from most of the errors found in the other, 
 the figures themselves, in that edition, have every characteristic of 
 originaUty : they are designed and executed with great care and 
 dehcacy ; but, at the same time, with so much freedom, intelli- 
 gence, and masterly decision in every part, as to leave no doubt 
 that they were engraved upon the original designs of an artist of no 
 ordinary abilities in those early times. 
 
 The figures in the edition in the Bodleian Library are, it is true, 
 by no means deficient in spirit ; but they want much of the clear- 
 ness and precision so remarkable in the others, and are, moreover, 
 of very unequal merit ; some of the heads, for example, having 
 great beauty, whilst others are carelessly executed, and what artists 
 term very much out of draAving. Upon the whole, therefore, after 
 a very careful examination of both the editions, I feel little hesita- 
 tion in pronouncing that edition the first which Heineken terms 
 
 the SECOND. 
 
 Lambinet, I suspect, is in error, when he tells us that " Gaignat 
 possessed a copy of this book in which the inscriptions were printed 
 in moveable characters ;" he is certainly mistaken when he asserts 
 " that in the Bodleian Library to be so." He, however, describes 
 a copy in the imperial library at Paris which, (unless he examined 
 it with the most culpable negligence) must be very different from 
 the two editions above mentioned. " The text," he says, " is 
 " printed on both sides of the leaves, and bears the date 1470 : the 
 " figures," he adds, " appear to be more ancient than that epoch."* 
 
 Having given my reasons for believing that edition of the block- 
 
 * " Origiiie de I'lmprirnerie," torn. i. after mentioning the two first editions of the 
 
 p. 69- What Lambinet means by the text " Book of Canticles," (p. 319) sajs in a 
 
 being printed on both sidts the paper, unless note : " L'exemplaire de la bibliotheque na- 
 
 he intends to infer that the figures are also " tionale est d'une edition post^rieure d ces 
 
 printed on both sides, I am at a loss to ima- " deux-la ; il est date de 1470. Les feuillets 
 
 gine. M. Daunou, in his " Analyse," in- " y sont imprimes des deux cotes." 
 serted torn. i. p. 311. of Lambinet's work, 
 
142 THE BOOK OF CANTICLES. [chap. hi. 
 
 book under consideration to be the/>s^, which Heineken terms the 
 second, I now proceed to speak of Lord Spencer's copy, which, as 
 has been said, is of the first edition. 
 
 Upon first viewing this work, I was of opinion that each of the 
 designs contained in it was engraved upon a separate block of wood: 
 but, upon a more careful examination, I have discovered that the 
 contents of each two pages, — that is, four subjects, — Avere engraved 
 on the same block. The number of wooden blocks, therefore, from 
 which the whole was printed, was only eight. This is proved in 
 the first two pages of the copy before me ; where, near the bottom 
 of the two upper subjects, the block appears to have been broken in 
 two, in a horizontal direction, — after it Avas engraved, — and joined 
 together again ; although not with such exactness but that the traces 
 of the operation clearly show themselves. The traces of a similar 
 accident are still more apparent in the last block, containing the 
 Nos. 29, 30, 31, 32. The whole work was, therefore, printed on 
 eight sheets of paper from the same number of engraved blocks, 
 the first four subjects being printed from the same block upon the 
 same sheet, — and so on with the rest ; and, indeed, in Lord Spencer's 
 copy, each sheet, being mounted upon a guard, distinctly shows 
 itself entire. 
 
 I consider this work to be without doubt of the same school as the 
 edition of the " Biblia Pauperum," of which specimens have been 
 given ; but somewhat less ancient. The manner of expressing the 
 foliage of the trees by gently curved touches, ranged over each other 
 in a horizontal direction ; and of indicating the clumps of herbage 
 by a few strokes placed perpendicularly in the middle, and diverging 
 at each side ; is the same in both : — every thing testifies that both are 
 the productions of artists who had gone through the same routine of 
 study, and thereby acquired the same systematic mode of charac- 
 terizing particular objects.* Nevertheless, there is a lightness and 
 
 * There is, I think, indeed, good reason " the Book of Canticles," and the " Spe- 
 to believe that the " Biblia Pauperum," culum Salvationis," were, in great part, en- 
 
CHAP. III.] THE BOOK OF CANTICLES. 143 
 
 gracefulness in the figures in the book now before us, which distinguish 
 it from all the other block-books I am acquainted with, and proclaim 
 its author the Parmigiano of his school. The characters of the 
 inscriptions, also, are executed with greater neatness and precision 
 than those of the Biblia Pauperum, and the impressions are taken 
 off with a darker brown, 
 
 I will not attempt to describe these prints individually ; for, as 
 the chief actors in most of them are the same, they of course a 
 good deal resemble one another. I shall satisfy myself with men- 
 tioning the number of scrolls on each design ; the first words of each 
 inscription, where, with the help of the Vulgate Bible, I am able 
 to make them out ; and, to facilitate reference, I shall add the 
 chapter and verse from which each inscription is taken. As I pro- 
 ceed, I shall select a few specimens, which, from the correctness of 
 the artist who copies them, will enable those who have not an op- 
 portunity of seeing the original work, to form some idea of its 
 merits. 
 
 The reader is, no doubt, aware, that all those passages in the 
 Book of Canticles which we consider typical or prophetic of Christ's 
 love for his Church, are, in the Roman Catholic Church, considered 
 applicable to the Madonna, who, of consequence, is a principal 
 figure in each of the engravings. 
 
 Block Design 
 
 I. 1 . This composition is illustrated by two inscriptions on 
 scrolls. The first is as follows : Osculetia- me osciilo 
 oris sui : quia meliora sunt uhera tua vino. (Cant. cap. i. 
 V. 1.) In the edition which Heineken calls the First, 
 the word vino is erroneously written viro. The second 
 scroll has this inscription : Veni in ortiim* meum soror 
 
 graved by the same wood-engraver, although as T could, as it is in the original. The H, 
 
 from the designs of diflferent artists. I shall as in the word Hortum, is generally omitted: 
 
 speak further on this subject when I come to the letter i is frequently substituted for the y, 
 
 treat of the last mentioned work. and the y for the i : the diphthong ae, as in 
 
 * 
 
 I have given the orthography, as nearly filiae, is constantly written with the e alone. 
 
144 THE BOOK OF CANTICLES. [chap. hi. 
 
 Block Desigu 
 
 mea sponsa, messui mirrham 7neam cum aromatihua meis : 
 (cap. V. V. 1.) In the other edition the word mtssui 
 is written mesiin. 
 
 2. Two scrolls — on the first : Caput tuum tit Carmdus : Col- 
 
 lum tuum sicut turris ehurnea (cap. vii. v. 4. 5.) The 
 inscription on the second scroll begins thus : Nigra 
 sum sed formosa,Jilie Jerusalem, ^c. (cap. i. v. 4.) This 
 leaf is copied on a reduced scale in Heineken (Idee 
 Generale, p. 374.) 
 
 3. There are two scrolls also in this print, the first is in- 
 
 scribed : Trahe me : post te curremus in odorem unguent- 
 orum tuorum (cap. ii. v. 14.) The second : Sonet vox 
 tua in auribus meis : ^-c. 
 
 4. This has also two scrolls, the inscriptions on which 
 
 commence : En dilectus mens loquitur mild : Surge, ^-c. 
 (cap. ii. V. 10.) and Quam pulchra es arnica mea, ^c. 
 (cap. iv. V. 1. 
 
 II. 5. Two scrolls — on the first : Qualis est dilectus tuus, ^c. 
 (cap. V. V. 9.) The second scroll begins : Dilectus 
 meus candidus, ^-c. (cap. v. v. 10.) 
 
 6. There is only one scroll in this composition : the in- 
 
 scription begins : Adjuro vosjilie Jerusalem, per capreas 
 cei-vosque, SfC. — In the other edition the word capreas 
 is written capitas, and cei-vosqiie appears tervosque. 
 
 7. This composition has two scrolls. The inscription in 
 
 the first begins : Erunt verba (not ube7'a as in the Vul- 
 gate) tua sicut botri vinee, ^c. (cap. vii. v. 8.) The 
 other edition has also the word verba. The second 
 inscription begins : Botrus cipri dilectus meus mihi, ^c. 
 (cap. i. V. 13.) 
 
 8. There are three scrolls in this composition. The first 
 
 words on them are : Ortus conclusus est, ^-c. (cap. iv. 
 
CHAP, in.] THE BOOK OF CANTICLES. 147 
 
 Block Design 
 
 V. 12.) Jons ortorum puteus aquarwn, ^-c. (cap. iv. 
 V. 15.) Surge, ^c. I am not able to decipher the 
 third inscription. 
 
 III. 9. The figures in this composition are less incommoded by 
 the scrolls, than is the case in most of the others ; for 
 which reason I have selected it as a specimen by 
 Avhich the reader may be enabled to form some idea 
 of the general style of the work. It might seem un- 
 necessary that I should say any thing concerning the 
 inscriptions on this print, as they are correctly given 
 in the copy : nevertheless, for the convenience of 
 those who are not used to the abbreviations so fre- 
 quent in the old block-books, the words are here sub- 
 joined : Dilectus mens mihi, et ego illi, qui pascitur 
 inter lylia. (cap. ii. v. 16.) Ego flos campi, et li/lium 
 convalUum. (cap. ii. v. 1.) 
 
 10. There are two scrolls in this composition also. Pulchre 
 
 sunt gene tue, SfC. (cap. i. v. 9.) Leva ejus sub capite 
 meo, ^-c. (cap. viii. v. 3.) 
 
 11. This has also two inscriptions on scrolls ; the first com- 
 
 mences : Que hahitas in ortis, SfC. (cap. viii. v. 13.) 
 The other, I am not able to decipher. 
 
 12. There are no less than seven scrolls, containing the 
 
 same number of inscriptions, interspersed among the 
 figures in this composition ; a circumstance that gives 
 it a very singular appearance, and much diminishes 
 the effect of the figures, which, though of very small 
 dimensions, have a considerable share of beauty. I 
 shall content myself with giving the beginning of two 
 or three of the inscriptions : Quo abiit dilectus tuus, ^-c. 
 (cap. V. V. 17.) SI Hostium est compingamus illud, ^c. 
 u2 
 
148 THE BOOK OF CANTICLES. [chap. hi. 
 
 Block Design 
 
 (taken from cap. viii. v. 10, but altered.) Vulnerasti 
 cor meum, ^-c. (cap. iv. v. 9.) 
 
 IV. 13. Two scrolls : Descendi in hortum meum, Sj-c. (cap. vi. 
 V. 10.) Talis est dilectus mens, <^-c. (cap, v. v. 16.) 
 
 14. Two scrolls : Aperi mild soror mea, ff-c. (cap. v. v. 2.) 
 
 Pessulum Hostii mei, ^'-c (cap. v. v. 6.) 
 
 15. Two scrolls : Iiidica miki quern diligit, SfC. (cap. i. v. 6.) 
 
 Si ignoras te 6 pidchra, ^c. (cap. i. v. 7.) 
 
 16. Two scrolls: Anima mea liquefacta est, t^-c. (cap. v. v. 6.) 
 
 Statura (it is written Cratura or Gratura) tua assimilata 
 est pahne et ubera tua botris. (cap. vii. v. 7.) 
 
 V. 17. Tavo scrolls : Quisriiihi dettefratrem, ^c. (cap. viii. v. I.) 
 Ecce quam pulchra es, <^c. (cap. vii. v. 6.) 
 
 18. Two scrolls : Fapus distillajis labia tua, ^c. (cap. iv. v. 11.) 
 
 Comedi favum cum melle meo, bibi vinum 7neum cum 
 lacte meo : (cap. v. v. 1 .) Mr. Dibdin has inserted 
 part of this composition in the first volume of his 
 Bibliotheca Spenceriana, p. xxxix. 
 
 19. There are three scrolls in this composition : Si dederit 
 
 homo omnem substantiam suam pro dilectione, ^-c. (cap. viii. 
 V. 7.) Lampades ejus sicut Lampades ignis, SfC. (cap. viii. 
 V. 6.) Aqiie multe non potuerunt extinguere charitatem : 
 (cap. viii. v. 7.) 
 
 20. Two scrolls : Que est ista que ascendit de deserto, SfC. 
 
 (cap. viii. v. 5.) I cannot find the other inscription, 
 which begins Ista est speciosa, SfC. in the Vulgate. — 
 The figure of the Virgin carried up to heaven by an 
 eagle, is copied at p. xi. of the first volume of the 
 Bibliotheca Spenceriana. 
 
CHAP. III.] 
 
 THE BOOK OF CANTICLES. 
 
 149 
 
 Block Design 
 
 VI. 21. 
 
 22. 
 
 23. 
 
 Two scrolls. Ecce dilecto meo et ad me conversio, S^c. 
 (cap. vii. V. 10.) Revertere, revertere sulamitis, ^c. 
 (cap, vi. V. 12.) 
 
 Two scrolls. I cannot make out either of the inscrip- 
 tions upon them. On a mount, in the distance, ap- 
 pears the figure of Christ on the Cross, which, though 
 of very minute dimensions, is drawn in every part 
 with great intelligence, and is full of expression. 
 
 Three scrolls. Dilecti me, egrediamu?' in agrum, ^c. 
 (cap. vii. V. 11.) Madragore odorem dederunt in portis 
 nostris. (cap. vii. v. 13.) Videamus si floruit vinea, ^-c. 
 (cap. vii. V. 12. The figures in this design are prettily 
 rouped, and are full of feehng and expression. 
 
150 THE BOOK OF CANTICLES. [chap hi. 
 
 Block Design 
 
 24. There is but one scroll in this compartment. Fasciculus 
 mirre dilectus meus mihi, S^c. (cap. i. v. 12.) The vir- 
 gin is represented supporting a crucifix. 
 
 VII. 25. Two scrolls. Surgam et circuibo civitatem, ^-c. cap. iii. 
 V. 2.) The other inscription is not easy to decipher, 
 and does not appear to correspond with any verse in 
 the Vulgate. There are no less than twelve small 
 figures in this composition, independent of the two 
 armed men on horseback, which Mr. Dibdin has in- 
 serted at p. xli. of his Bibliotheca Spenceriana. They 
 are all of them executed with surprising delicacy ; 
 especially the four half figures of a Pope, two Car- 
 dinals, and a Bishop, who are represented each with 
 a sword and a shield, and whose heads are full of 
 character and expression. 
 
 26. Two scrolls. The inscription on one of them does not 
 
 appear to have been taken from any verse in the 
 Canticles, and begins ; — Comeditc amici et bibite, ^c. 
 The other inscription is ; — Guttur iU'ms sicut vimim 
 optimum, dignum dilecto meo ad porta7idum. (cap. vii. 
 V. 9.) Christ appears, seated at a table, accompanied 
 by the Virgin Mary and three female attendants : 
 on the table are four chalices and three consecrated 
 wafers. 
 
 27. Two scrolls. Tota pulchra es arnica mea, ^-c. (cap. iv. 
 
 V. 7.) Tenui eum, nee dimittam, S^c. (cap. iii. v. 4.) 
 , 28. Two scrolls. Ecce pulchra es arnica mea, Sj-c. (cap. i. 
 
 V. 14.) Ecce tu pulcher es dilecte mi, et decorus, Lec- 
 tulus noster ftoridus. (cap. i. v. 15.) The subjoined 
 
CHAP. III.] 
 
 THE BOOK OF CANTICLES. 
 
 151 
 
 Block Design 
 
 group, extracted from this compartment, is remark- 
 able for its easy gracefulness. 
 
 VIII. 29. This composition has three scrolls. Mille clypei pendent, 
 SfC. (cap. iv. V. 4.) Ego Murus : et uhera mea sicut 
 turris, ^c. (cap. viii. v. 10.) Collum tuum sicut turris 
 que edificata est cum propugnaculis. (cap. vii. v. 4. et 
 cap. iv. V. 4.) In this composition are two figures of 
 angels, the draperies of which are admirable. They 
 will be found copied after our description of the last 
 print of the series. 
 30. Two scrolls. Ego dormio et cor meum vigilat. (cap. v. 
 V. 2.) Iji lectulum salomonis sexaginia fortes ambiunt, 
 omnes tenentes gladios. (cap. iii. v. 7. 8.) The group 
 of warriors, standing behind the bed, is interesting by 
 
152 
 
 THE BOOK OF CANTICLES. 
 
 [chap. III. 
 
 Block Design 
 
 the varieties of armour, of which it furnishes spe- 
 cimens. 
 
 31. Two scrolls. Pone me iit signacidum super cor tuum. 
 
 (cap. viii. v. 6.) I cannot find the other inscription 
 in the Vulgate, nor can I read it. Christ and the Ma- 
 donna are represented supporting a large seal or 
 stamp, on which is designed the mystery of the Trinity. 
 
 32. Two scrolls. Species ejus ut libani, electus ut cedri, talis 
 
 est dilectus mem. (cap. v. v. 15. 16.) Veni de Lyhano 
 Sponsa mea veni de Lybano, veni coronaheris. I close 
 my selections from this volume with the figure of 
 Christ, who is represented about to crown the 
 Madonna ; and I have placed on each side of it the 
 two angels mentioned under No. 29. 
 
 ^"«%^ 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 153 
 
 It has already been observed that Heineken, in speaking of this 
 work, styles that edition the Jirst, which I term the seco)id. His 
 enumeration of the pieces it contains is according to this latter 
 edition, wherein some of the leaves appear to be placed differently 
 from what they are in the original edition before us. Heineken sup- 
 poses that the two subjects contained in each page, were engraved 
 on one block ; and consequently he only gives the beginning of the 
 first inscription in the upper compartment of each of the sixteen 
 pages. In the copy, which he describes, the four first pages, viz. 
 Nos. 1. 2. 3. A. 5. 6. 7. 8. are placed as in the copy before us; then 
 come the two pages which I have described under Nos. 17. 18. 
 19. 20. ; after these follow the two pages containing the Nos. 9. 10 
 — 11. 12. ; and then the two pages containing Nos. 21. 22 — 23. 24. : 
 these are followed by the pages containing Nos. 13. 14 — 15. 16; 
 and lastly come the four pages, Nos. 25. 26 — 27. 28 — 29. 30 — 
 31. 32. I shall not attempt to account for this arrangement 
 of the pages, so different from that of the original edition ; but I 
 thought it necessary to notice the circumstance, as the copy in the 
 Bodleian Library, like that of Mr. Verdussen, at Antwerp, is 
 arranged conformably to Heineken's list. See Heineken's " Idee 
 Generale," p. 374. I must not omit to observe, that the Bodleian 
 copy has been newly bound, and that each leaf is pasted down 
 on paper of larger dimensions, in the ordinary way of mounting 
 prints ; so that the impressions do not alternately face each other, 
 as they did anciently. This copy is also coloured. 
 
 Speculum Humanae Salvationis; 
 
 called also 
 
 Speculum Figuratum. 
 
 The last block-book that I have undertaken to describe, is the 
 " Speculum Salvationis," so celebrated in the annals of typogra- 
 
 X 
 
154 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 phical controvers}'^ ; if indeed the appellation of block-book can pro- 
 perly be given to a Avork like the present, in which the text, accom- 
 panying the figures, is printed, for the most part, with moveable 
 characters, in one edition of it, and, in the other editions, entirely so. 
 In truth, it seems to hold a distinct place, midway between the ordi- 
 nary books, printed entirely from engraved wooden blocks, and the 
 first specimens of typography in its mature state ; and is therefore, 
 independent of its intrinsic merit, and the story attached to it, 
 particularly interesting. I shall first briefly describe the work itself, 
 and shall afterwards offer some remarks on the long disputed 
 question of its origin. 
 
 This work, like the "BibliaPauperum," and the "Book of Canticles," 
 is of a small folio size, and is printed on one side of the paper only. 
 There are four or five editions of it, in which the cuts are not copied 
 from each other, (as in four of the editions of the Biblia Pauperum, 
 and the two editions of the Book of Canticles ;) but taken off from 
 the same engraved blocks ; besides two or three editions published, 
 several years later, as it is supposed, in Germany, with figures 
 designed and engraved in a much ruder style. I shall speak princi- 
 pally of the two editions which I have seen, in one of which the text 
 is in the Latin — in the other, in the Dutch language. 
 
 The Latin edition is comprised in thirty-one sheets and a half^ 
 divided, according to Heineken, into five quires, or gatherings. 
 The first gathering is of only five leaves, and contains a sort of in- 
 troduction to the work, descriptive of its contents ; the second, the 
 third, and the fourth gatherings, have each of them fourteen leaves, 
 and the fifth has sixteen leaves ; making in all sixty-three leaves. 
 This edition is, by most writers, considered the first ; but its priority 
 is by no means certain, as I shall hereafter shew. 
 
 In the Dutch edition, the introduction occupies only four leaves, 
 and consequently there are only sixty-two leaves in the whole. 
 
 After the introduction, in both these editions, the remaining fifty- 
 eight leaves are ornamented at top by wooden cuts of an oblong 
 form, each of them divided in the middle by a slight Gothic pillar. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 155 
 
 into two compartments; so that each cut contains two designs. 
 These designs, for the most part, represent stories of the Old or 
 New Testament; but the subjects of some of them are taken from 
 passages of profane history, which the author of the work thought 
 typical of the events recorded in sacred writ. Each subject has 
 underneath it a short Latin inscription engraved on the same 
 block, independent of the text, which is printed in two columns, 
 and occupies the remainder of the page. The cuts are taken off 
 like those of the two block-books already described, by means of 
 friction, with a brown tint, in distemper. 
 
 I have observed in a former page * that there is reason to believe 
 that the " Biblia Pauperum," the " Book of Canticles," and the 
 cuts of the " Speculum Salvationis," were engraved in great part 
 by the same wood-engraver, although from the designs of different 
 artists. The remark, however, must be understood with some liini- 
 tations. There is little doubt that the principal wood-engravers of 
 those times had pupils who assisted them in executing the exten- 
 sive Avorks confided to their care. That part of a cut which re- 
 quired little skill, or that entire design which least captivated the 
 taste of the master, was often entrusted to the scholar ; and hence 
 those occasional dissimilarities of execution which a careful observer 
 will discover in different cuts of the same block-book, (especially in 
 accessorial parts) although their general style be the same, and 
 although they bear every evidence of having proceeded from the 
 work-shop of one master-artist. Several of the cuts in the Speculum 
 bear so striking a resemblance to some of those in the Biblia Pau- 
 perum, as to leave little or no doubt that they were engraved by 
 the same hand ; others, in their mode of execution, exactly corre- 
 spond with some of those in the Book of Canticles. Upon the 
 whole, therefore, I am of opinion that the same engraver, who had 
 been employed to execute the blocks of the Biblia Pauperum, was 
 also, but at a later period, entrusted with those of the Book of Can- 
 
 * See note, p. 142. 
 
 X 2 
 
156 SPECULUM HUMANAE SALVATIONIS, [chap. hi. 
 
 tides ; and lastly, or about the same time, with those of the 
 Speculum ; which work it is probable he did not live to complete ; 
 since the latter cuts of the Speculum, as I shall again have occasion 
 to notice, were evidently engraved by a distinct artist from the one 
 employed in the former part of that work ; and, I think, from the 
 compositions of a different designer. 
 
 Heineken observes, that the cuts of the Speculum appear to have 
 been engraved on wood of a hard and close grain, and that he can- 
 not sufficiently admire the skill of the artist by whom they were 
 executed, " The most able engraver of our own times," says he, 
 *' could not surpass them, nor cut the wood with more delicacy and 
 " clearness :" an eulogium not wholly unmerited, although, upon 
 the whole, the engravings in the Speculum possess these qualities in 
 a less eminent degree than those of the Book of Canticles, 
 
 Before I proceed to lay before the reader a list of the cuts in this 
 curious volume, it is necessary for me to observe, that in the ancient 
 manuscripts of the Spernlnm Salvationis, when they are entire, the 
 work is composed of a preface and forty-five chapters, in prose 
 Latin, Avith rhythmical terminations to the lines. 
 
 The preface contains a short account of the contents of the chap- 
 ters. In each chapter, one principal subject is proposed ; but three 
 others, which the author considered allusive to the principal subject, 
 are afterwards introduced. The subjects, for the most part, are 
 taken from the Bible, or from the traditional history of the church; 
 but some of them are selected from profane history. The three last 
 chapters have, each of them, eight subjects. Thus Heineken informs 
 us that, in the illumined manuscripts of this work, he invariably 
 found that every chapter was ornamented with two paintings, each 
 divided into two compartments, and containing two subjects ; 
 except the three last chapters, which had each of them four paint- 
 ings, or eight subjects. The work therefore, when complete, should 
 contain the designs of one hundred and ninety-two subjects, whereas 
 the first printed editions of the Speculum have only fifty-eight cuts, 
 or one hundred and sixteen designs. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 157 
 
 In the course of the following catalogue of the engraved designs, 
 I shall occasionally notice what I find commendable or defective, 
 and from such spontaneous remarks, added to the specimens which 
 Avill be presented to the reader, he will be best enabled to judge of 
 their pretensions as works of art, or at least of the opinion of the 
 writer concerning them. 
 
 Each cut, as has already been said, contains two historical re- 
 presentations, with short Latin inscriptions underneath them, ex- 
 planatory of their subjects. They are placed in the following 
 order. 
 
 Cap. I. 
 
 Impression 
 
 1 . The Fall of Lucifer. The Creation of Eve. 
 
 Casus Luciferi. Deus creavit hominem ad ymaginem 
 
 et sirailitudinem suam. 
 
 Heineken has given an indifferent copy of this print in his Idee 
 Generale, p. 443. It is also copied in Meerman. 
 
 2. Adam and Eve forbidden to eat Eve deceived by the Serpent, 
 
 of the Tree of Knowledge. 
 
 De omni ligno paradisi commeditis. Nequaquam moriemini sed eritis 
 
 sicut discernentes, &c. 
 
 The naked figures of Adam and Eve in this and the following 
 leaf, are drawn in a miserable style. 
 
 Cap. II. 
 
 .3. Adam and Eve eating the for- Adam and Eve driven out of Para- 
 bidden Fruit. dise. 
 
 Mulier decepit virum ut secum Angelas expulit eos de paradise 
 coramederet. gladio ignito. 
 
 4. Adam digging the Ground, and The Ark of Noah. 
 
 Eve spinning. 
 
 Hie Adam operatur terram in SU' Archa Noe. 
 
 dore vultus sui. 
 
158 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 The figure of Eve spinning, with the infant Cain seated in her 
 lap, is not inelegantly composed. 
 
 7 i)icaM'opRtinrftRmfmVeu3ltii$ 6u 
 
 Cap. III. 
 
 5. TViC Birth of the Virgin pre- King Astiages sees the Vineyard in 
 dieted. « Vision. 
 
 Hie annunciatur ortus Marie. Rex Astrages mirabile vidit somp- 
 
 nium. 
 
 The back-ground of the left hand compartment, represents a^ 
 shepherd with some sheep, executed so exactly in the style of those 
 introduced in two or three of the cuts of the book of Canticles, as 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 Ud 
 
 to leave little or no doubt that they were engraved by the same 
 hand. 
 
 6. The Garden and the Fountain, 
 
 emblematic of the Holy Virgin. 
 
 Ortus conclusus fons signatus. 
 
 Salaam and his Ass. 
 
 Balaam prenunciavit ortum marie 
 in Stella. 
 
 Cap. IV. 
 
 7. The Nativity of the Virgin. The Genealogical Tree of Christ. 
 
 Nativitas gloriose virgiuis Marie. Egredietur virga de radice Yesse. 
 
 Upon the upper part of the genealogical tree, in the right hand 
 compartment, the Madonna is represented seated, with the Infant 
 Saviour in her lap ; the group, although extremely small, is executed 
 with much taste and delicacy. 
 
 8. The Gate of a City, closed, 
 
 another Emblem of the Virgin 
 
 Mary. 
 
 Clausa porta significat beatam vii'- 
 ginem mariam. 
 
 The Temple of Solomon. 
 
 Templum Salomonis significat 
 beatam mariam. 
 
 Cap. V. 
 
 D. The Offering of the Virgin in 
 the Temple. 
 
 Maria (oblata) est domino in 
 templo. 
 
 10. Jephtha sacrificing his Daugh- 
 ter in fulfilment of his Vow to the 
 Lord. 
 
 Jepte obtulit filiam suam domino. 
 
 The Offering of the Table of Gold 
 in the Temple of the Sun. 
 
 Mensa aurea oblata est in templo 
 solis. 
 
 The Queen Semiramis on the Top 
 of a Tower. 
 
 Regina persarum contemplabatur 
 patriam suam in orto suspensili. 
 
 The composition of Jephtha sacrificing his daughter is one of the 
 
160 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 most spirited of the series, and is here copied. The female figure 
 possesses considerable beauty and expression. 
 
 Cap. VI. 
 11. The Marriage of the Virgin. The Marriage of Sarah and Tobit. 
 Hie virgo maria desponsata Joseph. Hie Zara desponsatur Thobie ju- 
 
 niori. 
 
 The author of these designs seldom failed in his representations of 
 the female character. The figure of Sarah, in the compartment to 
 the right, possesses a virgin modesty and an easy gracefulness of 
 deportment which are particularly captivating. 
 
 i2. A Toiver, upon which are Two A City, to the Walls of which are 
 
 Meti blotving Trumpets. attached many Shields. 
 
 Hpc turris dicta baris significat Hec turris david de qua pendebant 
 mariarn. mille clypei. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 161 
 
 Cap. VII. 
 
 13. The Annunciation. 
 
 Hie annunciatur ihesus per angelum 
 
 virgin! marie. 
 
 14. Gideon and the Fleece. 
 
 Vellus gedeonis repletiim etiam 
 terra sicca manente. 
 
 Moses and the Burning Bush. 
 Dominus apparvit moysi in rubo 
 ardenti. 
 
 Rebekah giving Drink to the Ser- 
 vant of Abraham. 
 Rebecca nuncio abrahe potum tri- 
 buebat. 
 
 Car VIII. 
 
 15. The Nativity of our Saviour. 
 
 Nativitas domini nostri ihesu christi. 
 
 16. Aaron's Rod. 
 
 Virga aaron floruit contra naturam 
 virtute divina. 
 
 The Cup-bearer of Pharaoh sees the 
 
 Vineyard in a Vision. 
 
 Pincerna pharaonis vidit in sompnis 
 
 vineam. 
 
 The Sybil shewing to Aug?istus the 
 
 Image of the Virgin. 
 Sybilla vidit virginem cum puero. 
 
 Cap. IX. 
 
 17. The Adoration of the 3Iagi. The Three Magi seeing the Star 
 
 Tres mag. adorant puerum cum Tres magi viderunt novam stellam 
 
 '"""^"bus. -^ ^^.^^^^ 
 
 One of the Magi, in the compartment on the right, instead of 
 bemg on horseback, hke the others, is seated upon a chimerical 
 animal, with a long arched neck, and a head like a leopard He 
 seems to be explaining the purport of the celestial appearance to 
 the two kings, his companions. 
 
 18. The Three Warriors bringing 
 
 the Water of the Cistern to David. 
 
 Tres fortes attulerunt david regi 
 
 aquam de cisterna. 
 
 Solomon seated on his Throne. 
 Thronus salomonis. 
 
162 SPECULUM HUMANAE SALV AXIOMS, [chap. hi. 
 
 Cap. X. 
 
 19. The Presentation in the Temple. The Ark of the Old Testament. 
 Maria obtulit filium suum in templo. Archa testamenti significat mariam. 
 
 20. The Candlestick i7i the Temple The Lifant Samuel devoted to the 
 
 of Solomon. Lord. 
 
 Candelabrum templi Salomonis. Puer Samuel oblatus est domino. 
 
 Cap. XI. 
 
 21. The Flight of the Holy Family The Egyptians adoring the Image 
 into JSsrypt. and the Destruetion of of the Holy Virgin. 
 
 the Idols. 
 
 Omnia ydola corrueruut intrante Egiptii fecerunt imaginem virginis 
 ihesu in egiptum. cum puero. 
 
 The sjoup in the left hand compartment is composed with great 
 simplicity of %t\!\e, and furnishes additional evidence in support of 
 the opinion given at page 155; that the same artist who had en- 
 graved the " Biblia Pauperum" and " the Book of Canticles," was 
 also employed to execute the work before us : the head of Joseph, 
 and the general character of his figure, in this design of " the Flight 
 " into Eg\pt," bear so striking a resemblance to the Joseph in 
 " the Nativity" in the " Biblia Pauperum," copied at page 116, 
 (although the attitude is different) as to amount to little short 
 of proof that both were executed hy the same wood-engraver. 
 
 22. The young Moses breaking in Nebuchadnezzar seeing the Vision 
 Pieces the Crotcn of Pharaoh. of the Statue. 
 
 Moyses projecit coronam Phara- Nabusrodnasur vidit statuam in 
 onis et frt^it. sompno. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 163 
 
 Cap. XII. 
 
 23. The Baptism of Christ. The Vessel of Brass in which the 
 
 Jews washed themselves upon enter- 
 ing into the Temple. 
 Jhesus baptisatus est a johanne in Mare eneum in quo ingressuri in 
 
 jorclano. 
 24. Naaman cured of his Leprosy. 
 
 templum lavebantur. 
 
 The Ark carried over the River 
 Jordan. 
 
 Naaman leprosus (lavit) septies et Jordanus siccatus est in transitu 
 
 mundatus est. 
 
 filiorum dei. 
 
 Cap. XIII. 
 
 25. The Temptation of Christ. Daniel destroying the Image of Bel, 
 
 and killing the Dragon. 
 
 Cristus triplicitur fuit temptatus a Daniel destruxit bel, et interfecit 
 dyabolo. 
 
 26. David killing Goliath. 
 
 draconem. 
 
 David killing the Bear and the 
 Lion. 
 
 David superavit goliam philisteum. David interfecit ursam et leonem. 
 
 Cap. XIV. 
 
 27. 3Iary Magdalen at the Feet of The King Manasses in Captivity. 
 Christ. 
 
 Magdalena penituit in domo sy- Manasses egit penitentiam in cap- 
 monis. tivitate. 
 
 28. The Return of the Prodigal 
 Soti. 
 
 Pater familias filium prodigum 
 suscepit. 
 
 Nathan reproaching David ivith 
 his Sins. 
 
 David de adulterio redargutus 
 penituit. 
 
 The calm but austere dignity of a monitor sent from God is finely 
 
 Y 2 
 
164 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 portrayed in the figure of Nathan, in the right hand compartment. 
 The figure of David is very inferior, although not without expression. 
 
 Cap. XV. 
 
 29. Christ's Entry into Jerusalem. Jeremiah upon a Toiver, lamenting 
 
 the Fate of Jerusalem. 
 
 Cristus flevit super civitatem jhe- Jeremias lamentabatur super jhe- 
 rusalem. rusalera. 
 
 30. The Triumph of David. Heliodorus beaten tvilh Rods. 
 
 David susceptus est cum laudibus. Helyodorus flagellabatur. 
 
 Cap. XVI. 
 
 31. The Last Supper. The Israelites gat her i7ig Manna in 
 
 the Wilderness. 
 
 Cristus manducat pascha cum dis- Manna datur filiis Israel in deserto. 
 cipulis suis. 
 
 Christ and the twelve apostles, in the compartment to the left, 
 are seated on stools around a circular table. Judas is distinguished 
 from the rest by having no diadem or glory round his head. 
 The artist has committed a lamentable error of perspective — the 
 nearest figures in the piece being represented of the smallest 
 dimensions. 
 
 32. The Jeivs eating the Paschal Melchisedec meeting Abraham, 
 
 Lamb. 
 
 Judei manducaverunt agnum pas- MelchisedechobtulitAbrahepanem 
 chaleni. et vinura. 
 
 Cap. XVII. 
 
 33. The Soldiers, sent to take Christ Sampson killing a Thoiisand Phi- 
 in the Garden, struck to the Ground listines with the Jaw-bone of an 
 
 at his Word. Ass. 
 
 Cristus prostravit hostes suos unico Sampson prostravit mille cum man- 
 verbo. dibla azini. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 
 
 165 
 
 34. Sanger killing Six Hundred 
 
 Men with a Pious: h-share. 
 
 Sanger occidit sexcentos viros cum 
 
 vomere. 
 
 David slaying Eight Hundred 
 
 Men ivith his Sword. 
 
 David occidit octingentos viros cum 
 
 petu suo. 
 
 These two compartments, as well as that of Sampson in the last 
 leaf, exhibit many interesting specimens of ancient armour, in a 
 style very much resembling those noticed in one of the prints of 
 " the Book of Canticles." 
 
 Cap. XVIII. 
 
 35. Christ betrayed with a Kiss. 
 Cristus dolose traditus. 
 
 Joab killing Abner. 
 
 36. David playing on the Harp be- 
 fore Saul. 
 
 Rex Saul reddidit david malum 
 pro bono. 
 
 Joab interfecit fratrem suum 
 amasam. 
 
 The Sacrijice and Death of Abel. 
 
 Cayn dolose interfecit fratrem suum 
 Abel. 
 
 Cap. XIX. 
 
 37. Christ insidted by the Soldiers 
 
 of the High-Priest. 
 
 Cristus fuit velatus, consputus et 
 
 colaphisatus. 
 
 38. Ham mocki7ig his Father Noah. 
 
 Cam derisit patrem suum noem et 
 alii eum condolebant. 
 
 Hur insulted aiid spit upo7i by the 
 Jeivs 
 
 Hur vir marie suffocatus sputo 
 Judeorum. 
 
 The Philistines mocking Sampson 
 
 when Slind. 
 
 Philistei Sampsonem exceccantes 
 
 deriserunt. 
 
 The figure of Noah, in the left-hand compartment, although in 
 the meagre style of the time, is designed with great spirit ; espe- 
 cially in the head and hands, which evince, in every touch, the 
 
 intelligence of a consummate artist 
 
.166 
 
 SPECULUM HUMANAE SALVATIOMS. [chap. hi. 
 
 39. The Flagellation of Christ. 
 
 Jhesus ad columpuam ligatus est et 
 flasellatus. 
 
 Cap. XX. 
 
 The Prince Achior tied to a Tree. 
 Achior princeps ligatus est ad ar- 
 
 40. Lamech tormented hy his Two 
 Wives. 
 
 Lameth confligitur a malis suis 
 uxoribus. 
 
 borem a servis holofernis. 
 
 Job tormented by the Demon and 
 by his Wife. 
 
 Job flagellaljatur a demone et ab 
 uxore. 
 
 I have caused the design of Lamech and his wives to be copied, 
 and doubt not that the reader will appreciate its merits. The other 
 compartment is, upon the whole, less agreeable, though the wife of 
 Job is by no means an inelegant figure. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 167 
 
 Cap. XXI. 
 
 41. Christ crowned with Thorns. A Concubine taking the Crown 
 
 from the Head of a King and put- 
 ting it on her own. 
 Cristus coronatur spinea corona. Conciibina ipsius coronam regis 
 
 acceptam sibi ipsi imposuit. 
 
 The ignominious bondage of the monarch in the right hand com- 
 partment, is well expressed ; and the figure of the female is far 
 from ungraceful. 
 
 42. Schimei insulting David. The King Amnion disfiguring the 
 
 Messengers of David. 
 Siraey maledicit David. Rex amon dehonestavit nuncios 
 
 david. 
 
 Cap. XXII. 
 
 43. Christ bearing the Cross. Abraham about to sacrifice Isaac. 
 Cristus baiulavit crucem suam. Ysaac ligna portat pro sua immo- 
 
 latione. 
 
 44. The Son of the Lord of the The Two Spies carrying the Bunch 
 Vineyard murdered by his Servants. of Grapes. 
 
 Exploratores uvam in vecte povtant. Heres vinee projectus est extra 
 
 vineam et interfectus est. 
 
 These two inscriptions, as Heineken observes, are misplaced: 
 that on the right belongs to the subject on the left hand. 
 
 Cap. XXIII. 
 
 45. Christ nailed to the Cross. Tubal-Cain superintending his 
 
 Workmen, who are forging Iron. 
 Xpuscrucifixus mortem suam figuris Inventores artis ferrarie et melo- 
 predixit. diarum. 
 
 The author, says Heineken, intended to indicate by this type' 
 
168 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 that Tubal-Cain invented the nails by which Christ was fastened 
 to the Cross. 
 
 46. Isaiah suspended and saiced in A King killing his Child. 
 
 Two. 
 Ysaias propheta dividitur serra Rex moab immolavit filium super 
 lignea. murum. 
 
 The naked figure of Isaiah, although in the meagre style of the 
 time, is drawn with intelligence and spirit. 
 
 Cap. XXIV. 
 
 47. Christ on the Cross hetiveen the The Dream of Nebuchadnezzar of 
 
 Ttvo Thieves. the Tree cut down. 
 
 Cristus pendens in cruce. Nabugodnosor in sompnio vidit 
 
 arboreni. 
 
 The three naked figures of Christ and the two malefactors are also 
 designed with great feeling and spirit. 
 
 48. The King Codrus causing him- Eleazar killing the Elephant by 
 self to be put to death for the good plunging his Sword into its Selly. 
 
 of his Country. 
 
 Rex codrus dedit se ipsum in exi- Eleasar confodens elephantem ab 
 ciura pro suis. ipso oppressus est. 
 
 Thus far, according to Heineken, the chapters are conformable to 
 the ancient Latin manuscripts. 
 
 49. The Descent from the Cross. Joseph's Coat brought to Jacob. 
 
 Dolor marie de filio. Jacob deflet filium suum Joseph. 
 
 I have already observed that the latter cuts of this series are cer- 
 tainly engraved by a diiferent artist from the one who executed the 
 preceding ; and that the designs also appear to be of another hand. 
 The truth of this remark will be sufficiently apparent to the reader 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 169 
 
 in the subjoined copy of the Descent from the Cross. He will 
 observe, that in its style of design, as well as of execution, it differs 
 very materially from those before copied. The tree, for example, 
 on the right, is round and clumpy ; and the hatchings, with which 
 the figures are shaded, are ranged diagonally; whereas, in the pre- 
 ceding cuts, the figures are almost uniformly shaded by horizontal 
 hatchings ; and the trees, as may be seen in the cut copied at page 
 158, are of a conic form, with sharply pointed tops, like those of 
 " the Book of Canticles." It is moreover proper to notice that 
 beginning with this page, the printed work, which, as Heineken 
 observes, is so far conformable to the ancient Latin manuscripts, no 
 longer continues to be so. I shall leave it to the research of future 
 Avriters to account for this remarkable circumstance. 
 
 '?)olonnea'ielxtoo 
 
 L 
 
170 
 
 SPECULUM HUMA.NAE SALVATIOMS. [chap. hi. 
 
 50. Adam and Ere lamenting over 
 the dead Body of Abel. 
 
 Prothoplausti luxenmt necem abel. 
 
 51. The Burial of Christ. 
 Hora completorii datur sepulture. 
 
 52. Joseph put into the Well. 
 Joseph missus in cistemam. 
 
 53. Christ's Descent into Limbo. 
 Sancti patres liberantur de inferao. 
 
 54. God commanding Abraham to 
 
 have the Laud of Ur. 
 
 Liberatio Abraham de yr calde- 
 orum, 
 
 55. The Resurrection of our Sa- 
 
 viour. 
 
 Resuirectio domiiii nostri Ihesu 
 Cristi. 
 
 Naomi tceeping the Death of her 
 Sons. 
 
 Noemv flet mortem filiorum. 
 
 The Burial of Abner. 
 David flevit super exequias abner. 
 
 Jonas sicalloiced by the Whale. 
 Jonas a cete devoratus. 
 
 Moses leadincr the Children of Is- 
 rael out of Egypt. 
 Israhel liberatur a Pharaone. 
 
 Lot and his Family quiftinsr Sodom. 
 
 Liberatio loth a sodomis. 
 
 Sampson carrying off the Gates of 
 the City of Gaza. 
 
 Sampson tulit portas gaze. 
 
 56. Jonas vomited tip by the Whale. 
 Exitus ione de ventre ceti. 
 
 Stone-Masons at Work. 
 
 Lapis reprobatus factus est in lapi- 
 
 dem anguli. 
 
 57. The Last Juds'mcnt. 
 
 Extremum judicium. 
 
 The Parable of the Lord, taking 
 an account of the Debts ouing to 
 him by his Servants, and causing 
 the tricked Servant to be cast into a 
 Dungeon. 
 
 !\obilis reversus ex longinquis fecit 
 
 rationem. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 171 
 
 58. The Parable of the Wise and 
 the Foolish Virgins. 
 
 Reguum celorum simile decern vir- 
 ginibus. 
 
 Daniel explaining the Hand-writiiig 
 
 on the Wall. 
 Maiius domini scripsit in pariete. 
 
 The cut representing the parable of the wise and foolish virgins 
 is so beautifully composed, that I am sure the reader will be gratified 
 by its introduction in this place. It would be difficult to point out 
 any design of that subject, of later times, in Avhich the story, to use 
 a technical phrase, is better told, or in which the figures are more 
 gracefully disposed. 
 
 QreOT^^ttBftmbus 
 
 z2 
 
172 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 The Speculum Humanae Salvationis, as is well known, is 
 ascribed, upon the authority of Hadrian Junius, a Dutch writer of 
 the sixteenth centurj^ to the press of Lawrence Costee, of Harlem, 
 (or, as he styles him, " Laurentius Joannis, cognomento ^dituus 
 CusTOSVE,") who, he assures us, was the true inventor of typography ; 
 notwithstanding that a contrary opinion in favor of the pretensions 
 of the printers of Mentz had long gone abroad, and was become so 
 deeply rooted in the minds of men, as to render its removal a task 
 of extreme difficulty. 
 
 The account of Junius, which is given at length in the note 
 below,* is in substance as follows : 
 
 * " Habitavit ante annos centum duocle- 
 triginta Harlemi in aedibus satis splendidis 
 (ut documento esse potest fabrica quae in 
 hunc usque diem perstat Integra) foro immi- 
 nentibus e regione Palatii Regalis, Laurentius 
 Joannes cognomento Aedituus Custosve, 
 (quod tunc opimum et honorificum munus 
 fnmilia eo nomine clara haereditario jure pos- 
 sidebat) is ipse qui nunc laudem inventae 
 artis Typographicae recidivam justis vindiciis 
 ac sacramentis repelit, ab aliis nefarie pos- 
 sessam et occupatam, summo jure omnium 
 triumphorum laurea majore donandus. Is 
 forte in suburbano nemore spatiatus (ut solent 
 sumpto cibo aut festis diebus cives qui otio 
 abundant) coepit faginos cortices principio 
 in literarum typos conformare, quibus iuversa 
 ratione sigillatini chartae impressis versiculum 
 ununi atque alterum animi gratia ducebat, 
 nepotibus generi sui liberis exeniplum fu- 
 turum. Quod ubi feiiciter successerat, 
 coepit animo altiora (ut erat ingenio niagno 
 et subacto) agitare, primumque omnium 
 atramenti scriptorii genus glutinosius tena- 
 ciusque, quod vulgare lituras trahere expe- 
 riretur, cum genero suo Tlioma Petro, qui 
 quaternos liberos reliquit, omnes ferme con- 
 
 sulari dignitate functos (quod eo dico ut artcm 
 in familia honesta et ingenua, baud servili, 
 natam intelligant omnes) excogilavit, inde 
 etiam pinaces totas figuratas additis charac- 
 teribus expressit ; quo in genere vidi ab ipso 
 cxcusa adversaria, operarum rudimentum pa- 
 ginis solum adversis, baud opistographis : is 
 liber erat vernaculo sermone ab auctore con- 
 scriptus anonymo, titulum praeferens, Spe- 
 culum T^ostrae Salutis : in quibus id observa- 
 tum fuerat inter prima artis incuuabula (ut 
 nunquam uija simul et reperta et absoluta 
 est) uti paginae aversae glutine commissae 
 cohaerescerent, ne illae ipsae vacuae defor- 
 mitatem adferrent. Postea faginas formas 
 plumbeis mutavit, lias deinceps stanneas 
 fecit, quo solidior minusque flexilis esset 
 materia, durabiliorque : e quorum typorum 
 reliquiis quae superfuerant conflata oenophora 
 vetustiora adhuc hodie visuntur in Lauren- 
 tianis illis, quas dixi, aedibus in forum pros- 
 pectantibus, habitatis postea a suo pronepote 
 Gerardo Thoma, quern honoris caussa no- 
 mino, cive claro, ante paucos bos annos vita 
 defuncto sene. Faventibus, ut fit, invento 
 novo studiis hominum, quum nova merx, 
 nunquam antea visa, emptores undique ex- 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 
 
 173 
 
 He relates that, " about an hundred and twenty-eight years 
 " before he wrote, this Lawrence Coster resided in a large house, 
 " situated opposite the royal palace at Harlem, which was still 
 " standing. That Coster, during his afternoon w^alks in the vici- 
 " nity of the city, began by amusing himself with cutting letters 
 " out of the bark of the beech-tree ; and with these, one after 
 " another, the letters being inverted, he printed small sentences for 
 " the instruction of his grand-children. That being a man of 
 
 ciret cum huberrimo qiiaestu, crevit simul 
 artis amor, crevit ministeriiim, additi fami- 
 liae operarum ministri, prima mali labes, 
 quos inter Joannes qiiidam, sive is (ut fert 
 suspicio) Faustus fiierit ominoso cognomine, 
 hero suo infidus et infaustus, sive alius eo 
 nomine, non magnopere laboro, quod si- 
 ientum umbras inquietare nolim, contagione 
 conscientiae quondam dum viverent tactas. 
 Is ad operas escusorias sacramento diclus, 
 postquam artem jungendorum characterum, 
 fusilium t^porum peritiara, quaeque alia earn 
 ad rem spectant, percalluisse sibi visus est, 
 captato opportune tempore, quo non potuit 
 magis idoneum inveniri, ipsa nocte quae 
 Cliristi natalitiis solennis est, qua cuncti pro- 
 miscue lustralibus sacris operari solent, cho- 
 ragium omne typorum involat, instrumentorum 
 herilium ei artiiicio comparatorum supellecti- 
 lem convasat, deinde cum fure dorao se pro- 
 ripit, Amstelodamum principio adit, inde 
 Coloniam Agrippinam, donee Magontiacum 
 perventum est, ceu ad asyli aram, ubi quasi 
 extra telorum jactum (quod dicitur) positus 
 tuto degeret, suorumque furtorum aperta 
 officina fructum huberem meteret. Nimirum 
 ex ea, intra vertentis anni spacium, ad annum 
 a nato Christo 144'2. iis ipsis typis, quibus 
 Harlemi Laurenlius fuerat usus, prodisse in 
 lucem certum est Ale.\andri Galli Doctrinale, 
 quae Grammatica celeberrimo tunc in uso 
 
 erat, cum Petri Hispani tradatibus, prima 
 foetura. Ista sunt ferme quae a senibus an- 
 nosis fide dignis, et qui tradita de manu iti 
 manum quasi ardentem taedam in decursu 
 acceperant, olim intellexi, et alios eadem 
 referentes attestantesque comperi. Memini 
 narrasse mihi Nicolaum Galium, pueritiae 
 meae formatorem, hominem ferrea memoria 
 et longa canitie venerabilem, quod puer non 
 semel audierit Cornelium quendam biblio- 
 pegum ac senio gravem, nee octogenario 
 minorem (qui in eadem officina submmistrum 
 egerat) tanta animi contentione ac fervore 
 commeinorantem rei gestae seriem, invent! 
 (ut ab hero acceperat) rationem, rudis artis 
 polituram et incrementum aliaque id geuus, 
 ut invito quoque prae rei indignitate lachry- 
 mae eruniperent, quoties de plagio inciderat 
 nientio : tum vero ob ereptam furto gloriam 
 sic ira exardescere solere senem, ut etiam 
 lictoris exeraplum eum fuisse editurum in 
 plagiarium appareret, si vita illi superfuisset : 
 tum devovere consuevisse diris ultricibus sa- 
 crilegum caput, noctesque illas damnare 
 atque execrari, quas una cum scelere illo, 
 communi in cubili per aliquot menses exe- 
 gisset. Quae non dissonant a verbis Quirini 
 Talesii Cos. eadem fere ex ore librarii ejus- 
 dem se olim accepisse mihi confessi." &c, 
 &c. Meerman Documenta, No. 2. 
 
174 SPECULUM HUMAN AE SALVATIONIS. [chap. in. 
 
 " genius and research, and finding the ink then commonly used apt 
 " to spread, he afterwards discovered, with the assistance of his 
 " son-in-law, Thomas the son of Peter (who, he tells us, left four 
 " children, most of whom, afterwards, enjoyed high offices in the 
 " state) a more glutinous kind of ink, with which he succeeded in 
 " printing entire pages with cuts and characters. That he, Junius, 
 " had seen specimens of this kind, printed on one side of the paper 
 " only, in a book entitled ' Speculum NostrsE Salutis,' written by an 
 " anonymous writer in the Dutch language ; the blank pages being 
 " pasted together that the leaves might turn over, like those of an 
 " ordinary book, without shewing the vacancies. That, afterwards, 
 " Coster made his letters of lead instead of wood ; and lastly of 
 " pewter, finding that metal harder, and consequently, more proper 
 " for the purpose ; and that various drinking cups, made of the 
 " remains of this old type, were still preserved in the aforesaid 
 " house, where, but a few years before. Coster's great nephew, or great 
 " grandson, Gerard Thomas, had died at an advanced age. That 
 " the invention in question, soon meeting with encouragement, it 
 " became necessary to augment the number of hands employed ; 
 " which circumstance proved the first cause of disaster to the new 
 " establishment ; for that one of the workmen, named John (whom 
 " Junius seems to suspect might have been Fust — for he does not 
 " absolutely accuse him), as soon as he had made himself sufficient 
 " master of the art of casting the type, and joining the characters 
 " (notwithstanding he had given an oath of secrecy), took the earliest 
 " opportunity of robbing his master of the implements of his art ; 
 " choosing, for the completion of his purpose, the night preceding the 
 " feast of the Nativity, when the whole family, with the rest of the 
 " inhabitants of the city, were at church, hearing midnight mass. 
 " That he escaped with his booty to Amsterdam, thence to Cologn, 
 " and, lastly, that he took up his residence at Mentz, where he esta- 
 " blished his printing press ; from which, within the following year, 
 " 1442, were issued tAvo works, printed with the characters which 
 " had been before used by Lawrence Coster, at Harlem ; the one 
 
CHAP, in.] SPECULUM HUMANAE SALVATIONIS. 175 
 
 " entitled * Alexandri Galli Doctrinale,' the other, * Petri Hispani 
 " ' Tractatus.' " 
 
 This account, Junius assures us, he had from several old gentle- 
 men Avho had filled the most honorable offices of the city, and 
 who, themselves, had received it from others of equal respectability 
 and credit, as a Avell founded tradition ; " as a lighted torch," says 
 he, " passes from one hand to another without being extinguished." 
 He adds, " that he well remembers that Nicholas Galius, the tutor 
 " of his youth, who was an old gentleman of very tenacious me- 
 " mory, used to relate that, when he was a boy, he had often 
 " heard one Cornelius, then an old man upwards of eighty years 
 " of age, who had been a bookbinder, and, in his youth, had 
 " assisted in the printing office of Coster, describe, with great 
 " earnestness, the various trials and experiments made by his 
 " master in the infancy of the invention : upon which occasions 
 ** he would even shed tears, especially when he came to the story 
 " of the robbery committed by one of the Avorkmen, which he 
 " related with great vehemence ; cursing those nights in which, as 
 " he said, for some months, he had slept in the same bed Avith so 
 " vile a miscreant ; and protesting that he could, with the utmost 
 " pleasure, execute the thief with his own hands, if he had been 
 " still alive :" " which relation," as Junius tells us, " corresponded 
 " with the account which Quirinus Talesius, the Burgomaster, 
 " confessed to him he had heard from the mouth of the same old 
 " bookbinder." 
 
 The reader is no doubt aware, that it is very principally upon 
 this testimony that the writers of Holland found, what they con- 
 sider the undoubted pretensions of Harlem to the invention of 
 printing : I say principally, because, whatever pains the writers of 
 the adverse party may take to persuade us of the contrary, the pre- 
 tensions of Harlem, and still less those of Holland generally, do not 
 rest upon this evidence alone. 
 
 It must, indeed, be admitted, that Junius is the earliest writer 
 at present known, who makes express mention of Lawrence Coster, 
 
176 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 or Laurent Jansszoon, as the inventor of Typography ; but he is 
 far from being the first who asserted that that art was invented at 
 Harlem. 
 
 Hadrian Junius was born at Horn, in 151 1, and took up his abode 
 at Harlem, in the year 1560: he commenced his work entitled 
 " Batavia," towards the latter part of his life, completed it in 
 January, 1575, and died on the 16th of June in the same year. 
 His book was first printed in 1588. The passage relative to Coster 
 is supposed, from its context, to have been written in 1568. 
 
 Now we learn from Scriverius, that a treatise expressly upon the 
 subject in question, was written at Harlem, between the years 1549 
 and 1561, by John Van Zuyren,* who was sometime Scabinus or 
 Sheriff, and afterwards Burgomaster of that city. Of the body of 
 this work, which was composed in Latin, in the form of a dia- 
 logue, Scriverius feelingly regrets the loss ; assuring us that, had it 
 been preserved, it would have been unnecessary for him to have 
 had recourse to the testimonies of Junius and others ; and that 
 Harlem, to the confusion of envy, would have then enjoyed the 
 undisputed title to the invention of Typography. Scriverius has 
 preserved the Latin title of this book, and some fragments of its 
 dedicatory preface. The name of Coster does not appear. In one 
 part, after admitting that the honour of having perfected the art of 
 printing, and of having made it known throughout Europe, is justly 
 due to Mentz, the author says, " Caeterum hoc teneat velim Ampli- 
 " tudo tua N. N. in hac urbe nostra Harlemensi prima esse jacta 
 " opificcii hujus prseclari fundamenta, rudia fortasse, sed tamen 
 
 * Scriverius says : " a Joanne Zureno diu 1561, when he was advanced to the dig- 
 ante turbas belgicas compositus, cum ipse nity of Burgomaster. He died, aged seventy- 
 Scabinus Harlemi conservandis legibus dig- four, in llie year 1501. Scriverius's book 
 nissime prjeesset, atque nouduni consulatum was first printed at Harlem, in tiie Dutch 
 suscepisset ;" and we learn from Meerman, language, in 1628. It is given in a Latin 
 torn. i. p. 63. that Van Zuyren filled the translation in Wolfius's Collection, 
 office of Scabinus from the year 1549 to 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 177 
 
 " prima. Hie nata et in lucem edita est Typographia (quod Mo- 
 " guntinensium pace dictum velim) suisque membris formata, ut 
 " succrescere posset; ac diu certe, ut nuper nati infantes solent, 
 " tractata figurataque sedulo, multosque hie annos intra privatos 
 " tantum parietes stetit, qui sunt modo,* quamquam ruinosi, tamen 
 " adhuc salvi et ineolumes, tanto pridem partu suo orbati ae spo- 
 " liati misere." &c. 
 
 The whole of the fragments preserved of Zuyrenus's preface are 
 extremely interesting. The author, says Scriverius, asserts as 
 follows : 
 
 " Artem tj-pographicam Harlemi primam esse inventam. 
 
 " Olficinam primam typographicam temporibus ipsius auctoris, 
 " quum hsec scriberet, incolumem-f- adhuc fuisse, cum illis quae 
 " ad eam pertinebant. 
 
 " Artem banc novam atque tum adhuc rudem a peregrino quodam 
 " subductam, 
 
 " Hinc Moguntiam perlatam, 
 
 " Ibi vero exceptam, nutritam," &e. 
 
 Next in the order of time to the testimony of Van Zuyren, may 
 be mentioned that of Theod. Volchart Coornhert, prefixed to that 
 writer's translation of Cicero's Offices, in the dedication of the work 
 to the Burgomasters, Judges, and Senators of Harlem, where the 
 book was printed in 1561. 
 
 Coornhert, like Junius, assures us that he wrote upon the autho- 
 rity of " aged persons of the highest respectability and credit, who 
 " had repeatedly informed him, not only of the family of the in- 
 " ventor, and of his name and surname, but also concerning the 
 " rude manner of printing which he at first practised, and the place 
 " of his residence, Avhich they had often pointed out to him with 
 
 * " Prospectantes in forum et curiam f " Uti adhuc hodie, quamquam mutata 
 
 " nunc in duas tresve domus partiti ac divisi. " et diminuta, ut videre est in loco, qui 
 
 " Ipsum typographeion antiquum ad Clariss. " dicitur Marckveld." Note of Scrive- 
 
 " J. C. Dobbium pertinet, habitatum a rius. 
 " bibliopego." Note of Scriverius, 
 
 2 A 
 
178 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 " their fingers."* It may be fairly contended, in support of this 
 account, that if the better informed classes of the people of Harlem, 
 at the time, had been convinced that there was no good foundation 
 for the tradition, and that it was no other than an old woman's 
 tale, the writer would scarcely have thought of addressing it to the 
 dignatories of the city, to whom it could not have been very grati- 
 fving to be selected as the fit persons to listen to a fable which no 
 one else believed. 
 
 * The words of Coomhert, as translated 
 by Meerman, (Documenta, No. 82) are as 
 follow : " Viri spectatissimi prudentissimique, 
 " saepe mihi bona fide narratuni est, utilissi- 
 " mam artem typographicam in bac urbe 
 " Harlemensi, etsi modo perquam rudi, in- 
 " ventam esse ; emendare enim inveuta et ad 
 " majoreni perfectionis gradura perducere 
 " facilius est, quam nova invenire. Postea 
 " banc artem servus quidam pertidus," (,tbe 
 name of Coster is here introduced by Scri- 
 verius, but without authority) " Moguntiam 
 " transtulit, ibique illam perfectiorem reddidit, 
 " et huic simul urbi inventionem hujus artis, 
 " simulatque fama ejus rei divulgata esset, 
 " conciliavit, adeo ut cives nostri, quando 
 " hunc honorem vero inventor! adscribunt, 
 " vix apud qiiemqiiam fidem inveniant, cum 
 " tamen res ipsa a multis in nostra urbe 
 " propter notitiam certissimam omnino cre- 
 " datur, et a civibus veteranis cunctis extra 
 " omnem dubitationis aleani ponatur. Neque 
 " me fugit, famam illaui de Moguntia ob 
 " majorum nostroruni incuriam temerariara 
 " omnium mentibus tarn altis intixam esse 
 " radicibus, ut nullum argumentum, quamvis 
 " evidentissimum, certissimum et invictissi- 
 " mum fuerit, inveteratam illam opinionem 
 •* ex illorum animis evellere queat. Sed 
 " quoniam Veritas, etiamsi paucis nota sit, 
 << Veritas tamen manet, idcirco ego quoque 
 
 " rem modo narratam certissimam esse credo, 
 " convictus testimoniis fide dignissimis vi- 
 " rorum senio et auctoritate gravium, qui 
 " non solum de familia iuventoris Har- 
 " lemensis, sed etiam de ejus nomine et cog- 
 " nomine me saepe certiorem reddiderunt ; 
 " imo primum impressionis modum rudiorem 
 " descripserunt, et primi typographi aedes 
 " iudice digito olim monstrarunt. Itaque, 
 " non invidia honoris alieni, sed amore veri- 
 " tatis inductus, intermittere non potui, quin 
 " banc rem ad gloriam promeritam urbi nos- 
 " trae vindicandam paucis attingerem. Haec 
 " honesta et justa honoris cupido videtur 
 " etiam in causa fuisse, cur typographia in 
 " hac urbe ad instar surculi e radicibus ar- 
 " boris vetustae denuo effloruerit atque incepta 
 " fuerit. Etenim saepe contigit, lit cives 
 " nostri in congressum colloquiumque mu- 
 " tuum venientes, quererentur, alios hoc 
 " honore immerito frui, atque adhuc a nemine 
 " post illud tempus (sic illi ne alio quidem 
 " contradicente loquebantur) banc artem in 
 " nostra urbe exercitam esse. His quoti- 
 " diauis dictis effectum est id, ut ego sociique 
 " mei, qui honestum laborem olio prje- 
 " ferunt, consilium de typographia Harlemi 
 " constituenda in hujus urbis honorem, alio- 
 " rum emoluineutum nostrumque commodum 
 " absque uUius hominis damno promovendum 
 " ceperimus." 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 179 
 
 Hitherto, however, it may be said, that our testimonies were 
 Dutchmen. — True — but they were not, if we except Van Zuyren, 
 natives of Harlem. Besides, they all agree in lamenting that their 
 country had so long delaj'^ed publicly to establish its claims to that 
 honour which was really its due ; and the particulars of the oral 
 traditions, preserved by the people of Harlem, could with difficulty 
 be collected, except by one resident in that city ; although the 
 opinion that typography was there invented, was common through- 
 out Holland. 
 
 This we learn from Ludovico Guicciardini, who, as he was an 
 Italian, may be considered impartial as to the matter in dispute, 
 and who thus noticed the pretensions of Harlem in his work, entitled 
 " Descrizione di tutti i Paesi Bassi," written, as it is said, in the 
 year 1565, and printed at Antwerp, in 1567. Speaking of Harlem 
 (p. 180) he says: 
 
 " According to the common tradition of the inhabitants, and the 
 " assertion of other natives of Holland, as well as the testimony 
 " of certain authors and other records, it appears that the art of 
 " printing and stamping letters and characters on paper, in the 
 " manner now used, was first invented in this place : but the 
 " author of the invention happening to die before the art was 
 " brought to perfection, and had acquired repute, his servant, they 
 " say, went to reside at Mentz ; where, giving proofs of his know- 
 " ledge in that science, he was joyfully received; and where, 
 " having applied himself to the business with unremitting diligence, 
 " it became at length generally known, and was brought to entire 
 " perfection : in consequence of which, the fame afterwards spread 
 " abroad and became general," (e inveterata la fama) " that the 
 " art and science of printing originated in that city. What is really 
 " the truth, I am not able, nor will I take upon me to decide ; it 
 " sufficing me to have said these few words, that I might not be 
 " guilty of injustice tOAvards this town and this country."* 
 
 * " III questa terra, non solo per voce " landesi, ma aucora per alcuni scriltori, e 
 " publica degli abitatori, e di altri Hoi- " per altre memorie, si trova, die fu prima- 
 
 2 A 2 
 
180 SPECULUM HUMAINAE SALV AXIOMS, [chap. in. 
 
 The reader will observe that Guicciardini bears witness that, at 
 the time he wrote, the pretensions of Harlem did not rest merely 
 upon the authority of oral tradition — he refers, although, unfor- 
 tunately, without specifying them, to the testimony of certain 
 writers on the subject, and to other records then in existence. Like 
 a cautious man, fearful of repeating an accusation, the truth of 
 which he could not, or did not choose to be at the pains to ascer- 
 tain, he softens the story of the robbery ; but the deticiencv of his 
 testimony in this respect is amply made amends for, by the circum- 
 stance, which he alone records, that the Avorkman of Coster did 
 not go to Mentz until after his master's death. 
 
 The reader, little versed in the mode in which typographical con- 
 troversy has of late been treated, will be, jjerhaps, not less sur- 
 prized than I was, at the boldness of a recent French writer of 
 some note, who, in the face of these and other documents, thus 
 begins his examination of the claims of Harlem : 
 
 " A century had passed by, from the period of the invention of 
 " printing," says Lambinet,* " when the inhabitants of Holland 
 " began to think of asserting their claims to the honour of the dis- 
 " covery. Adrian Junius lirst gave them the idea. That writer, 
 " towards the end of liis life, undertook to compose a description 
 " of Holland, under the title of " Adriani Junii Batavia," wliich he 
 " dedicated to the States-General, the 4th of January, 1575. His 
 " death, which happened on the 16th of June in the same year. 
 
 " mente inventata I'arte dello imprimere, e " fezione ; onde e poi volata, e inveterata ia 
 
 " stampare lettere, e caratteri in foglio al " fama, che di quella citta sia uscita I'arte e 
 
 " modo d'oggi : impero venendo I'autore a " la scienza della stamps. Quel clie ne sia 
 
 " morte innanzi, che I'arte fosse in perfe- " alia verita, non posso, ne voglio giudicare, 
 
 " zione, e considerazioue, il servidore suo " bastandomi d' aveme tocco un molto, per 
 
 " secondo dicono, ando a dimorare a Ma- " non progiudicare a questa terra e regione." 
 
 " ganza, ove dando lurae di quella scienza, (Meerman — Documenta, No. 84). 
 
 " fu raccolto allegramente, e quivi dato opera * Origine de I'lmprimerie, torn. i. p. 2G2, 
 
 " con ogni diligenzia a lanto negozio, ne et seq. 
 " vennero all' intera notizia, e total per- 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIOINIS. 181 
 
 " when he was sixty-three years of age, put an end to his enter- 
 " prize. It was continued after his decease, and was not printed 
 " until the year 1588. It is, therefore, a posthumous work, which 
 " one or several continuators may have varied, interpolated, or 
 " augmented, according to their fancy." 
 
 The French writer then proceeds to give us what he, no doubt, 
 considered a very fair, and, at the same time, a very spirited 
 examination, (or, as he calls it. Analysis) of Junius's account ; after 
 which he sarcastically tells us, that " Fournier the younger, Koehler, 
 " Schoepflin, Fischer, and a great many other writers, have amused 
 " themselves by refuting the statement of Junius seriously. Naude," 
 says he, p. 121, " asks Junius and his partizans, how John Fust, 
 " or any other John, could have carried on his back the presses, 
 " the type, the cases, the tables of stone, &c. ? But this story of 
 " the robbery," continues Lambinet, " is very aukwardly intro- 
 " duced in the romance of Junius ; since, if we suppose Fust to 
 " have been Coster's workman, he must have been, of consequence, 
 " instructed in the mechanism of the art, and it must have been 
 " very unnecessary and very inconvenient for him to have carried 
 " off his apparatus." 
 
 It is certainly not necessary to the defence of Junius's credit as a 
 bona fide historian, and still less to the cause of Harlem generally, 
 that that writer's verbal correctness in every particular of his narra- 
 tive should be absolutely proved. Junius, however, does not say 
 that the robber carried off all the printing apparatus of his master 
 upon his shoulders, and that at one journey. The tables of stone, 
 and many other articles, he could easily provide elsewhere. The 
 press, if, as is supposed, it was of a simple construction, he could 
 readily get made under his inspection Avhen he arrived at the end 
 of his proposed journey : the type, and the matrices in which it 
 had been cast, with a few other instruments, were all that could 
 be moved Avithout manifest danger of immediate detection, and 
 were all he could want ; and these, at two or three different times 
 in the course of the evening, the thief might easily have carried to 
 
182 SPECULUxAI HUMANAE SALV AXIOMS, [chap. hi. 
 
 a short distance beyond the gate of Harlem, where his accomplice 
 waited for him with a small cart or other means of conveyance. 
 More daring robberies are frequently committed in open day ; and, 
 in truth, the objections so often made against tliis part of Junius's 
 account, are so frivolous as to be scarcely worth answering. 
 
 M. Lambinet proceeds to compliment the old gentlemen upon 
 whose authority Junius wrote his account ; facetiously styling them 
 " des siecles parlans, et ambulans;" and, lest his readers should 
 have forgotten his first assertion, repeats : " Such is the evidence 
 upon which Harlem grounds her pretensions !" 
 
 But it will be proper briefly to examine the French writer's sub- 
 sequent argument; as it furnishes a good specimen of the mode 
 in which the question has been treated by most of those who 
 have declared on the side of Mentz. Lambinet approaches with 
 dignified steps, not doubting of an easy victory. 
 
 " "SVlien we are at a loss," says he, " to ascertain the truth of 
 " facts, said to have taken place in former centuries, and in distant 
 " countries, what are the means by wliich we may obtain any 
 " moral certitude of their existence ? — They are four : 1 . Tlie tes- 
 " timonv of eye-witnesses or of contemporaries ; 2. Oral tradition ; 
 " 3. Written history ; and 4. Existing monuments. 
 
 " Now," says Lambinet, " Ave have no testimony of any person 
 " who saw Coster's printing-office, from the year 1430 to 1440: 
 " and even supposing one person to have witnessed it," (meaning 
 Cornelius) " his insulated testimony as to so complicated an inven- 
 " tion would be worth notliing. It could not be entitled to belief, 
 " unless corroborated bv several other eye-witnesses, who were 
 " persons capable of understanding Avhat they saw," (instruits) " of 
 " undoubted probity, and free from all prejudice." 
 
 If nothing short of such ample testimony will satisfy- INI. Lambinet, 
 it will not, I apprehend, be in the power of the partizans of Coster 
 or of Harlem to bring him over to their side : — but it may fairly be 
 asked of him, whether he is prepared to produce the testimony of 
 several eye-witnesses of abilitv, undoubted probity, and unpre- 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 183 
 
 judiccd minds, in support of* the part Avliich he has taken? — He 
 continues : 
 
 " Oral tradition is a chain of testimonies given by persons who 
 " have succeeded each other throughout the duration of centuries ; 
 " beginning from the epoch Avlien the fact took phice. Tliis tra- 
 " dition is neither faithful nor to be depended upon, except when 
 " we can easil)-^ trace it to its source, by means of a series of inter- 
 " mediate testimonies, imtil we arrive at those who were contem- 
 " poraries of the fact ; for if this chain is broken, and interrupted 
 " by intervals, — in that case, as it does not hold together, it can 
 " only lead us to falsehood : now Lawrence had no eye-witnesses 
 " of his invention, and therefore he cannot have oral tradition in 
 " his favor." 
 
 Unless the French writer takes it for granted that his readers 
 should join with him, in the fust instance, in condemning the rela- 
 tion of Junius as absolutely a tissue of falsehoods invented by him- 
 self, or by those who he says continued his book alter his death, he 
 cannot expect them to agree with him that Coster has not oral tra- 
 dition, even such as he has defmed it, in his favor: for the son-in- 
 law of Coster, Thomas Peter, Avas an eye-witness of his invention, 
 and assisted him in improving it; and Cornelius, the book-binder, 
 was also an eye-witness of it when a young man ; and, when grown 
 old, related to Nicholas Galius, that which he knew and had wit- 
 nessed ; and Galius, in his turn, related what Cornelius had told 
 him, to Junius. The chain of testimonies, even such as M. liam- 
 binet insists upon, is therefore complete; and, as it is com|)osed 
 of but few links, it is, on that account, according to Mr. Locke's 
 axiom, that in traditional testimony the fewer (he removes, the 
 greater the force of the ])roof, so much the stronger. 
 
 Nor, notwithstanding the French writer's pleasantry in styling 
 these testimonies " walking centuries," is there any thing extra- 
 vagant in the supposition of a fact having been thus preserved, and 
 handed down to posterity by three succeeding testimonies, even 
 
184 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 thougli it had taken place an hundred and forty years before it was, 
 at length, recorded by the last of them ?* 
 
 Junius, Avho was born in 1511, we will suppose, wrote his account 
 of Coster in 1568. — He received this account when a young man. 
 
 * Van Ziiyren, Coornhert, Guicciardini, and 
 Junius, all agree in speaking of the story of the 
 invention of printing at Harlem, as a fact of 
 public notoriety in that city, when they wrote ; 
 and indeed Guicciardini states that it was 
 commonly believed throughout Holland — all 
 of them agree that one of the workmen of 
 the inventor carried the art to Mentz : and 
 although the last-mentioned writer abstains 
 from giving his sanction to the account of the 
 robbery, it is very clear that he had heard it. 
 — Now if we suppose this robbery to have 
 taken place, as Junius says it did, in the year 
 1440, it becomes more than probable that 
 even as late as 1568, when he wrote, per- 
 sons were still living, who in their youth 
 had heard the relation from those who lived 
 when the event took place, and were ac- 
 quainted with the circumstances attending it ; 
 and it is to be regretted that Junius, in addi- 
 tion to the respectable authorities of Galius 
 and Talesius, who had formerly related to 
 himself that which he recorded, did not, 
 when writing his book, search out such per- 
 sons, and insert their viva voce, or written 
 declarations, in their own words. 
 
 I am now sitting on a cushion, the cover of 
 which was embroidered near a hundred and 
 twenty years ago, by some great aunts of my 
 mother, whose testimony as to the fact I here 
 give in her own w ords : — the reader will perceive 
 that if Mrs. O. should live and preserve her 
 intellects to the age of her aunt Mary, she may 
 then bear witness to what she often heard re- 
 lated by the principal herself, of circum- 
 
 stances which took place a hundred and forty- 
 four years before. 
 
 " Brompton Row, May 29, 1S14. 
 
 " MY DEAU SON, 
 
 "In answer to your inquiries 
 " about the cushion covers in our possession, 
 " xcorked by the daughters of my great 
 " grandfather, John Taylor, Esq. I can only 
 " with accuracy and certainty tell you, that 
 " / remember them on the chairs, and a 
 " settee, as it was then called, (before sofas 
 " were introduced) belonging to the two 
 " eldest of those ladies, from my earliest 
 " childhood, as 1 lived much with them, and 
 " particularly with the senior and survivor of 
 " them, Mrs. Mary Taylor, who was born 
 " in the year l6S0, and has frequently told 
 " me that these, and other curious pieces of 
 '' needlework, of which I have specimens, 
 " were the performance of herself and sisters 
 " in their youth, and some of them, but I can- 
 " not say which, of their mother, — chiefly 
 " done at my great-grandfather's house and 
 " estate at Bifrons, in Kent : when, she said, 
 " the Rev. Mr. Sacket, tutor to my grand- 
 " father, Brooke Taylor, LL.D., used very 
 " good-humouredly to seat himself in an high 
 " window amid their circle, when he had 
 " leisure, and read to them whilst they 
 " worked, With regard to the dale of that 
 " period, / think it must have beguji about 
 " A.D. 1GL)5 — because Brooke Taylor, the 
 " eldest brother, was not born till l6S5 
 " (August the 18th, at Edmonton); and we 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 185 
 
 perhaps of tAventy-five (An. 1536) from his tutor Nicholas Galius, 
 who we may conclude was then full sixty -seven years of age, — for 
 Junius speaks of him as an old gentleman of very tenacious memory, 
 and such a description would not be suited to a younger man. 
 Galius, when a youth — say of eighteen years of age, Avhich brings 
 us to 1487 — heard the relation, several times repeated, from the 
 mouth of Cornelius, the bookbinder, who was then upwards of 
 eighty — we Avill call him eighty-two — and Cornelius, when a young 
 man of three and twenty, lived with Laurence Coster — that is, in 
 the year 1428. 
 
 This chronological calculation is far from unreasonable, whilst 
 it accords sufficiently well with the general tenor of Junius's state- 
 ment,* as well as the shorter account of Guicciardini. Indeed, if 
 
 " can hardly suppose he had a clerical tutor 
 " before he was ten years of age, though, 
 " from his rapid progress in learning, he was 
 " entered a fellow commoner at Cambridge 
 " at fifteen. His sister, Mrs. Mary Taylor, 
 " my mother's aunt, and the eldest of John 
 " Taylor's eighteen children, with whom I 
 " often resided, was a fine sensible old lady, 
 " and died at the age of tiinety, in the year 
 " 1771, when I was two and twenty. What- 
 " ever she asserted might be depended on, 
 " and I wish I had attended more particu- 
 " larly than I did, to many curious anecdotes 
 '' she related — the above mentioned little 
 " circumstance, however, is genuine. 
 
 " I remain, &c. 
 
 " Sar. Eliza. Ottley." 
 
 If the reader smile at the matter herein 
 recorded, he will, I trust, at the same time 
 acknowledge, that the record itself furnishes 
 an illustration of the observations in the text, 
 relative to oral and traditional testimony. 
 
 * I am obliged, however, to suppose Ju- 
 nius in error, when he states that Talesius, as 
 well as Galius, had the narrative from old 
 Cornelius himself. Of Nic. Galius, we find 
 no mention after 1531, 1533, and 1535, in 
 which years his name occurs in the Fasti of 
 the city of Harlem, as Scabinus; and, conse- 
 quently, we may reasonably suppose him to 
 have been born as early as 1459: but Quiri- 
 nus Talesius lived until the year 1 573, when 
 he was cruelly put to death by the Spanish 
 soldiers. (Meennan, vol. i. p. 57-) It is 
 therefore scarcely possible, unless we suppose 
 both Cornelius and Talesius to have reached 
 the age of nearly an hundred, that the latter 
 should have heard the story from the mouth 
 of the former. 
 
 It appears not improbable, that there 
 were two bookbinders of the name of Cor- 
 nelius, at Harlem ; the one the son, or 
 nephew of the other. For Meerman found 
 mention of " Cornelius the bookbinder" in the 
 records of the church of S. Bavon, at Har- 
 
 2b 
 
186 SPECULUM HUMANAE SALVATIONIS. [chap. m. 
 
 Lawrence Coster, or Laurent Janszoon, by whichever name Ave 
 call him, Avas the first inventor of" typography ; and if the example 
 of his imperfect attempts did give rise to the more successful en- 
 deavours of the printers of Mentz — it necessarily follows, I think, 
 thatAve must date the period of his discovery of moveable characters, 
 within the first thirty years of the fifteenth century. But to return 
 to Lambinet, avIio, after having informed us concerning the qualities 
 necessary to give authority to the testimony of eye-Avitnesses, and 
 of oral tradition, now proceeds to speak of historical or Avritten 
 testimony. 
 
 " Written History," says the French Avriter, " records some 
 " striking event that has happened in the presence of a multitude 
 " of genuine Avitnesses, Avho make their depositions concerning it — 
 " (sous les yeux d'une foule de temoins integres qui deposent en sa 
 " faA'eur.) The historian puts the testimonies of these Avitnesses 
 " together ; he calculates their different degrees of intelligence or 
 " probity ;" [I Avill not quarrel Avith Lambinet about the degrees 
 of probity of these " temoins integres"] " he considers their pre- 
 " judices, their different interests ; he compares their depositions 
 " Avith each other ;" &c. " he cannot attempt to impose a falsehood 
 
 lem, under the years 1474, 14S5, 1487, Meerman to a conclusion little calculated 
 1496, 1503, 1507, 1508, and 1515. Now, to give weight to Cornelius's testimony; and 
 if the chronology in the text is at all correct, which ill accords with the belief, that Jans- 
 Cornelius must have been an old man of zoon or Coster died in the year 1 440 ; viz. 
 ninety in the year 1496. I therefore think it that Cornelius, when he lived with Coster, 
 more reasonable to conclude, that the four or in 1440, was only ten or twelve years of 
 five last dates above mentioned refer to a age. If my hypothesis as to the two Cor- 
 younger Cornelius, the relation and successor neliuses be admitted, every objection to the 
 of him who had lived with Janszoon or Cos- chronology in the text, that I am aware of, 
 ter, and that Talesius had heard the story ceases ; since Meerman found memoranda 
 from this younger Cornelius, — than to sup- relative to Laurent Janszoon in the archives 
 pose, with Meerman (vol. ii. p. 312), that they of the church of S. Bavon, of which Laurent 
 all of them relate to the same individual — a was Custos, of the years 1423, 1426, 1432, 
 supposition which, as its consequence, forces and 1433. 
 
CHAP. HI.] SPECULUM HUMANAE SALVATIONIS. 187 
 
 " upon posterity; for his contemporaries, were his assertions un- 
 " founded, would cry out against him, and expose his error." 
 
 I know not what to make of M. Lambinet's definition of written 
 history. Does he mean to say that no facts, except such as take 
 place in the presence of a multitude of Avitnesses, who themselves 
 immediately, or soon after, testify what they have seen to the historian, 
 merit to be recorded ? that the records of less public transactions do 
 not deserve the name of history, and are unworthy of belief? 
 
 " Now, even according to the admission of Meerman himself," 
 continues the French writer, " the Dutch historians did not speak 
 " of the invention of Lawrence Coster, until a hundred and thirty or 
 " a hundred and forty years after his death; viz. Van Zuyren," 
 (Lambinet should have said Coornhert) " in 1561 ; Guicciardini, in 
 « 1567; Natalis Comes, in 1581; Junius, in 1588." 
 
 It is cei'tainly very diverting to see M. Lambinet ending this 
 catalogue of the Dutch historians, who spoke on the subject in 
 question, with the name of Junius ; who he had before told us was 
 the FIRST person who put it into the heads of the inhabitants of Hol- 
 land to lay claim to the honour of the invention. 
 
 " Before these writers," continues Lambinet, " Reinier de Snoy, 
 " Brassica, Heda, de Roya, and Erasmus, do not say one word 
 *' upon the subject — Charles Van Mander and Jacques de Jongh, 
 " Avho' Avrote the history of the Dutch artists twenty years after 
 " Junius, make no mention of Coster : they even doubt that such a 
 " person ever existed.* — Indeed, in the posthumous works of John 
 " Wagenaar, published at Amsterdam, in 1787, in 12mo., under the 
 " title of ' Histories Chryver Jan Wagenaar,' we find, at page 108 
 
 * Here is another instance of Lambinefs (" Idee Generale, p. 281,") remarks the 
 want of candour. If Fan Mander made no silence of Van Mander as to Coster, and en- 
 mention of Coster, it was because he neither deavours to construe it as favourable to the 
 considered him as a painter, a sculptor, or an side he had taken : " Carl Van Mander," 
 engraver ; and he wrote the lives of the says he, (p. 283,) " a cru, sans doute, que ce 
 Dutch and Flemish artists, not the History of " conte de Junius ne meritoit pas d'etre rap- 
 their Printers. Heineken, like Lambinet, " porte. Cela devient d'autant plus probable, 
 
 2 b2 
 
188 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 " of the second volume, an answer of Meerman to that celebrated 
 " historian, who had asked his opinion concerning the history of 
 " Lawrence Coster ; — he frankly tells him that he does not believe 
 " it. — He, however, say they, retracted what he had ^^ ritten in a 
 " subsequent letter : he was, therefore, not firm in his opinion (il 
 " n'etoit done point ferme dans son opinion)." 
 
 I cannot suffer this observation of Lambinet, as to Meerman's 
 wavering, to pass unnoticed. It is ample testimony that the learned 
 Meerman possessed that candour and impartiality of Avhich Lam- 
 binet and most other writers on the subject are so woefullj' defi- 
 
 " que cet auteur n'hesite pas de dire, que la 
 *' ville de Harlem ose priteudre a la gloire 
 " de i'invention de rimprimerie, See." 
 
 To this passage Hejiieken gives the follow- 
 ing note : 
 
 " Carl Van Mander, apr^s avoir dit dans 
 " la vie de Fan Ei/ck : que les anciens pein- 
 "tres seroient bien etonnes de voir nos pein- 
 " tures a I'huile, ainsi qu'Achilie, s'il enten- 
 " doit nos canons foudroyans, inventes par le 
 " moine Schwartz, il ajoute (fol. 200, de 
 " I'edition de 1CJ04, in 8vo.) Que les anciens 
 " ecrivains we le seroient pas mains, quand 
 " its verroient I'art trts utile de la ti/pogra- 
 
 " phie, DONT LA VlLLE DE HaRLEM 
 
 " s'arrogeoit d'avoir la premiere 
 
 " INVENTION AVEC ASSEZ UE PRESOMP- 
 
 " TiON. Daer Harlem met genoech hes- 
 " chetft, haer vermaet den roem van 
 " d'eerste vindinghe te hebben." 
 
 " Le zele des Hollandois pour soutenir 
 " leur fameux Coster va si loin, que Jaques 
 " de Jongh n'a pas h6site de falsifier ce teste 
 " de Carl Fan Mander, dans sa uouvelle 
 " edition de 17G4. II I'a change, p. l6, 
 " disant : uaar van Harlem zich, op ge- 
 " noegzamcn grond, den roem der eerste 
 " vinding toeschrift ; noNT Harlem avec 
 
 " ASSEZ DE FONDEMENT s'aTTRIBUE LA 
 " PREMIERE INVENTION, &C." This 86- 
 
 rious charge is answered by Enschedius, of 
 Harlem, the printer, who, in a letter written 
 by him, in Feb. 1776, to De Mitrr, and 
 published at page 244 of the first volume of 
 Jansen's " Essai sur I'Origine de la Gra- 
 " vure," after proving that one of the books 
 of wood-cuts described by Heineken amongst 
 the productions of Germany, is Dutch, and 
 not German, says : " Je me sers de cette 
 " occasion pour vous raarquer I'erreur que 
 " M. de Heinecke a commise dans son 
 " Idie Ge/iirale d'une collection complite 
 " d'estampes, page 283, quaud il charge le 
 " dernier editeur de Karl van Mander d'avoir 
 " falsifie le texte de son auteur. Cela est 
 " tres-faux ; le sens est le mime dans la 
 " dertiiere edition que dans la premiere, 
 " quoique paraphrase du dialecte ilamand en 
 " Hollandois, comme on le parle a present. 
 " Karel Van Mander attribue sfirement I'in- 
 " vention de la typographic a la ville de 
 " Harlem." The e.\pression which Heineken 
 has translated " ose pretendre" is doubtless 
 no other tlian a piece of that pompous 
 phraseology so common in the writers of the 
 sixteenth and seventeenth centuries. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 18.9 
 
 cient, and is the best answer to the accusations of excessive patriotism, 
 so frequently urged against him by Heineken, and the other Avriters 
 of the Mentz party. Meerman, a Dutch gentleman, whom even those 
 authors who have made themselves the most merry Avith what they 
 term his erroneous decisions, have justly complimented upon his pro- 
 found learning and erudition in typographical antiquities, is called 
 upon, by his friend Wagenaar, as the person best able, from the 
 local means of information which he possessed, and his known re- 
 searches concerning the origin of printing, to give him an opinion 
 concerning Coster — and he honestly tells him in reply, that he can- 
 not, does not, give any credit to the story : — nay, he joins in all 
 the arguments usually urged against Coster's pretensions — against 
 the pretensions of Harlem.* 
 
 In the course of his further inquiries, the light of evidence, of 
 the existence of which he had at first no idea, breaks in upon him, 
 and he becomes, as some candid and learned Avriters have done 
 before him, a convert to that very doctrine which he was preparing 
 to oppose. Will any reasonable man affirm, that an opinion so 
 formed, so corrected, is not worth a dozen of the opinions of those 
 men who first judge, and afterwards seek for evidence.'' 
 
 Meerman, after he had discovered that evidence which induced 
 him to abandon his old opinion, may, indeed, naturally be supposed 
 to have embraced and defended his new one with augmented 
 energy ; inasmuch as it was conducive to the honour of his country : 
 the cause, in Avhich he then found himself engaged, was consonant 
 to his wishes ; and, as Ave are all inclined to believe that which we 
 wish to be verified, it is probable that he no longer allowed small 
 objections to stand in the way of a system of typographical history, 
 which, he was convinced, Avas, in the main, true : but those opposed 
 to him can never with justice affirm that the basis of his system is 
 no Avhere to be found, except in the patriotic zeal of its author.-f- 
 
 * This letter is given at length in the 1st vol. •}• If Meerman's change of opinion be to be 
 
 of Santander, " Diet. Bibliographique." brought forward as evidence against the cause 
 
190 
 
 SPECULUM IIUMANAE SALVATIONIS. [ciiaimii. 
 
 After moiitioniug two or tlirec old writers who award the inven- 
 tion ofprintiniT to Mentz, M. Lambinet at length reeolleets the tes- 
 timony of IJhie Zell in " the Cologn Cin'onicle." 
 
 " It is trne," says he, " that in the Cologn Clu'oniele of the year 
 " 1490, Uh'ie Zell testifies that the fn-st attempts at |)rintinj>- were 
 " made in Holland; and that these were the Donatuses whieh lonu^ 
 •* l)efor(>" (viz. helore the inventit)n of printing- in Mentz) " had 
 " been senlptnred, (seulptes,) vnul had given the itlea." 
 
 We shall presently shew, that the Cologn C'hroniele does not 
 state whether these Donatuses were printed from engraved blocks 
 
 of Harlem, it will be oasy lo shew lliat llic 
 writers of the opposite party are not wholly ex- 
 empt from the same weakness. Fischer, in his 
 " Essai sur los Monuments Typographiques 
 •' de Jean (Jutonberg," (-tto. :\ Maycnce, 
 An. X.) p. 64, prepares his readers for the 
 description of somo printed frasnienls lately 
 discovered, which he ascribes to Gutenberg, 
 in the following note: " Je ne balance pas 
 " d'apr^s ccs m«<mes observations i\ retractcr 
 " I'assertion que j'ai donn6e dans mes Ti/- 
 " pograpliisclu'ii Sfltcnhcilai (1 Livraison, 
 " No. 3.) que le fragment de Donat que j'ai 
 " fait gr.ivcr appartenait a Gutenbeiu.. 
 " La mauiere est tout-a-fait dilYerente do la 
 " sienue, ct approchc de eelle que Mecnnan 
 " attribue \ Laurent Kostkr. II en est 
 " de menie do deux autres frasimens que je 
 " possede, et dout I'un est un don du C'". 
 " Oberlin. Je crois que cette impression est 
 " pen coiHiue, et nitrite une description par- 
 " ticuli^re. Fragmcntum Doctriim/is Alcx- 
 " amlri Galli, dciixfcuillcti sur purc/icmin, 
 " in 4to. Caract^re A gros corps, mobile, les 
 " lignes, an nombre de 32 sur chaque page, 
 " sont bien arrangt-es. Le noir est epais et 
 " i\ I'huile. Le genre d'inipression ressenible 
 « ^ celui de la page d'uu livrc intitule Spe- 
 
 " cii/iim Latiiiitm, primac Editionis, que 
 " Meerman a fait graver. (Monument. Ty- 
 " pograph. Tab. V.) — .I'ai une autre feuille 
 " sur parcliemiu qui est du memc livrc que 
 " Mcerniau nnnoncc comme hi troisi^me 
 " Edition du Donat de Harlem. Mais com- 
 " inent justifier que e'est I^aukent Kos- 
 " TEU qui I'ait imprimc f En examinant ces 
 " deux fcuillcs avec attention, on reconnait 
 " qu'eiles sont sorties de la presse de 
 " Rich Alt I) Paffuaet de Cologne, impri- 
 " meur A Davcnter." I may have future 
 occasion to refer to this note ; meanwhile, 
 I know not how far I may depend on the 
 assertion of Fischer, that this edition o( Alcx- 
 andri Galli Doctriiialis, was printed by PnJ- 
 frnct. The same edition seems to be spoken 
 of by I isst'r, in his catalogue of books, witli- 
 out date, printed in the Low Countries, in- 
 serted in Jansen's work, " dc I'lnvention de 
 " rimprimerie." Visser ascribes the book to 
 the press of the successors of Laurent Jans- 
 Eoou previous to 1470^ He possessed two 
 fragments of the work which, says he, 
 p. S45, " servent de gardes a la * (>emma 
 " ' Vocabuhnum,' imprimee a Dcvciitcr, par 
 " Richard PalVraet, en 1495, qui est encore 
 " dans sa premiere ancienne couverture." 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 191 
 
 or with moveable characters : in this plaqe M. Lambinet is evidently 
 endeavouring to mislead his reader. 
 
 " But the opinion of the learned in general, and of Meerman 
 " himself) is, that six or seven other works of the same kind had 
 " been engraved on blocks of wood, previous to these Donatuses, 
 " in Germany and in Italy." 
 
 Here an acknowledgment of Meerman is ingeniously brought 
 against himself. Of this I shall not complain, as it is only what I 
 am endeavouring to do with Lambinet. 
 
 " Besides, if it had been certain that these Donatuses were en- 
 " graved at Harlem, Ulric Zell would not have failed to mention this 
 " birth-place of Coster, as he has expressly mentioned Strasburg 
 " and Gutenburg for the first attempts of the art, and jNIentz as 
 " the place where it was perfected." 
 
 This kind of negative argument is now become very fashion- 
 able ; it implies that each old writer must have known every 
 thing which, when he wrote, could be known ; and, as a matter 
 of course, that he must have recorded every thing that he knew. 
 Supposing, however, for a moment, that JM. Lambinet is right in 
 the opinion that the earliest block-books were printed in Germany 
 and in Italy; and not in Holland ; it will then be fair to infer that 
 the Donatuses printed in Holland, which Ulric Zell mentions as 
 having given the hint of typography to the printers of ^lentz, must 
 have been printed with moveable characters : for, if block-printing 
 had been in use in Germany, or elsewhere, before it was practised 
 in Holland, he could never have intended to say, that the idea of 
 typography was taken by the German printers from the block- 
 books fabricated in Holland ; since those of Germany would have 
 had at least equal claims to his mention, and he would never have 
 travelled to Holland for that which could be found at home. 
 
 The testimony of Ulric Zell, as preserved in " the Cologn Chro- 
 nicle," of 1499, is as follows; and is certainly, as far as it goes, 
 entitled to be considered as most unexceptionable evidence on the 
 side of Holland, generally ; since Zell, who was the father of th^ 
 
192 SPECULUM HUMANAE SALVATIONIS. [chap. iir. 
 
 Cologn press, appears to have derived his knowledge of the art of 
 printing at Mentz, and was a native of Germany : 
 
 " Item : this most revered art [of printing] was first discovered 
 " at Mentz, in Germany ; and it is a great honour to the German 
 " nation, that such ingenious men were found in it. This happened 
 " in the year of our Lord mccccxl; and from that time, till the 
 " year MCCCCL, the art, and Avhat belongs to it, was rendered more 
 " perfect. In the year of our Lord mccccl, which was a golden 
 " 5^ear, [or Jubilee year] then men began to print, and the first 
 " book printed was a Bible in Latin, and it was printed in a larger 
 " character than that with which men now print mass-books. 
 " Item : although this art was discovered at Mentz at first, in the 
 " manner in which it is now commonly used, yet the first example 
 " of it was found in Holland, in the Donatuses which were before 
 " printed there. And thence is derived the beginning of this art, 
 " and it is [now] more masterly and subtle than the ancient manner 
 " was, and by far more ingenious. 
 
 [" The Chronicler," saj^s Mr. Dibdin, who has kindly permitted 
 me to extract this translation from the " Bibliotheca Spenceriana," 
 " goes on to refute the assertion advanced by Omnibonus, in the 
 " edition of Quintilian, of 1471, which makes Jenson the inventor 
 " of the art of printing; and thus proceeds :] 
 
 " — but the first inventor of printing was a citizen of Mentz, and 
 " was born at Strasbourg,* and Avas called John Gudenburch. 
 " Item : from Mentz, the before-mentioned art first came to 
 " Cologne, thence to Strasbourg, and thence to Venice. The 
 " beginning and progress of the before-mentioned art was told 
 " me, by word of mouth, by the worthy man. Master Ulrich 
 " Tzell of Hanault, printer at Cologne, in the present year 
 
 * It is remarkable that Gutenberg is, in" • Lignamine. This seems to have been a 
 
 like manner, stated to have been a native of common error in very early times. See the 
 
 Strasbourg instead of Mentz, in the Chro- " Bibliotheca Speuceriana," vol. iii. p. 262. 
 Hide, printed at Rome in 1474, by J. P.de 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 193 
 
 " Mccccxcix— by whom the forementioned art is come to Cologne." 
 " &c. fol. cecxii recto."' 
 
 Mr. Dibdin, in his observations on this interesting passage, 
 answers the objections brought against it by Schoepflin in his Vhi- 
 dicice Tijpographkce (p. 76-7) ; and corrects the erroneous assertion of 
 that writer, who stated that Peter de Olpe, and not Ulric Zell, was 
 the first Cologne printer. He proves that Zell printed there as early 
 as the year 1466,— four years before Olpe—" Upon the whole," Mr 
 Dibdin observes, that "the evidence of Ulric Zell appears to' be as 
 " honest as it is curious," 
 
 But to return to Lambinet, who noAv comes to the fourth kind of 
 evidence which he proposed to discuss— existing monuments. 
 
 " Those monuments whose origin can be traced to the period 
 " when the facts, of which they are the witnesses, took place, are 
 " without doubt the strongest proofs of historical truths. Their 
 " number, their conformity, their agreement, prove the reality of 
 " the fact, the moment they appear. It is impossible that the per- 
 " sons living at the time, who saw them made, could have been 
 " deceived with regard to facts at once numerous and of public 
 " notonety. It is impossible that the learned of our own days, who 
 " have these authentic ^and speaking monuments before their' eyes 
 " should be all of them mistaken as to their ancient existence, and 
 " the events which have consigned them to us." 
 
 If by these " authentic and speaking monuments," Lambinet 
 means ancient printed books without dates or colophons I believe 
 his position may be safely denied :-the learned, it is true, cannot 
 all be in the same error concerning them, since scarcely any two of 
 them are agreed :-might it not be asked of him, where are the 
 authentic and undoubted specimens of the press of Gutenberg .?* 
 
 * Even the celebrated B:ble, of ^hich I printed by Gutenberg, of M-hlch edition he 
 
 have spoken briefly ,n a note at p. 100, is says no copy is now known. See the Urst 
 
 doubted.-L«;,^J,„e^, mdeed, is decidedly volume of his " Origine de I'lmnrimerie " 
 
 of op,„,o„ that it is not that M'hich was p. 130, & seq. Fucher, iu his « Essai sur 
 
 2 c 
 
194 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 " Now, I ask," continues he, " which is the authentic monument 
 " of the invention of Lawrence Coster ? — Where is it to be found ? 
 " Meerman, it is true, laboured five years to complete his Oiigines 
 " Typographicce, and Karnebeck has engraved plates of the pretended 
 " characters of Coster, with the greatest care. It is impossible to 
 " find greater research or more profound erudition, than what is 
 
 " contained in this work," &c. &c. &c. " But he never was 
 
 " able to prove that ' the fragments of prayers' preceded by ' the 
 " letters of the alphabet,' found pasted into the cover of an old book 
 " b)'^ Enschedius, and printed on both sides, were the work of Lau- 
 " rence Coster, any more than the Donatuses, the Speculum Salutis, 
 " &c. which he attributes to him gratuitously." 
 
 " I conclude, therefore," says M. Lambinet, " with Chevillier, 
 " Fournier, Heineken, Fischer, and the great majority of those 
 " bibliograpliers who are well informed and free from prejudice, 
 " that there exists no proof that Laurent, surnamed Coster, was 
 " either an engraver, a sculptor, or a printer." 
 
 The man, confident in his own prowess, will not degrade himself 
 by attacking his enemy unawares, ere he has buckled on his armour, 
 and is prepared for the combat. The artful and cautious manner 
 in which Lambinet has here disposed his forces, whilst none of those 
 on the opposite side are at their proper posts, is of itself an indica- 
 tion of his weakness. He attempts to insnare his adversary, and to 
 cut him to pieces in detail — fearing to risk a general engagement. 
 He sets off with threatening his defeat, and, afterwards, that he may 
 appear to have been as good as his word, proclaims a victory which 
 he has not gained. But — to have done with metaphor — the whole 
 argument of Lambinet is a tissue of sophistry, calculated to deceive 
 his reader into the belief of premises, which, in great part at least. 
 
 les Monuments Tjpographiques de Jean (p. 71. and p. 75). Fischer is probably right, 
 
 Gutenberg," thinks diflferentiy, and ascribes — but where are the proofs which Lambinet 
 
 it to Gutenberg, who, he is of opinion, requires? 
 printed it between the years 1450 and 1455, 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS 195 
 
 are not true, and the admission of consequences which do not ne- 
 cessarily follow those premises. 
 
 Enough has been already said to prove that Junius was not the 
 inventor of the traditions which he recorded ; and that, without 
 outrage to probability, those traditions may readily be supposed 
 to have been preserved and handed down in the way which he and 
 the other writers, who have been cited, describe. I shall now offer 
 two or three remarks on some of the particulars of Junius's account; 
 Avhich, far from meriting the title of romance, by which Lambinet 
 and many other writers have designated it, bears very strong marks 
 of genuine testimony. 
 
 " Habitavit ante annos centum duodetriginta Harlemi in aedibus 
 " satis splendidis, &c. — Laurentius Joannes cognomento Aedituus 
 " Custosve, (quod tunc opimum et honorificum munus familia eo 
 " nomine clara haereditario jure possidebat) &c." 
 
 Junius, it appears, was in error when he asserted that the office 
 of Custos (Coster) was hereditary in the family of Laurent Janszoon; 
 but this trifling incorrectness can in no wise impeach the verity of 
 his narrative generalh^ : that Laurent Janszoon was really the 
 Custos of the church of St. Bavon, at Harlem, appeasr from the 
 registers of that church, of the years 1423-1426-1432, and 1433, 
 and it is very probable that, in consequence of his office, he was often 
 called by the surname of Coster. 
 
 " Is forte in suburbano nemore spatiatus (ut solent, &c.) coepit 
 " faginos cortices principio in literarum typos conformare," &c. 
 
 It has been urged, in objection to this passage, that the bark 
 of the beech-tree is unfit for the purpose of making letters for 
 printing ; being soft, Avhen it is green ; and too brittle to withstand 
 the force of the press, Avhen dr}-. To this objection, it may be 
 answered, that Junius does not assert that these small sentences 
 were printed with a press : — they might have been printed, letter 
 by letter, with the hand ; and the letters might have been cut on 
 square jjieces of the bark of the beech-tree, prepared for the purpose, 
 with a certain thickness of the solid wood attached to them, so as 
 
 2 c2 
 
196 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 to have been capable of resisting considerable pressure.* Of the di- 
 mensions of the letters here referred to, Junius says nothing : — they 
 might, for aught we know to the contrary, have been of an inch 
 square. — Upon the whole, we can only consider this passage as an 
 obscure and imperfect tradition of the first attempts made by Coster 
 to print Avith separate characters ; — attempts, the success of which 
 gave rise to his farther experiments ; till at length the art, which 
 had been at first taken up as the amusement of a leisure hour, 
 became improved, and was practised by him as a profitable trade. 
 
 " Quod ubi feliciter successerat, &c cum genero suo Thoma 
 
 " Petro, qui quaternos liberos reliquit, omnes ferme consulari 
 " dignitate functos (quod eo dico ut artem in familia honesta et 
 " ingenua, baud servili, natam intelligant omnes) excogitavit," 
 
 Junius not only records the name of the inventor of Typography, 
 and describes the place of his residence — but even mentions the 
 name of his son-in-law, whom he says left four children, who after- 
 wards enjoyed high offices in the government. These particulars 
 of family history, confirmed as they appear to be by authentic docu- 
 ments, constitute abundant evidence as to the identity of Laurent 
 Janszoon, and would have furnished ample means of detecting the 
 falsehood of Junius, had he written with the intention of deceiving 
 his readers : as for the trifling incorrectness of Junius, who speaks 
 of four children of Thomas, the son of Peter, all of whom enjoyed 
 the honors of the state, — whereas he had only three sons and two 
 daughters — it is scarcely worth noticing. The difference is, indeed, 
 good evidence that the genealogy of Coster's family, preserved by 
 Scriverius, was not manufactured for the purpose of confirming 
 Junius's statement. 
 
 Junius continues : " inde etiam pinaces totas figuratas additis cha- 
 
 * The conjecture in the text, was suggested to have been cut separately, on wood of the 
 
 to me by a block, probably of Asiatic manu- thickness of an eighth of an inch, and after- 
 
 facture, in the possession of Mr. Singer. The wards glued upon the plain surface of the 
 
 letters are of the diameter of about half an block. 
 inch each ; and appear, upon examination, 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 197 
 
 " racteribus expressit: quo in genere vidi ab ipso excusa ad- 
 
 " versaria, &c is liber erat vernaculo sermone ab auctore con- 
 
 " scriptus anonj^mo, titulum praeferens. Speculum Nostrae Salutis, 
 " &c." " Postea faginas formas plumbeis mutavit, has deinceps 
 " stanneas fecit," &c. 
 
 I shall presently speak of the editions of the Speculum with 
 which I am acquainted, meanwhile I must observe, that I am in- 
 clined to consider the word postea of Junius, in this place, in the 
 same light in which I have found by experience, we must so often 
 take the words dopo and poi, in the writings of Vasari : viz. as no 
 other than a means (carelessly and improperly used) of connecting 
 two sentences together ; and I have no doubt whatever, that if the 
 edition of the Speculum, of which Junius here speaks, Avas the same 
 as either of the Dutch editions noAV known, it was printed, not with 
 separate characters of wood, but with types of metal. Let the 
 sentence, beginning with " Postea," precede that, in which Junius 
 describes the Speculum, and the Avhole will be intelligible. That 
 the letter-press of that work should have been printed, as Meerman 
 supposes, Avith moveable characters of wood, is, I hesitate not to 
 say, impossible.* 
 
 Junius proceeds : " e quorum t5^porum reliquiis quae superfuerant 
 " conflata oenophora vetustiora adhuc hodie visuntur," &c. 
 
 It would have been more satisfactory evidence of the ancient 
 existence of Coster's printing office, say the opposers of Junius, if 
 his descendants had preserved the remains of his old type in its 
 original state ! ! True — but that they should have converted it 
 into useful, and, perhaps, ornamental articles of furniture, was by 
 no means unnatural ; and it is to be remembered, that if Junius 
 wrote that, for which he had no authoritj^ for the purpose of im- 
 posing upon his readers, it Avould have been as easy for him to have 
 stated that the old type itself still existed in Coster's house, as that 
 it was converted into drinking cups. 
 
 * Meermau appears to have changed his favor of type, the shafts of which were cast, 
 opinion afterwards, and to have declared in and the letters upon them cut by hand. 
 
198 SPECULUM HUMANAE SALVATIONIS. [chap. in. 
 
 Upon the story of the robbery I shall here offer no remark, ex- 
 cept that it is evident from the words of Junius, when speaking- 
 of the robber : " postquam artem jungendorum characterum, 
 
 " fusihum typorum peritiam, &c percaUuisse sibi visus est," &c. 
 
 that the type stolen from Coster was cast type. 
 
 It is unnecessary to add to what has already been said concerning 
 the authorities upon which Junius Avrote his account. If either 
 they or he be entitled to our respect, it follows, I think, that his 
 narrative, if defended at all, must be defended as, in the main, 
 true ; — not explained away, so as to suit a previous hypothesis ; nor 
 weakened by indiscreet concession, with a view to conciliate con- 
 tending interests. If there be any truth in the assertion of Junius, 
 that Coster printed the Speculum previous to the establishment of 
 printing at Mentz, he was the inventor of Typography, properly so 
 called ; — not of moveable characters of wood only, as Meerman 
 satisfies himself with insisting upon, but also of cast metal types : — 
 the printers of Mentz, indeed, will still claim the praise of having 
 given the last polish to the newly discovered art — of having shewn, 
 by the vastness of their undertakings, that they first appreciated its 
 importance — and of having disseminated the knowledge of it 
 throughout Europe : — but to Coster will belong the invention. — If, 
 on the other hand, it can be clearly shewn that this work, the only 
 one expressly ascribed to Coster by Junius, was not printed at 
 Harlem, and that its claims to antiquity have been greatly over- 
 rated — then it will be vain to pursue the controversy, and Ave shall 
 be justified in concluding, with the majority of writers on the 
 subject, that the pretensions of Coster have no solid foundation. 
 
 I have already stated (p. 154) that one of the Latin editions of 
 the Speculum is generally considered as the first edition of the 
 book. I say generally; because Meerman has taken immense pains 
 to prove that a Dutch, or Flemish edition, of which tAvo copies are 
 preserved at Harlem, is the most ancient ; and Junius, as we have 
 seen, Avhen speaking of the Avork, mentions a Dutch edition only. 
 It is hoAvever probable that Junius had not happened to see a Latin 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 199 
 
 cop3' ; and it would, in any case, be too much to argue from his 
 silence, as to the Latin editions, that he believed them to be less 
 ancient than the Dutch, or printed by another hand. 
 
 The chief arguments in favour of the priority of the Latin edition, 
 (I speak of that which is commonly called the first Latin edition) 
 are two:— first, the inscriptions under the cuts are in the Latin 
 language ; a convincing proof, it is insisted by the opposers of Meer- 
 man, that the artist, whoever he was, had an edition in that language 
 in his contemplation when he engraved the cuts ; and, secondly, the 
 text in that edition is in part printed from engraved wooden blocks, 
 in the manner of the ordinary block-books ; which gives strong 
 grounds for the belief, that the printer, at the commencement of 
 his undertaking, w^as ignorant of the art of printing Avith move- 
 able characters, but that he discovered it in the cour^ of the 
 work. 
 
 In the Flemish or Dutch editions, on the contrary, the text is 
 entirely printed with moveable characters ; a circumstance which, 
 when coupled with the anomah^ occasioned by the inscriptions 
 under the cuts being still in the Latin tongue, furnishes, it must be 
 alloAved, strong presumptive evidence that those editions Avere after- 
 thoughts of the printer ; and executed by him, after the first Latin 
 edition, for the convenience of such as Avere unskilled in the dead 
 languages. 
 
 Heineken forcibly urges these arguments in favour of the priority 
 of this Latin edition. " It is admitted," says he, " that the Flemish 
 " edition is printed entirely with moveable type, how then can any 
 " one suppose that it is the first ? Is it probable that the printer, 
 " whoever he was, after he had printed one edition entirely with 
 " moveable type, should have had recourse to an engraver in wood 
 " to assist in preparing a second edition ? And, if Ave suppose that 
 " he himself Avas an engraver in Avood, and the inventor of typo- 
 " graphy, what must have been his folly to abandon his invention 
 " in a second edition ? 
 
 " When Meerman insists," continues Heineken, " that it was not 
 
200 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 " Coster himself, but his heirs after his death, who printed this 
 " Latin edition, — part with wooden blocks, and part with moveable 
 " characters of wood, — he is hurried away by his patriotism, and 
 " forgets that neither Cornelius nor Junius say one word concerning 
 " the press of the heirs of Coster. 
 
 " In addition to this," continues the same writer, " I must ob- 
 " serve, that it is by no means probable that an ancient printer 
 " should have thought of printing a translation, rather than an 
 *' original, when the original itself had not been yet printed. All 
 " the world will agree .at least that the ancient manuscripts of this 
 " book are in Latin, and that the Flemish translation is more 
 " modern. The example which Meerman cites of the Bible, first 
 " printed in Flemish, makes against him. The Latin Bible had 
 " been previously printed in Germany. It is therefore more than 
 " probable — nay, almost certain — that the Speculum Salvationis 
 " in Latin, was, in like manner, first printed in Germany ; and that 
 " it was afterwards translated and printed in the Low Countries."* 
 
 This argument of Heineken is, upon the whole, a good one ; but 
 his conclusion is, as usual, the result of the same patriotic zeal of 
 which he accuses Meerman. For the text in the Flemish edition 
 is printed, as he himself observes in another page,-f- with the very 
 same type which was used in printing forty-three pages of the Latin 
 edition ; and it is surely extremely improbable that the engraved 
 cuts, and the type also, should have found their way from Germany 
 into the Low Countries. 
 
 Heineken conjectures that the Speculum Salvationis is less an- 
 cient than the block-books before described. He is of opinion, 
 " that the artist who engraved the twenty pages of text on wooden 
 " blocks," in the Latin edition, " was one of those employed by 
 " Gutenberg and Fust; (for," says he, " they had certainly 
 " engravers in their service,) and that this engraver, having himself 
 " become a printer, finished the remainder of the Avork with cast 
 
 * " Idee Gen6rale," pp. 451, 452. t Wem. p. 449. 
 
« 
 
 CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 201 
 
 " metal type, newly invented." Who this pupil of Gutenberg and 
 Fust was, or who was the author of the cuts, he has not given us 
 any clue to discover.* 
 
 He is also of opinion, " that we cannot safely conclude that 
 " the cuts and the text were engraved and printed at the time, 
 " merely because the cuts represent the same subjects described in 
 " the text. It is very certain," says he, " that Latin manuscripts 
 " of this work existed, ornamented with vignettes painted in dis- 
 " temper, in several of the libraries of Germany, at least as early 
 " as the twelfth century, and nothing therefore would have been 
 " more easy than for a designer or engraver in wood to copy these 
 " vignettes after one of those manuscripts, and to engrave them in 
 " wood, long before any one thought of printing the Latin text or 
 " the Flemish -f- translation." 
 
 To this argument, which I cannot help suspecting was used by 
 Heineken as a measure of caution, (lest the antiquity of the cuts, 
 and the school in which they were executed, should hereafter be 
 proved, and brought forward as evidence in favor of the preten- 
 sions of Harlem) it may reasonably be objected, that, had such 
 been the case, some copy or fragment of the work, without the 
 printed text, would probably be found ; Avhereas no such copy is 
 known to exist : and, moreover, that the characters in the short 
 inscriptions at the bottom of the cuts, although they were perhaps 
 engraved by a different artist from the one who engraved the twenty 
 pages of text in the Latin edition so often mentioned, appear to be 
 of the same age. It should seem therefore most reasonable to con- 
 clude, (under the supposition that the Latin edition is really the 
 first) that the whole was undertaken at the same time ; the execu- 
 tion of the cuts being confided to one or more artists skilful in 
 engraving figures ; the pages of text, to others more accustomed to 
 that department of wood engraving ; and that the printer, in the 
 
 * Id6e Generale, pp. 446, 447. t Idem, p. 449- . . 
 
 2 D 
 
202 SPECULUM HUMANAE SALVATIONIS. [chap.iii. 
 
 course of his operations, became informed of the method of printing 
 with moveable characters, or himself discovered it. 
 
 But even supposing this to be certain, which I shall presently 
 shew is very far from being the case, it would go but a little way in 
 support of Heineken's opinion, that the Latin Speculum, and the 
 first editions of all the block-books which he describes, are the pro- 
 ductions of Germany. 
 
 The arguments in favour of the priority of the Latin edition in 
 which the text is in part printed from engraved blocks, appear indeed 
 so strong, that, on first considering the subject, I felt little difficulty 
 in joining with the great majority of bibliographical writers in the 
 opinion, or rather conviction, that that edition was really the most 
 ancient. Accident, however, put me in possession of undoubted 
 evidence that such was not the case ; and the axiom, that one proof 
 is worth a dozen arguments, was strikingly exemplified. For an 
 opportunity chanced to otfer to me of comparing two very fine copies 
 of the Speculum ; — one, of the Latin edition above-mentioned, — the 
 other, of what is commonly termed the second Dutch edition ; * when 
 I most unexpectedly discovered that the impressions of the cuts, in 
 the Dutch copy, had been taken off previously to those in the Latin 
 copy; and, consequently, that the Dutch is the oldest of the two. 
 
 This was ascertained, beyond the possibility of doubt, by a A^ery 
 careful comparison of many of the cuts in the two copies ; for, 
 although, upon a first view, the impressions in both appeared equally 
 perfect, I perceived, upon a minute examination, that several of 
 those in the Latin edition had been taken off after certain little 
 pieces of the engraved blocks, some of them in the central parts 
 of the compositions, had been broken away by the operation of 
 printing them ; Avhereas in the Dutch copy, the impressions of those 
 little pieces were complete. 
 
 * They were the property of the late of Blandford. Lord Spencer has since bought 
 Ralph Willett, Esq. The Latin copy, shortly the Dutch copy, 
 after 1 saw it, was purchased by the Marquis 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 205 
 
 Those, who are conversant with the subject of wood engraving, 
 well know that engraved blocks are extremely liable to this species 
 of accident upon their being first printed;* especially in those 
 places Avhere the thin projecting strokes are not sufficiently sup- 
 ported and strengthened by other strokes in their immediate vici- 
 nity; and will immediately perceive that the deficiencies in the 
 impressions of the wood engravings in the Latin Speculum, in parts 
 which are found perfect in the impressions of the Dutch edition, 
 constitute certain proof that they were taken off after those of the 
 Dutch edition. 
 
 For these small deficiencies in the impressions of the Latin edition 
 cannot be accounted for by the supposition that the blocks were 
 not sufficiently covered with the ink when they were printed ; or 
 that the accidental intervention of some thin body, which might 
 have fallen on the block after it was charged with the ink, pre- 
 vented the paper fi-om coming in contact with the ink in those 
 parts ; since the places where the little pieces have been broken out 
 from the blocks, previous to printing the Latin edition, are clearly 
 determined ; and are, indeed, distinctly perceptible, even on the 
 backs of the impressions; in consequence of the shining appearance 
 of the paper, as well as the indentation occasioned in it, in all places 
 where it came in contact with the projecting strokes of the engraved 
 block, during the application of the friction hy which the impres- 
 sions were taken off. 
 
 As I am probably the first bibliographical writer (if, during this 
 chapter, I may be allowed to assume the title) who has thought of 
 resorting to this mode of ascertaining Avith certainty the relative 
 ages of the different editions of such books as are ornamented with 
 impressions taken from the same engraved blocks ; and as my 
 discoveries in this instance may be found of some use to him 
 who shall hereafter feel disposed to prosecute such further inquiry 
 
 * Their liability to sucb accidents was printing them by friction, formerly used, 
 probably still greater, under tlie mode of 
 
 2 d2 
 
204 
 
 SPECULUM HUMANAE SAL\ ATIOMS. [chap. hi. 
 
 into the claims of Harlem as may reasonably promise, in their 
 result, the means of pronouncing justly concerning this long dis- 
 puted question, I am induced to illustrate my observations by the 
 following fac-similes, shewing the minute diiferences in the im- 
 pressions of several of the cuts in the two editions of the Speculum 
 above mentioned.* I premise, lest the reader should suppose these 
 
 * M_v first discovery, as has been said, was 
 made upon a comparison of the two copies 
 before mentioned. The Marquis of Bland- 
 ford's Latin copy I have not since had an 
 opportunity of examining further; but by 
 the kindness of my friend, Mr. Singer, I have 
 been furnished with the loan of another Latin 
 copy of the same edition ; by means of which, 
 and the Dutch copy of Lord Spencer, who 
 has liberally entrusted it to my care for a 
 few days, I have been enabled to pre- 
 pare the elucidations now presented to the 
 reader. Both these copies have the good 
 fortune not to have had the blank sides of 
 their leaves pasted together. 
 
 The Dutch copy of Lord Spencer has 
 therefore been compared with two copies of 
 the edition called " the first Latin ;" and the 
 same imperfections in the impressions of the 
 cuts have been found in both the Latin copies, 
 in places which are foundperfect in the edition 
 called " the second Dutch." I have little or 
 no doubt that the same variations will be found 
 upon comparing any two other copies of the 
 same editions ; and, if this be the case, I 
 submit that these circumstances, added to the 
 fact of there being no copy or fragment of 
 this work known, in which the pages under 
 the cuts are left blank or filled up by manu- 
 script, constitute unanswerable evidence that 
 the cuts and the text were printed at the same 
 period; and that, consequently, there is no 
 ground w hatever for the opinion of Heineken, 
 
 mentioned at p. 201, that the cuts were, or 
 might have been, engraved long prior to the 
 printing of the text : unless, indeed, we are 
 to admit the extravagant supposition, that an 
 artist engraved these cuts twenty or thirty- 
 years previous to the invention of typography, 
 for the purpose of having them ready to pro- 
 duce when that art should be invented! Nor 
 is the hypothesis of a friend of mine more 
 admissible ; \\ ho, having long been accus- 
 tomed to consider the Latin edition, in part 
 printed with wooden blocks, as the most 
 ancient, and being unwilling to relinquish his 
 old opinion, suggests, that the printer, to 
 whom the engraved cuts apf>ertained, took 
 oflF, in the first instance, as many impressions 
 of the cuts as could be w anted ^br ali the 
 different editions which he might, at any 
 future time, be called upon to publish ; (let 
 us suppose a thousand impressions of each 
 cut ;) and that, these impressions being tied 
 up in bundles, it might, and did, so happen, 
 that the impressions last taken ofi" came into 
 use in printing the first edition of the book. 
 
 There is, in fact, only one reasonable and 
 safe conclusion to be drawn from the varia- 
 tions in the impressions of the cuts : viz. that 
 those editions, in which we discover imperfec- 
 tions in the impressions of the cuts, such as I 
 have described, not to be found in other edi- 
 tions, are of a date posterior to those editions 
 in which such imperfections do not appear. 
 
CHAP, in] SPECULUM HUMANAE SALVATIONIS. 
 
 205 
 
 specimens to have been selected partially, with a view to favor my 
 argument, (and lest, in consequence, he should be disposed to doubt 
 whether or not the whole of the impressions in the edition, com- 
 monly called " the First Latin," Avere taken off after those of the 
 " second Dutch edition," as it is termed,) that, where a fracture is 
 discoverable in any cut in the Dutch edition, the same is invariably 
 found in the Latin edition : often, however, with considerable aug- 
 mentation, as will now be shewn.* 
 
 Edition, conimonly called the 
 Second Dutch Edition. 
 
 Edition, commoidy called the 
 First Latin Edition. 
 
 Impression 
 
 2. The base of the pillar dividing the two subjects is perfect 
 in the Dutch copy. One of its perpendicular lines is 
 broken away in the Latin : 
 
 8. 
 
 Base of the pilaster on the right hand : one of the perpen- 
 dicular lines is in some degree fractured in the Dutch 
 copy : — the piece is broken away in the Latin : 
 
 * These engraved illustrations are fac- fracture, and are noticed in the text. Minute 
 
 similes, no further than as respects those exactness, in copying every touch of the 
 
 parts of the blocks which, previous to the graver, in other parts, was not deemed of 
 
 printing of the Latin edition, had suffered importance. 
 
206 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 Impression 
 
 10. The base of the pilaster on the right hand bears evidence of 
 a similar fracture of the block, in the Latin copy : 
 
 sja».i., 
 
 11. Capital of the small pillar over the head of the Virgin: a 
 small piece of it broken away, in the Latin copy : 
 
 W 
 
 12. The tower in the right hand compartment, which is perfect 
 in the Dutch copy, shews signs of a considerable fracture 
 in one of its perpendicular lines, in the Latin : 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 207 
 
 1 
 
 Impression 
 
 14. Right hand corner at bottom: the foot of the servant of 
 Abraham is perfect in the Dutch cop)^ but fractured in 
 the Latin, and a piece of the horizontal hne underneath 
 it, which is found in the Dutch copy, is wanting in the 
 Latin : 
 
 * 
 
 s 
 
 F 
 
 17. Left-hand compartment. — The left spandle of the arch, 
 which is fractured in the Dutch copy, shews marks of still 
 greater injury in the Latin; — part of one of the curved 
 lines having been forced out of its place in the block, 
 previous to printing the Latin copy : 
 
 46. Left-hand compartment. — The left curve of the arch is 
 already' fractured in the Dutch copy ; — the fracture is 
 considerably augmented in the Latin : 
 
 ii^:^ 
 
208 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 Impression 
 
 In the base of the central pillar, in the same cut, one of the 
 perpendicular lines, which is perfect in the Dutch copy, is 
 fractured in the Latin : 
 
 In the same cut, the block had received a small fracture in 
 one of the upright lines of the base of the pilaster on the 
 right-hand, previous to its being employed for the im- 
 pressions of the Dutch copy : — in the Latin copy, the 
 
 whole of that line is wanting ; 
 
 55. Base of the pillar in the center : considerably fractured in 
 one of its upright lines, in the Latin copy : 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 
 
 209 
 
 Impression 
 
 The Base of the pilaster, or half pillar, on the right, in the 
 same cut, appears likewise fractured in the Latin copy, as 
 also a part of the perpendicular marginal line : whereas 
 both these pieces are perfect in the Dutch copy : 
 
 J 
 
 The discovery thus made* of the relative ages of the two editions 
 of the Speculum above mentioned, rendered me desirous of ascer- 
 taining, by similar means, the order of time in which the two other 
 ancient editions of this book were put forth ; " the first Dutch 
 " edition," as it is called, and " the second Latin." Of the former 
 edition, two copies, said to be the only ones at present known, 
 are preserved at Harlem ; and that city likewise possesses a copy of 
 the second Latin edition — also a book of very great rarity. 
 
 Through the intervention of a friend,f I was a short time since 
 enabled to transmit to Holland a few queries, the answers to which. 
 
 * It is surprizing that neither Meerman 
 nor Heineke?i should have thought of recur- 
 ring to this mode of ascertaining the relative 
 ages of the four early editions of the Specu- 
 lum ; since they both knew that the cuts in 
 all of them were taken off from tlie same 
 identical blocks, and even observed that the 
 impressions, in some editions of the work, 
 did not appear so perfect as iu others. The 
 former, (" Origines," torn. i. p. 106.) when 
 speaking of Veldener's edition of 1483, says 
 of the cuts ; " Quae tamen ex frequenti usu 
 " tabularum illic aliquantulum apparent de- 
 " tritae ;" and the latter, (" Idee Generale," 
 p. 1 44.) amongst his arguments in favour of 
 the priority of the edition which he calls 
 
 " the first Latin," goes so far as to assert 
 (which we have seen is not the truth) " that 
 " he has remarked, that in ' the second 
 " * Latin' and in ' the Dutch editions,' the 
 " impressions of the strokes are ruder, and 
 " not so sharp ; because," says he, " the 
 " blocks had been in use some time before 
 " the impressions for those editions were 
 " taken off." 
 
 -|- Mr. James Walker; whose excellent 
 mezzotintos after some of the pictures in the 
 imperial collection at Petersburgh are well 
 known. By means of this gentleman, my 
 letter was put nito the hands of Mr. W. H. S. 
 Westreenen, of the Hague, Director of the 
 Literary Academy of Zealand, Member of 
 E 
 
210 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 I had reason to flatter myselfj would put me in possession of the 
 information sought for. Being aware of the possibility that my 
 queries might be put into the hands of a decided partizan of Coster, 
 and, perhaps, a strenuous supporter of the hypothesis of Meerman, 
 I took care not to preface them by any thing which might lead 
 my then unknown correspondent to suppose that their writer had 
 any particular doubts as to the priority of the edition which Meer- 
 man has taken so much pains to prove to be the first. The ques- 
 tions, as to the fractures in the blocks, were confined to six in 
 number ; which, with the answers received, are here inserted. 
 
 Query 1. — In the impression of the Second Out, in the ^rst Latin 
 edition of the Speculum, the base of the central pillar, dividing the 
 two subjects, has one of its perpendicular lines wanting : thus — 
 
 Is this line wanting in the^rst Dutch, and in the second Latin edition ? 
 Answer. — " The part of the line, marked with points,* is open in 
 the Jirst Dutch," as above, " but complete in the second Latin edi- 
 tion;" — thus : 
 
 that at Leyden, and Correspondent of the 
 Dutch Institute. Mr. Westreenen had the 
 goodness to forward my queries to his corres- 
 pondent at Harlem, the learned bookseller 
 and poet, Loorjes, and to transmit me the 
 answers here given. I regret that I have not 
 had the opportunity of seeing a work upon the 
 
 discovery of printing, which Mr. Westreenen 
 informs me he himself published in I8O9. 
 
 * In my letter to Holland, I had used points 
 to mark the vacant places concerning which I 
 desired to be informed, in order to fix the at- 
 tention of my correspondent to those particulars 
 the more effectually. They are here omitted. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 211 
 
 Query 2. — In the impression of the Third Cut in \he first Latin, 
 and in the second Dutch edition, a small part of the upright line of 
 the base of the pilaster on the right hand is Avanting : — Is it wanting 
 in the first Dutch and the second Latin editions ; and is the fracture 
 augmented in either of them ? 
 
 Answer. — " The part of the line marked with points is open, both 
 " in the second Latin 2iad first Dutch editions."* 
 
 Query 3. In the impression of the Eighth Cut, in the second 
 Dutch edition, a small part of the horizontal line, above the word 
 mariam, adjoining the base of the pilaster on the right hand, is 
 wanting, — thus : 
 
 is this piece wanting in the first Dutch and second Latin editions ? 
 
 Answer. — " In the horizontal ground line, the part marked with 
 " points is complete in the second Latin and fii'st Dutch editions." 
 
 The answer given to this question furnishes evidence that the 
 edition of this work, commonly called the second Latin, preceded that 
 termed the second Dutch, and, consequently, that it is the first edition 
 of the book. But that the edition called the first Dutch, should, also, 
 be complete in the impression of this piece of line, which is wanting 
 in the edition called the second Dutch (notwithstanding this last is 
 of a jirior date) is not easily to be comprehended. I am, therefore, 
 obliged to suppose that the copy of the Dutch edition, upon which 
 
 * I do not think it necessary to give a fac- 
 simile of this Httle piece, as the answer re- 
 ceived to my question involves no consequence 
 whatever. Had this line been found complete 
 in the second Latin edition, whilst in the first 
 
 2 ] 
 
 Dutch, thefractitre was augmented, it would 
 have proved not only that the edition called 
 " the second Latin" was the Jirst edition of 
 the book, but also that the first Dutch, as it is 
 termed, was ihe fourth. 
 
 2 
 
212 
 
 SPECULUM HUMANAE SALVATIOMS. [chap. in. 
 
 m}' correspondent at Harlem made liis remarks, happened to be 
 restored, in this place, by a leaf of the second Dutch edition ; (for 
 we know that neither of the two copies of the first Dutch edition, 
 at Harlem, are cojnplete*) in which case the circumstance may 
 easily be accounted for ; since it is ver\" possible that the block 
 might not have suffered this small fracture until after the uhole of 
 the impressions from it, for " the second Latin edition," and part of 
 those for " the second Dutch edition," had been taken off. The 
 fracture, after all, is so small, that in case the impression in the 
 first Dutch edition happened to be smeared in that part, it might 
 easilv escape the observation of any but a most scrutinizing eye. 
 
 Query 4. — In the impression of the Tenth Cut, one of the perpen- 
 dicular lines, in the base of the pilaster on the right hand, is want- 
 ing in t\ve first Latin edition, thus : 
 
 Is this line wanting in the second Latin iaci\6. first Dutch editions? 
 
 Answer. — " In the base of the column at the right, the part of the 
 " line marked -^^ith points, is complete in the second Latin," thus : 
 
 " but open in the^rsf Dutch edition. 
 
 » See Meerman, " Origines," torn. i. " Idee Gen^rale," p. 454. 
 p. 117. note (b X ) and Heineken, 
 
f HAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 213 
 
 Query 5. In the right hand compartment of the cut. No. 12, 
 a part of the perpendicular hne of a tower, therein represented, is 
 wanting in the first Latin edition ; thus ; 
 
 Is that part of the said line wanting in the second Latin and first 
 Dutch editions ? 
 
 Answer. — " The part of the perpendicular line of the tower, 
 " marked with points, is complete in the second Latin edition," thus : 
 
 " but open in ihe first Dutch edition." 
 
214 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 Query 6. In the same cut, the chief part of one of the perpen- 
 dicular lines of the base of the pilaster on the right, is wanting in the 
 second Dutch andj^r.s^ Latin editions ; thus : 
 
 Is this line wanting in {hejirst Dutch and second Latin editions ? 
 
 Answer. — " The part of the line, marked with dots, is complete 
 " in both the editions." 
 
 The answers given by my correspondent to the third and sixth 
 queries, would, when taken together, constitute most satisfactory evi- 
 dence that the edition of the Speculum, called " the second Latin," 
 is in reality the first edition of the book ; were it not that he asserts, 
 that the small pieces of lines, referred to in these queries as wanting in 
 " the second Dutch" and " first Latin editions," are perfect in both the 
 other editions — a circumstance, which, in the present instance espe- 
 cially, is calculated to create some doubt of his accuracy : since it is 
 absolutely impossible that the impression of the piece of the block, 
 referred to in the sixth query, (which we know with certainty was 
 broken away before the part of the line of the tower, in the same cut, 
 was fractured) should be found complete in an impression taken from 
 the block after the line of the tower had been broken. Either my 
 correspondent, when he wrote the answer to this question, did not 
 exercise his usual accuracy, or he must have been led into error 
 from the circumstance of this line's happening to have been restored 
 in the Dutch copy by a pen. 
 
 Upon the whole, it appears certain, as well from the answers given 
 to the above queries, (especially the 1st, the 4th, and the 5th,) as from 
 our previous investigation, that the two most ancient editions of the 
 Speculum, are " the second Latin" and "the second Dutch editions," 
 as they are called ; and not those whose rudeness of impression has 
 occasioned every previous bibliographical writer to ascribe priority 
 to them. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 215 
 
 The SECOND Latin edition, as it has been hitherto improperly 
 called, Avas, I am well persuaded, the first edition of the 
 BOOK; not only because of the reasons just now given, but, also, 
 because it is evident, from the Latin inscriptions under the cuts, that 
 the proprietor of the work first meditated an edition in that lan- 
 guage. The text in this edition appears to have been entirely 
 printed with the same type which was afterwards used for the 
 whole of " the second Dutch edition," as it is called, except two 
 pages ; and also for forty-three pages of the edition called " the first 
 Latin."* 
 
 The edition commonly called " the second Dutch edition" Avas 
 probably commenced soon after the above : in this edition, as has 
 been just observed, there are two pages printed with a type con- 
 siderably different from the rest. 
 
 Of the two remaining ancient editions of the Speculum, 
 hitherto called " the first Latin," and " the first Dutch," I know 
 not to Avhich to ascribe the priority. Nor can I speak Avith 
 accuracy as to the characters with Avhich the edition last 
 named was printed, further than that they were moveable types. 
 The observations of Meerman, as to the marks made in the paper in 
 many places, by the blank type used by the printer, instead of plain 
 pieces of Avood or metal, to fill up those spaces in the pages Avhich 
 Avere intended to be left white, — Avhether for the future insertion of 
 initial letters, or at the termination of sentences — are decisive as to 
 that point ; and clearly prove that there is no ground for the suppo- 
 sition of M. Daunou (Lambinet. tom. i. p. 3'23) that this edition is 
 entirely xylographic. The Latin copy before me exhibits several 
 
 * Indeed Meerman, when speaking of " tulum dispar, imo in postrema turn Belgica 
 
 the form of the characters, in the four first " turn Latina editione niihi videtur ipsissi- 
 
 editions of the Speculum, (Origines, tom. i. " mus." Meerman had not seen the edition 
 
 pp. 108, 109) says : " In omnibus vero qua- called " the first Latin," which was described 
 
 " tuor editionibus (si quaedam folia principis to him by Fournier. It is certainly printed 
 
 " Latinae, fixe charactere excusa, excepero) with the same type as " the second Latin" 
 
 " unius ejusdemque semper figurae est, and " second Dutch editions." 
 " neque nisi magnitudine et nitore aliquan- 
 
216 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 instances of the kind in those jjages which are printed with move- 
 able type ; and traces of a similar effect are to be discovered in some 
 parts of Lord Spencer's Dutch copy ; although with difficulty — in 
 consequence of the great pressure which, perhaps accompanied by 
 damp, appears, upon some former occasion, to have been applied to 
 it, by the book-binder. Were I to judge from the engraving given 
 by Meerman of the first cut, and the accompanying text of the 
 page, copied from the edition which he terms " the first Dutch," 
 I should feel little hesitation in judging it to have been printed 
 with the same type as the other three editions ; although, perhaps, 
 with less neatness and care, and with ink of an inferior quality. 
 For the variations of form and dimensions, discoverable in different 
 specimens of the same letters in the engraved copy (variations 
 which, no doubt, exist in the original in a smaller degree) are 
 easily to be accounted for, when it is remembered that Meerman 
 believed the work to have been printed Avith carved Avooden cha- 
 racters ; and that his draftsman. Van Noorde, and the engraver, 
 A. I. Polack, being so instructed, would naturally, in making their 
 copy, be inclined to augment the almost imperceptible or equivocal 
 variations of the original into decided differences. 
 
 Meerman, however, mentions one circumstance which might 
 lead to the supposition that the type with which this edition was 
 printed, was not identically the same as was used for the other 
 editions. The type in this edition, he informs us, (torn. i. p. 120) 
 is somewhat smaller than that of the edition which he styles " the 
 second Dutch;" for that tAventy lines of text in the former, occupy 
 only the same space as nineteen lines in the latter edition. It is, there- 
 fore, possible that the edition called " the first Dutch," may have been 
 printed with a type cast in imitation of the type used for the other 
 editions, in consequence of the original type having been worn out 
 or lost before that edition was required. 
 
 This diversity in the type of the edition called " the first Dutch," 
 were it ascertained, would justify us in considering that edition as the 
 last of the four ; and would, consequently, enable us to arrange the 
 
GHAP. III.] SPECULUM HUMANAE SALVATIONIS. 217 
 
 four early editions of the Speculum, in the order in which they 
 were published. For, from the evidence which has been brought 
 forward, it is certain that the two editions of the work, hitherto 
 believed to be the third and fourth, are, in reality, the first and 
 second ; and there is, also, as has been said, every reason to believe 
 that the edition called " the second Latin" was the first of those two. 
 Upon the whole, we cannot be far wrong in placing the four editions 
 in the following order. The only doubt can be, which of the two 
 last was the third published. 
 
 First, The edition hitherto called " the second Latin." 
 
 Second, That called " the second Dutch edition." 
 
 Third, That called " the first Latin edition." 
 
 Fourth, That called by Meerman " the first Dutch edition." 
 
 The justness of this arrangement being admitted, it would not be 
 difficult for any one who should advocate the cause of Harlem, to 
 take up a formidable position, even upon the very basis of the 
 opinions and admissions of those who have argued on the other 
 side. For Heineken, whom most of the bibliographical writers 
 of the Mentz party refer to as their oracle in such matters, has ex- 
 pressed the belief that the last but one of these four editions (the 
 first Latin) " was printed just at the time of the invention of typo- 
 graphy ; "* and Daunou (whose modesty, in his admirable little trea- 
 
 * " Cette quantite de feuilles iinprimees par surement des graveurs a leur service, et je 
 
 la presse," says Heineken, speaking of the edi- crois que ce graveur, 6tant devenu lui-meme 
 
 tion which he calls the Jirst Latin, (Idee Gen. imprimeur, a fait le reste de I'ouvrage avec 
 
 p.447)" et cette manierede poser une vignette des lettres de fotite nouvellement inventtes, 
 
 ^ la tete du discours, me portent d conjecturer, d'autant plus que ces caracteres ressemblent 
 
 que le Speculum Sahationis est plus mo- entierement, pour la forme et pour le dessein, 
 
 derne que les iivres precedens," (the Biblia aux tables du Donat, et generalement aux 
 
 Pauperum, the Ars Moriendi, 8tc. &c.) caracteres de I'attelier de Faust et de 
 
 " et public justement du terns de I'invention Schoeffer." This last assertion of Heineken 
 
 de la typographie. Je m'imagine que le is unfounded — the characters of the Spe- 
 
 graveur, qui a taille ces vingt tables de dis- culum do not resemble the type of Fust an(i 
 
 cours en bois, 6toit un de ceux que Guten- Schoeffer. 
 berg et Faust employerent; car ils avoient 
 
 2 F 
 
218 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 tise given at the end of the first vokime of Lambinet, is a corrective 
 of that writer's over confidence) observes (p. 421) that " the Spe- 
 " culum Salutis, executed in part Avith wooden blocks, and partly 
 " with cast type, is, perhaps, anterior to the year 1460;" adding, 
 however, (doubtless because he saw that the characters were those 
 of the Low Countries, and not of Germany) that, " if, as Heineken 
 " supposes, it was printed by one of the workmen of Gutenberg 
 " or Fust, there is little reason to believe that that workman was 
 " established at Mentz." 
 
 Now, if in conformity to the opinions of these writers, we should 
 place the third edition of the Speculum (the first Latin) about 
 1455, and if it be, at the same time, admitted as probable, that an 
 average period of a little more than seven years intervened between 
 each two editions, — the first edition of the book must, according to 
 such a calculation, have been printed about the year 1440 — which is 
 all that the writers on the side of Harlem contend for. 
 
 But as, on the one hand, it would be unfair to encumber the 
 cause of Lawrence Coster with all the absurdities which his zealous, 
 but indiscreet friends have insisted upon in his behalf; so, on the 
 other, it would be injustice to Gutenberg, were we to take advan- 
 tage, to his detriment, of an opinion hazarded, perhaps incautiousl)-, 
 by one or more of the advocates of his claims. 
 
 It will, therefore, be proper for us to inquire how far the internal 
 evidence of the four early editions of the Speculum (which, from 
 the general conformity of their execution — the paper on which they 
 are printed — the resemblance of the type in all of them, and the 
 identity of that tAqie, in three — there can be little doubt were 
 printed at the same press) may justify the two following con- 
 clusions — 1st, that they were printed in Holland ; and, 2dly, that 
 they are of higher antiquity than any of the books printed in that 
 country by those printers who are commonly said to have first in- 
 troduced printing into Holland, and are known to have established 
 themselves in different towns of that country, and other parts of 
 the Low Countries, after the year 1472. For if these two points 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 219 
 
 are established in the affirmative, the onus of accounting for the 
 existence of these books, printed in Holland before, according to 
 the writers on the side of Gutenberg, the art of printing was there 
 known, will rest with that adverse party ; and they will be con- 
 strained, at length, to confess the probability that there is more 
 truth in the story of Coster, or Janszoon, than they have hitherto 
 been accustomed to acknowledge. 
 
 The first of these points it will not be difficult to establish. Any 
 person generally conversant with early printing, will, upon viewing 
 either of the four first editions of the Speculum, immediately pro- 
 nounce that it was printed, not in Germanj^, but in the Low 
 Countries :* upon a more close examination, he will perceive that 
 the angular Gothic, and broad-faced characters of that Avork (to 
 use a technical expression) bear a much nearer resemblance to the 
 types commonly used in the fifteenth century in Holland, than to 
 those generally adopted by the chief printers of the more southern 
 parts of Belgium ; and if he have the opportunity of comparing a 
 sufficient number of the early printed books of Gouda, Utrecht, 
 and other towns of Holland, with those published contemporarily 
 at Louvain, and other parts of Brabant, he will not long hesitate to 
 declare that Holland has a better claim to the execution of the work 
 in question, than any other country. 
 
 To this it may be added, that fragments of books, printed with 
 the same type as the Speculum, and others with type so like it, as 
 to render the distinguishing between one and the other a matter of 
 no small difficulty, have been discovered at Harlem, and in other 
 parts of Holland, pasted into the covers of ancient books ; and that 
 it is certain that the blocks from which the cuts of the Speculum 
 were taken off, existed in Holland in 1483, in which year, John 
 
 * Being little conversant in the types used also collect from them, as well as from an 
 
 by the early printers, I have had recourse to examination of early books printed in dif- 
 
 the experience of my friends, Mr. Dibdiu ferent towns of Holland and Brabant, that 
 
 and Mr. Douce ; both of whom assure me I am well justified in the opinion which fol- 
 
 that I am warranted in my assertion ; and I lows it. 
 
 2 F 2 
 
220 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 Veldener published, at Culenbourg, a new edition of the work, in 
 the Dutch language, containing the impressions of the same blocks ; 
 the whole printed in a quarto size, — Veldener having caused each 
 of the blocks to be sawed down the central pillar, into two pieces, 
 for that purpose. 
 
 Moreover, two out of the four earliest editions of this work, are 
 printed in the Dutch language, such as it was commonly spoken 
 in the fifteenth century, in that part of Belgium which is now 
 called Holland ; but which was never generally used in the more 
 southern provinces of the Netherlands, where the Flemisli language 
 formerly prevailed, as it does at present* 
 
 To all these arguments it may be added, that the paper-marks 
 found in the four earliest editions of the Speculum, do not occur in 
 books of the fifteenth century, printed in any part of Germany, 
 south or east of Cologne ; (if we except one mark which is found in 
 some of the books of Schoeffer, printed at Mentz) but, for the most 
 part, resemble those commonly found in the early printed books 
 of the Low Countries, and more especially in those of Holland ; 
 and that some of these marks occur, exclusively, in the books of 
 the early Dutch printers. Upon this point, hoA\ever, the reader 
 may require evidence in support of my assertion, and he is, there- 
 fore, here presented with the tracings of these paper-marks (at least 
 all those which occur in the two copies of the book before me) 
 carefully made from the originals, and accompanied with the 
 authority of an eminent bibliographer, as to the ordinary occur- 
 rence of most of them in the earliest printed books of Holland and 
 Flanders.-f- 
 
 * This I say upon the authority of a gen- Serna Santander," Svo. Bruxe/ks, ] 803,) lliat 
 
 tleinan, to whom I have shewn the Dutch although tlie paper-mark of a book can, of 
 
 Speculum, and who, having resided many itself, neither enable us to discover the name 
 
 years at Utrecht, is thoroughly conversant of the printer nor the age of the book ; never- 
 
 both with the Dutch and Flemish languages. theless, it may often lead us to well-founded 
 
 •f Santajider, the writer in question, pro- conjectures as to the place of its impression, 
 
 perly observes, (" Supplement au Catalogue " En eft'et," says he, " j'oserai bien affirmer 
 
 des Livres de la Bibliotheque de M. C. de la " qu'on peut connoitre aussi aisement par 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 221 
 
 The mark, 1., representing a singular kind of unicorn, is the 
 only mark that is found on the paper of Lord Spencer's copy of 
 what is called " the second Dutch edition," from the beginning of the 
 work until the forty-fifth cut — (the first of the two pages that are 
 printed with type different from the rest of the volume) — during 
 which space it occurs twenty-four times ; but it does not once 
 appear in the latter part of the book ; nor is it to be found in 
 Mr. Singer's copy of what is termed " the first Latin edition." I 
 learn, however, from my correspondent in Holland, that this paper- 
 mark is found in the edition called " the second Latin," on the leaves 
 containing the cuts numbered 47. 48. 50, 52. 55. 5d. and 57 ; and 
 that it occurs twice in what is called " the first Dutch edition ;" viz. 
 on the leaves containing the cuts numbered 20. and 22. Meerman, 
 in speaking of the different editions of the Speculum, mentions this 
 mark, which, it is to be observed, does not occur among the paper- 
 
 " I'inspection dii filigrane du papier que par 
 " la forme des caracteres d'un livre du quin- 
 " zieme siecle, s'il a ete imprime en Italie, 
 " en Allemagne, ou dans le Pays-Bas et la 
 " Hollande ; de maniere qu'ayant recours 
 " ensuite a quelques autres indices typogra- 
 " phiques, on parvient facilement ^ connoitre 
 " le lieu de son impression et quelquefois 
 
 " rimprimeur mfeme." Had Santander ex- 
 amined the paper-marks in the different edi- 
 tions of the Speculum, he would not have 
 made the assertion alluded to at p. 109, that 
 Heineken had proved that this work, and all 
 the old block-books with figures engraved in 
 wood, were originally engraved and printed 
 in Germany. 
 
222 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 marks collected together and published by Santauder, in his " Sup- 
 " plement" to the catalogue of his library : — for the unicorn which 
 he has given in his second print, under No. 36, and which he tells 
 us, in his text, occurs in books printed at Cologn, b^'^ Ulric Zell, 
 Arnold Therhoernen, and Joh. Guldenschaff; and in others printed 
 at Alost, by Theod. Martens, and by Joh. of Westphalia, at Lou- 
 vain, is so very unlike the figure before us, especially in the tail of 
 the animal, that I cannot but consider it the paper-mark of a 
 different manufacture. 
 
 II 
 
 III 
 
 The mark, II., occurs, with slight variations, (being sometimes 
 without the cross at top,) in Mr. Smger's copy of " the first Latin 
 edition," on the leaves containing the cuts numbered 2. 10. 14. 19. 
 and 41. It is represented. No. 89, in the third print in Santander's 
 " Supplement," above-mentioned, among the paper-marks Avhich he 
 ascribes exclusively to Holland. It is found, he tells us, in books 
 printed at Utrecht, by Nic. Ketelaer and Ger. de Leempt. This mark 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 223 
 
 and the following are, it is probable, the two marks of which Meer- 
 man says it is difficult to give a description.* 
 
 The mark. III., which bears so near a resemblance to the last 
 mentioned, as to give reason to suppose that it was used by the same 
 manufacturer, is not introduced in Santander's work. It occurs in the 
 edition of the Speculum called " the first Latin," on the leaves con- 
 taining the cuts numbered 18. 20. 24. 29. 36. 37. 38. 39. and 56. 
 
 The mark, IV., occurs once only in the first Latin edition, on the 
 leaf containing the cut No. 53. A mark a good deal resembling it, 
 it appears from Santander, (second print. No. 31, of the before men- 
 tioned work,) is found in books printed at Cologn, by Ulric Zell, 
 Arnold Therhoernen, and J. Guldenschaff; in others, printed at 
 Louvain, by Joh. of Westphalia and Conrad Braen ; in others, printed 
 at Bruxelles, by the Fratres Communis Vitae ; and also in books 
 printed at Deventer, by R. Paffroed. 
 
 * " In principe editione Belgica," (says 
 Meerman in a note, torn. i. p. 102, of his 
 " Origines,") " chaitarii signum plerumque 
 " bnbiilinn caput, uno loco rosani exprimit. 
 " In altera (meo certe exemplo) plerumque 
 " unicornu, semel bovinum caput, aliaque 
 " etiam duo signa, quae vix describi possuut, 
 " in folio auteni singulari, ac diversi typi, 
 " figura anchorae couspicitur. In priori edi- 
 
 " tione Latina, Fournierio, p. 153, teste, 
 " idem apparet caput ; at in altera observavi 
 " plerumque anchoram, quandoque unicornu." 
 Meerman, however, was of the opinion, pre- 
 valent when he wrote, that no satisfactory 
 inference could be drawn from the paper- 
 marks of old books, and, consequently, is less 
 particular upon this point than it is probable 
 he otherwise would have been. 
 
224 
 
 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 The marks V. and V*. can only be termed varieties of the same 
 paper-mark. The mark V. occurs in the preface of the first Latin 
 edition. V*. is found in the second Dutch edition on the leaves 
 containing the cuts numbered 50. and 52. 
 
 This mark appears to be of frequent occurrence in books of the 
 Low Countries. It is given by Santander, with small variations, under 
 the Nos. 33. 34. 41. 42. 44. 52. 62. 6Q. 68. 78. 80. and 81. ; and is found, 
 he tells us, in books printed at Cologn, by Ulric Zell, Arnold Ther- 
 hoernen, Joh. Koelhoff, Conrad de Hoemborch, and Henry Quentell; 
 in others, printed at Louvain, by John de Westphalia and Conrad 
 Braen; in others, printed at Bruxelles, by the Fratres Communis Vitae; 
 in others, printed at Alost, by Theod. Martens, and at Antwerp by 
 Theod. Martens ; also in books printed at Gouda, by Ger. Leeu ; at 
 Utrecht, by Nic. Ketelaer and Ger. de Leempt ; and at Deventer, by 
 R. Paffroed. It is also found, Santander informs us, though of some- 
 what smaller dimensions, in books printed at Paris, by Ulric Gering. 
 
 
 
 The mark VI., which nearly resembles the last-mentioned paper- 
 mark, except that it wants the flower at top, occurs in the edition 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 225 
 
 called " the second Dutch," on the leaves containing the cuts 
 numbered 53 and 55. 
 
 It is given, Avith small variations, in Santander, under the num- 
 bers 40. 65. and 67 ; and is, he says, found in books printed at 
 Cologne, by Ulric Zell, Arnold Therhoernen, Conrad de Hoem- 
 borch, John Guldenschatf, Job. Koelhoff, and Hen. Quentell; in 
 others, printed at Louvain by John of Westphalia ; at Bruxelles, by 
 the Fratres Communis Vitae ; and at Antwerp, by Theod. Martens, 
 It occurs, also, of smaller dimensions (as given by him under No. 93) 
 in books printed at Deventer by R. Paffroed. 
 
 The paper-mark VII., representing an anchor, occurs in the edition 
 called " the first Latin," on the leaves containing the cuts, Nos. 1 L 12. 
 31. 47. 49. and 51., and is one of the marks mentioned by Meerman. 
 It is remarkable that it is the only paper-mark found in Lord Spen- 
 cer's copy of "the Book of Canticles;" where, however, it appears of 
 somewhat smaller dimensions. Santander gives this mark, in his 
 work above cited, under No. 51. It occurs, he tells us, in books 
 printed at Cologne, by Ulric Zell, and Bart, de Unkel ; in others, 
 printed at Louvain, by Conrad Braen and John Veldener ; and, also, 
 in books printed at Utrecht, by Nic. Ketelaer and Ger. de Leempt. 
 I 
 
 X 
 
 vin 
 
 The t^te de hanf, VIII., occurs in " the first Latin edition," on the 
 
 2 G 
 
226 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 leaves containing the cuts numbered 7. 17. 22. 27. and 55. The other, 
 VIII.* is found, in " the second Dutch edition," in the leaves contain- 
 ing the cuts numbered 47 and 57 : they can hardly be termed dis- 
 tinct marks, although there is some small difference in their form. 
 
 The tite de boeuf with, a star like this, supported by a simple up- 
 right line rising from between the horns of the animal, is given by 
 Santander under the numbers 1. 32. 48. 64. 70. 83. and 85. with 
 more or less variety in the shape of the animal's head ; and is said 
 by him to occur in books printed at Mentz, by Schoeffer; at 
 Cologne, by Ulric Zell, Job. Koelhoff, Conrad de Hoemborch, 
 Arnold Therhoernen, and Hen. Quentell ; also in books printed at 
 Louvain, by John of Westphalia, and Conrad Braen ; in others, 
 printed at Bruxelles, by the Fratres Communis Vita? ; and in others, 
 printed at Utrecht, by Nic. Ketelaer and Ger. de Leempt. In 
 short, however great the varieties of the tete de bauf, and however 
 general its use as a paper-mark in the fifteenth century, it does not 
 appear to occur, in books of the fifteenth centuiy, with the simple 
 ornament of a star made by cross lines, supported on an upright 
 line, as in the above fac-similes, except in such as were j)rinted at 
 Mentz, (by Schoeffer,) at Cologne, or in the Low Countries. 
 
 It is worthy of observation, that the t^te de haiif, IX., occurs but 
 once in the copy before us of " the second Dutch edition," as it is 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 
 
 227 
 
 called ; and that it happens to be upon the leaf containing the cut 
 No. 45 — the first of the two pages which, as has been before said, 
 are printed with type different from the rest. This curious circum- 
 stance seems to warrant the conjecture, that this edition, having been 
 left incom])lete in these two pages by one printer, was, some time 
 afterwards, finished by another. It is also remarkable that this tetc 
 de hmif, with the upright line between the horns, crossed only by one 
 simple line, was found by Santander, (avIio has given it. No. 91 of 
 the before-mentioned,) in books printed in Holland only : viz. in 
 those printed at Utrecht by Nic. Ketelaer and Ger. de Leempt.* 
 
 The conclusion to be drawn from this combination of evidence 
 is decisive as to the country in which the earliest editions of the 
 Speculum Salvationis were printed. They were, without doubt, 
 executed in Holland ; and so far, therefore, the result of our enquiry 
 does not militate against the assertions of Junius. 
 
 * Since writing the above, I have had the 
 opportunity of examining several books of the 
 fifteenth century, printed in Holland and other 
 parts of the Low Countries, in the valuable 
 library of Mr. Douce. Tlie anchor. No. 7, 
 occurs more frequently than any other paper- 
 mark, in a folio of Veldener, printed at 
 Louvaiii.-^ln another folio, printed by Ger. 
 Leeii, at Gouda, in 1481, the marks Nos. 5* 
 and 6, are of frequent occurrence ; and in 
 " Raymond de Sabundia," printed at Deventer 
 by R. Paffroed without date, but supposed, 
 in the Daventr. i/lustr. according to Visser, 
 to have been printed previous to 1477, the 
 paper-marks of most ordinary occurrence are 
 those numbered 4. 5. and 6. Now we have 
 seen that all such of the paper-marks that 
 occur in the Speculum, as are described in 
 Santander, are found in books of the fifteenth 
 century, printed in Holland ; and that two of 
 them, viz. 2 and 9, are found in books printed 
 in Holland only ; and there is, therefore, 
 
 2 G 
 
 upon the whole, good reason to consider 
 the paper-marks found in the different edi- 
 tions of the Speculum, as more especially 
 appertaining to Holland than to the more 
 southern parts of Belgium. 1 will not omit 
 to add, that the book last mentioned, and 
 another, which I saw upon the same occa- 
 sion, also piinted by Paffroed,' do nothing 
 towards confirming the observation of Fischer, 
 mentioned in a note at pp. 189, 190, that 
 the type of the Speculum resembles that, 
 or rather is the same, used by R. Paffroed 
 at Deventer. It is possible that this printer, 
 like many others of the early Dutch printers, 
 may sometimes have used a broad-faced 
 Gothic letter, a good deal resembling that of 
 the Speculum — for the present I must be 
 allowed to consider M. Fischer's assertion, as 
 no other than one of those hasty observations, 
 hazarded by memory, which tlie person who 
 writes them is so often, at a future period, 
 obliged to retract. 
 Q 
 
228 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 This fact being established, we are, in the second place, to enquire 
 what arguments can be produced in proof of the antiquity of the 
 work ; whether such as may be drawn from the internal evidence of 
 the book itself, or deduced from a comparison of it with other ancient 
 volumes. Heineken, we have seen, is of opinion, that the edi- 
 tion of the Speculum, which he calls " the first Latin," is at least 
 as early as 1457 — Daunou places it earlier than 1460 — and I am 
 unacquainted with any bibliographical writer who has not classed 
 it among the earliest specimens of the art of printing. If a jury 
 of twelve men, conversant in early typography, and unpre- 
 judiced as to the question in dispute, were to be called upon to 
 determine, whether or not this work is of at least equal antiquity with 
 the books ornamented with wood-cuts, printed at Bamberg, in 1462, 
 by Pfister, can any one doubt but that their answer to such a ques- 
 tion would be in the affirmative ?* and yet it will be sufficient for the 
 purpose of shewing that the claims of Harlem are not to be got rid of 
 so easily as the -WTiters of the Mentz party have aifected to suppose, 
 if it can be proved that either of the four first editions of the Spe- 
 culum was printed before 1472; because it is on all sides acknow- 
 ledged as an established fact, that the art of printing Avith cast type 
 was not practised in any part of the Low Countries (unless indeed 
 by Coster and his successors) previous to that year, or the year fol- 
 lowing, when it is said to have been introduced into Flanders by 
 John of Westphalia, and Theodore Martens.f 
 
 * My bibliographical friends assure me considered spurious, upon the ground that 
 
 tliat I should certainly have a verdict upon there is an interval of ten years between it 
 
 this simple question. and the next dated book of the same printer. 
 
 t It being ascertained tliat the Speculum (Vide Lambiiiet, torn. ii. p. Q.5\.) The date 
 
 was printed in Holland, it becomes indeed of 1473, on the " Secunda Pars Hystorie 
 
 scarcely necessary to prove its existence so " Scolastice," &.c. — Impressa in trajecto iti- 
 
 far back as 1472, in order to disconcert the feriori, per maglslros Nycho/aitm Ketelaer 
 
 system of the writers of the Mentz party, et Gherardum de Leempt, does not appear 
 
 A book, entitled " Tondalus Visionen" — to be doubted; {Lamhitiet, torn. ii. p. 87.) 
 
 gheprent t' Antwerpen be mi Matln/a Van but it may admit of a question, whether or 
 
 der Goes, bears date 1472 ; but this date is not it was printed, as is supposed, at Utrecht. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 
 
 229 
 
 But notAvithstanding the world appears to be so far agreed upon 
 this matter, that there is perhaps no person conversant with typo- 
 graphical antiquities who would hesitate to declare his belief that 
 one at least of the four first editions of this Avork is anterior to the 
 year 1472, still I am not prepared to offer positive proof that such 
 is the case. 
 
 Next, however, to the demonstration which results from positive 
 proof, we may class the conviction Avhich is the consequence of that 
 combination of small details, each corroborative of the other, and 
 all of them pointing towards and authorizing one and the same 
 conclusion, Avhich is termed circumstantial evidence. Many facts 
 
 The existence of the " Jacobi de Voragine 
 " de Guide Legende," said to have been 
 printed at Gouda, in 1473, by Gheraert 
 Leett, is very doubtful, ( Visser's Catalogue at 
 the end of Ja?iso)i's book " de I'lnvention 
 " de rimprimerie," p. 240,) and he is 
 thought not to have printed any book in that 
 city until 147G or 1477. {Lambinet, torn. ii. 
 p. 262, and Fisser, p. 245.) The dates of 
 one or two other books, purporting to have 
 been printed in Holland in the years 1472 
 and 1473, are considered spurious. Under 
 the year 1474, Vhser mentions no certain 
 book printed in Holland — under 1475, but 
 one — said to have been printed at Deventer, 
 but without the printer's name — under 1476, 
 he speaks of one book, supposed to have been 
 printed near Gouda, and of another print- 
 ed at Deventer; but both without printers' 
 names. Under the year 1477, mention is 
 made of the first book printed at Deventer, 
 by R. Paffroed : and also of the two first 
 dated books printed at Delft. The books 
 printed at Gouda and Delft are from this 
 period sufficiently numerous. In the year 
 1479, we find John Veldener printing at 
 Utrecht, where he established himself about 
 
 that time ; and, under the same year, mention 
 is made of the first dated books printed at 
 Zwoll. In the year 1483, mention, for the 
 first time, occurs of a dated book printed at 
 Harlem : this book, however, seems of doubt- 
 ful existence. In the same year, Veldener 
 printed the Jifth edition of the Speculum at 
 the town of Culenbourg, as has been said 
 — and also a sixth edition of the same work, 
 with augmentations — likewise a book with 
 cuts from the Bible, with verses under each 
 print. We find no book, with a date, printed 
 at Leyden before this year. In 1484, and 
 the year following, we read of a few dated 
 books, printed at Harlem ; but we find no 
 mention of any printed at Amsterdam during 
 the fifteenth century. 
 
 Upon the whole, the number of dated 
 books upon record, printed in Holland, pre- 
 vious to the year 1477, is so small, and 
 those few are so doubtful, that it can hardly 
 be affirmed, with certainty, that the 7iew 
 school of printing (if I may be allowed the 
 expression) was established in Holland before 
 that period. This argument is strongly in- 
 sisted upon by Meerman, " Origines," tom. ii. 
 p. 'il8, note (h). 
 
230 SPECULUM HUMANAE SALVATIOJNIS. [chap. hi. 
 
 from their very nature, are incapable of being ascertained by any 
 other means ; and the moral certitude acquired by this sort of testi- 
 mony is, in some cases, so com[)lete, as to leave little cause of regret 
 that that kind of evidence, which can alone with propriety be termed 
 proof) was wanting. 
 
 The present is, I think, one of these cases, and I trust the cir- 
 cumstances which I am now about to state, with as much brevity 
 as possible, will be admitted as constituting together very ample 
 ground for the conclusion that the four first editions of the Specu- 
 lum Salvationis were executed previous to the year 1472 above 
 specified. 
 
 In the first place, I must call the reader's attention to the remarks 
 offered, in various parts of this chapter,* upon the resemblance of 
 style observable in the execution of many of the wood-cuts of the 
 three works which have been described — " the Biblia Pauperum," 
 " the Book of Canticles," and the work still under consideration ; 
 a resemblance in many instances so striking, as to leave, in my 
 opinion, no doubt that the same wood-engravers were employed 
 upon all the three works in question. Several of the cuts in the 
 Speculum, as has been said, appear to have been executed by the 
 same hand that executed many of those in the " Biblia Pauperum ;" 
 others bear evident marks of having been engraved by the same 
 workman who cut many of those in " the Book of Canticles." Nor 
 is the resemblance as to the executive part of the work, or what 
 we may term the handling of the graver, less apparent between 
 many of the cuts of the '* Biblia Pauperum," and several of those 
 in " the Book of Canticles ; " although the artist, who made the 
 designs for the former of those works, appears to have been a 
 different person from the one employed to design the latter. For 
 example, if the reader has an opportunity of examining the 9th, 11th, 
 15th, 16th, 23d, 24th, 31st, 32d, 37th, and 38th cuts of the " Biblia 
 " Pauperum," (of the edition possessed by Lord Spencer,) and of 
 
 * See pp. 142. 155. 158. l62. l65. and l69. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 231 
 
 comparing them with the 1st, 2nd, 11th, 14th, and 16th pages of the 
 edition of " the Book of Canticles," from wliich specimens have 
 been given, he will find in the trees, represented in all of them, that 
 peculiarity of touch in the mode of executing the foliage, (well ex- 
 pressed by the vulgar term knack) which can alone be accounted for 
 by the supposition that they were in reality engraved by the same 
 hand. If these, again, are compared with the cuts of the Speculum, 
 described under Nos. 10. 12. 17. 28. 29. 30. 35. and 36., the same 
 Avorkmanship will be identified ; insomuch that we are fully justified 
 in the conclusion that the three works in question were executed in 
 the work-shop of the same master wood-engraver; with the ex- 
 ception, as has been said, of the latter cuts of the Speculum, Avhich 
 are engraved in a different style from all the rest. 
 
 This being ascertained, it is evident, that if the antiquity of one 
 of these works could be established, it would, in a considerable 
 degree, serve us as a guide by which to form some judgment of the 
 antiquity of the others. For, although the same artist may not 
 unreasonably be supposed to have continued the practice of wood 
 engraving even for more than twenty years, he can hardly be sup- 
 posed to have maintained, during so long a period, the exact same 
 style of execution ; for, if we examine the productions executed 
 by artists who are known, we shall find that a very sensible altera- 
 tion, in their manner of working, took place, during even a shorter 
 period ; and often that, were it not for the cyphers affixed to 
 their works, or the assistance Ave derive from the examination 
 of their intermediate productions, it Avould be impossible for us, 
 in a Avork executed by any artist at an early period of life, to dis- 
 cover that resemblance of style to one executed b}?- the same per- 
 son tAA'cnty years afterAA-ards, as Avould enable us to ascertain its 
 author. 
 
 We cannot therefore, I think, place an interval of more than ten 
 or tAvelve vears betAveen the execution of the en" raving's of the three 
 Avorks in question : and, as it has been shewn that there is no ground 
 for the belief that the cuts of the Speculum Avere ever intended to be 
 
232 SPECULUM HUMANAE SALVATIONIS. [chap. in. 
 
 published separately from the text, it follows, that we cannot date the 
 first edition of that work more than from ten to twelve years later 
 than the " Biblia Pauperum ;" which, from the greater rudeness of 
 its style, we are justified in considering somewhat more ancient than 
 the Speculum or " the Book of Canticles ;" but which, notwith- 
 standing, may not have preceded the others by so long a period 
 as we have supposed. The cuts of " the Book of Canticles" appear 
 to have no pretensions to a higher antiquity than the greater part 
 of those of the Speculum, and it is probable that the engravings of 
 those two works were in hand at the same time. The engravings 
 of " the Book of Canticles," however, being few in number, appear 
 to have been completed in the workshop of the master-artist who 
 had commenced the work, whereas the latter cuts of the Speculum, 
 as has been said, were executed by a different hand ; perhaps in 
 consequence of the original artist having died before he had com- 
 pleted that more extensive undertaking.* 
 
 This circumstance renders it probable that a small interval of 
 time elapsed between the publication of "the Book of Canticles" and 
 the first publication of the Speculum : I say but a small interval, 
 because it is reasonable to suppose that the person for whom the 
 engravings of the Speculum were made was employed in prepara- 
 tions for the text whilst the execution of the cuts was in process ; 
 and that he printed the text at the bottom of some of the cuts whilst 
 the others were in hand. 
 
 If the correctness of Mr. Horn, as to the date upon the original 
 binding of a copy of the " Biblia Pauperum," formerly in his pos- 
 session,"!- be admitted ; and if we could be certain that the edition 
 of that work, so bound, was the same as that of which we have 
 been speaking, or as that in the Bodleian Library, we should then 
 be justified in boldly placing the publication of that work at least 
 a few years previous to 1430; and, consequently, according to the 
 above premises, be entitled to place the first edition of the Speculum 
 
 * See pp. 155, 156. f See note, p. 99. 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 233 
 
 a little previous to the year 1440,* which is all that the defenders 
 of Junius contend for. Such a chronology Avould perhaps be not 
 far from the truth, and appears indeed to be necessary, if the story 
 of Coster is to be insisted on. All, however, that I have at present 
 undertaken to effect, is to shew good grounds for the belief that 
 the first edition of the Speculum Avas printed previous to the year 
 1472. 
 
 I would then, in furtherance of my present object, offer the 
 following remarks : that there is every reason to suppose that the 
 first editions of the " Biblia Pauperum" were those printed from 
 wooden blocks in the Latin language — that the one, of which we 
 have given specimens, appears on every account to have at least as 
 good claims to priority as any of the other three,-}- and that the 
 circumstance of its having been engraved by the same artists who 
 engraved the original edition of " the Book of Canticles," is in favor 
 of its originalit}' — and, lastly, that there can be no doubt that the 
 augmented Latin edition, termed by Heineken the Jifth, is of a 
 much later date.:|: 
 
 * It is worthy of remark, that the edition ing to Meerman, "Origines," torn. i. p. 117, 
 
 of the Speculum which we have shewn to be had, for a very long period, appertained to 
 
 the FIRST, viz. that commonly called " the the family of Coster himself. I shall not 
 
 second Latin," was formerly considered to insist on the authenticity of the printed in- 
 
 be so. Heineken makes the observation scription found in this copy, " Ex Officina 
 
 " Idee Generale," p. 449. " On donna," Laurentii Joannis Costeri, Anno 1440" — 
 
 says he, " au commencement a Harlem cette but I submit that the circumstance of its 
 
 " Edition pour la premiere, et ce n'est que having been anciently bound in the same 
 
 " depuis quelque tems qu'on a change de volume with the first edition of " the Book 
 
 " sentiment." The ancient belief, founded, of Canticles," is not a little corroborative of 
 
 perhaps, on tradition, was therefore the true the opinion given in the text, that the first 
 
 one. It is further worth observing that the editions of those two works were published 
 
 copy of this edition, which is preserved at at nearly the same time, and at the same 
 
 Harlem, made part of the contents of an place. 
 
 old chest of books which was purchased by -j- See pp. 129, 130. 
 
 the government of that city in the middle of J See p. 131. 
 the seventeenth century ; and which, accord- 
 
 2 II 
 
234 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 If it be admitted, that the first editions of the Bibha Paiiperum 
 were in the Latin tongue, (and I think Heineken's argument that 
 books of this kind were at first printed in their original language 
 is incontrovertible) it follows, that as the German translation was 
 printed at Bamberg,* by Pfister, in 1461, the Latin editions, or at 
 least the first of those editions, must have been published some time 
 before that period ; and in truth there appears ever}^ reason to ascribe 
 to some of them a much higher antiquity. 
 
 Of the Book of Canticles, it has been already observed that, 
 besides the two editions of that work described by Heineken, Lam- 
 binet and Daunou mention a third edition,-f a copy of which is 
 preserved in the royal library at Paris. " This edition," says Lam- 
 binet, " is much later than the others. The text is printed on both 
 " sides of the paper, and bears the date 1470. The figures," he adds, 
 " appear more ancient than that epoch." Daunou, also, styles it 
 " a posterior edition ;" and there can be no doubt that such is the 
 case : indeed the figures in the original edition of the Book of Can- 
 ticles, bear so near a resemblance to the style of Van Eyck, as to 
 justify the belief that they are full twenty or thirty years more 
 ancient than the above epoch. | 
 
 But the supposition that this Avork is of so high an antiquity, is 
 not necessary to our present purpose : it will suffice, if it be ad- 
 mitted (and this cannot well be denied) that the first edition of " the 
 Book of Canticles" was printed only a few years before the third 
 edition. For were we to place the first edition of the work no 
 
 * See p. 135. tyrdom in her liaiid, and beliind licr are work- 
 
 f Seep. 141. men emploved in building the magnificent 
 
 % I have now before me a print engraved by steeple of a church. The little figures of the 
 
 Corn. Van Noorde, and published by En- workmen preparing the masonry under a shed 
 
 schedius, at Harlem, in 176y, from a picture adjoining the building, bear considerable 
 
 of Van Eyck, bearing date 1437. It reprc- resemblance to the small figures in the 
 
 sents a young female- Saint, seated on the back-ground of the first cut of the Book of 
 
 ground, reading. She has the palm of mar- Canticles. 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 235 
 
 earlier than 1465, and admit that five years elapsed between that 
 publication and the first publication of the Speculum, Avhich is a 
 longer interval than there is any reason to suppose really took place 
 between them, the Speculum must then have been published in 
 the year 1470 — that is, two or three years before the first dated 
 books printed in any part of the Loav Countries ; which is all that 
 Ave have, at present, undertaken to establish. 
 
 The mode in which the typographical part of the Speculum is 
 executed in the four first editions of that M'^ork, furnishes further 
 evidence of its antiquity, as Avill presently be more fiilly sheAvn. 
 It is not credible that John of Westphalia, Theodore Martens, John 
 Veldener, Ger. Leeu, or any of the printers of the fifteenth cen- 
 tury, who are said to have introduced the art of printing into 
 Flanders and Holland, in its mature and perfect state, should have 
 departed from their usual method of typography in the execu- 
 tion of the editions in question. All the numerous books, AAdth 
 Avood-cuts, published during the last twenty-eight years of the 
 fifteenth century by these printers, of Avhich Ave have any ac- 
 count, are executed in the usual Avay ; the cuts, like the text, 
 being printed on both sides of the paper, AA'ith black printing-ink 
 and a press. 
 
 Still less can it be believed that one of these persons, supposing 
 him to have printed the first edition of the Speculum (commonly 
 called the second Latin edition) should afterwards have com- 
 pleted tAvo pages of the second edition of the Avork (the second 
 Dutch, as it is called) Avith an old Avorn out and battered type, 
 unlike the rest, and Avholly unfit for use ; — that, after having printed 
 this edition in the Dutch language, he should have published a 
 second edition in Latin, partly printed with cast type, and partly Avith 
 Avooden blocks ; and lastly, that he should have put forth another 
 Dutch edition, printed, if we can judge from Meerman's account 
 of it, with a Avorse type than the former, and inferior ink. It 
 will suffice to call the reader's attention to one additional cir- 
 
 2 H 2 
 
236 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 cumstance, in order to convince him of the extreme improbabihty, 
 I might almost say impossibihty, that either of the four early edi- 
 tions of the Speculum should have been printed by any one of 
 the printers above alluded to. Upon an examination of the margins 
 of the printed columns of text, in both the prose editions of the 
 work, (the Dutch) he will discover that the printer, when he set 
 up the type, was wholly unacquainted with the art of spacing 
 out the vacancies between the words, as it is technically called, 
 by means of small blank pieces of metal of different thicknesses, 
 so as to make the lines of an equal length : in consequence of 
 which, the right-hand edge of each column has a ragged and 
 uneven appearance ; a defect in the setting of the types never to be 
 found, as I am informed, except in books printed in the very 
 infancy of the art.* 
 
 There is, therefore, upon the whole, abundant evidence to 
 shew : first — that the original edition of the Speculum was 
 PRINTED IN Holland ; and, secondly — that it was printed before 
 THE YEAR 1472 : and it will, consequently, remain for those who 
 shall still withhold their assent to the testimony' of Junius, to account 
 
 * Tiie library of my friend, Mr. Douce, been printed by Gutenberg, and the Psalter 
 
 being eminently rich in the early printed of 1457, have also, I learn from Mr. Dib- 
 
 books of the Low Countries, I requested din, the edges of the type perfectly in re- 
 
 him to have the goodness to let me know gister. It is to be observed, that the pruned 
 
 whether the same inequalities in the length of columns of the Speculum are all of them 
 
 the lines, which I noticed in the Dutch Spe- very well in register on the hjl margin — 
 
 culum, were to be found in any of them. — so that the defect mentioned in the text, 
 
 Mr. Douce informs me, in answer, " that cannot be ascribed to the printer's want 
 
 he has e.xamined all the early books which he of care or accuracy ; but is only to be ac- 
 
 possesses, printed in the Low Countries, counted for by the supposition, that the 
 
 and that all of them have the edges of the improved method of spacing out the lines so 
 
 type perfectly even, according to the rules of as to make them of an equal length, had not 
 
 good press-work ; and not with chasms like yet been thought of when the book was 
 
 the Speculum, which," he observes, " cer- printed, or at least that it was entirely un- 
 
 tainly indicate printing in its earliest and known to the printer of the Speculum. 
 rudest state." The Bible supposed to have 
 
CHAP. HI] SPECULUM HUMANAE SALVATIONIS. 237 
 
 for the existence of a Avork, of which we have four ancient editions, 
 
 neither of them capable of being classed amongst ancient books 
 
 printed in Germany, nor among the productions of those printers 
 
 who practised the art of typography in various parts of the Low 
 
 Countries, after the example of Theodore Martens and John of 
 
 Westphalia. This they will probably find no easy task ; and, at all 
 
 events, they will not be able to accomplish it without admitting 
 
 the fallacy of so many of their former opinions and doctrines, that 
 
 It were as creditable for them to give up the point at once, or at 
 
 least to acknowledge that, after all, there may be more foundation 
 
 for the story of Laurence Coster than they were aware of 
 
 It has already been stated that, except tAventy pages of the text 
 in one of the Latin editions,* the four early editions of the Spe- 
 culum were printed Avith moveable characters; that, in three of the 
 editions, the type is identically the same, and that it is cast type. 
 But although tliis last-mentioned fact, I hesitate not to say, is 
 certain, there have been, notwithstanding, so many contradictory 
 opmions respecting the type of the Speculum, that it cannot be 
 termed uncontroverted. I therefore think it necessary to offer a 
 few remarks on the subject; and that they may be rendered more 
 mtelligible to the reader, I prefix a fac-simile, shewing the nu- 
 merous pieces that type is composed of; which have been col- 
 lected together with no small pains, during a frequent examination 
 of the text m the tAvo editions called " the second Dutch " anrl 
 " the first Latin, "t 
 
 It would be, perhaps, improper to term this a fac-simile of the 
 prmter's alphabet; since by far the greater number of the pieces 
 represented, are either double letters, or accompanied by marks 
 
 * The pages of the "first Latin edition," 21. 22. 26. 27. 46. and 55. 
 as it is called, Ml.ich are printed from Mooden f I shall afterwards speik of the different 
 
 blocks, are those containing the cuts numbered type used, as before observed, in two pac^es 
 
 1. 2. 4. 5. 6. 7. 8. 9. 10. n. js. 14. iG. 17. of the edition called " the second Dutch "^ 
 
238 SPECULUM HUMANAE SALVATIONIS. [chap. in. 
 
 of abbreviation, signifying that they stand for whole syllables, 
 or, in some cases, for entire words. I have been unable to dis- 
 cover a capital K, eitlier in the Latin or the Dutch edition of the 
 Avork. 
 
 a a ft 551$ b ceo cacrcrof (l)d dd CO t69 ctai 
 
 iTkH If FUUjti lu nli^n n-tDo ol^p pfiy^ jp^ 
 xo ru- J> $ $ C 1^ Co (T ft (u€ tt^ta^trtttitotttii 
 
 Any person conversant with printing, upon first viewing the 
 
 Speculum, naturally determines that, except the twenty pages of 
 
 block-printing so often noticed, in one of the Latin editions, it was 
 
 printed with cast metal type. Upon a more attentive examination 
 
 of a page, however, he discovers small, but yet, sometimes, very 
 
 evident variations of form in different specimens of the same 
 
 letter, which it appears difficult to account for : he finds, perhaps, 
 
 by measurement, that the same word, although spelt exactly in the 
 
 same manner, does not alwaj- s occupy exactly the same space ; and 
 
 he is induced to hesitate as to the correctness of his first judgment : 
 
 if not, indeed, to abandon it entirely, as not bearing the test of 
 
 scrutiny. In the latter case, he either attaches himself to those 
 
 who, like Fournier and Meerman, considered the Speculum to have 
 
 been printed with separate characters, carved in wood ; or is obliged 
 
 to conclude, that the type used for the occasion was prepared by the 
 
CHAP. III.] SPECULUM HUMANAE SALVATIONIS. 
 
 239 
 
 painful and tedious operation of cutting each individual character, 
 on a separate piece of metal, by the hand.* 
 
 Having embraced either of these two opinions, he finds, in the 
 work before him, ample cause for his admiration of the invincible 
 patience, the skill, and the exactness of the artist, who could suc- 
 
 * Meerman, latterly, thought of a third 
 method, in which he supposed the shafts of 
 the types to have been cast, and the letters 
 to have been cut by the hand. " Origines," 
 torn. ii. p. 51. He does not, however, ap- 
 pear to have ascribed this method to Coster, 
 but to the first Mentz printers ; so that my 
 note, at p. 197, may require correction. I 
 was led into the error by a misapplication 
 of the following passage in Heineken, 
 " Id6e Generale," pp. 259-60. note (b) 
 " Plusieurs auteurs," says Heineken, " ont 
 " compris enfin I'irapossibilite d'imprimer 
 " avec des lettres mobiles de bois. lis ont 
 " done imagine un autre genre, pour ex- 
 " pliquer I'inegalite des caracteres dans ces 
 " livres dont nous parlons. lis ont produit 
 " a cette fin des lettres mobiles, sculptees de 
 " bronze. Mais par mallieur elles ren- 
 " contrent encore plus de difficulte que celles 
 " de bois ; outre que la nialiere en est plus 
 " dure, elles deniandent encore un tems in- 
 " fini a etre sculptees. M. Meerman enfin, 
 " pour sauver quelques circonstances, etablies 
 " par Uii, pour prouver I'existence de I'ini- 
 " primerie de Laurent Coster, a invent^ une 
 " troisieme espece de lettres. II fait fondre 
 " le corps dans des monies ou matrices, pour 
 " qu elles deviennent egales, et ensuite il 
 " fait tailler la lettre au bout a la main et au 
 " couteau. Mais quand on est venu jusqu'a 
 " fondre le corps, il faut etre bien imbe- 
 " cille, pour ne pas fondre aussi la lettre. 
 " Disons plutot la verite, d'autaut plus qu'on 
 
 " rencontre meme dans les livres les plus ir- 
 " regulierement imprinies, toujours quelques 
 " marques, qui d6c^lent la fonte de lettres, 
 " et avouous sincerement, que tons les livres 
 " imprimis, le sont, ou avec des lettres 
 " fixes, gravees sur bois, ou avec des lettres 
 " de fonte." I will not go the length of 
 Heineken, in supposing that separate cha- 
 racters of wood were never used in printing, 
 because it is not probable that an opinion, 
 so prevalent as that of the ancient use of such 
 characters was, in the sixteenth century, 
 should have had no foundation. For letters 
 of considerable dimensions, such as the 
 larger characters of the Psalter of 1457, they 
 might have been found to answer, and were, 
 perhaps, employed on account of the cheap- 
 ness of the material : the initial letters of that 
 volume were, it appears certain, printed in 
 that manner. But for the printing of text 
 of ordinary dimensions, like that of the Spe- 
 culum, separate wooden characters could 
 never have been applied with success. 
 The unsuccessful specimen of two or three 
 words printed in that manner in the first 
 volume of Meerman's work, is, of itself, 
 an answer to this part of his system ; and 
 ought to have induced him to listen to his 
 friend Enschedius, the printer, who, as he 
 himself confesses, tom. ii. p. 225, insisted, 
 after repeated examinations, that all the edi- 
 tions of the Speculum, not even excepting 
 that which Meerman calls the first Dutch, 
 were printed with cast type. 
 
240 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 ceed, not only in giving to the sculptured characters that general 
 uniformity of" appearance, which at first occasioned him to consider 
 them as cast out of moulds, but even so strict a resemblance be- 
 tween perhaps a dozen specimens of the same letter in the first six 
 lines of a page, as to baffle the exertions of the most correct eye to 
 detect any sensible difference between them : except such as must 
 necessarily occur even in the ordinary-method of printing with cast 
 type ; either in consequence of one letter happening to have 
 been more used and worn than another, more charged Avith 
 the printing ink, or, from an irregularity not unfrequent in or- 
 dinary press-work, forced deeper into the surface of the paper 
 than the rest. 
 
 If, however, he turns from the page which he has been examining, 
 to one of those printed from a wooden block, he will be convinced, 
 by the comparison, that the uniformity of appearance which he 
 witnessed in the characters of the former, could not have been pro- 
 duced by means similar to those used in the execution of the latter : 
 for in the page printed from the engraved block, he will discover, 
 throughout, a sensible difference of form, as well as dimensions, be- 
 tween all the various repetitions of the same letter; and in the 
 capital letters, especially, he Avill find this difference so material, as 
 to render it easy for him to trace with a point the precise A^ariations 
 of form by which, for example, each of a dozen letters, S, is to be 
 distinguished from all the others. And yet it cannot but occur to 
 him, that it must have been a task of less difficulty to preserve uni- 
 formity in the shapes and dimensions of the letters, in a page of text 
 engraved on a plain block of wood, Avhich Avould have afforded the 
 artist not only the means of a constant comparison, but also a con- 
 venient and steady rest for his hand during the operation of engrav- 
 ing, than it could have been to cut the numerous characters required 
 with so strict a resemblance to each other, on separate pieces of 
 wood or metal. His second opinion he Avill find, therefore, to be 
 subject to at least as many objections as his first one ; and, if he do 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 241 
 
 not carry his investigations further, he must be satisfied to rest in 
 doubt and uncertaint5^ 
 
 The first time I saw a copy of the Speculum, which chanced to 
 be of the edition called " the first Latin," my own opinion under- 
 went, in rapid succession, the changes above described. From the 
 coup d'oeil of the first page of the preface, I was persuaded that it 
 was printed with cast type; but, my attention being called to a 
 more minute examination, I discovered a perceptible variation of 
 form, and even, as I thought, of dimension, in some of the repe- 
 titions of the same letter. The capital P for example, at the begin- 
 ning of the thirteenth line, did not appear to me exactly the same 
 as that which commences the twentieth line ; the same letter, at the 
 beginning of the twenty-fourth line, appeared to have a black line 
 closing it in at top, in which it differed from the two former ; and I 
 thought I saw small differences between these three, and the two 
 specimens of the same letter, at the beginning of the thirty-third and 
 thirty-seventh lines, which, however minute, were, I conceived, 
 sufficient to oppose the idea of their having been cast in the same 
 mould. Upon examining the minuscules, I perceived, here and 
 there, the marks of a sharp instrument, and I became of the opinion 
 that they had been executed, not, indeed, on wood, but on pieces of 
 metal, by means of the graver : until, turning to one of the pages 
 printed from an engraved block, and seeing the comparative imper- 
 fection of resemblance in the same letters, I was forced to relinquish 
 my latter opinion, as on every account, to the full as untenable as 
 my former one. 
 
 It would be tedious to the reader to follow me through the many 
 examinations by Avhich I at length succeeded, in convincing myself 
 that the judgment, which I had at first formed, was just, and that the 
 work was indeed printed with cast type ; more especially as it was 
 not until after I had been some time firmly persuaded of that fact, 
 that I discovered such evidence as was of a nature to be particu- 
 larized by description, and thereby communicated to others. 
 
 It may seem scarcely necessary to say any thing, in addition to 
 
 2i 
 
242 SPECULUM HUMANAE SALVATIONIS [chap. in. 
 
 wliat has already been said, in proof that the type used in the differ- 
 ent editions of the Specuhim was moveable. The impressions of the 
 blank characters, perceptible in some places in the vacant parts of 
 the pages, and before noticed, are decisive as to that point ; and the 
 fact, moreover, is generally admitted. Nevertheless, as I happen to 
 have discovered an additional piece of evidence, in proof that such 
 was the case, I shall briefly state it. 
 
 The subjects of most of the cuts in the Speculum, are taken, as 
 we have seen, from Scripture ; and as, at the bottom of each column 
 of text, the printer states the book and chapter in which the story 
 represented above it is contained, these references, by furnishing 
 frequent repetitions of the same word, offer an easy mode of detect- 
 ing those venial errors of orthography to which press-work is so 
 liable ; and which, when they are found in words of common use, in 
 the vernacular tongue of the printer, constitute the best possible 
 evidence of the mobility of the types used upon the occasion ; as 
 they cannot be accounted for, like the errors noticed at p. 140, in 
 one of the editions of " the Book of Canticles," upon the ground of 
 the workman's ignorance ; but must have been occasioned by the 
 compositor happening, accidentally, to insert one character instead 
 of another, when re-setting the word. 
 
 The Avord capittel, chapter, in the Dutch edition, occurs twice 
 at the bottom of almost every page of the book ; sometimes abbrevi- 
 ated, but generallj'^ spelt at length. At the bottom of the column 
 under the cut representing " Naaman cured of his leprosy," No. 24, 
 this word is spelt carittel, the compositor having by mistake intro- 
 duced an r instead of a p ; under that of " Naomi weeping the 
 " death of her sons," No. 50 ; it is spelt thus ; capittel, — the e, by 
 mistake, having an accent over it — an error Avhich nowhere else 
 occurs ; and at the bottom of the text, under the cut of " God com- 
 " manding Abraham to leave the land of Ur," No. 54, the word is 
 spelt thus — capktd ; the printer, in his hurry, having mistaken the 
 double letter st for the double tt. 
 
 There is therefore no doubt that the characters used in the differ- 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 243 
 
 ent editions of the Speculum (except twenty pages in one of the 
 Latin editions) were moveable types ; and I now proceed to pro- 
 duce Avhat I trust will be admitted as satisfactory evidence, that 
 these types were cast. In order, however, that this evidence may 
 be clearly understood, it will be proper, in the first place, to offer a 
 few remarks concerning the mode supposed to have been used by 
 the inventors of printing, in preparing their type. 
 
 The operation by which the casting of letters was effected during 
 the infancy of typography was very different from the process now 
 used in letter-foundries, and far less perfect. The first cast type is 
 believed to have been made by pouring melted lead, pewter, or 
 other metal, into moulds of earth, or plaister, formed, whilst the 
 earth or plaister was in a moist state, upon letters cut by the hand 
 in wood or metal ; in the ordinary manner used from time imme- 
 morial, in bell-founding, and in casting statues of bronze and other 
 articles of metal, whether for use or for ornament. The mould 
 thus formed could not be of long duration like a matrix cut or 
 stamped in metal, since it was obviously subject to fracture; nor 
 could it be equally true or perfect in other respects, as it was liable 
 to warp in drying. 
 
 From moulds thus constructed, but a small number of specimens 
 of each letter could be taken, before they would require to be re- 
 newed. This, it is reasonable to suppose, was effected by forming 
 new moulds upon the various specimens of the characters which had 
 been cast out of the old ones. Those characters, however, before 
 they could have been fit for use, it had been necessary to clear, by 
 means of the graver, from the small particles of extraneous metal 
 left upon them in the process of casting ; so that the small acci- 
 dental dissimilarities in the different specimens of each letter, origin- 
 ally occasioned by this imperfect mode of casting them, were neces- 
 sarily augmented by the after-process of finishing or clearing them 
 with a sharp instrument ; and thus the renewed moulds, formed 
 upon the letters thus prepared, would necessarily differ, and in 
 some cases very materially, from the former ones, and also (for these 
 
 2 I 2 
 
244 SPECULUM HUMANAE SALVATIONIS. [chap, hi. 
 
 moulds could be multiplied at pleasure) from each other. That a 
 book, printed with type thus manufactured, should present a never 
 ending variety in the forms of the different specimens of the same 
 letter, is, therefore, not surprizing; it is rather a subject for our 
 admiration,' that the dissimilarity in the characters in the work be- 
 fore us, is not greater, and more immediately apparent. 
 
 This necessary variety in the appearance of the characters, in 
 books printed with type made by the above process, renders it ex- 
 tremely difficult to prove, from a comparison of those characters, 
 that such books were, in reality, printed with cast type at all ; and, 
 indeed, a French writer, whom we have often cited, says, in speak- 
 ing of the larger sized type of the Psalter of 1457, " that he thinks 
 " it impossible to pronounce whether those characters, wherein," 
 says he, " so many inequalities and variations in the same letters 
 " have been observed, were cut in Avood, or cast in moulds of clay 
 " or plaister, seeing that these two processes, although different, 
 " would give the same result of inequality and disproportion ; as 
 " may be seen," says he, " in multiplied examples in the history of 
 " printing by stereotype."* 
 
 Notwithstanding, however, that the remark of Lambinet, as to 
 the difficulty of distinguishing, by the impression, between carved 
 type, and such as was cast by the imperfect method above described, 
 and afterwards finished by the hand, is not wholly unfounded ; 
 still I am of opinion, that if due diligence be used in the examina- 
 tion, such a distinction will, in most cases, not be found impossible. 
 Besides the smaller varieties of form in the letters, commonly to be 
 found in books printed with type prepared by the ancient mode of 
 casting, the marks of accidental fractures or distortions of a more 
 obvious kind will sometimes be discovered in particular letters ; 
 occasioned, perhaps, by some fracture or distortion Avhich the mould, 
 out of which that particular letter was cast, had encountered whilst 
 drying. If, notwithstanding such an imperfection of the mould, 
 
 * Lambinet, torn. ii. p. 314. 
 
CHAP. HI] SPECULUM HUMANAE SALVATIONIS. 245 
 
 several letters were cast out of it, (which, in the infancy of ty- 
 pography, would probably be the case, if the fracture was not of 
 such a magnitude as to render the letters cast from it wholly unfit 
 for use) each of those letters would retain peculiar marks, by 
 which it might be distinguished from other specimens of the same 
 letter that had been cast out of moulds which were free from such 
 defects ; even notwithstanding the after-process of clearing the let- 
 ters from the superfluous metal left upon them in casting, which, in 
 the type of the Speculum, at least, appears to have been hastily 
 performed by a sharp instrument. Now, as in the mode of casting 
 above-mentioned, a sufficient quantity of type for printing could 
 only be obtained by moulds often rencAved upon the characters 
 before cast, it would occasionally happen that the renewed moulds 
 would be formed upon letters which, having themselves been cast 
 out of fractured or distorted moulds, Tetained the marks of such 
 imperfection ; and thus the traces of the original accident would 
 descend, if I may use the expression, to a large portion of the 
 specimens of that particular character ; more especially if the ori- 
 ginal accident occurred at an early period of the operation of pre- 
 paring the type. 
 
 A remarkable accident of this kind appears to have occurred 
 during the process of casting the type used for the Speculum ; and 
 as it furnishes, in its effect, very sufficient evidence of its origin, 
 I shall here describe it. Among the characters of common occur- 
 rence in Lord Spencer's Dutch copj^ is the following f^ . It is not 
 so often found in the edition called "the first Latin :" that language 
 not admitting so frequently of its introduction. This character, in 
 its perfect shape above represented, occurs in the 30th line of the 
 first page of the preface of the Dutch edition, and is repeated, with 
 small variations in its appearance, in the same line, and in the 
 10th, 11th, 13th, 15th, 18th, 21st, 27th, and 32d lines of the same 
 page. But it is remarkable that, in most instances, as well in this 
 page as in other parts of the book, it appears with the marks of 
 fracture or dislocation, in the line of abbreviation over the letter, 
 
246 SPECULUM HUMANAE SALYATIONIS. [chap. iii. 
 
 thus, fi : whence there appears reason to conclude that the original 
 fracture or warping of the mould, occurred at an early period of the 
 process of casting the type. In some instances, as, for example, in the 
 4th line of the right-hand column of text, under the cut No. 18, the 
 mark of abbreviation over this letter, appears broken into two dis- 
 tinct pieces, thus, ^ ; (an accident which, perhaps, happened to 
 the letter after casting, in the course of its use, in consequence of 
 the weakness of the type in that part) whilst, in others, on the con- 
 trary, the indication of the original dislocation of the mould is 
 scarcely perceptible. 
 
 The above circumstances not only furnish satisfactory proof that 
 the type of the Speculum was cast, but, also, that it is identically 
 the same in two, at least, of the editions of the work : for the same 
 marks of dislocation, in the line of abbreviation over the letter which 
 we have noticed, are found in several places in the edition called 
 " the first Latin;" as in the first page of the preface, at the 31st, 
 35th, 36th, and 38th lines ; in the fourth page, at the 30th and 32d 
 lines ; in the column of text on the right-hand, under the 30th cut, at 
 the 6th, 10th, 17th, 19th, 22d, and 24th lines ; and in many other 
 parts of the volume : nor have I any doubt that, upon examination, 
 the same defects in this particular letter will be discovered in the 
 first edition of the Speculum, hitherto called, " the second Latin," 
 which, as has been already observed, there is every reason to 
 conclude was printed with the same type. 
 
 By similar means it may, probably, hereafter be ascertained, that 
 the fragment of a Donatus, Avhich was discovered at Harlem in the 
 binding of a book of accounts of the year 1474,* and of which a 
 
 * This fragment, which is printed on vol- book-binder. Meerman calls this the third 
 
 lum, was found attached to the binding of a edition of the Donatus, and supposes that it 
 
 book of accounts of the church of Harlem, was printed, by the successors of Coster, a 
 
 written entirely in the year 1474; and it is little before 1474. Upon this point, it may 
 
 jemarkable that the MS. contains an entry, be sufficient to observe, that he appears to 
 
 i.i which mention is made of Cornelius the have had no better authority for his chrono- 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIOINIS. 
 
 247 
 
 page is copied in plate VI* of Meerman's work, was also printed 
 with the same characters ; a fact which, if it be established, will, 
 by a fair inference, greatly strengthen the cause of Harlem, by 
 shewing the probability that, according to ancient tradition, the 
 early editions of the Speculum were really printed in that city. 
 
 Whether or not the Fragmentum Doctrinalis Alexandri Gall/, two 
 leaves of parchment in 4to. mentioned by Fischer, and noticed in a 
 note at p. 190 of this work, was printed with the same characters, 
 and whether or not that fragment is identically the same which is 
 ascribed, in Visser's catalogue, to the press of the successors of 
 Coster, I cannot determine. Lord Spencer has lately made the 
 acquisition of four leaves of vellum, of a small 4to size — part of 
 an edition hitherto unknown of the Catonis Disticha — which was 
 certainly printed with the type used for the Speculum, notwith- 
 standing that, in consequence of the shrinking of the vellum, the 
 characters appear of somewhat smaller dimensions. A full page 
 
 logical arrangement of the different Dona- 
 tuses, than he had for the different editions of 
 the Speculum, in his arrangement of which 
 it has been shewn he was egregiously mis- 
 taken. The fragment above-mentioned, there- 
 fore, may perhaps be much older than 1474. 
 I regret that we are not informed whether or 
 not this fragment, when it was discovered, 
 exhibited any marks of having been itself 
 part of a book which had been bound and 
 used, previous to its being applied to the 
 purpose of assisting in the binding of the 
 account book of 1474. 
 
 This interesting fragment was not dis- 
 covered until after Meerman's laborious work 
 was very far advanced. He speaks of it, 
 torn. ii. p. 218, in a long note, (already re- 
 ferred to at p. 229,) from which I extract the 
 following passage : — " Imo, quum probabile 
 " Don sit," says Meerman, " folium hoc peti- 
 
 " tum ex editione apud exteros impressa, 
 " quae in bibliopegi usum mutilata fuerit, sad 
 " potius, residua aut inutilia folia libelli 
 " isthic loci excusi eam in rem inserviisse, 
 " concludere porro licet, eum prodiise ex 
 " ofHcina Laurentiana Harlemi, quandoqui- 
 " dem a. 1474. Nulla adhuc alia per totam 
 " Hollandiam erecta erat, quum scholae Mar- 
 " tinianae alumni demum a. 147". Delphis 
 " et Goudae (non vero a. 1473, ut falso 
 " scripsit Marchantius ' Hist, de I'lmprim.' 
 " p. 62.) Harlemi vero demum a. 1484, libros 
 " vulgaverint ; queis adde, quod in officina 
 " Laurentiana ministri quondam partes ipse 
 " egisset Cornelius. Sed dubium omne ex- 
 " imit conformitas cum typis Specidi Be/gici 
 '* secundae editionis maxima, quae mihi aliis- 
 " que, ambo archetypa cum cura conferen- 
 " tibus, statim sese manifestavit," &c. 
 
248 SPECULUM HUMANAE SALVATIONIS. [chap. in. 
 
 contains twenty-one lines. The fi exhibiting the marks of fracture 
 or dislocation, in the horizontal line of abbreviation over it, more 
 or less apparent, occurs in the last line of the 1st page, in the 
 9th line of the 4th page, and in the 7th line of the 8th page. In the 
 4th line of the 2d page, in the 15th of the 3d page, and in the 9th 
 and 11th lines of the 8th page, the same character occurs, but 
 without any marks of the imperfection so often noticed. I under- 
 stand it to be the intention of Mr. Dibdin, to present his readers 
 with the fac-simile of an entire page of this interesting fragment, in 
 the fourth volume of his " Bibliotheca Spenceriana." 
 
 In my endeavours to show that the type of the Speculum was 
 cast type, I have referred to a particular defect of frequent occur- 
 rence in the same letter, because I considered that evidence, of 
 itself, decisive of the question, at the same time that it was easy 
 of communication. I will only add that, independent of this proof, 
 any person of a correct eye will, upon an attentive comparison of 
 the different specimens of any one letter, in any page of the book, 
 (except the twenty pages of block-printing, in one of the Latin 
 editions) discover abundant and convincing evidence that such was 
 the case. 
 
 If the type of the Speculum be compared with the types of other 
 early printed books, it will, I believe, be found to be more abundant 
 in ligatures than any other, of equal dimensions, known to have 
 been used in the Low Countries, or perhaps elsewhere, during the 
 fifteenth century. This circumstance is strongly favourable to the 
 antiquity of the Avork. For the inconvenience arising from the too 
 frequent use of types, each containing two letters, a practice which 
 was probably resorted to in the infancy of typography, that the 
 printed book might resemble the work of the caligraphist, and thus 
 pass for manuscript, occasioned them by degrees to be more 
 sparingly used after the art was no longer a secret; especially in 
 books printed with characters of a large size ; as by the diminution 
 of the number of pieces employed, the expense and labour of pre- 
 paring the type was greatly diminished. 
 
CHAP, in.] SPECULUM HUMANAE SALVATIONIS. 249 
 
 To this It may be added, that the type of the Speculum is very 
 remarkable for its heaviness of appearance ; the dark strokes of the 
 characters being thicker in proportion to the dimensions of the let- 
 ters than is the case in the types ascribed to Guttenberg, in those of 
 Fust and Schoeffer, or perhaps in those of any other ancient printer. 
 This peculiarity in the tj^pe of the Speculum was, it is probable, 
 necessarily occasioned by the nature of the material used for its 
 construction ; which, from the general want of sharpness in the ap- 
 pearance of the letters, and the frequent fractures and zigzag bend- 
 ings in the fine strokes ofsomeof them — the capital I in particular — 
 there seems reason to believe was pewter, or some other soft metallic 
 composition, ill calculated to resist the force of the press, unless in 
 characters of thick and heavy proportions. If this conclusion be 
 well founded, it will be admitted as in no small degree corroborative 
 of the testimony of Junius. 
 
 It remains for us to say a few words concerning the difference 
 between this type, and that with which two pages only of " the 
 " second Dutch edition," as it is called, are printed ; viz. the 45th 
 and the 56th. 
 
 The form of this latter type, so far as the two above-mentioned 
 pages furnish the alphabet, are given in the annexed fac-simile : 
 
 211 a a nb ta l^lrfCc ca crop m co-^ O ta t^tF Oi 
 td-e e f ee ^ eif e a® oagt gf ^ii corjul) te ^ 
 
 pe p? ip.q qr i ttx d u cocug) e f(e(c fi (I (b ft- 
 S: 1 1? t ta tr t? d to ttu n tr oiwj ^.g-i- 
 
 This type differs considerably from that used in the other parts of 
 the work ; not only in the forms of several of its letters — the capital 
 A, for example, and the capital D — but also in its size : twenty-seven 
 
 2 K 
 
S50 SPECULUM HUMAKAE SALVATIONIS. [chap. ni. 
 
 lines of text in these two pages occupying nearly the same space as 
 twenty-live lines in the other pages of the volume. It is also re- 
 markable, that some letters are found joined to others following 
 them, in this type, which never occur so joined in the other; as the 
 consonants b and h, for example, followed by the vowels a, e, and i. 
 The ink, moreover, used in printing these two pages, is browner, and 
 appears to have been more diluted with oil,* than that used in other 
 parts of the work, and the paper is thinner and of an inferior quality. 
 But it is especially worthy of notice, that this tj^pe, when applied to 
 the purpose of completing these two pages of the Dutch edition, 
 appears to have been in much worse condition than the other type ; 
 and, indeed, it bears the marks of having suifered so much from 
 previous hard usage,f as to render it difficult to believe that the 
 printer would have resorted to it, upon the present occasion, had he 
 had any other. The only reasonable hypothesis therefore that I 
 am able to frame, by which to account for these two pages being 
 printed in a manner so inferior to the rest, and the still more extraor- 
 dinary introduction of twenty pages of block-printing in the Latin 
 edition so often mentioned, is, that the printer Avho printed the first 
 fiDiTiON of the Speculum (called " the second Latin,") left, upon his 
 death, the second edition, (hitherto styled " the second Dutch,") 
 and the third edition (erroneously called " the first Latin,") in- 
 complete ; that the type which had been used for those editions 
 having been stolen or destroyed, shortly previous to the death of 
 such printer, or perhaps soon after his decease, his successor, natu- 
 
 * In this respect, these two pages appear book, printed with the type used in the two 
 
 to bear a resemblance to those of the edition pages above-mentioned, has hitherto been 
 
 which Meerman calls " the first Dutch," discovered. From the battered appearance of 
 
 which are printed, he tells us, with browner the character, one might almost conjecture that 
 
 and more oleaginous ink than the other edi- it had been made of lend — the material of 
 
 tions, a circumstance which is in favor of which, according to Junius, Coster made his 
 
 my opinion, that that edition was afterwards type, before he discovered that pewter, from 
 
 printed by the same person who had com- its being somewhat harder, was beltei fitted 
 
 pleled the two pages of the other. for the purpose. 
 
 f I am not aware tliat any fragment or 
 
CHAP. Ill] SPECULUM HUMANAE SALVATIONIS. 251 
 
 rally desirous to make the most of the property which he had 
 inherited, lost no time in completing the text of the tAvo pages 
 wanting in the Dutch edition, by having recourse to the remains of 
 some old type which had been thrown aside by his predecessor as 
 no longer fit for use ; but that finding the imperfections of this old 
 type, of Avhich he, probably, possessed but a small quantity, and 
 being himself unequal to the task of casting new, (an art which 
 whether from his youth or other causes he had not been suf- 
 ficiently instructed in during the life-time of him from whom he* 
 inherited,) he was obliged, in order to complete the twenty pages 
 wanting in the Latin edition, to have recourse to one of the nume- 
 rous artists who, long previous to, as well as after, the invention of 
 typography, practised engraving in wood. 
 
 The rude manner of printing used in completing the two last 
 mentioned editions of the Speculum, can only be accounted for by 
 the supposition that, at the time and place in which they were pub- 
 lished, the art of typography, which had been shortly before prac- 
 tised with good prospect of success, although still in its infancy, had, 
 by some strange mishap, experienced a check which little less than 
 
 * Thomas Peter, tlie son-in-law of Coster, when, by the robbery, which (judging from 
 
 and who assisted liim in his invention, is sup- the account of Guicciardini) took place 
 
 posed to have died before him, leaving sons, shortly after that pei'iod, he found himself 
 
 the eldest of whom could not, according to suddenly deprived, not only of the necessary 
 
 the genealogical account of the family given type for printing, but also of the services of, 
 
 by Meerman, have been more than twenty perhaps, his grandfather's best workman, it 
 
 years of age, when Coster himself died: an can neither be a matter of surprize that he 
 
 event which, it is believed, took place about was obliged to complete the second and third 
 
 the year 1440. This young man, therefore, editions of the Speculum, in the rude man- 
 
 although his youth was not such as to render ner that has been described ; nor that he was 
 
 it likely that he was entirely ignorant of the unable, in the fourth edition of the work, 
 
 art which his grandfather and his father had published, perhaps, a few years after these, 
 
 heretofore practised, could scarcely have pos- to equal that part of the press-work of the 
 
 sessed more than an incomplete acquaintance former editions which bad been before exe- 
 
 with it, when, upon the death of Coster, he cuted under the care and inspection of Coster 
 
 was called upon to take the management of himself, 
 the new establishment ; and consequently 
 
 2 K 2 
 
252 
 
 SPECULUM HUMANAE SALVATIONIS. [chap, hi; 
 
 occasioned its immediate destruction, and greatly impeded its pro- 
 gress for the time to come. That this was the case appears evident 
 from the other Dutch edition, which there is reason to beheve was 
 printed the last of the four, (and probably some time after the last 
 mentioned Latin edition,) but which Meerman erroneously styles the 
 iirst : this edition, although it is printed with moveable, and, no 
 doubt, cast type, being executed, according to Meerman's descrip- 
 tion of it, in a manner so inferior to the others as to prove that the 
 printer who executed it was far less perfectly skilled in the different 
 secrets of the art he practised,* than he was by whom the first 
 edition had perhaps many years before been published. 
 
 Upon the whole, the conclusions to be drawn from the examina- 
 tion and comparison of the four early editions of the Speculum, 
 appear incompatible with any system of typographical history, 
 except such as has for its basis the ancient traditions recorded by 
 
 * This inferiority of talent or diligence in 
 those who appear to have immediately suc- 
 ceeded Coster in the practice of <he secret 
 art which he had invented, sufficiently ac- 
 counts for the silence of the old writers 
 respecting early printing at Harlem. Their 
 poor attempts were little calculated to draw 
 forth the notice of contemporaneous histo- 
 rians, even had they been known, which for 
 some time, it is probable, was not the case. 
 The printers of Mentz, meanwhile, were 
 eminently successful in their endeavours to 
 perfect the art of printing, and soon put forth 
 works which, from their magnitude as well as 
 the beauty of their execution, could not fail 
 to occasion the admiration of all Europe. 
 Through their means also the knowledge of 
 the art became diffused. It is therefore 
 rather a matter of surprize, that even one of 
 the writers of the fifteenth century (the au- 
 thor of the Cologne Chronicle) should have 
 
 noticed the pretensions of Harlem, than that 
 so many should have been silent respecting 
 them. It appears highly probable that the 
 rude method of printing used by the succes- 
 sois of Coster, continued to be practised ni 
 Harlem, and perhaps in some other parts of 
 Holland, until some time after the establish- 
 ment of the more perfect mode of typography 
 introduced into the Low Countries by Theod. 
 Martens and John of Westphalia ; a suppo- 
 sition which, if it be admitted, will in some 
 degree account for the disciples of the Mentz 
 printers not having established their presses in 
 Holland and Flanders so early as in most otlier 
 parts of Europe. The number of books 
 rudely printed in the Low Countries, without 
 dates, seems to justify the hypothesis : besides 
 that, it is extremely improbable that an art of 
 this kind, once practised, in any province, 
 however imperfectly, should afterwards have 
 fallen into entire oblivion and disuse. 
 
CHAP, in] SPECULUM HUMANAE SALVATIONTS. 253 
 
 Van Zuyren, Coornhert, Junius, and Guicciardini ; Avith which they 
 perfectly accord. And I therefore am constrained to give my assent 
 to the testimony of these writers ; corroborated, as it appears to be, 
 by so many striking particulars of circumstantial evidence, and 
 especially conhrmed by the internal evidence of the Speculum 
 itself, the monument to which Junius refers. 
 
 But, although such be the conviction of my own mind, I do not 
 flatter myself that it will be admitted by others that I have satisfac- 
 torily determined this long disputed question. The ultimate establish- 
 ment of Coster's pretensions, I leave to those Avho have leisure for so 
 arduous a task ; and who, if those pretensions be well founded, ma}^ 
 at some future period, armed, perhaps, with evidence, the exist- 
 ence of which is at present unknown, wrest back the long usurped 
 wreath, to place it once more on the brows of its rightful owner. 
 
 Some apology is necessary for my having devoted so many pages 
 to the discussion of a question, which the reader may have con- 
 sidered foreign to the professed object of this work : more especially 
 as it may be urged against me that, in going so much at length into 
 the pretensions of Lawrence Coster, I have shewn mjself little mind- 
 ful of my promise, at the beginning of this chapter, to keep as clear 
 as possible from all typographical controversy. 
 
 If the example of others may be pleaded in my justification, it 
 will be enough to refer to Papillon, Fournier, and, more particu- 
 larly, to Heineken, who devoted two hundred and thirty pages of 
 his " Idee Generale," to an account of the early block-books, in- 
 termingled with his opinions concerning the invention of typo- 
 graphy ; although his work was expressly written upon the mode of 
 arranging a collection of prints. 
 
 The early history of wood engraving is, indeed, so closely inter- 
 woven with that of printing, that an inquiry into the former, must 
 necessarily occasion some mention of the latter ; and where it so 
 happens that documents or oj)inions of authority respecting the one 
 art, appear to be at variance Avith such as relate to. the other, the 
 
254 SPECULUM HUMANAE SALVATIONIS. [chap. hi. 
 
 examination of those on both sides, becomes essential to our forming 
 a right judgment concerning the points in dispute. 
 
 From the respectful deference that has been paid to Heineken 
 by more recent authors, his writings have, by degrees, assumed an 
 air of authority to which they have certainly not an indisputable 
 title; but which, nevertheless, has rendered it necessary that I 
 should be the more particular in defending, by argument or evi- 
 dence, those opinions in which I chanced to differ from him. 
 These, as has been seen, Avere not a few ; and I have consequently 
 been obliged to combat his system in detail — feeling that, if I did 
 not succeed in making out a strong case, I should incur the reproach 
 of imbecile presumption, in daring to call in question the truth of 
 doctrines familiarized by frequent repetition, and long sanctioned 
 by the learned. After all, the discussion concerning Coster would 
 not have had a place in this work, but for the accidental dis- 
 covery of the priority of the two editions of the Speculum, which 
 had hitherto been considered the third and fourth editions of that 
 work. This discovery appeared to put the question in a new light, 
 and led me into further research ; and I am willing to flatter 
 myself that, however my argument upon the subject may be found 
 defective, some of the facts upon which it is founded, and which 
 have been unnoticed by all former writers, will be deemed not un- 
 interesting by those who are curious in typographical antiquities. 
 I have purposely avoided the mention of such testimonies on the 
 side of Holland as appear of dubious authority, — as that recorded 
 by Atkins ; and 1 have omitted to notice others of inferior import. 
 In short, I leave the subject open to future discussion ; satisfying 
 myself with having proved that, according to my original position, 
 the cuts of the three block-books described in this chapter, apper- 
 tain to the ancient school of the Low Countries, and not to that of 
 Germany. 
 
 Before we close this chapter, and, with it, our inquiry concerning 
 the antiquity of wood engraving, it may be proper briefly to reca- 
 
CHAP. Ill] RECAPITULATION OF DOCUMENTS. 255 
 
 pitulate some of the principal documents of the early use of 
 that art, that have been referred to in the preceding pages. 
 
 The earliest document of the practice of this art in Europe, is 
 that recorded by Papillon, of the wood-cuts of " the Actions of 
 Alexander," engraved by the tvi^o Cunio, at Ravenna, and dedicated 
 by them to their kinsman. Pope Honorius IV. about the year 1285. 
 It is unnecessary to add to the reasons, given in our first chapter, 
 which have induced us to place reliance upon the French writer's 
 accuracy in describing this interesting monument of ancient xylo- 
 graphy, now no longer to be found. 
 
 It cannot be denied that the distance between this epoch and the 
 protective decree of 1441, of the government of Venice, is for- 
 midable. Nor should Ave have placed it next in the order of time, 
 did not the context of that record furnish undoubted proof that the 
 art of wood engraving had been commonly practised, not only in 
 Venice, but also in other parts of Europe, very long previous to its 
 date. The decree, indeed, as has been observed in our second 
 chapter, speaks of the art of manufacturing cards and printed 
 figures, in terms which would have been every way appropriate, had 
 it had for its object the re-establishment of the most ancient manu- 
 facture of Venice. I have suggested that we may, in some degree, 
 fdl up the chasm between the epoch of the two Cunio, and that of 
 the decree of Venice, by the most early records of the general use 
 of playing-cards in Europe: because I think* that cards could 
 never have been general in any European country, until the art of 
 wood engraving was resorted to in their manufacture : as the time 
 and labour required to design and colour them by the hand, must 
 have rendered them too expensive an amusement, except for the 
 most opulent classes of societj% and, consequently, have acted as a 
 prohibition against their general use. 
 
 Under this supposition, the mention of cards in the Trattato del Go- 
 veriio della Famiglia of Sandro di Pipo.zzo,f written about 1299, and in 
 
 * Vide p. 65. f Vide p. 67. 
 
256 RECAPITULATION OF DOCUMENTS. [chap. hi. 
 
 the Romance of Renort le Contrefait,* Avhich was finished in 1341, 
 and also their prohibition, in 1387, by John I. King of Castile.f may 
 be fairly admitted as testimony of the practice of wood engraving 
 at those respective periods, in Italy, France, and Spain. The 
 smallness of the price paid for the three packs of cards gilt and 
 coloured for King Charles VI. by Jacquemin Griiigo/mein;+ about 
 1395, and recorded in a book of accounts of the court of France 
 of the time, is sufficient evidence that they must have been first 
 printed, and afterwards finished by hand. 
 
 But although from the paucity of express records of ancient wood 
 engraving, we have had recourse to the early notices concerning the 
 use of cards, still there appears sufficient reason to conclude, that 
 long previous to the introduction of those articles of amusement, 
 the art had been commonly applied, in different parts of Europe, to 
 the purpose of administering to the superstition of the people, by the 
 images of saints and other devout representations. Prints of this 
 kind, impressed from blocks rudely engraved, and afterwards daubed 
 over with a few gay colours, are expressly referred to in the Vene- 
 tian decree above mentioned ; and although such rude productions 
 do not appear to have been preserved by the Italians, they are found 
 in considerable numbers in the convents of Germany ; seldom indeed 
 accompanied with dates, but often bearing the marks of a great an- 
 tiquity. The date 1384 on the wood-cut preserved at Lyons,]] said 
 to have been executed at Nuremberg, appears, I know not why, to 
 have been suspected; that of 1423, on the St. Christopher, in the 
 possession of Lord Spencer, and that of 1437, on the St. Sebastian, 
 mentioned at p. 96, are, however, not subject to similar doubt. 
 The St. Christopher, with its companion, the Annunciation, we have 
 given our reasons for supposing was executed in Italy. § The in- 
 scriptions on those two prints, and the prayer under the St. Sebas- 
 
 * Vide pp. 69. 70. II Vide p. 88. 
 
 t Vide note, p. 77. § Vide p. 89, et seq. 
 
 t Vide p. 69. 
 
CHAP. Ill] WOOD CUTS IN EARLY ITALIAN BOOKS. 257 
 
 tian, are sufficient to prove that the art of printing characters from 
 engraved blocks of wood was neither the invention of Gutenberg, 
 of Fust, or of Coster.* 
 
 Although the art of wood engraving does not appear to have 
 been anciently practised in Italy with the same care and diligence 
 as was bestowed upon it in German}^ and the Low Countries, the 
 Italians, nevertheless, upon the introduction of the newly invented 
 art of typography among them, were not deficient in artists com- 
 petent to the task of illustrating their first printed books Avith wood- 
 cuts. The Meditationes Revereiidissirni patris Domini Johannis de Tur-- 
 recremata, printed at Rome in 1467, by Ulric Han, is accompanied 
 by wood-cuts, which, although of excessive rudeness, are engraved, 
 as Zani-|- assures us, by the hand of an Italian artist. The nume- 
 rous cuts of figures and machinery that enrich the Hoberti Valturii 
 opus de re Militari, printed at Verona, by Giovanni da Verona, 
 in 1472, are full of spirit, and are supposed to have been designed, 
 and perhaps engraved, by Matteo Pasti, a Veronese artist of 
 some note in those times, and the friend of Valturius.^ The reader 
 
 * When I wrote the first chapter of this inscribitur, atque Aiinales continet Regum 
 
 book, (vide p. 40) I was not aware of the Galliae et Domus Ottomannicae, edit. Venet.' 
 
 memoranduni in Rabbi Joseph's chronicle, apud Cornehura Adelkind, a. 1554. ad 
 
 in which mention is made of a block- book a. 1428. 
 
 said to have been printed at Venice in 1428. " Dicit Joseph Haccohen. Videtur jam 
 
 If such a book ever existed, and the fact does his temporibus typographia inventa ; nam ipse 
 
 not seem very improbable, it was, no doubt, ego vidi librum, typis escusum Venetiis, anno 
 
 a book of images, with inscriptions. Scri- millesimo quadringentesimovigesimo octavo." 
 
 verius thinks it must have been the Biblia -j- " Materiali," &c. p. 194, note S5. 
 
 Pauperum, which the Rabbi chanced to see Further notice concerning this edition of 
 
 at Venice. Meerman gives no credit to the Turrecremata has been before given at p. 29. 
 
 story, but inserts the passage, both in the A copy of one of the cuts is given in De 
 
 original Hebrew and in a Latin translation, Murrs " Bib!. Noremb." vol. i. p. 260. 
 
 amongst his Documents. The Hebrew text % Majfei, " Verona Illustrata," parte iii. 
 
 is omitted in the following extract. col. 195, et seq. Matteo Pasti resided some 
 
 Documenta, Num. lxxx. R. Joseph time at Rimini, of which city was Valturius. 
 
 Haccohen (qui etiam H. Joseph fii. Josuae Valturius speaks of Pasti, in one of his let- 
 
 appellatur') in Chronico quod Verba dierum ters, as being eminently skilful in the arts of 
 
 2 L 
 
258 WOOD CUTS IN EARLY ITALIAN BOOKS, [chap. hi. 
 
 will be enabled to form an idea of the style of these engravings from 
 the fac-similes given of some of them in the fourth volume of Mr. 
 Dibdin's Bibliotheca Spenceriana. 
 
 After the establishment of tj'pography, the wood-engravers of Italy, 
 and especiall)'^ those of Venice, began to exert themselves with dili- 
 gence ; in order that their cuts, no longer exclusively destined to be 
 distributed to the common people in commemoration of the miracles 
 of their patron saints, might possess that beauty of execution neces- 
 sary to render them truly ornamental to the printed volumes they 
 were employed to illustrate or adorn : insomuch, that before the 
 expiration of the fifteenth century, the art shewed itself with new 
 charms in the chaste and delicate outlines of an unknown designer 
 of those times, inserted in the first edition of the celebrated rhapsody 
 of Polihlo. 
 
 But, as long before this, the more polished art of copper-plate en- 
 graving had been discovered, it is proper that we should no longer 
 defer speaking of that invention, which will be the subject of our 
 next Chapter. 
 
 Painting, Sculpture, and Etigraviiig ; and ance of probability, that the cuts in question 
 hence Maffei conjectures, with some appear- were executed by his hand. 
 
CHAP. IV.] ANCIENT USE OF ENGRAVING IN METAL. 259 
 
 CHAPTER IV, 
 
 Of the In\tention of Chalcography. 
 
 Eiigraving on Metals nith the Burin, practised by the Ancients. Works 
 of Niello — much practised in Itali/ during the Fifteenth Century. 
 The Process, used in making such JForks, described. Maso FlNl- 
 GUERRA a Florentine Goldsmith, eminent in that way. His Practice 
 of taking Impi'cssions of his Engravings in Sulphur : also on damped 
 Paper. The former Method considered. One of these Sidphurs 
 described. Vasari's Account of YmignevYdi's Practice of taking Im- 
 pressions on Paper considered. His Discovery of that Method sup- 
 posed to have taken place not later than 1440. The Researches of 
 Mariette and Gaburri, m hopes to find Prints bearing his Name or 
 Cypher. Impressions from Works of Niello of Anonymous Italian 
 Goldsmiths discovered. An Impression, conjectured to be from one of 
 Finiguerra'.s Engravings, described. The Conjecture confirmed by 
 Zani's Discovery of an undoubted Impression from one of Finiguerras 
 Works of ISiello, at Paris. Zani's Account of his Discovery. His 
 Description of another Print at Paris, by the same Artist. The pro- 
 bability that Finiguerra lived to perfect, in some degree, his Inven- 
 tion ; and that he engraved some Plates for the purpose of Pub- 
 lication. A third Engraving, supposed to be by Finiguerra, of 
 which Zani met with two Impressions. 
 
 It has been observed, in a former Chapter,* that although the 
 ancients Avere accustomed to use stamps of metal for the purpose 
 of impressing Avax, clay, and other substances capable of indenta- 
 tion, they appear to have been wholly unacquainted Avith the art of 
 taking the impressions of those convex surfaces with ink, or with any 
 
 * Vide p. 57, et seq. 
 
 2 l2 
 
260 ANCIENT USE OF ENGRAVING IN METAL, [chap. iv. 
 
 other tint on paper or parchment ; and we have thence argued, that 
 the transition from the one mode of impression to the other, how- 
 ever it may now appear to have been a very obvious one, was not so 
 in reahty. 
 
 Still greater obstacles opposed themselves to the invention of 
 the art of taking impressions on paper from engraved plates of 
 metal : for, as in these the strokes of the engraving are concave, 
 and apparently out of the reach of pressure from any flat surface, 
 like paper, they could never have been thought calculated for such 
 a purpose until accident discovered that they were so. Notwith- 
 standing, therefore, that the art of engraving figures and other 
 objects with the burin upon plates of metal, as matters of taste and 
 ornament, continued to be practised without interruption from the 
 most remote periods of antiquity, until the time when it was dis- 
 covered that such engravings were capable of being printed on 
 paper; it is perhaps less a subject for our surprise that so many ages 
 elapsed before that discovery was made, than of our gratulation 
 that it took place at all. 
 
 That a species of engraving on metal every way fitted for impres- 
 sion, was used by the Egyptians, the Greeks, the Etruscans, and 
 the Romans, is, indeed, a fact which the monuments of antiquit}^, 
 preserved in our museums, place beyond all doubt. The engraved 
 figures found upon so many of the ancient pateras, might be 
 printed, were it not for the projecting border by which they are 
 generally surrounded. Mr. Strutt, in his Dictionary of Engravers, 
 has given the copy of an engraved i>late of very remote antiquity, 
 which is preserved in the British Museum, and is supposed, by him, 
 to have been, originally, part of the sheath of a sword, or dagger. 
 Five figures, perhaps intended to describe the rape of Helen, are 
 represented upon it in outline. They are executed with the graver; 
 and as the surface of the plate is flat, it might, as Mr. Strutt ob- 
 serves, even now be printed by the ordinary method used in taking 
 the impressions of copper-plates, were not the metal apparently too 
 fragile to endure the force of the press. 
 
CHAP. IV.] ANCIENT USE OF ENGRAVING IN METAL. 261 
 
 A patera of yellow metal, which was formerly in the Museum of 
 the Cardinal Carpegna, and is represented in the plate beneath, is 
 particularly interesting, although it is of less remote antiquity ; as 
 the effect of the engraved figures is enlivened in some places by 
 parallel hatchings, similar to those used in copper-plate engraving in 
 modern times. The learned Buonarroti, by whom it is described, 
 observes " that it would be sufficient to occasion our astonishment 
 " that the ancients did not discover the art of chalcography, were it 
 " not known that discoveries of this sort generally occur accident- 
 " ally to mechanics in the exercise of their calling."* 
 
 * tt 
 
 Osservazioni Istoriche sopra alcuni Medaglioni Antichi." Proemio, p. xvii. 4to Roma, I698. 
 
-mi THE PROCESS OF WORKING IN NIELLO, [chap. iv. 
 
 Vasari, who has been sometimes not improperly styled the 
 Herodotus of modern art, informs us, that we are indebted, for the 
 important invention of chalcography, to the good fortune and talents 
 of Maso, or ToMMASO FiNiGUERRA, an eminent Florentine gold- 
 smith of the fifteenth century. 
 
 During that century a species of handicraft was much practised 
 by the goldsmiths throughout Italy, but especially at Florence, 
 termed, " working in niello." This mode of workmanship, Avhich 
 fell into neglect in the sixteenth century, was used in the decoration 
 of plate destined for sacred purposes ; as chalices, reliquaries, and 
 Paxes ; also on the hilts of swords, the handles of knives and forks, 
 and on clasps and other female ornaments. It was likewise fre- 
 quently adopted in small cabinets made of ebony, which, here and 
 there, were ornamented with little statues of silver, and plates of the 
 same metal " worked in niello," with figures, with historical repre- 
 sentations, or with arabesques.* 
 
 The process employed in this kind of w^ork is described by Vasari 
 in one of the preliminary chapters to his " Lives of the Painters," 
 where, at the same time, he fu'st introduces us to Finiguerra ; and 
 1 am the more induced to give the passage, as well as whatever else 
 is to be collected from Vasari relative to the origin of Chalcography, 
 in a careful translation of his own words, as he is the only author 
 Avho wrote on the subject at a time when oral testimony, at least, to 
 the facts he relates, might still have existed, and, consequently, the 
 only historian of any real authority ; and as subsequent writers have 
 quoted him, for the most part, very incorrectly.^ 
 
 " The method," savs he, " of producing works of niello, which 
 " are no other than designs hatched or painted upon silver, as we 
 " paint or hatch delicately with a pen, was discovered by the 
 
 * Lanzi, " Storia Piltoiica," toni. i. p. contain the names of almost every author on 
 
 77, Edizione di Bassaiio. the subject of enj^raviiig, except tliose who, 
 
 i" A catalogue of those who have mis- writing in Italian, were enabled to use 
 
 tated the account of Vasari would, indeed, Vasari's own words. 
 
CHAP. IV.] VASARIS ACCOUNT OF FINIGUERRA. 263 
 
 " goldsmiths even in the time of" the ancients ; for there are to be 
 " seen holloAVs cut with instruments of" iron, and fdled up with some 
 " kind of composition, in their works of" gold and silver. 
 
 " The way of making works of this kind is, first to design the 
 " intended subject Avith a point of steel upon the silver, Avhich must 
 " be of an even and smooth surface, and then to engrave it with the 
 " hurin — an instrument which is made of a square rod of iron, cut 
 " at the end, from one angle to the angle opposite, obliquely ; so 
 " that being very sharp and cutting, as it were, on both sides, its 
 " point runs along Avith great ease, and the artist is enabled to 
 " engrave Avith it most delicatelj'. With this instrument all things 
 " are done Avhich are engraved upon plates of metal ; whether with 
 " the intention of filling the work afterAvards Avith niello, or of 
 " leaving it empty ; according to the Avill of the artist. 
 
 " When, therefore, he has engraved and finished his Avork Avith 
 " the burin, he takes silver and lead, and, mixing them together 
 " on the fire, makes of them a composition Avhich is of a black 
 " colour, very brittle, and, A\^hen melted, of a nature to run with 
 " great nicety into the work.* This composition is then bruised 
 " very fine, and laid upon the engraved plate of silver, which it is 
 " necessary should be quite clean ; the plate is then placed near a 
 " fire of green wood ; Avhen, by means of a pair of belloAvs, the 
 " flame is blown upon the niello, Avhich, being dissolved by the 
 " heat, runs about till it has filled all the engraved Avork made 
 " by the burin. Afterwards, Avhen the silver is cold, the super- 
 " fluous part of the composition is scraped off, or Avorn away by 
 " degrees with a pumice-stone; and lastly, the Avork is rubbed 
 " Avith the hand, or with a piece of leather, until the true surface 
 " appears, and every thing is polished. 
 
 " In this mode of Avorkmanship, Maso Finiguerra, of Florence, 
 " was a most admirable artist, as may be seen in certain Faxes by 
 
 * Vasari appears in tliis passage to have niello was composed. The defect will be 
 omitted some of the ingredients of which the found supplied in a subsequent page. 
 
•264 VASARI'S ACCOUNT OF FINIGUERRA. [chap. iv. 
 
 " his hand, worked in 7iiello, in the church of St. Giovanni, at 
 " Florence, which are justly deemed astonishing productions. 
 
 " From this kind of Engraving was derived the art of Chalco- 
 " graphy, hy means of which we now see so many prints, by Ita- 
 " lian and German artists throughout Italj^ ; for as those who 
 " worked in silver, before they filled their engravings with 7nello, 
 " took impressions of them with earth, over which they poured 
 " liquid sulphur, so the printers discovered the way of taking off 
 " impressions from copper-plates with a press, as we see them do 
 " in these daj^s."* 
 
 The above is all the information that we find relative to the 
 origin of Engraving, in the first edition of Vasari, })rinted in 1550; 
 for although Finiguerra is mentioned by him a second time in that 
 edition, in the life of Pollajuolo, nothing is said of his jiractice of 
 taking impressions from his engravings on paper ; so that but for 
 his augmented work, published in 1568, we might still be in 
 ignorance of Maso's pretensions as the inventor of chalcography.-f- 
 Whether the Aretine biographer intended that his readers should 
 infer, from the latter part of this passage, that Maso was the 
 inventor, or whether he himself was uninformed of the fact 
 until after the publication of the first edition of his book, may 
 appear to be a question not very easy to determine ; though, for 
 reasons, which will hereafter appear, I am inclined to the former 
 opinion. 
 
 * f asari, torn. i. p. Gl, Edizione di Bo- " degli scoiti delle figure al di sotto in sii; 
 
 logiia. This passage is the same in all the " invenzione difficile et capricciosa ; Et it 
 
 editions. " modo dcllo intagliare in nunc le Stampe 
 
 •|- There is indeed a passage in the Life of " dclla Jigure," &c. " He left to painting 
 
 Andrea Mantegna, in the first edition of " the difficult art of foreshortening figures, 
 
 Vasari, which might lead any person, un- " di sotto in si," &c. — " and the method of 
 
 acquainted with that writer's careless mode " engraving figures upon co/iper-plates," &,c. 
 
 of expression, to suppose that he meant I am of opinion, however, that Vasari meant 
 
 to give Mantegna the credit of the in- no more than that Mantegna was the first 
 
 vention of chalcography. " Lascie) costui who published large engravings worthy of 
 
 " alia piltura," says Vasari, " la difficultii notice, in any number. 
 
CHAP. IV.] VASARI'S ACCOUNT OF FINIGUERRA. 265 
 
 Vasari's next mention of Finiguerra, is in his lives of Antonio 
 and Pietro del Pollajuolo. " There was," says he, " in Florence, 
 " at the same time," viz. about 1450, " another goldsmith, called 
 *' Maso Finiguerra, who was deservedly of extraordinary repute, 
 " especially for his management of the burin, and his works of 
 " nidlo ; for there never had been known any artist who, in small 
 " or in greater spaces, could execute such a prodigious number of 
 " figures as he did ; as may still be seen in certain Paxes which he 
 " made for the church of S. Giovanni, at Florence, with most 
 " minute stories of the Passion of Christ. He designed a vast 
 " deal and extremely well, of which are many proofs in my Book 
 ** of Drawings, representing as well naked and draped figures as 
 " historical subjects, done by him in Acquarella."* 
 
 It has been objected to the correctness of Vasari, in the above 
 passage, that only one Pax by Finiguerra is to be found at 
 S. Giovanni, and that representing, not stories of the Passion of 
 Christ, but " the Assumption of the Madonna." This objection is 
 not conclusive ; for, in another part of the life of Antonio Pollajuolo, 
 after describing various works in silver executed by that artist's 
 scholars, he adds : " but man)'^ of these, as Avell as of the works of 
 " Pollajuolo, have been melted down and destroyed, in conse- 
 " quence of the necessities of the city in time of war;" a fate which 
 may also have befallen some of these works of Finiguerra in later 
 times. 
 
 The learned Gori, however, gives us a piece of intelligence, which 
 makes it more than probable that Vasari was, upon this occasion, 
 misinformed. After dwelling with rapture upon the Pax of " the 
 Assumption of the Madonna," by Maso, a work of which we shall 
 hereafter have occasion to speak more particularl}^ he informs us 
 that another Pax of the same kind, is also preserved among the 
 treasures of the church of S. Giovanni, representing, in a composi- 
 tion of minute figures, " the Crucifixion of our Saviour ;" a work 
 
 * Vasari, Ediz. di Bologna, torn. i. p. 371. the first edition and in all the subsequent 
 This passage, like the last, is the same in ones. 
 
 i2 M 
 
266 VASARIS ACCOUNT OF FINIGUERRA. [chap. iv. 
 
 of great beauty, Avhich Matteo, the son of Giovanni Dei, an excel- 
 lent goldsmith, and a citizen of Florence, delivered finished in the 
 year 1455; receiving, in payment for his labour and the materials, 
 sixty-eight florins of gold.* We may, therefore, conclude that 
 Vasari, desiring to view the w^orks of Finiguerra, of which he had 
 heard such high commendations, was shewn, by the person who 
 had them in custody, both these Paxes as the productions of the 
 same artist. 
 
 We now come to the third and last passage in which Vasari 
 speaks of Finiguerra: it is found in the beginning of a chapter, 
 added to the second edition of his Avork, wherein he has given an 
 account of Marc Antonio and other engravers, and is by far the 
 most important to the present inquiry, as it is there only we are 
 expressly told that he first practised the mode of taking impressions 
 from engraved plates on paper. The original, however, of this 
 passage, especially in that part of it Avhich relates to the other im- 
 pressions or casts produced by means of earth, sulphur, and smoke, 
 is extremely obscure ; insomuch, that most of the Italian writers 
 who have treated on the subject since Vasari, have been satisfied to 
 transcribe his words, as if fearful to attempt their explanation. The 
 process used in making these sulphurs was, no doubt, still of gene- 
 ral notoriety amongst artists when Vasari wrote ; and hence, eager 
 to proceed, he indulged in a conciseness of expression which, it never 
 occurred to him, was, in itselfj wholly inadequate to explain so 
 complicated an operation to those who should live near three cen- 
 turies after its disuse. 
 
 " The art of copper-plate engraving," says Vasari, " derived its 
 " origin from Maso Finiguerra, a Florentine goldsmith, about the 
 " year of our Lord, 1460. For it was the custom of that artist, 
 '• whenever he had engraved any work in silver which was to be 
 " filled with niello, to take an impression or mould of it, pre- 
 " viously, with very fine earth : over this mould he poured melted 
 
 * jint. Francisci Gori — " Thesaurus Veteium Diptyclioruni," torn. iii. pp. 315-16-17. 
 
CHAP. IV.] VASARI'S ACCOUNT OF FINIGUERRA. 267 
 
 " sulphur, from Avhich, when cold, the earth was removed : the 
 " sulphur cast, then exhibiting an impression corresponding with 
 " the engraved plate, was, lastly, rubbed with soot moistened with 
 " oil, until all its cavities were filled with black ; when the whole 
 " produced an effect similar to that which the niello afterwards 
 " gave to the engraving on the silver. He also took impressions 
 " upon damped paper, with the same dark tint, pressing a round 
 " roller, smooth in every part, over the paper ; by which means 
 " his works became printed ; the impressions so taken assuming 
 " the appearance of drawings done with a pen."* Vasari then 
 proceeds to relate that Finiguerra was followed, in the practice of 
 taking impressions from his engravings, b}^ Baccio Baldini, and 
 so forth. 
 
 Such, I am convinced, is Vasari's true meaning. It is to be 
 observed, that the word orgento, in the Italian, is followed by a 
 semicolon ; and that, again, by a capital E, as at the beginning of 
 a sentence. This mode Avas often used by Vasari and other old 
 Italian writers : the semicolon, with the capital letter following it. 
 
 * Lest I should be accused of having taken " The origin, therefore, of copper-plate 
 
 unwarrantable liberties in the translation in " engraving was derived from Maso Fini- 
 
 the text, I here insert Vasari's own words, " guerra, a Florentine, about the year of our 
 
 accompanied by as literal a translation of " Lord 1460 : for that artist impressed with 
 
 them as I am able. " earth all the things which he engraved in 
 
 " II principio dunque dell' intagliare le " silver, for the purpose of filling them with 
 
 " stampe venne da Maso Finiguerra Fio- " niello, and having poured over them" (the 
 
 " rentino, circa gli anni di nostra salute 1460. earthen impressions) " liquid sulphur, they 
 
 " perche costui tutte le cose, clie intaglio in " became printed and filled with smoke ; 
 
 " argento per empiric di niello, le im pronto " whence, being rubbed with oil," (literally, 
 
 •" con terra, e gittatovi sopra solfo liquefatto, " whence in oil,") " they shewed the same 
 
 " venneroimprontate, e ripiene difumo; onde "as the silver; and this he also did with 
 
 " aoliomostravanoil medesimojchel'argento; "damped paper, and with the same tint 
 
 " E ci6 fece ancora con carta humida, e con " pressing over it with a round roller, smooth 
 
 " la medesima tinta agravandovi sopra con un " in every part, which not only made them 
 
 " ruUo tondo, ma piano per tutto, il che non " appear printed, but they came as if drawn 
 
 " solo le faceva apparire stampate, ma veni- " with a pen." 
 " vano come disegnate di penna." 
 
 2 m2 
 
268 VASARIS ACCOUNT OF FINIGUERRA. [chap. iv. 
 
 were, together, at least equivalent to the colon. The learned Lanzi,* 
 indeed, when citing this passage, changed the semicolon after the 
 word argento into a full stop ; thereby rendering the sense of the 
 author more clear — a liberty in which I have followed him in the 
 above translation. On the other hand, some of the modern editors 
 of Vasari, have incautiously discarded the capital E as a bar- 
 barism; leaving the semicolon, insufficient of itself for the proper 
 division of the sentence, as it was : not reflecting that the sense of a 
 passage, at best not very easy to understand, might thereby be 
 rendered more obscure. 
 
 The first author, however, who perverted the meaning of Vasari's 
 words in this place, though no doubt with the intention of making 
 them intelligible, was Baldinucci, who, of the two processes above 
 described, most unaccountably makes one. " Finiguerra," says 
 Baldinucci, " whenever he had engraved any thing in silver, for 
 " the purpose of filling it with niello, was accustomed to impress it 
 " with earth ; and then, having poured over it melted sulphur, his 
 " Avork became in such a manner printed in that sulj)hur, that 
 " having afterAvards filled its impressed cavities Avith a certain tint 
 " mixed Avith oil, and pressed damp paper over it, by means of 
 " a wooden roller, his engraving became expressed upon the paper, 
 " in the same manner as it was in the silver : and these printed 
 " papers had the appearance of pen-drawings. "-f 
 
 The words of Vasari cannot admit of this construction. What- 
 ever obscurities there maj^ be in his mode of expression, it is most 
 clear that he intended to describe, not one uninterrupted series of 
 varied operations, all for the single purpose of taking an impression 
 of his work on paper ; but tAvo distinct processes : the one beginning 
 with the impressed earth, and ending Avith the completion of the 
 sulphur ; when, its cavities being filled Avith black, it looked as the 
 silver plate Avould do after it received the niello : the other, the 
 
 * Sloria Pittorica, torn. i. p. 78. del Disegno," &c. torn. iv. pp. S. 4. Ediz. del 
 
 t Baldinucci, " Notizie de' Professori Maniii. 
 
CHAP. IV.] FINIGUERRA'S IMPRESSIONS IN SULPHUR. 269 
 
 more simple operation of taking an impression from the plate itself 
 on paper, by first filling the engraved work with soot mixed with 
 oil, then laying damped paper upon the plate, and lastl}^ pressing 
 over it with a roller. It is surprising that Baldinucci should not 
 have seen this, and that the manifest unfitness of a substance so 
 brittle as sulphur, for the purposes of impression, should not have 
 occurred to him. Still more surprising it is that he should have 
 been followed, as we shall find to have been the case, in so ill- 
 founded an interpretation of Vasari's Avords, by others, to whom the 
 insufficiency of the sulphur to resist the necessary pressure of the 
 roller, did appear most obvious. 
 
 The impressions, therefore, which Finiguerra was accustomed to 
 take from liis engravings on silver, were of two kinds. The first, 
 cast out of earthen moulds, in sulphur : the second, printed on paper 
 from the plate itself, by means of a roller. 
 
 Of the former kind — the sulphur — two specimens still exist, of the 
 authenticity of which there can be no doubt ; since they are, both 
 of them, the impressions of the Pax of " the Assumption" before 
 mentioned, and must have been taken by Maso himself, before he ' 
 completed that celebrated work with the luello. One of these sul- 
 phurs formerly belonged to the learned Gori, who mentions it in 
 his writings,* and is now in the magnificent cabinet of the Durazzo 
 family at Genoa, accompanied, as Lanzi informs us,-|- by a paper 
 in Gori's hand writing, in which he attests the having confronted it 
 with the silver Paa. A short dissertation upon the other sulphur, 
 written by its proprietor, the Count Seratti, has been published by 
 Zani ; and as, from its presenting a detailed account of what may be 
 justly termed one of the most interesting monuments of the arts of 
 the fifteenth century, it cannot but be acceptable to the reader, it is 
 here inserted. It is necessary however to premise, by Avay of caution, 
 that Seratti was one of those who unfortunately adopted Baldinucci's 
 
 * Thesaurus Veterum Diptycliorum, torn. f Storia Pittorica, torn. i. p. 79. 
 
 iii. p. 315. 
 
270 SULPHUR BY FINIGUERRA DESCRIBED, [chap. iv. 
 
 erroneous interpretation of the passage in Vasari last mentioned ; 
 and that, consequently, the justness of his argument cannot be so 
 well depended upon, as the accuracy of his description. Upon 
 some of the writer's opinions, indeed, it will be necessary that we 
 should animadvert, lest other persons, after the example of a recent 
 German writer* upon the same subject, should admit them into 
 their creed, to the great discredit of Finiguerra's pretensions. 
 
 ♦' A short Dissertation upon the Sulphur by Maso Finiguerra, in the 
 " possession of the Count Seratti. 
 
 " Maso Finiguerra lived from 1400 to 1460. He was the disciple 
 " of Masaccio.f He applied himself to the study of the goldsmith's 
 " art, designed in chiaro-scuro, modelled in basso-relievo, and 
 " excelled in works of niello. In executing works of this kind, 
 " the intended subject was engraved with the burin upon a plate of 
 " silver ; this was afterwards covered over with niello, which was a 
 " metallic substance, reduced to powder, composed of silver, copper, 
 " lead, sulphur, and borax ;% so that it was more easily fusible than 
 " silver, and of a black colour : the necessary degree of heat was 
 " then applied, which, melting this metallic compound, without 
 " affecting the silver plate, occasioned it to run about until it had 
 " filled all the strokes of the engraving. Lastly, the superfluous 
 " part of the niello which rose above the surface of the silver plate, 
 " was consumed by scrapers, files, and pumice stone, until the 
 
 * Mr. Bartsch, of whose opinions more Vasari, who, in speaking of the ingredients 
 
 hereafter. of which the niello was composed, carelessly 
 
 f Seratti does not appear to have had omitted to mention the copper, the sulpliur, 
 
 any authority for placing the birth of Fini- and the borax. It is evident that silver and 
 
 guerra in the year 1400 or his death in UfciO. lead alone, could never have made a black 
 
 His assertion that he was a scholar of Ma- and brittle substance capable of pulveriza- 
 
 saccio, seems to have no other foundation tiou, such as he describes the niello to have 
 
 than the opinion of Baldinucci. been. 
 
 X Seratti has here supplied a defect of 
 
CHAP. IV.] SULPHUR BY FINIGUERRA DESCRIBED. 271 
 
 " even surface of the plate appeared in every part; so that the 
 " niello only remained in the strokes made by the burin, thus giving 
 " to the engraved design its true effect. 
 
 " There have been celebrated, as the principal works of Maso, 
 " two Faxes, which are preserved among the treasures of the 
 " church of S. Giovanni, at Florence. The one, representing * the 
 " Assumption,' is certainly by him. It was executed in 1452; and cost 
 " upwards of sixty-six florins of gold — a large sum in those times — 
 " as appears in the ledger for that year, marked AA. preserved in 
 " the archives of the church. The other Fax was made by Matteo, 
 " the son of Giovanni Dei, in 1455, and represents the cruci- 
 " fixion : it is very inferior to that of Maso, both in composition 
 " and design."* 
 
 " The Tax representing * the Assumption,' is well known as 
 " being the most certain and best authenticated work by Finiguerra 
 " of that kind, and, perhaps, indeed the only one now existing; 
 " it is also celebrated for the delicacy and intelligence with which it 
 " is engraved, and the beauty of its design." 
 
 " The figures in this composition are about forty in number; all of 
 " them so eminent for beauty and expression, that the Avhole might 
 " rank with the finest productions of the best sera of painting, were 
 " it not for a little too much regularity in the distribution of the 
 " figures, and some degree of hardness in the outlines of the folds 
 
 * Gori, (" Thesaurus Veterum Dipty- opere elaboratae sunt," &c. &c. There 
 
 chorum,") torn. iii. p. 315, et seq. after can be little doubt that the engraved pictures 
 
 having spoken of other magnificent works of which occupy the centre of these magnificent 
 
 art in the treasury of the Church of S. Gio- pieces of plate, were executed separately 
 
 vanui, thus commences his description of from the massy frames that surround them, 
 
 these two Paxes. " Juxta haec pretiosa and that they were fixed into them bv sol- 
 
 monumenta duae tabulae argenteae ad pads dering, after they were completely finished. 
 
 osculum dandiim suscipiendumque, ponderis Otherwise, indeed, it would have been dif- 
 
 librarum fere viginti, signis argenteis inauratis licult to take the impressions of the plates in 
 
 circumoruatae, cum manubris argenteis in earth and sulphur, and impossible to have 
 
 postica parte, espouuntur, quae immenso done so on the damp paper with a roller. 
 
272 SULPHUR BY FINIGUERRA DESCRIBED, [chap. iv. 
 
 " of the draperies. Mariette desired a copy of" it, which was sent 
 " to him, together with some memoranda respecting it, by the 
 " Cav. Gaburri."* 
 
 " Upon this undoubted production of Maso, the Italians rest 
 " their pretensions, in opposition to the Germans, of having 
 " been the first to invent that sort of engraving in metal, which 
 " was afterwards found adapted to impress designs upon paper."-f- 
 
 " Vasari and Baldinucci relate, that when Finiguerra had en- 
 " graved any work, he printed it, before he introduced the niello, 
 " with very fine earth ; that upon this earth he poured melted sul- 
 " phur; and that then, having filled the cavities in the sulphur" 
 (corresponding to the engraving in the silver plate) " with soot, 
 " mixed with oil, he printed his designs on paper with a wooden 
 " roller.:}: 
 
 " It is possible that upon some occasions he may have attempted 
 " this process : but his chief object in casting the sulphur must 
 " have been to assure himself of the perfection of his work, previous 
 " to introducing the niello. Sulphur is of too brittle a nature to 
 *' resist the force that would be required to take an impression from 
 " it : moreover, the colour which is found in the sulphur which 
 " I possess of the Fax of the Assumption, is pure lamp-black, or 
 " soot diluted in water, without any oil,§ and, consequently, inca- 
 
 * The inquiries of Marielte, with Ga- upon the authority of Vasari, ascribe to Fini 
 
 biini's answer to tliem, will be found in a guerra. 
 
 subsequent page. J We shall notice the erroneous opinions 
 
 •j- We have judged that it would be most and unfounded assertions of Seratti, in this 
 
 satisfactory to the reader, that we should give and some of the following paragraphs of his 
 
 Seratti's short dissertation, with all its errors, dissertation, in a subsequent page, 
 
 entire. It has already been shewn that engrav- § This piece of information, founded, per- 
 
 ings on metal, every way calculated for impres- haps, upon a chemical analysis of tiie black 
 
 sion, had been executed more than two thou- colour introduced in Maso's sulphur, seems 
 
 sand years before the mode of taking impres- somewhat at variance with Vasari's words, 
 
 sions from them on paper was discovered ; " onde a olio," &c. (vide p. 267) nor Can I 
 
 and it is hardly necessary to repeat, that it undertake to reconcile the apparent contra- 
 
 is the latter inveution only which the Italians, diction, any further than by the supposition 
 
CHAP. IV.] SULPHUR BY FINIGUERRA DESCRIBED. 273 
 
 " pable of giving an impression upon paper. Besides, had he been 
 " desirous of taking impressions upon paper, he could have done it 
 ** more effectually from the engraved plate itself; and thus have 
 *' spared himself the pains required in taking the earthen impres- 
 " sion and, afterwards, the sulphur cast. It is, indeed, said that the 
 " Count Durazzo possesses some fragment on paper, printed by 
 " Maso in this manner. 
 
 " It is not improbable, considering the estimation in which the 
 " works of Finiguerra were held, from the very first, that Baldini, 
 " or Botticelli, or other artists, contemporary with, or little poste- 
 " rior to him, might make copies of some of them for the purpose 
 " of printing ; after accident had discovered to them that engraved 
 " plates of silver or copper could be applied to such a use. Hence 
 " may have arisen the opinion, that Baldini and Botticelli engraved 
 " under the direction and from the designs of Finiguerra :* the more 
 '' so as, upon a comparison of the Pax of the Assumption, the un- 
 " doubted work of Maso, with the prints of Baldini and Botticelli, 
 " we discover the same difference as between an original by a great 
 " master, and the imitations of inferior artizans and copyists. 
 
 " The ingenious operation of casting the sulphur, and filling the 
 " engraved cavities transferred to it, with soot, was, no doubt, 
 ** undertaken by Finiguerra, that he might discover whether his 
 " Avork was perfect, if it was in harmony, if any thing was wanting 
 " in the design, if any corrections were required ; for after the 
 " introduction of the niello, nothing could be amended. All these 
 " things it was impossible for him to ascertain from the silver plate, 
 " with the strokes of the burin empty ; where the design itself could 
 
 that the small portion of oil, which had been cation of moderately heated water, without 
 
 rubbed over the sulphur, might, in the course losing a considerable proportion of the black 
 
 of three hundred and fifty years, have so far tint with which they are printed ; and yet 
 
 evaporated, as to render its detection a there can be little doubt that that tint was 
 
 matter of no small difficulty. I can speak originally mixed with oil. 
 from experience, that many of the impres- * I know not where Seratti met with this 
 
 sions of early engravings, even some of those opinion, 
 of Marc Antonio, will not bear the appli- 
 
274 SULPHUR BY FINIGUERRA DESCRIBED. [chap. iv. 
 
 " be but faintly seen, and the general effect and harmony of the 
 " work not at all. Nor could he introduce any extraneous matter 
 " into the engraved cavities, as that would have prevented the 
 " niello afterwards from adhering properly to the silver, 
 
 " It was therefore necessary for him, in the first place, to take 
 " an impression from his plate with some very tine kind of earth ; 
 " not that this simple process could, alone, answer his purpose; 
 " for as such an impression, besides being in a direction opposite 
 " to the engraved plate, would display all the strokes of the 
 " engraving convexly, the work upon it would have been incapable 
 " of receiving an even tint by any means he could emplo^^ By 
 " impressing, first the earth upon the plate, and then pouring the 
 " sulphur upon the earth, the sulphur came the same way as the 
 " plate, with the work concave; so that soot or lamp-black was 
 " easily introduced into it ; when the whole acquired the same 
 " effect as it was intended the mello should afterwards give to the 
 " silver. 
 
 " The Count Seratti possesses the sulphur taken by Finiguerra 
 " from his Fax of * the Assumption,' which might, perhaps, more 
 " properly be termed the * Coronation of the Virgin.' This sul- 
 " phur was originally fixed in a wooden frame of considerable 
 " dimensions, ornamented with columns and cornices of carved 
 " work, gilt. From so rich a decoration, some idea may be formed 
 " of the estimation in which it was held at that early period. The 
 " ornament, having suffered from the injuries of time, has been, 
 " since, carefullv cut away ; leaving the sulphur, in the form of 
 " a small picture, with that part of the wood only in which it was 
 " first inserted. The sulphur, which had sustained injury by small 
 " pieces having been chipped off in some places near the centre, has 
 " been restored by the professor Luigi Levrier. 
 
 " In supplying the parts wanting, which were but very small, it 
 " was judged necessary to avoid the use of sulphur, lest the heat 
 " requisite in the application of it might affect the adjacent parts of 
 " the work : wax would not answer, because it is liable to change 
 
CHAP. IV.] SULPHUR BY FINIGUERRA DESCRIBED. 275 
 
 " colour; nor scagUola, because it shrinks in drying. The pro- 
 " fessor therefore used a fine kind of plaister, tempered with oil ; 
 " and upon this copied the parts deficient, stroke for stroke, Avith 
 " the point of a small pencil and oil colour, from the original silver 
 " still preserved in the church of S. Giovanni. The parts restored 
 " are to be discovered by viewing the sulphur in an oblique direc- 
 " tion, the lines in those places being even with the surface of the 
 " sulphur, but in the remainder, concave. 
 
 " The sulphur has been compared with the silver pax, and scru- 
 " pulously confronted with it, line for line, in every part : upon 
 " this occasion no variation whatever was discovered between the 
 " one and the other ; whence we may infer that Finiguerra, upon 
 " taking this impression, found that his work required neither 
 " addition nor amendment. This exact comparison proves its 
 " originality. That it should be copied is absolutely impossible ; and, 
 " after the niello was introduced, an impression could no longer 
 " be taken : the sulphur was, therefore, beyond all doubt, made 
 " by the hand of Finiguerra himself. In some respects, this sulphur 
 " has a value beyond that of the silver pax, fi'om which it was 
 " taken ; the latter, from its great age, having acquired a dark 
 " patina, and being worn in some places ; so that the work appears 
 " very faint, and is difficult to be distinguished ; whereas the former 
 " is well preserved, and of a most brilliant and striking effect. 
 
 " This sulphur is semicircular at top, and measures, from the 
 " summit of the arch to the bottom, four inches and ten twelfths. 
 " Its breadth, is three inches and three twelfths. In the midst, a 
 " little towards the upper part of the composition, Jesus Christ is 
 " seen placing a crown on the head of the Virgin : both these 
 " figures are seated under a kind of tabernacle. In the place of 
 " pilasters to support the tabernacle are tAvo angels standing, with 
 " vases containing roses ; and, a little below, are four other angels, 
 " two on each side, also standing, with lilies in their hands. Above, 
 " on either side, stand three angels, blowing trumpets ; and within 
 " the circular boundarj^ of the picture, over the tabernacle, are four 
 
 2 N 2 
 
27(J SULPHUR BY FINIGUERRA DESCRIBED. [chap, iv, 
 
 " other angels, in the air, holding a scroll, on Avhich is written, 
 " ASSVMPTA. EST. MARIA. IN. CELVM. GAVDET. EXER- 
 " CITVS. ANGELORVM. 
 
 " In the foreground of the composition, the objects nearest the 
 " eye are two saints on their knees (S. Augustine and S. Ambrose). 
 " The former holds a crozier, and is dressed in his sacerdotal cope, 
 " on the collar of which are these letters, AGOSTI : the latter has 
 " a book* in his hand, and on the collar of his dress, similar to the 
 " other, is written ANBRVS. A little behind these, on the one 
 " side, are five female saints ; two of whom, S. Catharine and 
 *' S. Agnes, are distinguished, the former, by her wheel, the latter, 
 " by a lamb. On the other side are five male saints : among 
 ■" these S. John the Baptist is designated by his under-garment of 
 "" camel's hair, and the cross in his hand. Behind these figures, on 
 " the one side, are three other female saints ; one of them, S. Mary 
 " Magdalen, with the vase of ointment ; and, on the other, three 
 ** more saints of the opposite sex. Behind these, again, are three 
 " other female, and three male saints ; the females being, all of 
 " them, on the left hand of the composition, the males on the 
 " right; using the terms left and right, to denote those parts of 
 " the picture which are opposite to the left or right hand of the 
 " spectator, as they are used in describing prints. 
 
 " I have," adds Seratti, " made many experiments, with the 
 " assistance of proper persons, in the hopes that old works of niello 
 " might be rendered capable of being printed. I imagined, that 
 " in order to extract the niello from the engraved plate, it would 
 " be expedient to make use of solvents which would act upon the 
 " lead, the borax, and the sulphur, Avithout affecting the copper or 
 " the silver ; for had any solvent, used for the purpose, the power 
 " of acting even upon the copper, it could not be applied with 
 
 * That which Seratti took for a book is, appears joined to the other, as if in the act 
 probably, nothing more than part of the fur- of prayer, 
 tiier liand of the Saint, which, in Zani's copy, 
 
CHAP. IV.] SULPHUR BY FINIGUERRA DESCRIBED. 277 
 
 *' safety ; since, as there is no silver without some alloy of copper, 
 " the plate itself would be corroded in the operation, and rendered 
 " unfit for printing. 
 
 " I conceived that the small particles of copper and silver, used 
 '" in composing the niello, finding themselves insulated and sepa- 
 " rated by the solution of the lead, the borax, and the sulphur, 
 " with which they had been bound together, would have come 
 " away of themselves ; leaving the engraved cavities, made by the 
 " burin in the plate, entirely emptJ^ In works of niello coarsely 
 *' engraved, and especiall^^ in letters of not too small a size, this 
 " was the case ; and such engraved plates, which had, at first, been 
 " filled with niello, were rendered capable of furnishing impres- 
 " sions. But with those of minute and delicate workmanship I 
 " could never succeed. Some solution of the niello was, indeed, 
 " effected; but, I suppose, the small component particles of silver 
 " and copper remained so tightly fixed in the fine strokes made 
 " by the burin, that it was impossible for them to disengage them- 
 " selves. The impressions wliich we have of works of niello, must 
 ■" have been taken, either from those niellos Avhich were executed 
 " in the time of Baldini and Botticelli, when the art had been 
 " discovered of taking impressions from engraved plates, on paper, 
 " previous to introducing the niello ; or from such plates as had 
 " not been finished, and in which the melted niello had conse- 
 " quently never been introduced." 
 
 " The print of the conversion of S. Paul, is from a plate which 
 " was intended to be worked in niello, by an artist of the name of 
 " Dati :* the plate was discovered in its present unfinished state, 
 " and, in consequence, it has been capable of furnishing impres- 
 
 * The Count Seratti was some time go- to a print in the Count's collection, concern- 
 
 veinor of Leghorn. It was there that Fini- ing which some conversation had taken place 
 
 guerra's sulphur was shewn to Zani, to whom, during Zani's stay at Leghorn ; and of which, 
 
 upon his departure, the Count presented the it is to be regretted, Zani himself makes no 
 
 dissertation which he had written. The further mention in his notes, 
 above concluding paragraph probably relates 
 
278 REMARKS ON SERATTIS DISSERTATION, [chap. iv. 
 
 " sions. Tliis work is now preserved in the Gallery at Flo- 
 " rence." 
 
 Seratti begins the above dissertation by boldly affirming, that 
 Finiguerra lived from 1400 to 1460, and that he was the scholar of" 
 Masaccio; relying upon Baldinucci alone, for Vasari does not give 
 us such information. He soon afterwards gives Baldinucci's erro- 
 neous account of Maso's discovery, stating, very improperly, that 
 Vasari and Baldinucci have so written ; for, as has been already 
 shewn, Vasari gives no such relation. He next proceeds to observe 
 that these sulphurs, from their brittle nature, are ill fitted for the 
 purpose of throwing off impressions ; and, lastly, in consequence, 
 (proud and jealous of his sulphur cast, which, with the exception of 
 the silver pax, he, perhaps, was gratified by considering as the 
 onh'^ specimen still existing of Maso's extraordinary talents) he con- 
 cludes that the story of his taking impressions from his engravings 
 on paper, is altogether unfounded. For although he admits that 
 he might have taken such impressions from the plate itself, adding, 
 that it is said the Count Durazzo possesses some fragment of that 
 kind, still, in what immediately follows, he evidently means it to 
 be inferred that he did not. He observes that, considering the 
 great estimation in which Finiguerra's niellos were held from the 
 first, it is not improbable that Baldini or Botticelli, after accident 
 had discovered to them that engraved plates could be printed, 
 might copy some of them, (i. e. Finiguerra's works) for the purpose 
 of printing. He ends by telling us that the impressions which we 
 have from works of niello, must have been taken from plates en- 
 graved in the time of Baldini and Botticelli, or from such other 
 engravings as by accident had remained unfinished, and conse- 
 quently not filled with the niello. Thus Avould this writer deprive 
 Maso of the honor due to him as the inventor of copper-plate print- 
 ing, to transfer it to Baldini or Botticelli : not reflecting that, when 
 he denied the authority of Vasari, he denied the only authority upon 
 which Italy rests its claims to the invention in question. 
 
 It would be labour in vain to attempt any further elucidation of 
 
CHAP. IV.] PROBABLE INTENTION OF THE SULPHURS. 279 
 
 the process used by Finiguerra in making his casts of sulphur. It 
 was indeed most ingenious ; and to any one who considers the ex- 
 quisite deHcacy of the engraved work which, first printed with 
 earth, Avas afterwards to be transferred to the sulphur cast, witii 
 every minute stroke of the burin — strokes finer than the finest hair 
 — perfect and entire, would appear altogether incredible, did not 
 the existence of the monuments themselves constrain the belief 
 
 As to the purpose for which these sulphurs were made, Vasari is 
 silent. Lanzi* and Seratti have supposed them to have been the 
 means used by Finiguerra to ascertain the effect of his work before 
 he introduced the niello ; the latter of those writers adding, that he 
 could not introduce into the cavities of his engraving any extra- 
 neous matter, because it would have prevented the niello, after- 
 wai'ds, from adhering properly to the silver. Both of these opinions 
 seem destitute of any solid foundation. To the first it may be 
 objected, that the sulphur of Seratti has been found exactly similar 
 to the silver Pav in its finished state, which makes greatly against 
 such an opinion ; and what, it may be asked, in reply to the second, 
 was the earth, pressed into the cavities of the engraving, prepara- 
 tory to the sulphur, but extraneous matter ? Seratti, however, no 
 doubt, meant glutinous or oleous matter. 
 
 Ujion these points, Bartsch is very satisfactory. " It is clear," 
 says that writer,-}- " that every thing advanced by Lanzi and Zani, as 
 " to the necessity and the intention of these sulphurs, is but simple 
 
 " conjecture Our experience fully convinces us that Maso, 
 
 " Avhen he wanted to see the effect of his work, had no occasion to 
 " resort to any other expedient than the one employed in our days 
 " by every engraver of copper-plates ; that of filling the strokes of 
 " his engraving with some kind of black. It is true that this 
 " method is not always sufficient for the engraver whose plate is 
 " destined to throw off impressions upon white paper ; because the 
 
 * " Stoiia Pittoiica," toni. i. p. 78. •\- " Le Peintre Graveur," torn. xiii. 
 
 et seq. p. 14. et seq. 
 
280 PROBABLE INTENTION OF THE SULPHURS, [chap. iv. 
 
 " strokes of the burin, when viewed upon the copper, have always 
 *• an effect more or less calculated to deceive ; appearing generally 
 " more soft and beautiful than they shew when printed upon tht? 
 " white paper; where the smallest faults, the most trifling irregula- 
 " rities in the thickness or depth of the strokes, immediately strike 
 " the eye. This ordeal, this rigid examination, Avas not necessary 
 " to the worker in 7neUo : his work Avas finished and perfect ; when 
 " looked at and examined, upon the plate itself, it appeared so; 
 " and, consequenth'-, he had no need to assure himself of it by 
 " a proof printed upon paper, or any other material whatsoever. 
 
 " With regard to the remark of Zani," (Bartsch should have said 
 Seratti) " that Maso could not introduce black, or any other extra- 
 " neous matter, into the strokes of his engraving, as it would pre- 
 " vent the niello from adhering properly to the silver, I have only 
 " to say that it is wholly unfounded. It is, in fact, absolutely 
 " impossible for any artist to prevent dirt and grease from getting 
 " into his Avork during the long process of engraving a plate. This 
 " dirt or grease being incompatible Avith the niello, Avas, therefore, 
 " to be removed before the 7iiello Avas introduced : for this purpose 
 " of cleansing their plates, the Avorkers in 7iiello used a particular 
 " process. Thus Ave read in Cellini :* ' As the beauty of a work 
 " of niello consists in its appearing united, and free from little holes 
 " or bubbles, it is necessary that the plate should be Avell b*oiled in 
 " clean Avater mixed Avith oak ashes, Avhich operation is termed, 
 " amongst our goldsmiths, la cenerata. After, therefore,' continues 
 " Cellini, ' your plate has been boiled in these ashes for a quarter 
 " of an hour, it should be put into a bason filled Avith the purest 
 " water, Avhen the engraving should be Avell rubbed Avith a small 
 " brush made of bristles, till the strokes are thoroughly cleansed 
 " from every impurity.' " 
 
 These sulphur casts, therefore, Avere not necessary to enable 
 Maso to judge of the effect of his engravings in the various stages 
 
 * " Trattato del Oreficeria," cap. ii. p. 24. 
 
CHAP. IV.] VASARI'S ACCOUNT CONSIDERED. 281 
 
 * 
 
 of their advancement ; besides the labour required in casting"them 
 opposes such an idea. They were not used for the purpose of 
 throwing off impressions on paper ; nor were they fitted for such a 
 purpose. Tlie most natural conclusion appears to be, that they 
 were made by Maso with great care, as interesting memorials of 
 works which he was soon to deliver into the hands of his em- 
 ploj'^ers : they might serve as objects of study and example to 
 his scholars, and were, perhaps, occasionally given to friends. 
 That they were held in very high estimation is sufficiently evi- 
 dent from the ponderous magnificence lavished, by their first 
 possessors, upon the Frames, or Tabernacles, in which they were 
 enshrined. 
 
 Upon a careful comparison of the three passages Avhich have been 
 given from Vasari, with each other, according to the usual mode of 
 examining evidence, we shall find in them every mark of candid 
 and fair testimony. They are found at very distant parts of that 
 writer's voluminous Avork, and were doubtless written at distant 
 periods. Each of them contains some particular in which the 
 others are defective ; each, at the same time, is, upon the whole, 
 corroborative of the rest. There is no contradiction among them — 
 no want of consistency. 
 
 In the first passage (Chap, xxxiii. of the preliminary observations 
 on painting) Vasari instructs us in the mode in which works of 
 niello were executed : he informs us that it appears from existing 
 monuments of gold and silver, that the ancients practised a kind of 
 workmanship not very dissimilar: that Maso Finiguerra was an 
 admirable artist in that way ; as is seen in his Paxes at S. Giovanni : 
 and, lastly, that from this kind of workmanship was derived the art 
 of engraving and printing copper-plates : " for that, as it was cus- 
 " tomary with those who worked in silver, to take the impressions 
 " of their engravings, before they filled them Avith the niello, by 
 " means of earth, over which they poured liquefied sulphur; so the 
 " printers found out the method of taking off impressions from cop- 
 " per-plates with a press, as is now used." 
 
 2 o 
 
282 VASARFS ACCOUNT CONSIDERED. [chap, ivi 
 
 It has already been observed that, although this passage may 
 appear to afford but equivocal evidence of Maso's individual pre- 
 tensions, if taken singly, there is, nevertheless, reason to believe 
 that Vasari could not have been ignorant of them when he wrote it, 
 and, consequently, that he must have intended it as a brief record of 
 that artist's claims to the invention in question, 
 
 Vasari, who was born in the year 1512, expressly tells us, in that 
 part of his life where he mentions the occasion of his undertaking 
 his great work of the lives of the painters, sculptors, and archi- 
 tects, (about 1544,) that he had been accustomed from his boy- 
 hood to make written memoranda of whatever he was able to 
 collect relative to the old artists ; " every information concerning 
 " whom," says he, " I held most dear." In various parts of his 
 book he informs us that, besides the viva voce, or written information 
 of his friends, he was assisted by the Avritings of Lorenzo Ghiberti, 
 Domenico Ghirlandaio, and other old artists ; and at the end of his 
 Life of Ghiberti, he records his intimacy, Avhen a youth of fifteen, 
 with Vittorio Ghiberti, the descendant of Lorenzo ; from whom, in 
 the year 1528, he tells us he procured some original drawings of 
 Lorenzo, and of Bartoluccio, another artist of the same family, with 
 other designs by Giotto. 
 
 At this time Vasari intended being a goldsmith, and was studying 
 that art under one Mauno, of whom he speaks in terms of affec- 
 tionate regard. The art of working in niello had not yet fallen 
 entirely into disuse ; nor is it improbable that the practice of taking 
 the impressions of works of that kind in sulphur, still continued, and 
 was practised by Manno himself It cannot be doubted that Vasari 
 was accustomed to meet, at the house of his master, with the prin- 
 cipal artists of the same profession ; some of whom must have been 
 acquainted with those who had been the contemporaries of Fini- 
 gucrra himself, and })erhaps the witnesses of his invention : and, as 
 vve learn from Cellini,* that in the time of his youth (an. 1515) the 
 
 * Benvenuto Cellhii, " Trattato del Oreficeria," ediz. 1509, p. 11. 
 
CHAP. IV.] VASARI'S ACCOUNT CONSIDERED. 283 
 
 old goldsmiths of Florence were never ceasing in their praise of Fini- 
 guerra's works of niello, we may fairly conclude that the mention of 
 his name would occur, not unfrequently, among those of the pro- 
 fession a dozen years afterwards ; and that the opening of a port- 
 folio of prints would occasionally give rise to a repetition of the 
 often told, and then well attested, story of his discovery of chalco- 
 graphy. It is therefore very improbable that Vasari was vminformed 
 of Maso's claims to that invention, until after the publication of the 
 first edition of his work ; and there appears, moreover, good reason 
 to believe that he received the account, Avhich he has given us, from 
 persons of undoubted authority. 
 
 Vasari, it may be observed, speaks of the custom of taking sul- 
 phurs of such Avorks in silver as were intended to be filled with 
 iiiello, as commonly practised among the goldsmiths. It is to be 
 regretted that he did not, at the same time, afford us some infoi*ma- 
 tion as to the period when AVorks of niello were first introduced in 
 Florence. 
 
 The first mention of them, that I have been able to find in the 
 body of his work, is at the end of the Life of Spinello Aretino, Avhere 
 one of that artist's sons, Forzore, is described as a goldsmith espe- 
 cially excelling in works of niello. This Forzore, we learn in 
 another place,* was the scholar of one Maestro Cione, who flourished, 
 we are told, about 1330. This is at all events sufficient to carry 
 the art back as early as the fourteenth century ; and it is probable 
 that it was in use long before; for Vasari never speaks of it as a 
 new art. Brunelleschi, the celebrated architect, born 1377, Avas 
 in his youth a goldsmith, and Avas admired for his Avorks of niello, 
 and, upon the Avhole, there is reason to conclude that Finiguerra 
 Avas preceded by many others Avho practised that mode of Avorkman- 
 ship, Avhich, perhaps, from a very early period, had constituted a 
 distinguished part of the emploj^ment of every goldsmith. -j- 
 
 * Vita d'Agostino et J\gnolo, Scultoii f Mr. Bartsch informs us (Peintre Gra- 
 
 Sanesi. veur, torn. sill. pp. 2. 36.) upon the autho- 
 
 5 O 2 
 
284 VASARI'S ACCOUNT CONSIDERED, [chap. iv. 
 
 That Vasari was silent respecting so many of these artists, amounts 
 only to this; that he did not think their productions called for especial 
 notice; and it is probable that even Finiguerra himself, notwith- 
 standing his great excellence in the above-mentioned art, and his pre- 
 tensions as a draftsman and a sculptor, would have been despatched 
 with the short eulogium bestowed on him in the Life of Pollajuolo, 
 (an eulogium which is soon afterwards insidiously made the occasion 
 of heaping greater honours on Pollajuolo at Maso's expense,) but 
 for his discovery of Chalcography. Nay, perhaps, but for that 
 discovery, works of niello, which gave rise to it, would scarcely 
 have obtained a mention. As for Baccio Baldini, his name but 
 once appears ; and his prints, now so much sought after by collec- 
 tors, are got rid of in a single line, without a description of even one 
 of them. 
 
 The reason for all this is to be found in the prodigious number of 
 artists of every denomination, with which all Tuscany, but espe- 
 cially Florence, abounded, even as early as the commencement of 
 the fourteenth century ; a number so great, that had Vasari mi- 
 nutely described the works of each individual, his writings must 
 have been extended to at least four times their present bulk ; to say 
 nothing of the professors of painting, sculpture, and architecture, 
 who flourished from that period, to the time in which he wrote, 
 throughout every state of Italy. 
 
 Working in niello was, therefore, practised in Florence, and, 
 perhaps, in most other parts of Italy, long before Maso distin- 
 guished himself; and it was, we are told, the custom of those who 
 exercised that art, to take sulphur casts from their engravings, pre- 
 vious to filling them Avith the niello. 
 
 rity of Lessing (Collectaneen zur Litteratur. for the practice of that art, in his work 
 
 torn. xii. article NieUum) tliat the art of entitled : Diversarum artiitm schedula. The 
 
 working in niello was practised in France as work of Theophilus, he informs us, was 
 
 early as the seventh century. He adds, that published, for the first time, by Christian 
 
 Theophilus monachus, who lived in the Leiste, after a MS. in the library at VVolfen- 
 
 twelfth century, has left detailed instructions buttel. 
 
CHAP. IV.] VASARIS ACCOUNT CONSIDERED. 285 
 
 " From this practice," says Vasari, " the art of engraving and 
 ** printing copper-plates was derived." Now the only reasonable 
 interpretation to be given of this sentence is, that some one of 
 those who were accustomed to make these sulphurs, as memorials 
 of their works on silver, discovered by accident — for almost all 
 great discoveries have been made by accident — that impressions 
 could also be taken from engraved plates on damped paper. 
 Vasari's concluding words are, it is true, " so the printers" (that is 
 the printers of copper-plates) " found out the method of taking off 
 " impressions from engravings on copper, with a press, as is now the 
 " custom :" but these words, if indeed they are any other than a 
 mere antithesis, can only mean, that the method of taking off im- 
 pressions from engraved plates by means of a common roller, or 
 other imperfect instrument, having been discovered, they — the 
 printers — improved and perfected the apparatus necessary for such 
 a purpose : for until the mode of printing engraved plates was dis- 
 covered, there could be no persons whose occupation it was to print 
 them ; and, indeed, until after the discovery was made known, 
 no engraved plates left the work-shop of the goldsmith unless when 
 filled with niello, and, consequently, not in a state admitting of such 
 an operation. Besides, we have no evidence that Finiguerra him- 
 self did not become a printer of copper-plate engravings ; and the 
 expression " so the printers," &c. may, therefore, refer to him and 
 his immediate followers. 
 
 The person who made the discovery must, according to all fair 
 hypotheses, have been a goldsmith. Such, Vasari informs us, in the 
 introduction to his life of Marc Antonio, was really the case, and 
 that that goldsmith was Maso Finiguerra. 
 
 - We are there expressly told, that, " the art of engraving and print- 
 ing cop per- plates, (dell' intagliare le stampe) had its beginning 
 with Maso Finiguerra, or came from Finiguerra, (venne da Maso 
 Finiguerra) about the year 1460: for that that artist made sulphur 
 casts of all the things that he engraved in silver, which were in- 
 tended to be filled with niello, before he introduced the 7iiello ; 
 
286 FURTHER INQUIRY CONCERNING. [chap, iv; 
 
 that he also took impressions from his engravings with a tint made 
 of soot and oil, upon damped paper, hy means of a wooden roller 
 which he pressed over it : and lastly, that the impressions so produced 
 looked like drawings done with a pen." Vasari then proceeds to 
 inform us, that Finiguerra Avas folloAved in the practice of engraving 
 and taking impressions from his plates on paper hy Baccio Baldini ; 
 that afterwards the secret became known to Mantegna, at Rome ; 
 that it also found its way into Germany, and so forth. 
 
 To the question — when did Maso make this discovery ? it may 
 be no easy matter to give an answer. For it is, I think, evident, 
 that the year 1460, or thereabouts, from which Vasari dates the 
 commencement of chalcography (" il principio dell' intagliare le 
 stampe") does not refer to the period at Avhich he supposed Maso to 
 have first discovered the mode of taking impressions of his en- 
 gravings on silver by means of a roller, but to the epoch when 
 engravings on copper, or other metals, began to be executed 
 and used for the common purposes of printing and publication. 
 Some of the Italian writers, indeed, insist, that what is said 
 by Vasari of his taking impressions of all the things that he en- 
 graved in silver, previously to his filling them with niello, is not 
 only to be taken literally, but that it is to be considered as applying 
 equally to his practice in both the methods above described ; the 
 sulphur and the paper : thus Lanzi observes : " that as it appears 
 " from the books of the Arte de' Mercante, that, in 1452, he re- 
 " ceived payment for his pax in the Church of S. Giovanni, and as 
 " he was then a master of experienced abilities, and thoroughly 
 " practised in his art, it is fair to suppose, Avith Gaburri and Tira- 
 " boschi, that as he ' made proofs of all the Avorks that he engraved 
 " in silver,' (tutte le cosi che intaglio in argento) he must have 
 " used that mode from 1440, or, perhaps, a fcAV years before ; and 
 " here, therefore," says he, " Ave have the beginnings of chalco- 
 " graphy in Florence, very clearly deducible from history."* 
 
 * u 
 
 Storia Pittorica," torn. i. p. 87. 
 
CHAP. IV.] MASO FINIGUERRA. 287 
 
 This mode of reasoning msLj not, perhaps, entirely satisfy the 
 reader ; for although Vasari asserts that Maso took impressions of 
 all his works in silver — that assertion, even alloAving it in its full 
 extent, appears to refer to the impressions taken with earth and 
 sulphur only ; he does not say that he took impressions of all his 
 Avorks of silver on damped paper. The former mode, as we before 
 observed, was doubtless practised by goldsmiths who preceded him : 
 the latter was discovered by himself, accidentally, in the course 
 of the varied operations which his profession required : for to infer 
 otherwise, would be to suppose either that he possessed this art in- 
 tuitively from his birth, or that he had been taught it by some 
 one who practised it before him : the first an absurdity ; the second 
 in opposition to history, as well as to all other evidence of which 
 we are possessed ; since we find no traces of such a practice, either 
 in Florence or in any other part of Europe, previous to the time 
 in which Finiguerra flourished. 
 
 It seems probable, nevertheless, that the Italian Avriters, in placing 
 Finiguerra's discovery a fcAV years prior to 1440, are not far from the 
 truth ; and our reasons for such an opinion will the better appear, 
 when we have collected together the few circumstances of his 
 life which are on record, and accompanied them Avith such an 
 examination of the style of his Avorks, as may furnish a reasonable 
 ground of conjecture as to the period when he flourished, and the 
 school from which he derived his professional education. 
 
 Could Ave place implicit trust in Baldinucci, Ave should need little 
 other information as to the last of these particulars. 
 
 " At the time Avhen the celebrated Masaccio lived in Florence," 
 says that Avriter, " teaching the true method of painting, many 
 " artists, benefiting by his instructions and by the imitation of his 
 " Avorks, became excellent. One of these Avas Tommaso, called 
 " Maso Finiguerra, a Florentine goldsmith, avIio designed Avith a 
 " pen and acquarella so admirably, that his draAvings are, perhaps, 
 " not inferior to those of any artist of that period. Indeed I my- 
 " self can testify that he drcAV a great deal, as the designs by his 
 
288 FURTHER INQUIRY CONCERNING. [chap. iv. 
 
 '* hand, which were in the collection formed by the late Cardinal 
 " Leopold, of Tuscany, were, of themselves, extremely numerous ; 
 " and the best of them, in every respect, so like those of Masaccio, 
 " that I have no hesitation in affirming, although I have not found 
 " it recorded by any writer whatever, that he was the disciple of 
 " that great artist, by whom, indeed, all those who began to dis- 
 " tinguish themselves at that early period, were directed in the true 
 " principles of art."* 
 
 These drawings of Maso, now in the ducal collection at Florence, 
 I have seen,-f- and think them Avell deserving the character Baldi- 
 nucci has given of them. They are principally studies of single 
 figures, designed Avith a pen upon white paper, and slightly shaded 
 with bistre or Indian ink ; and they possess, in an eminent degree, 
 that correctness of outline, and simplicity of manner, which espe- 
 cially characterize the works of Masaccio; qualities which, after 
 the middle of the lifteenth century, Avere too often bartered, by the 
 artists of Florence, for a style of less purity ; particularly in their 
 draperies, which were frequently perplexed with small and artificial 
 folds, and trivial ornaments, and assumed an air of flutter, very 
 unlike the tranquil dignity observable in those of that justly 
 esteemed master. 
 
 From the great resemblance of style amongst so many of the Flo- 
 rentine artists who lived at the same time, however, this sort of 
 argument cannot be deemed sufficient to support Baldinucci's hy- 
 pothesis, as to the identical master by whom Maso was instructed ; 
 although it may go a good way, especially Avhen aided by other 
 evidence, in enabling us to determine to what epoch of the Floren- 
 
 * Baldinucci, " Notizie de' professor! del particular, is, lie says, " superbly drawn." 
 
 disegno," &c. torn. iv. pp. 1-2. Each of these drawings, he adds, is marked at 
 
 •\ Zaiii, who has examined them more re- bottom with a sort ot star, or asterisk ; 
 cently, informs us, (" Materiali," &c. p. 118, ^^hich, he is of opinion, was added, not by 
 note 33) that they are about fifty-six in num- Finiguerra himself, but by some ancient pro- 
 ber, and that some of them represent the prietor of the drawings, 
 figures of eagles ; one amongst which, in 
 
^ 
 
 CHAP. IV.] MASO FINIGUERRA. 289 
 
 tine school he properly appertains, and the probable period of his 
 initiation. 
 
 We learn from a letter of Baccio Bandinelli, that Finiguerra was 
 one of those artists who assisted Lorenzo Ghiberti in finishing the 
 celebrated bronze gates of the Baptistry at Florence ; a circum- 
 stance Avhich, although omitted by Vasari, is, nevertheless, not in 
 opposition to his testimony, Vasari relates, that " Lorenzo was 
 " assisted in the labour of finishing those gates with chiselled 
 " work, after the operation of casting them in metal, by many 
 " young men, who afterwards became excellent masters : viz. — by 
 " Filippo Brunelleschi, Masolino da Panicale, Nicolo Lamberti, 
 " goldsmiths ; Parri Spinelli, Antonio Filareto, Paolo Uccello, 
 " Antonio del Pollajuolo, Avho was then a very young lad, and by 
 " many other's," Bandinelli's mention of Maso is highly credit- 
 able to him, as it classes him Avith some of the best painters and 
 sculptors of the fifteenth century ; and it is remarkable, that he 
 appears at the head of the list. " One of these," says he, " was 
 " Maso Finiguerra, another was Desiderio" (da Setignano ;) " be- 
 " sides whom there were Piero and Antonio del Pollajuolo, and 
 " Andrea del Verrocchio ; all of them celebrated artists in painting 
 " and sculpture." * 
 
 It is proper, however, in this place to observe, that Ghiberti 
 executed two pair of folding- gates of bronze for the Baptistry. 
 The first of these, representing, in small compartments, stories of 
 
 * " Lettere sulla Pittura," &c. torn. i. other old artists mentioned in the text, he 
 pp. 74. 75. Baccio Bandinelli addressed affirms, that ten artists like Benvenuto would 
 this letter to his friend, the Majordomo of not be equivalent to one of their fingers. 
 the grand duke, upon the occasion of its The severity of this censure was dictated by 
 being in contemplation to employ him, in Baccio's hatred of Cellini, who certainly did 
 company with Benvenuto Cellini, to make not merit to be ranked so low. Baccio, 
 certain bassi-relievi of bronze for the choir iiowever, could have no interest in praising 
 of the Duomo. He speaks of Cellini as of Maso, and the testimony of so great an artist, 
 one ignorant of design, and only fitted to as to his talents, at once places him in a rank 
 assist in the execution of the inventions of very distinct from that of the ordinary gold- 
 others. After naming Finiguerra, and the smiths. 
 
 2 P 
 
fm FURTHER INQUIRY CONCERNING [chap. iv. 
 
 the New Testament, was begun about 1407, and finished in 1424: 
 the other, and most celebrated, with larger compartments from the 
 Old Testament, was still in hand as late as 1445.* The informa- 
 tion, therefore, contained in Baccio's letter, leaves the precise period, 
 when Maso was employed as assistant in these works, still conjec- 
 tural. But from the circumstance of his being named before 
 Desiderio, who was one of the scholars of Donatello, and died 
 with the reputation of a great sculptor, at the age of twenty-eight, 
 it seems reasonable to give him the seniority ; and it is probable 
 that Desiderio was born early in the fifteenth century.-f 
 
 Vasari's mention of Maso, in the beginning of the life of Antonio 
 del Pollajuolo, has already been noticed. Antonio is there described 
 as a person who, by the force of a powerful genius, joined to his un- 
 remitting diligence in designing from nature, and modelling figures 
 in relief, had, at a very early age, acquired such skill in his profes- 
 sion of goldsmith, as to be able to enter the list with " Maso Fini- 
 " guerra, a goldsmith, who at that time enjoyed a very great repu- 
 " tation ; of which indeed he was well deserving, as there never 
 " had been known any artist who, in works of the burin, finished 
 " with niello, could compose and execute such a prodigious number 
 " of figures in a small space, as he did." 
 
 This competition between Maso and Antonio took place about 
 1450 ; at which time, it will not be too much to suppose the 
 former, whose fame Avas then at its height, to have been forty years 
 of age ; Pollajuolo, his rival, being twenty-four : a conclusion 
 which, if admitted, ])laces the birth of Maso Finiguerra about 1410 : 
 and indeed, as well from the above considerations as from the style 
 
 * Zani, " Materiali," &c. p. 1 18, note 34. however, upon tlie whole, that we arc justi- 
 
 f It is difficult to discover, either from fied in placing Desiderio earlier than the 
 
 Vasari or Baldinucci, the exact period at Pollajuoli ; more especially as his life pre- 
 
 which Desiderio lived : for it appears certain cedes their's in Vasari's work, which is ar- 
 
 that there is a considerable error of date in ranged chronologically. 
 the account of the former writer. I think. 
 
CHAP, iv] MASO FINIGUERRA. 291 
 
 and character of his works, there apjoears reason to beUeve that he 
 was born earlier than that period, rather than later. 
 
 His father was, in all likelihood, the same person respecting 
 whom Manni found an authentic document stating him to have 
 been dead before 1426;* a document which he erroneously con- 
 sidered as regarding the son. That he likewise was a goldsmith, is 
 a conjecture not unreasonable, though unsupported by evidence. 
 
 The masters of Maso were doubtless men of the same profession, 
 in which he afterwards attained so much eminence ; namely, gold- 
 smiths and sculptors in bronze and other metals : for the term 
 sculptor, under which Finiguerra was designated by Bandinelli, is 
 surely not improperly applied to the artist Avho, after he had 
 modelled his statue or his basso-relievo in clay or wax, and cast it 
 in metal, had only performed half his task ; it still remaining for 
 him to put the last finish to his work — all those exquisite touches 
 which give value to the productions of a master, by the tedious 
 operation of the file and the chisel. But why should we search 
 further for Maso's preceptors in the art, after we have seen him 
 assisting in the school of Ghiberti, the most consummate artist 
 in works of bronze and other metals, that Florence or the fifteenth 
 century could boast ; whose gates at the Baptistry were deemed by 
 Michelangiolo not unworthy to be the gates of Paradise ;f a master, 
 in whose study so large a proportion of the Florentine youth, during 
 forty years, imbibed those principles of art Avhich afterwards proved 
 unerring guides to them in the pursuit of excellence in the various 
 professions of painting, sculpture, and architecture ? 
 
 In this community of young artists, Maso was obliged assiduously 
 to exert himself, that his improvement might keep pace with that 
 of his companions. Moreover, the fi-escoes in the chapel at the 
 church of the Carmine, which Massolino da Panicale, cut off in 
 the flower of youth, about 1418, left scarcely begun, though beo-un 
 
 * Baldinuai, " Notizie," &c. torn. iv. + Vasari, Vita di Lorenzi Ghiberti. 
 
 p. 1. Nota del Manai. 
 
 2 P 2 
 
292 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 with promise, had been allotted to Masaccio ;* and Florence soon 
 witnessed a style of art very unlike any thing that had been 
 seen before ; a purity and correctness of outline, a mellowness of 
 colouring, and a perfection of imitation, especially in the heads 
 of the figures, to which painting, it is probable, had hitherto been 
 considered absolutely inadequate. 
 
 Among those who, in the hours of leisure, flocked to design in 
 this Chapel, Finiguerra was certainly one of the most constant in 
 his attendance ; and, indeed, as Raldinucci observes, he so entirely 
 possessed himself of the style of Masaccio, that he appears in his 
 designs as if guided by the spirit of that great artist. 
 
 Finiguerra, therefore, although not the disciple of Masaccio, who 
 was a professor of painting only, and consequently unfitted to teach 
 the processes employed in other arts, may properly be classed 
 among those artists who, immediately struck with the perfection of 
 the new svstem of art which Masaccio had just then introduced, 
 made it, ever after, the model of his imitation, and the foundation 
 of his practice. For although the arts he professed, required, in 
 the exercise of them, a mechanism and process very different from 
 painting ; still, painting and sculpture being, both of them, governed 
 by the same great fundamental principles of design, many of the 
 beauties Avhich were displayed by Masaccio in productions of the 
 one art, Avere found applicable to the other; insomuch, indeed, 
 that Vasari assures us that the painters and sculptors of the time, 
 alike, benefited by the study of Masaccio's frescoes. Besides, work- 
 ing in niello Avas, in its effect, similar to painting, except that it 
 admitted not of colouring. 
 
 Of Maso's works in silver, none are now known excepting the 
 Pax of " the Assumption," in the Church of S. Giovanni, finished 
 in 145:2, and already so often mentioned. For although Baldi- 
 
 * There is no small confusion with respect has taken pains to correct tiic ovcrsiglits of 
 to dates in Vasari's accounts of Massolino Vas:iri in sucli matters, and not iinfrequentiy 
 and Masaccio. I follow Baldinucci, v\iio with success. 
 
CHAP. IV.] MASO FINIGUERRA. 293 
 
 nucci tells us that some of the bassi-relievi of the history of S. John 
 the Baptist, which decorate the magnificent altar of massy silver in 
 the same church, were executed by him, in competition with An- 
 tonio Pollajuolo, the learned Gori* appears to have found no notice 
 of such a circumstance in the records of the time : and we may, 
 therefore, conclude that Baldinucci had no other authority than his 
 own arbitrary construction of the words of Vasari, who, after noticing 
 a trial of skill between Maso and Antonio, in which, says he, "Antonio 
 " equalled his rival in diligence, and surpassed him in design," pro- 
 ceeds to inform us, that Pollajuolo (not Finiguerra) was, in conse- 
 quence, employed to execute some of the silver bassi-relievi on the 
 said altar. 
 
 As consistently with the duty of impartiality, Ave have found it 
 necessary to record this sentence, apparently so little to the credit 
 of Maso Finiguerra, we ought not to omit to soften its severity, by 
 apprising the reader that it would be no difficult task to produce 
 similar passages, in which Vasari, out of pure zeal for the artist 
 whose life he is then writing, who, for the time being, commonly 
 appears the beloved of his heart, has exalted him above his neigh- 
 bours, of claims at least equal; these last being treated by him 
 with a like courtesy when it comes to their turn. As a designer 
 of naked figures, Pollajuolo probably became, in the end, superior 
 to Maso ; whose works, being generally on a small scale, did not 
 require nor even admit of the display of those anatomical details 
 upon which the former set so high a value ; and which, in the 
 eyes of a Florentine painter of the middle of the sixteenth centur)', 
 such as Vasari was, could not but appear paramount to every other 
 consideration. But Maso, on the other hand, possessed a delicacy 
 of feeling to which Pollajuolo was ever a stranger : joined, as has 
 been before said, to a purity of st3de, of which too many of the 
 Florentine artists of the latter part of the fifteenth century lost sight 
 in the pursuit of frivolous variety and capricious ornament, 
 
 * " Thesaurus Veterum Diptychoiuni," toni. iii. p. 310, et seq. 
 
294 FURTHER INQUIRY CONCERNING [chap. tv. 
 
 Notwithstanding the positive testimony of Vasari in favour of 
 Finiguerra, the honour of the invention of chalcography was long 
 disputed with the Italians by the WTiters of other nations. It was 
 insisted, by the adverse party, that, from the known inaccuracies* 
 of the Aretine biographer, his authority, unsupported by other evi- 
 dence, could not be deemed conclusive ; and, it was urged, that no 
 print bearing the name or cypher of Maso Finiguerra could be found ; 
 whereas Germany produced many engravings, the dates upon which 
 bore witness to their high antiquity. 
 
 Thus the celebrated connoisseur Pierre Jean Mariette, when 
 writing from Paris to his friend the Cav. Gaburri at Florence, after 
 other inquiries relative to art, puts the following questions concern- 
 ing Finiguerra : — " I wish also to receive from you some informa- 
 " tion respecting the invention of copper-plate engraving, and 
 " whether or not it was really discovered in Florence by means 
 " of Maso Finiguerra : for that which Vasari asserts does not 
 " appear to me to be sufficiently proved ; as we see prints by the 
 " old masters of Germany with dates anterior to all the prints 
 " engraved in Italy which I have hitherto seen.-f- In fact I have 
 " not yet seen any print, either by the said Maso, or by Baccio 
 " Baldini. I have seen two or three by Pollajuolo, and many by 
 " Mantegna. It will be necessary to see some of those of Maso, 
 " before we can decide who was the inventor. For the present I 
 " have a strong prejudice against him. Do me therefore the favour 
 
 * When the great extent of Vasari's work has been accused by the writers of other states 
 
 is considered, and when it is remembered of Italy. But it ought to be remembered tliat 
 
 that be had not the advantage of being pre- an author naturally dwells most upon those 
 
 ceded by any one who wrote expressly upon circumstances with which he is best acqunint- 
 
 the same subject, the verity of his account, in ed ; and his accusers may be reminded that 
 
 almost all matters of consequence, becomes they are indebted to his industry for the little 
 
 rather a subject for our praise, than his oc- information tliey possess of many ancient 
 
 casional incorrectness, in facts of smaller im- artists of their own provinces, 
 
 port, is for our animadversion. Excessive f Mariette ought to have said " which I 
 
 partiality to the painters of Tuscany is an- have hitherto recognized." 
 other crime of which the Aretine biographer 
 
CHAP. IV.] MASO FINIGUERRA. 295 
 
 " to tell me if you have seen any print by him ; since it is impossible 
 " that such things should not be found at Florence where he 
 " worked. I cannot at all understand Vasari in that part Avhere 
 " he relates the manner of the discovery. You will oblige me very 
 " much by assisting me to render that passage of his book more 
 " intelligible."* In another letter to the same gentleman, dated 
 Jan. 1732, he says, " I am better informed than any one as to the 
 " rich collection of prints made by the Prince Eugene, since I 
 " arranged and made an ample catalogue of them. There is cer- 
 " tainly nothing among them by Maso Finiguerra; nor in the 
 " collection of the king, which is an extremely fine one, and, 
 " especially, rich in prints engraved by the ancient masters. 
 
 " I know, indeed, of one print, representing Hercules killing the 
 " serpent, upon which are these letters, I. F. T.,f which, taken the 
 " reverse way, might be read thus, — ^Thomas Finiguerra incidit; 
 " but I am not satisfied with such a conjecture; whereas I have 
 " prints by old German masters, very well known, with very 
 " ancient dates, concerning the authenticity of which there is no 
 " doubt. In the mean time I will suspend my judgment, and shall 
 " be most happy if, in the ancient collections of prints of which 
 " you tell me, you happen to meet with something certain, that may 
 " oppose my opinion, and confirm the assertion of Vasari.":^ 
 
 In Oct. 1732, Gaburri writes from Florence a very long letter in 
 answer to Mariette's numerous inquiries. What he says upon the 
 subject in question is as follows : — " The delay of my letter is in 
 " consequence of my most earnest desire to give you a decided 
 " answer to the various questions which, at different periods, you 
 " have done me the honour of putting to me concerning our Maso 
 " Finiguerra of Florence, the inventor of copper-plate engraving. 
 
 * " Lettere suUa Pittura," &c. torn. ii. print in a subsequent page, 
 pp. 230. 231. % " Lettere sulia Pittura," torn. ii. pp. 
 
 -[• Further mention will be made of this 263. 264. 
 
296 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 " according to the attestations of Vasari and Filippo Baldinucci ; 
 " which opinion is Hkewise confirmed by the senator Bonarroti, in 
 " his preface to the observations upon the large medals in the 
 " Museum of the Cardinal Carpegna.* I have then to inform you 
 " that, without exaggeration, I have rummaged all Florence, hoping 
 " to have the good fortune to discover at least one print bearing 
 " the name or the cypher of that artist. But, after having in vain 
 " searched the Museums of the Gaddi, the Niccolini, the Giraldi, 
 " and Covoni families, besides many other smaller collections be- 
 " longing to private persons, Avhich I was also determined to examine 
 " for the same purpose, I have at last given the matter up in despair ; 
 " and all that I have been able to do, has been to get a drawing made 
 " for you of one of the two Paxes which exist in our most ancient 
 " church of S. Oio. Battista, where is the Baptismal Font. Of 
 " these Paxes Vasari makes mention, and also Filippo Baldinucci, 
 " who speaks of them in the Preface to his treatise upon engraving 
 " in copper. They are not however both of them the work of 
 " Maso Finiguerra ; one of them having been made by Matteo di 
 " Giovanni Dei, Avho was also a goldsmith ; which latter I do not 
 " send you, but only the other, which alone is by the said Fini- 
 " guerra. 
 
 " On the back of the drawing you will find written the name of 
 " the author; and, besides this, I send with it every document 
 " respecting these Paxes ; which information is contained in the 
 " archives of S. Giovanni, and has been kindly communicated to 
 " me by the very learned Doctor Anton. Francesco Gori, a most 
 " worthy priest, who has published works of profound erudition. 
 " From these documents you may at least learn the exact epoch of 
 " time in which the works they refer to Avere executed ; and thence 
 " draw the conclusion, that from Finiguerra's practice of Avorking 
 " in niello, which was about 1450, (though we may suppose the dis- 
 
 * In the passage already referred to at the beginning of this Chapter. 
 
CHAP. IV.] MASO FINIGUERRA. 297 
 
 " covery to have taken place a few years before,) the art of chalco- 
 " graphy had its origin, conformably to what is said by the before- 
 " mentioned writers. Certain it is, that I cannot believe the prints 
 " which are in the Dante, printed bj^ Niccolo della Magna, to 
 " be the works of Finiguerra; first, because Vasari opposes 
 " such an idea, attributing them to the hand of Sandro Botti- 
 " celli ; and secondly, because, if they had been engraved by 
 " Maso, in that first manner, and printed by the hand with a 
 " common roller upon damped paper, they would have a more 
 " rude and barbarous appearance. And, indeed, to be con-> 
 " firmed in the persuasion that the prints in the said Dante, are 
 " really by Sandro Botticelli, it is sufficient to confront the 
 " little figures in those prints, with the figures which are painted 
 " by him in the altar-picture of the chapel of the noble family 
 " Palmieri ; the descendants of the famous Matteo Palmieri, who, to- 
 " gether with his wife, is pourtrayed in the picture ; both on their 
 " knees. Upon an examination of the above-mentioned picture, 
 " which is in the church of S. Pier Maggiore, in this city, we im- 
 " mediately discover, in every part, a manner corresponding to the 
 " said prints. It is, indeed, true, that the deceased Sig. Abate 
 " Antonmaria Salvini asserted, as a thing most certain, that there 
 " was a Dante with figures by Maso Finiguerra, and I am told 
 " the same, as well by Sig. Gaetano Bernestadt, as by Sig. Dottor 
 " Biscioni, who say they have often heard it asserted. Indeed, I pos- 
 " sess, in my OAvn collection, a few prints belonging to the different 
 " cantos of the Commedia of Dante, which are, in every respect, 
 " (in tutto e per tutto) different from those which are said to be, and 
 " really are by Sandro Botticelli ; but they have neither name, 
 " cypher, nor date, and as they are in a manner extremely rude- 
 " and bad, they may, perhaps, be those which belong to the im- 
 " pression of Dante mentioned by Salvini."* What this edition 
 of Dante is, of which Gaburri here speaks, I know not ; but I - 
 
 * " Lettere suHa Pittura," Sic. torn. ii. pp. 367. 368. 
 
 2 Q 
 
298 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 suppose, with Lanzi,* that the prints he describes as being in his 
 own collection, and so inferior to those Avhich are found at the two 
 first cantos of the edition of 1481, were no other than the additional 
 prints which, in some copies of that edition, are found pasted at the 
 heads of the third and following cantos. 
 
 In this research Ave find Mariette expecting, that to satisfy his 
 doubts on the subject, his friend should discover a print, bearing 
 the name or cypher of Maso Finiguerra. A little consideration 
 ought to have made him sensible that such an expectation was most 
 unwarrantable. He states that he had seen many engravings by 
 Andrea Mantegna : had he seen one with the name or cypher of 
 that artist ? No : it was by his knowledge of Andrea's manner, 
 acquired from his drawings and pictures, and, perhaps, still more from 
 the general notoriety of that artist's prints, that he distinguished them. 
 He had seen two or three by PoUajuolo : one print, indeed, by that 
 artist, bears his name at length ; all the others, which are supposed 
 to be by him, that I know of, are without either name or cypher. 
 He tells Gaburri that he had seen no prints by Baldini, whose works 
 are believed to be very numerous, (and, of course, some of them 
 were in the two great collections which he named) because he found 
 none with the name or initials of that artist ; and not mentioning 
 Sandro Botticelli, we may suppose that he had not seen, or had not 
 recognised, any by that master, although he might have learned 
 from Vasari's life of Botticelli, that the plates in the Dante of 1481, 
 a work which, as it is not of extreme rarity, must have been in 
 the King of France's library, were engraved by Sandro's own 
 hand. 
 
 Gaburri, on the other hand, in his search after Finiguerra's prints, 
 appears to have been wholly unmindful of the character which 
 Vasari gave of that artist ; and forgetting that he, as well as others, 
 
 * Sloria Pittorica, torn. i. p. S3. Lanzi first vignettes only are by Botticelli. I shall 
 
 was of opinion that tliese additional prints examine into the propriety of this opinion, 
 
 were executed by an artist of inferior abilities when I come to speak of Botticelli, 
 after the book was printed, and that the two 
 
CHAP. IV.] MASO FINIGUERRA. 299 
 
 might have acquired great skill in the management of the burin, 
 long before the art of taking the impressions of engraved plates on 
 paper was even thought of, seems, in the general rummage which 
 he instituted at Florence, to have expected to find productions 
 designed and engraved in a very rude and barbarous taste, as well 
 as badly printed ; and probably, in his hurr}^ with such an impres- 
 sion upon his mind, passed over the very monuments he was 
 looking for. 
 
 It never occurred to him that he might answer the objections of 
 his correspondent, by observing that very few of the most ancient en- 
 gravers of Italy marked their plates with cyphers or monograms ; and 
 that among the numerous prints of the early Florentine engravers, in 
 particular, one onh% by Antonio Pollajuolo, bears the name of its 
 author. As to the pretended attestation of Baldinucci, and the 
 confirmation of Finiguerra's claims by Bonarroti, Mariette was suf- 
 ficiently well read upon the subject, to know that the one and the 
 other had no other evidence in support of their assertions or opi- 
 nions, than the account given by Vasari ; and that, consequently, 
 the whole question still rested upon the credibility of Vasari alone, 
 in a matter wherein the ancient dates upon several engravings 
 executed in Germany or the Low Countries, appeared to furnish 
 a reasonable ground for doubt. 
 
 Mariette, therefore, remained of his first opinion, notwithstanding 
 that, it is now ascertained, an undoubted impression by Finiguerra 
 was under his own key ; and some of the writers of Italy* them- 
 selves, began to fear that the pretensions of their country to the 
 invention of chalcography, rested upon a very precarious founda- 
 tion ; whilst others framed the improbable hypothesis, that the art 
 was discovered in Germany and in Italy, about 1460, by two 
 artists, who were each ignorant of the other's good fortune. 
 
 The Baron Heineken, one Avould imagine, had never read the 
 
 * Particularly Bottari, although himself " rica," torn. i. p. 87. 
 a Florentine. — Vide Lanzi, " Storia Pitto- 
 
 2 q2 
 
300 IMPRESSIONS OF WORKS [chap. iv. 
 
 passage relative to Finiguerra, in Vasari's life of Pollajuolo, or the 
 just eulogium passed upon him in Baldinucci, when he treated him 
 as a common goldsmith, from whom nothing was to be expected 
 but pieces of foliage and grotesques. After speaking of the failure 
 of Gaburri and Mariette in their attempts to discover Maso's prints, 
 he says : " It is, nevertheless, still probable that, among the quan- 
 " tity of ancient prints of foliage and grotesques, engraved, most 
 " certainly, by the Italian goldsmiths, there may be some of the 
 " productions of this artist. Indeed there are two little pieces of 
 •* this kind, which are marked MF. and are in a style of engraving 
 " quite distinct from that of Marc Antonio; insomuch, that we 
 " may suppose the cypher to signify Maso Finiguerra. I must, at the 
 " same time, however, confess that it is a mere conjecture."* 
 
 Our countryman, Strutt, copied, as not improbably a production 
 of Maso's burin, a small print, then in the collection of Dr. Monroe; 
 in which is represented, on the right, a naked figure of Hercules 
 supporting the universe, and, on the left, an old man seated at a 
 table, and, apparently, employed in engraving on a minute circular 
 plate. On the table, Mr. Strutt discovered something resembling 
 the initial letter F. The identity of this letter F, however, is, 
 at best, doubtful, and it is now ascertained that the print in 
 question^ is one of several engravings, which were executed in 
 the same rude manner, by an artist who, if we can credit Bartsch,:}: 
 lived as late as 1515; and who, perhaps, adopted a mode of en- 
 graving which had then gone out of fashion, with the intention 
 of deceiving the connoisseurs of his day ; as Goltzius, it is well 
 known, did, with success, in later times. Certain it is, that his 
 prints bear the appearance of great antiquity. 
 
 It is not a great many years since a discovery was made, Avhich, 
 although it did not go the length of contirming Finiguerra's title to 
 
 * " Idee Gen^rale," p. 140. British Museum. They will be spoken of in 
 
 t This print, with several others by the a subsequent page, 
 same artist, is now in the collection of the J" PeintreGraveur/'tom.xiii. p.408,etseq. 
 
CHAP. IV.] OF NIELLO DISCOVERED. .30? 
 
 the invention in question, was, nevertheless, upon the whole, very 
 much calculated to strengthen the authority of Vasari ; since, from 
 the peculiarity attending it, it could not but be allowed to be a 
 strong presumptive evidence that that author did not write merely 
 from hearsay, but that he himself had seen proofs of works of 
 niello, on paper, ascribed to Finiguerra. " Sig. Antonio Armano, 
 " of Bologna," says Lanzi, " a very great judge of prints, was led 
 " to suspect, from the words of Vasari, that these proofs might be 
 " confounded with pen-drawings : he searched for them in many 
 " collections of designs, and found several proofs of works of niello, 
 " by anonymous goldsmiths of the fifteenth century.* These 
 " curious specimens are now preserved in the very interesting col- 
 " lection of early prints which was formed by the late Count Gia- 
 " como Durazzo, formerly the Imperial Ambassador at Venice, 
 " and which has since devolved to his nephew, the Marquis 
 ** Girolamo. 
 
 " Many of these," continues the same writer, " came out of the 
 " ancient collection of the Gaddi-f- family, at Florence ; and are by 
 " artists inferior to Finiguerra, excepting two, which do not seem 
 " vniworthy of his burin. To them Avere afterwards added not a 
 " few by artists of other schools of Italy. Their origin is sometimes 
 " discovered by their style of design ; sometimes, with more cer- 
 " tainty, by inscriptions, or other unequivocal marks. Upon one 
 " of them, representing a nativity, for example, we read, in cha- 
 " racters the reverse way, ' Dominus Phil/ppus Stancharitis fieri 
 " fecit ;' where the family named, added to other circumstances, 
 " indicates Bologna. A small print represents a woman who is 
 " turned towards a cat, and has this inscription, likewise in cha- 
 
 * I have, myself, indeed, more than once, masters. Many interesting letters addressed 
 
 heard Armano relate the story. to him upon the subject of his collections in 
 
 f The Cav. Gaddi was one of the first this way, by the different agents whom he em- 
 noblemen of Italy, who possessed a proper ployed to make purchases for him, are to be 
 relish for the original designs of the great found in the " Lettere suUa Pittura," &c. 
 
302 IMPRESSIONS OF WORKS OF NIELLO. [chap. iv. 
 
 " racters reversed, va in la Caneva ; and on another we read, Man- 
 " tengave Dio ; both Lombard or Venetian, as the dialect evinces. 
 " From all this we may argue, that the words of Vasari, in wliich 
 " he ascribes to Finiguerra the practice of proving his Avorks before 
 " he filled the engraved cavities with niello, cannot be limited to 
 " him only, or to his school. It, indeed, appears that that mode 
 " Avas used by Caradosso* (of Milan) and other excellent artists of 
 " Italy, as a very important part of their art ; and that they likewise 
 " were directed by these proofs, and not by chance, in the finishing 
 " of their works of niello. Nor Avill it be enough to oppose the 
 " silence of Vasari as to this point. That he was not sufficiently ac- 
 *' quainted with the history of the Venetian and Lombard artists 
 " has been often, with justice, objected to him ; and if he was 
 " thus uninformed relative to their painting, how much more 
 " may we suppose him to have been ignorant of their engraving. 
 
 " The proots therefore of the workers in niello," continues Lanzi, 
 " are found in all parts of Italy, and are especially known by the 
 " direction of the inscriptions upon them, which, being written fi'om 
 " left to right in the original plates, appear in the impressions, as in 
 " oriental writings, from right to left ; and in the same manner the 
 " other parts of the print are reversed. There are likewise other 
 " marks by which they are to be distinguished. Being printed 
 " with the hand, or with a roller, thej' have no mark of the plate ; 
 " nor must we expect to find in them that precision and clearness 
 " in the strokes, which the press afterwards gave to the impressions 
 " of ensjraviuos. Thev are also distinofuished by the tint Avith Avhich 
 " thev are printed, Avhich Avas generally soot mixed with oil, or 
 " some other verv liffht colour:" but this and the last are verv 
 uncertain characteristics, being indeed generally applicable to the 
 very early impressions of the most ancient Italian engravings, Avhich 
 
 * Caradosso is briefly mentioned by Vasari, give us his authority for the assertion, tliat he 
 in the life of Bramante, and appears to have svas accustomed to take the impressions of 
 flourished about 1500. Lanzi has omitted to his works of niello. 
 
CHAP. IV.] IMPRESSIONS OF WORKS OF NIELLO. 303 
 
 were taken off before a proper press and good printing ink were 
 discovered. " It has been conjectured that the silversmiths Avere 
 " Ukewise accustomed to make similar proofs even of their works 
 " a graffito, and others in which niello was not used. Be this as it 
 " may, these proofs from their works were preserved in their 
 " studies, and in those of their scholars, to whom they might serve 
 " as models ; and by these means some of them have remained to 
 " our days."* 
 
 But although the practice of proving their works of niello appears 
 to have been common among the Italian goldsmiths of the fif- 
 teenth century ; still, among the proofs which have been found, 
 none> according to Lanzi, seem to have pretensions to an antiquity 
 higher than 1440, about which period it is contended that Maso 
 Finiguerra discovered the method of taking impressions from his 
 engravings in silver. The opinion of Lanzi upon this subject is 
 chiefly grounded upon the inscriptions found upon many of these 
 proofs, which are always in Roman letters, whereas those characters 
 did not, he says, return into general use in Italy until about that 
 epoch. Nor is the barbarous taste of several of them a proof of 
 their more remote antiquity. " There are, it is true," says that 
 excellent writer, among those in the Durazzo Collection, " proofs 
 " of niello of a style of design more rude than that of Maso, and 
 " perhaps of schools distinct from the Florentine : but, because more 
 " rude, are they, on that account, more ancient? Maso, and the 
 " Florentine artists who succeeded Masaccio, had, in 1440, already 
 " improved their style : but can we say the same of other schools ? 
 " Besides, are we sure that the silversmiths, from whom these 
 " proofs came, selected the designs of the best masters ; and that the 
 " Bolognese, for example, did not copy a Pieta of Jacopo Avanzi ; 
 " the Venetians, a Madonna of Jacobello del Fiore ? The more dry, 
 " the more rude, or the more ugly, cannot therefore be brought 
 " against Finiguerra as a proof of more remote antiquity : else we 
 
 * Lanzi, " Storia Pittorica," toiu. i. pp. 79- 80. 81. 
 
304 IMPRESSION SUPPOSED TO BE BY [chap. iv. 
 
 " should fall into the entertaining sophism of Michele Scalza, Avho 
 " affirmed that the Baronci* were the most ancient inhabitants of 
 " Florence, and of the whole world, because they were the most 
 " deformed."-)- Finiguerra, therefore, until some better evidence is 
 produced of the more remote antiquity of the custom among the 
 goldsmiths of other parts of Italy, seems still to have the best claim 
 to the honour of the discovery. 
 
 Of the proofs taken by Finiguerra on paper, from his works of 
 niello, some have supposed there exist specimens in the collection of 
 the gallery at Florence. It is possible, as Lanzi observes, that one 
 or two of those in the Durazzo Cabinet may be by him. Nor will 
 I omit to mention, in this place, that I myself have for many 
 years possessed a small print which was extracted from a book of 
 draAvings, and Avhich I consider to be, without doubt, the proof of a 
 work of niello of a Florentine artist of the middle of the fifteenth 
 century. It was probably the proof taken of one of these Paxes, 
 and in every respect corresponds so exactly with the character given 
 us of Finiguerra's productions by Vasari and other writers, that I 
 scarcely hesitate to pronounce it the work of that extraordinary 
 artist. 
 
 It represents the Madonna seated on a magnificent throne, with 
 the infant Saviour on her lap : on each side of her is an angel stand- 
 ing with a lily in his hand, the emblem of virginity, awaiting her 
 commands. Behind are six other angels, three on each side of the 
 throne, seated on benches, and playing on musical instruments ; and 
 above are four more of those celestial attendants, and six clierubims. 
 On the plane beneath are ten female saints ; amongst whom S. Ca- 
 tharine is distinguished by her wheel, S. Clara by her monastic 
 habit, S. Mary Magdalen by her long hair and the vase of ointment, 
 S. Lucia by her eyes in the dish, and S. Agnes by her lamb : the 
 whole forming, in a space of little more than four inches in height, 
 by three in width, a composition of no less than thirty figures. 
 
 ■* Boccaccio, " Decatnerone,"— Giornata vi. Novella 6. f Lanzi, toin. i. p. 93. 
 
 1 
 
M^SO IFIWIGZ'EM.M^'^. 
 
 J'rom t3>e ortgittal in ti/e I'osses^ion ofiiey:iuiior. 
 
CHAP. IV.] MASO FINIGUERRA. 305 
 
 This little picture, for I may so term it, is semicircular at top, and 
 is bounded by a rich frame studded with precious stones. On each 
 side is a pilaster of the Corinthian order, supporting a frieze, or cor- 
 nice, the upper part of Avhich was perhaps unfinished at the time the 
 artist took this proof; and in the two spandles, over the arch of the 
 picture, is introduced the Annunciation of the Virgin. The lower 
 part of the architectural decoration, where it is possible there may 
 have been an inscription, is wanting. 
 
 Upon a careful examination of this work, we shall discover in it 
 all those qualities for which Finiguerra w^as, above every other 
 goldsmith of his time, so eminent. The figures, notwithstanding 
 their extremely minute proportions, are drawn with great correct- 
 ness and purity of style; and, in their draperies especially, bear 
 a strong resemblance to the figures of Masaccio, of whom Bal- 
 dinucci considers him to have been the disciple. They are judi- 
 ciously varied in their attitudes, and so skilfully disposed, that it 
 would be perhaps impossible to point out any composition of that 
 age, in which fulness and perspicuity are so happily united. As a 
 work of the burin, it evinces the greatest delicacy of hand, and in- 
 credible diligence. 
 
 That it is of a period not later than 1450, I am strongly of 
 opinion. About that time Botticelli and others began to introduce 
 a style of drapery more varied, but less pure, and which, by degrees, 
 became more and more frittered into many small serpentine folds, 
 very unlike the simplicity of the school of Masaccio. Moreover the 
 glories round the heads of the saints and angels, which are here re- 
 presented solid, and with excavated rays, a remnant of the custom 
 of the fourteenth century, were by most of the Florentine artists, 
 who succeeded that epoch, either entirely omitted, or indicated only 
 with one or two simple lines. Brunelleschi had, shortl)^ before, in- 
 troduced in Florence a taste for the architectural orders of Greece 
 and Rome, which often, in the works of inferior architects of the 
 time, displayed itself in an uncouth mixture of Grecian and Gothic 
 ornament ; of which the throne of the Madonna, and the horizontal 
 
 2 E 
 
306 IMPRESSION SUPPOSED TO BE BY [chap. iv. 
 
 mouldings by which the pilasters in this little print are divided, may- 
 be produced as examples. 
 
 That it is the proof of a work of niello is sufficiently evident : 
 there is, indeed, no inscription upon it, which, by exhibiting the 
 letters reversed, might, according to Lanzi's remark, distinguish it 
 from other prints ; but there are other marks, which decidedly prove 
 that the whole composition is in a direction opposite from what the 
 artist intended : thus the little angels, who are playing on musical 
 instruments, hold the bow of the violin, or strike the chords of the 
 guitar, Avith the left hand instead of the right. The mode, in which it 
 is printed, likewise corresponds exactly with the description given by 
 Lanzi of the specimens in the Durazzo collection : it was evidently 
 taken off by a common roller, or other imperfect method of printing, 
 with a tint of litflp consistency, like that produced with soot and oil; 
 and is, in point of impression, very irregular and defective through- 
 out : the work, in some places, being scarcely perceptible ; in others, 
 pretty distinct. The paper, upon which it is printed, is extremely 
 thin, and appears to have been oiled all over : this was possibly a 
 part of the artist's process, either that it might acquire a shining 
 appearance like metal, or that, the impression becoming transparent, 
 he might, on the other side of the paper, be enabled to view his 
 figures in the same direction as in the silver. After all, I do not 
 positively assert it to be the work of Finiguerra, although the more 
 I have examined it, the more I have felt strengthened in that opi- 
 nion. A comparison of it with the Pax in the church of S. Gio- 
 vanni, at Florence, may, at some future time, ascertain the truth 
 or fallacy of my conjecture. Meanwhile the copy, which is here 
 given of it, may not prove unacceptable to the reader. 
 
 Thus had I written some months before I was acquainted with 
 the very interesting account published by Zani, and accompanied 
 by a correct copy of an undoubted print by Maso Finiguerra, 
 which he had the good fortune to discover at Paris — one of the 
 impressions that Maso took from his celebrated Pax of * the As- 
 sumption,' before he finished it Avith the nkllo. The opportunity of 
 
CHAP. IV.] MASO FINIGUERRA. 307 
 
 making- the desired comparison was now in my power, and 1 saw, 
 with satisfaction, that my conjectures respecting the print above 
 described, were well founded. Indeed the resemblance between it 
 and the print copied in Zani, is so striking, that the person* from 
 whom I first received intelligence of that Avriter's publication, and 
 who had, several times, previously seen the print in my possession, 
 thought erroneousl}% as he assured me, upon first viewing Zani's 
 copy, that the original at Paris, from which it had been taken, 
 could be no other than a duplicate impression of the same plate 
 with my own. 
 
 But although it appears most evident, from the comparison, 
 that the print just described, and that at Paris, are alike the pro- 
 ductions of Finiguerra, still, upon a careful examination, there will 
 be found, in the former, every mark of a considerable priority of 
 date. Not to enter into various minute distinctions between them, 
 it may be sufficient to observe, that the folds of the draperies in that 
 print, are designed and executed with a dryness of manner from 
 which the latter is almost wholly exempt. In the print of ' the 
 Assumption,' the draperies are cast in a bolder style, and the 
 smaller folds are marked with great tenderness, so as to appear, as 
 it were, subservient to the larger ones ; by which means the masses 
 of light are preserved, the figures have greater relief, and the whole 
 acquires a certain breadth of effect, which is far from unpleasing. 
 Moreover, the former print is, as I have already said, feebly and 
 imperfectly printed, whereas the latter, as Ave shall hereafter find, 
 is described as being very well printed. 
 
 From these considerations, I feel little hesitation in pronouncing 
 that the print above described is the impression of a work en- 
 graved by Maso some years before he executed ' the Pax of the 
 
 * This person was Mr. Thomas Dodd, to before the arrival of Zani's book in En<rland 
 
 whom, as well as to Mr. Samuel Woodburne, shewed the print in my possession, and also 
 
 (both gentlemen extremely conversant with various portions of a MS. dissertation, which 
 
 ancient engravings, and, indeed, dealers in I had composed respecting it, with the inten- 
 
 those articles of virtu) I had several times, tion of speedy publication. 
 
 2 R 2 
 
308 PRINT BY FINIGUERRA [chap. iv. 
 
 Assumption ;' and, indeed, I should judge it to be of a date not 
 later than 1445. 
 
 Zani's most interesting discovery shall be related in his own 
 words. The rhapsody and enthusiasm with which he expresses 
 himself, will be pardoned in an old man, who had, at length, at- 
 tained the darling object, to the pursuit of which his whole life had 
 been devoted.* 
 
 After mentioning the sulphur which he had seen at Leghorn, in 
 the possession of Seratti, he proceeds to speak of his journey to 
 Paris. " This journey," says he, " was undertaken by me in 
 " October, 1797 ; and on the twenty-first day of November, in the 
 •' same year, the sixth day of my labours in the National Cabinet, 
 ♦' heaven permitted me to discover, in the third volume of the 
 " engravings of the ancient masters, a print by Maso Finiguerra ; 
 ♦* the identical impression which he himself took off, afterf he 
 " had made the before-meuUuned sulphur taken from the silver 
 " Pax, now at the Church of S. Giovanni ; before he introduced 
 " the niello. My pen is wholly inadequate to express the excess 
 " of my astonishment and joy in those first and fortunate moments ; 
 " joy, however, which was soon succeeded by the painful appre- 
 '* hension that I might be deceived. 
 
 " The superb sulphur which I had seen at Leghorn, I remem- 
 " bered, was in the same style; the subject was the same, namely, 
 " * the coronation of the Virgin,' called, also, ' the Assumption ;* 
 " the composition was similar, and I observed the same exquisite 
 " beauty in the figures : nevertheless, finding the print a good deal 
 " darkened in some places, and torn at one corner, 1 was not sa- 
 " tislied. At length, after an attentive examination, I remarked 
 
 * I had the pleasure of being acquainted sion, that Zani, after the example of his 
 
 with Zani, about 1793, at Rome. He friend Seratti, had adopted the extraordinary 
 
 had then been many years employed in opinion of Baldinucci, that Maso's impres- 
 
 researches respecting early engraving. sions on paper were taken froin his sulphurs, 
 
 t One might suppose, from this expres- and not from the plates themselves. 
 
3fA^O FlWIGUEMJ/i.^. 
 
 o. 
 
 m W»e 1 
 
 u$ Fmris. 
 
CHAP. IV.] DISCOVERED AT PARIS. 309 
 
 " that the inscription on the scroll held by the two little angels at 
 " the top of the composition, ASSVMPTA EST MARIA IN 
 " CELVM, was reversed ; and having discovered the titles of the 
 " two Saints on their knees, AGOSTI, ANBRUS, likewise in 
 " characters the reverse way, I became thoroughly convinced that 
 " I had found a print, and not either a drawing or a tracing. The 
 " suspicion, however, that this print might have been copied and 
 *' engraved from the original Pax, by some anonymous artist, 
 " curbed my joy, and prevented me from making known my dis- 
 " covery to any one. 
 
 " After having continued my labours in that magnificent col- 
 " lection for six months, I Avent to see the prints in the possession 
 " of Mr. Alibert, one of the first print-merchants of Paris ; and, upon 
 " opening a portfolio, I observed, pasted upon the first sheet, two 
 " vignettes from the famous Dante of 1481, an amorous subject by 
 " an anonymous German artist, and above, a design, with a broad 
 " margin, under which was written as folloAvs : * This is the design 
 " exact, and careful in every part, and of the same dimensions, of 
 " the Silver Pax, which was gilt, enamelled,* and worked in niello, 
 " by Maso Finiguerra, and is preserved in the church of S, Gio- 
 " vanni, at Florence ; of which Vasari speaks, especially in the 
 " life of Marc Antonio Raimondi ; and Baldinucci, in his treatise 
 " on the Art of Engraving on Copper. In its weight it corresponds 
 " with the authentic record, which Ant. Francesco Gori, public 
 " reader of history to the Florentine Academy, discovered in 
 " the great journal, marked A A. 1452, preserved in the archives 
 " of the said Church. Its weight is fifty-five ounces, and eleven 
 " denari.' 
 
 * Many writers have erroneously con- probably used in small compartments of the 
 
 founded works of niello with such as were ornamental frame by which the engraved 
 
 executed in enamel ; and, amongst the rest, plate was surrounded. The union of engrav- 
 
 Mr. Strutt, in his Dictionary of Engravers. — ing, niello, enamel, and chiselled work, was 
 
 The enamel, which is here spoken of, was not unfrequent iu the same piece of plate. 
 
310 PRINT BY FINIGUERRA [chap, iv, 
 
 " As I contemplated with avidity this design, which presented 
 " the subject in a contrary direction to the print that I had seen 
 " in the National Cabinet, and, of consequence, with the letters 
 " of the inscription, ASSVMPTA, &c. in their proper order, joy 
 " once more took possession of my heart, of which she remained 
 " absolute mistress. The correspondence between Mariette and 
 " Gaburri, flashed across my mind, and after I had put many 
 " questions to Mr. Alibert, I discovered that this was the identical 
 " drawing, which the Italian amateur had sent from Florence to 
 " his friend at Paris. I also learned that the memorandum with 
 " which it was accompanied, besides the remarks under the two 
 " vignettes of Dante, was written by the hand of Mariette, who 
 " had, doubtless, copied it from the original memorandum by 
 " Ant. Francesco Gori, sent him by his friend Gaburri.* 
 
 " The generous merchant most courteously presented me with 
 " the drawing, and I instantly flcAv Avith it to the National Cabinet, 
 " that I might compare it with the print; in which I found so strict 
 " a resemblance, not only in every figure, but even in the heads and 
 " the folds of the drapery, as, in addition to the circumstance of its 
 " being in a direction opposite to the drawing, and its surprising 
 " beauty in every part, soon convinced me that my eye had not 
 " been deceived, and that my hajjpiness was indeed Avell founded. 
 " I did not lose a moment in making known my discovery to 
 " Mr. Joly, the most obliging person possible, who has the charge 
 " of that collection, as Avell as to those under him, and to several of 
 " my friends ; one of whom, the celebrated Mr. De Non, has since 
 " engraved my portrait, representing me in the same attitude in 
 " which he found me, with a magnifying glass in my hand, examin- 
 " ing that print. 
 
 " Thus it pleased heaven that I should be the first to discover 
 
 * It is not very creditable to Mariette, discover the genuine impression, afterwards 
 
 that, notwithstanding the means which this found by Zani, which all this time was pre- 
 
 dravving afforded him of judging of the style served in the collection of the King of France, 
 
 of Maso Finiguerra, he should have failed to of which. Mariette had the charge. 
 
CHAP. IV.] DISCOVERED AT PARIS. 311 
 
 " a genuine print by Maso Finiguerra. I will not here stop to 
 " describe it, since any person can, at his leisure, contemplate the 
 " copy which I have given of it, engraved fliithfully from the 
 •' original by the hand of a skilful artist.* It will now, I trust, be 
 " confessed, that Vasari and Baldinucci had sufficient reason, Avhen 
 " they asserted, the one, that Maso Finiguerra flourished in 1460, 
 " the other, in 1450, and that I have not been far from the truth in 
 " supposing him born about 14l8.f 
 
 " The workmanship of this Pax, which he probably begun in 
 " 1451, fully shews that he must have been, at that time, not 
 " merely a man greatly advanced in his art, but a master of high 
 " credit and reputation. And, indeed, if such had not been the 
 " case, he would not have been employed, by the consuls of the 
 " Company di Calimala, in a work Avhich was intended to serve, 
 " not for a small church, or a simple oratory, but for the celebrated 
 " temple of S. Giovanni, in which, at all times, the greatest 
 " sculptors and goldsmiths of Florence have emulated each other 
 " by the greatest exertion of their abilities. Maso therefore, 
 " it is probable, had at this period attained the summit of his 
 " skill. 
 
 " If any person is desirous (adds Zani) of knowing whether or not 
 " I have discovered any other print by that great master, besides the 
 " one of * the Assumption' already mentioned, I answer that I have 
 " reason to think I have found another in the same city of Paris, in 
 " the cabinet of Mr. Borduge. This print, which is four inches in 
 " height, by two inches, and eight lines in breadth, represents the 
 " Virgin Mary seated upon a throne with the infant Jesus, sur- 
 
 * The copy of this print, given by Zani, found in the original ; and which are, there- 
 is executed, with great delicacy, by a Mr. fore, omitted in the copy here presented to 
 Pauquet. The characters of the heads bear the reader. 
 
 every appearance of being faithful imitations f My reasons for the opinion that Fini- 
 
 of the originals; but the artist, in finishing guerra was born as early as 1410, are already 
 
 the tender parts, has introduced dotted lines, given, 
 which, I am fully persuaded, will not be 
 
312 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 " rounded by a choir of twelve angels and six seraphims, and ten 
 " female saints ; its form is arched at top according to the usage 
 " ado})ted in these Paxes, from one of which it was taken, and the 
 " figures are of surprising beauty, and in every respect analogous 
 " to those in * the Assumption.'"* 
 
 That Maso Finiguerra was the real inventor of the art of which 
 we treat, conformably to the testimony of Vasari, is no longer a 
 matter of doubt or inquiry ; nor can the Italian writers be accused 
 of exaggeration when they place the epoch of his discovery about 
 1440, or a few j^ears before. Let us now inquire as to the probable 
 means by which the new art was divulged, and the gradations by 
 which it was perfected, so far as to be applicable to the useful pur- 
 poses of publication. 
 
 From the simple nature of the operation required to produce an 
 impression from an engraved plate, such a practice could not long 
 remain confined to the work-shop of its inventor. A proof on paper 
 being once shewn to a neighbouring goldsmith, even though the 
 process which produced it Avas withheld, could not but lead to 
 experiment ; and experiment could hardly fail of success. The 
 slightest hint, conveyed by one artist to his friend residing at a 
 distance, sufficed to awaken ingenuity ; and but little ingenuity was 
 required, the effect being already known, to discover some simple 
 operation, by which that effect would be, in some degree at least, 
 obtained. Indeed from the proofs of works o{ niello in the Durazzo 
 cabinet alone, their various styles, and the apparent antiquity of 
 several of them, it seems probable that many years did not elapse, 
 Irom the period of Maso's discovery, before the art, in this, its first 
 state, became pretty generally practised by the workers in niello 
 throughout Italy. 
 
 * Zani, " Material!," &c. p. 41, et seq. the spandles over the arch, or the surround- 
 
 From Zani's description of the print in tlie ing border. I learn, however, from Mr. 
 
 possession of Mr. Borduge, I was some time Woodburne, who saw it during his recent 
 
 of opinion that it «as an impression taken visit to Paris, that the composition is dif- 
 
 from the same plate as my own, but without ferent. 
 
CHAP. IV.] MASO FINIGUERRA. 313 
 
 It is remarkable that Finiguerra himself is described as having 
 taken off his impressions with a roller. This, it is probable, was 
 not the first metliod employed by him, but a happy after-thought, 
 which occurred to him in the course of his practice. The applica- 
 tion of such an instrument being once adopted by him, an augmen- 
 tation of its power, by the addition of a great and even pressure, 
 was all that was required to render it an efficient apparatus, and, 
 indeed, the best fitted of all for the purpose of taking impressions 
 from engravings on metal. Finiguerra's first use of the roller, was 
 virtually the first step towards the invention of the copper-plate 
 printing press ; and it is, therefore, a consideration wholly distinct 
 from any attempts that may have been made by other Italian gold- 
 smiths, his contemporaries, to procure impressions of their engravings, 
 by means of friction, in imitation of the mode so long before used 
 by the engravers on wood. 
 
 Such a mode, it is true, was not ill adapted to the purpose of 
 taking impressions from engravings on wood ; where the work, 
 requiring to be impressed, presented itself in numerous and sharp 
 projections, well calculated of themselves to keep the paper, which 
 was laid on it, firm in its original situation, during the operation 
 of rubbing it on the back with list, or with the palm of the hand. 
 
 In engravings on metal, on the contrary, where the work, which 
 was to be transferred to the paper, was concave, the general surface 
 of the plate itself still remaining smooth and polished, the application 
 of friction was ill fitted to produce a clear and uniform impression. 
 Where the plate was very small, and this was often the case with 
 works of niello, the paper might indeed be held firmly extended 
 over it ; but still the violence of the friction requisite to take the 
 impression, could not but occasion the paper to stretch in some 
 degree during the operation. This would necessarily occasion the 
 print to appear slurred and deficient in that clearness in the strokes, 
 which the direct pressure of the roller was alone calculated to give 
 to the impressions of engravings on metal; and may partly account 
 
 2s 
 
314 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 ® 
 
 for the soft, but confused effect observable in many of the proofs of 
 the ancient ItaHan goldsmiths. 
 
 How far Maso at length succeeded in perfecting his apparatus, it 
 may be difficult to determine. That he greatly improved it can 
 admit of no doubt. The necessity of an accession of weight, and 
 thereby of power, must soon have occurred to him. This would in 
 some degree be attained in the heavier material of Avhich he might 
 afterwards form his roller : a flat piece of stone or marble, held upon 
 it whilst it passed over the plate, would render it more effective : 
 a board, suspended from the cieling by cords, and heavily loaded 
 with weights of lead or iron, might easily have been so arranged as 
 to lend a very considerable pressure to the roller during the opera- 
 tion of impression. 
 
 There is, I think, reason to believe that, at an early period, Maso 
 had recourse to some such expedient. The first print, which I have 
 described, by him, in my own possession, and which I have judged 
 to be executed about 1445, is very unequally printed, and is 
 deficient in force of effect ; nevertheless some parts of its delicate 
 %vork are so clearly represented, that I cannot help thinking he must 
 have applied some further degree of pressure to his roller, than what 
 his hands alone could have given to it. Moreover, the impression is 
 not slurred, or, as artists term it, printed double ; an evidence that 
 the roller passed but once over the plate, and that the plate was 
 kept steady by some mechanical contrivance during the operation. 
 The impression of his Pax of " the Assumption," discovered at 
 Paris, and alreadv so often mentioned, is described bj'^ a late French 
 writer* as being well printed. " One sees," says he, " from the 
 " clearness of the strokes of the burin, and the firmness of the 
 
 * In a treatise upon engraving, introduced I think inefficiently, to reconcile the informa- 
 
 at the beginning of the third volume of the tion it contains, to his own strange hypo- 
 
 " Mtisee de France," publisiied by Kobillard, thesis, tliat Finiguerra took all his impressions 
 
 at p. 29, note 'i, Bartsch has given this in- from his sulphur casts, and not from the 
 
 teresting note at length ; and has endeavoured, plates themselves. 
 
CHAP. IV.] MASO FINIGUERRA. 315 
 
 " colour with which it is printed, that this impression must have 
 " been taken off from the silver plate itself, when nothing was 
 " wanting to its completion, but the introduction of the niello^ 
 " Strange M'ould it be," says Bartsch, who has given us this infor- 
 mation in a note, but had not seen the impression itself, " if this 
 " ancient print were in reality of so much more brilliant an effect, 
 " than the proofs taken by the workers in niello posterior to Fini- 
 " guerra ; which latter are generally of a greyish tint, and resemble 
 " drawings done Avith a pen."* 
 
 However strange, such may, nevertheless, be the case ; for it is 
 by no means improbable that the goldsmiths of different cities of 
 Italy — nay even those of Florence itself — may have imitated Fini- 
 guerra in the practice of taking impressions from works intended to 
 be finished wuth niello, by a method of their own, and even by a 
 common roller, moved backwards and forwards, many years before 
 the more appropriate contrivance, adopted by Maso himself, was 
 . divulged. 
 
 This argument, better than any other that I am prepared to offer, 
 may account for the long period which appears to have intervened 
 — a period of perhaps not less than twenty years — between the time 
 of Finiguerra's first discovery, and its application for the common 
 purposes of impression and publication. 
 
 Whether, or not, by the year 1460, or thereabouts, from which 
 Vasari dates the practice of chalcography, Finiguerra had so 
 far succeeded in his attempts, as to construct an apparatus fitted 
 to the ordinary purposes of printing engraved plates of various 
 dimensions for publication; whether, or not, in short, he himself 
 became the perfecter of his own invention, is a question upon which 
 it may now be proper to offer a few remarks ; for certain it is that 
 about that period a tolerably efficient mode of impression was prac- 
 tised in Tuscany, and perhaps in some other parts of Italy. 
 
 As a circumstance not a little favourable to an opinion in the af- 
 
 * Bartsch, " Peintre Graveur," vol. xiii. p. 44. 
 
 2 s 2 
 
316 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 iirmative, it may, in the first place, be of importance to mention, that 
 Zani saw, in the Martelli collection at Florence, a print of " the Ado- 
 " ration of the Magi" — taken, as he supposes, from an engraved plate 
 of silver — which, from the multiplicity, the arrangement, and the mi- 
 nuteness of its figures, he judged, as he tells us, the first moment he 
 saw it, to be the production of Maso Finiguerra. In a note on this 
 passage, he says, " I shall speak at large concerning this print in 
 " another place ;" meaning his promised and extensive work ; 
 " and I shall have justly to complain, that another impression 
 " similar to it, and admirably preserved, was cruelly denied to me 
 " by a picture-dealer at Rome, to whom I had candidly discovered 
 " its value."* The spontaneous judgment of Zani, as to the 
 author of this engraving, appears therefore to have been con- 
 firmed by his further reflection ; and it will I trust be admitted, by 
 those who are aware of the extreme rarity -f- of most of the very 
 early prints of the Italian schools, that the circumstance of his 
 having met with two similar impressions, is a strong argument in 
 favour of the supposition that the plate, from which they were 
 taken, was engraved for the purposes of publication, and that it was 
 published ; especially as the goldsmiths cannot reasonably be sup- 
 posed to have taken more than two or three proofs from their works 
 oi niello. Whether or not the plate, upon which this engraving was 
 executed, was of silver, I will not take upon me to determine ; nor 
 am I aware of any means by which Zani could be enabled, from an 
 examination of the impression, to frame such a distinction. 
 
 The natural interpretation of Vasari's words, moreover, " II 
 " principio dunque dell' intagliarc le stampe venne da Maso 
 " Finiguerra Fiorentino circa gli anni di nostra salute 1460," ap- 
 pears to be, that " the art of engraving plates for the purposes of 
 
 * Materiali, p. 48, and note 46, p. 124. fifteenth century— I mean of such as there 
 
 t It is more than probable that, if all the is every reason to suppose were executed 
 
 collections of ancient prints in Europe were for the common purposes of publication — 
 
 diligently examined for the purpose, it would not even two impressions are now in exist- 
 
 be found, that of many engravings of the ence. 
 
CHAP. IV.] MASO FINIGUERRA. 317 
 
 " publication, had its commencement with Finiguerra about the 
 " year 1460;" and the expression " fu seguitato costuj da Baccio 
 " Baldini," " he was followed by Baccio Baldini," seems to have 
 no other meaning than that Baldini practised, afterwards, what the 
 other had practised before ; and does not necessarily imply that 
 Baldini even improved upon the method used by Finiguerra, much 
 less that he was, as Seratti appears to have supposed, a second in- 
 ventor. Now we collect from the words of Vasari, that Baldini 
 published many engravings, although none of them are specified ; 
 it appears also from evidence, independently of Vasari's authority, 
 (namely, the evidence of ancient prints themselves,) that the art of 
 engraving plates of metal, for the purposes of impression, did begin 
 to be practised in Florence about 1460. It is not reasonable to 
 suppose that Maso should have been the last to be awakened to 
 the importance of his own discovery, made so many years before ; 
 and, consequently, if no prints are really to be found by him, 
 except the proofs of his works of niello, I should consider it as suf- 
 ficient evidence of his having been dead, or superannuated, soon 
 after the time when the publication of prints began to come into 
 use ; that is, shortly after the period just mentioned. 
 
 There appears, however, to exist some ground for the belief that 
 the plate of the " Adoration of the Magi," of which Zani saw two 
 impressions, must have been engraved by Maso, for the purpose of 
 publication ; and it is probable that other prints by him may in 
 future be discovered, which have hitherto, chiefly perhaps on account 
 of their excellence, been ascribed to the burin of later engravers. 
 We have already noticed the change which had taken place in Fini- 
 guerra's style, between the period of his executing the plate from 
 Avhich the impression in my possession was taken, (which I have 
 conjectured to be about 1445,) and the year 1451 or 1452, when 
 he engraved the Tax of the Assumption. Now if we suppose him 
 to have continued to live for eighteen or twenty years after the 
 latter of those periods, (that is, until about 1470, when he would 
 have been, according to our calculation, a man of about the age 
 
318 FURTHER INQUIRY CONCERNING [chap. iv. 
 
 of sixty, and we are absolutely without any evidence to the con- 
 trary) it Avill be reasonable to conclude that during so long an 
 interval of time, a still more considerable change in his style must 
 have taken place ; occasioned by the example of contemporary 
 artists, and the influence of that gradual revolution of taste which 
 the school of Florence experienced after the middle of the lifteenth 
 century. Besides, if, as we have supposed, he engraved after the 
 year 1460, for the purpose of publication, he would naturally em- 
 ploy plates of a different metal from that which he had been accus- 
 tomed to use for his Avorks of niello, and of larger dimensions. He 
 would, perhaps, also, adopt a less laboured style of engraving, fitted, 
 like the prints of PoUajuolo, Mantcgna, and others, to imitate the 
 effect of drawings, shaded by parallel diagonal hatchings, according 
 to the custom of the best Italian designers of those times: whereas 
 in his works of niello it had been his ambition to counterfeit the 
 appearance and force of highly fmished miniatures executed with 
 the pencil ; an effect which could not be attained except by means 
 of numerous and most delicate strokes of the burin, crossed in some 
 parts in various directions ; in others, so closely laid to each other, 
 that the divisions between the strokes were often imperceptible to 
 the naked eye.* In searching, therefore, for such engravings as 
 Maso may have produced after the establishment of chalcography, 
 it is obvious that we ought not to determine hastily against every 
 print that does not, in all respects, resemble in manner, the im- 
 pressions of his works of niello. The dexterity with which he 
 managed the burin, joined to his knowledge of design, would have 
 rendered the adoption of a different mode of engraving from that 
 which he had before practised, a matter of little difficulty to him ; 
 
 * It is, indeed, reasonable to suppose, that poses, and for individuals of moderate con- 
 
 Finiguerra did not finish all his works of ditiou, he would, doubtless, execute in a more 
 
 niello with this exquisite diligence ; but only expeditious mode of engraving ; and hence 
 
 such as were intended, like his paxes, for the impressions, taken from some of them, 
 
 public situations, and for which he was paid might have resembled, as Vasari says they 
 
 high prices : others, destined for inferior pur- did, drawings done with a pen. 
 
CHAP. IV.] MA80 FINIGUERRA. 3J.0 
 
 and it is probable tbat, if ever the latter vrorks of his hand are 
 ascertained, they will be found to unite to the beauty of their de- 
 sign, a greater share of clearness of execution, than is discoverable 
 in most of the prints of the early Italian engravers.* 
 
 The silence of Vasari as to Finiguerra's later works of en- 
 graving, is no proof that he was ignorant of their existence ; since in 
 the introduction to his Life of Marc Antonio, he omitted to say 
 even one word concerning the prints by Botticelli and Pollajuolo; 
 both of whom, in the lives of those artists, he expressly tells us, 
 engraved several prints. There can indeed be no doubt that Vasari, 
 in his eagerness to describe the works of those whom he con- 
 sidered better artists, omitted to name many other early engravers, 
 of whom, had he been aware of the curiosity of future ages, he 
 could easily have given us some account : in proof of which, it will 
 be enough to refer to his life of Pollajuolo — who probably engraved 
 before Botticelli — where, after describing one of that artist's en- 
 gravings, he says : " and after that he executed other prints, which 
 " are engraved in a much better manner than those of the other 
 " masters who had been before him." Who those other masters 
 Avere, we are left to conjecture. 
 
 * There is a set of fifteen engravings of graved witli great delicacy and clearness of 
 
 the life of the Madonna without monogram workmanship, and is shaded with diagonal 
 
 or cypher, which is classed by Mr. Bartsch, hatchings. From these circumstances it ap- 
 
 (vol. xiii. p. 257,) — (I hesitate not to say erro- pears to appertain neither to Botticelli, whose 
 
 neously,) amongst the works of Nicofetto da engravings, Vasari tells us, were ill executed ; 
 
 Modena. Heinehen, " Dicticnnaire des At- nor to Baldini, who was deficient in drawing: 
 
 tistes," (vol. iii. p. 213,) attributes these prints and as, in the arrangement and richness of 
 
 to Sandro Botticelli. I have seen but two of its composition, as well as in some other 
 
 them, one of which, " the Coronation of particulars, it bears a considerable resem- 
 
 the Virgin," (Bartsch, No. 19,) is in my own blance to the two paxes, which we have 
 
 collection. It measures eight inches and three described, of Finiguerra, it is not impossible 
 
 quarters in height, by six inches and a half, and that it may be by his hand. As I have not, 
 
 is decidedly by an artist of the fifteenth cen- however, seen the remainder of the series, I 
 
 tiir}, of the Florentine school. The design is will not insist upon the probability of my 
 
 of the best style of the period, the figures conjectures. Further mention will be made 
 
 are drawn with no small degree of elegance of these engravings in a subsequent page, 
 and correctness, and the whole is en- 
 
320 IMPRESSIONS OF WORKS OF NIELLO, [chap. v. 
 
 CHAPTER V. 
 
 Impressions from f Forks of Niello of the ancient Italian Goldsmiths, in 
 the Durazzo Collection, described — Specimens of the same kind in the 
 possession of the Anthor — Remarks on the gradual Progress of the 
 Art of taking Impressions from engraved Plates in Italy. Bartsch's 
 Opinio7is, concerning the Establishment of Chalcography, examined. 
 
 We have observed in the preceding chapter, that, although 
 Maso Finiguerra appears to have first discovered the practicabihty 
 of taking the impressions of his works of niello, some years before 
 the middle of the fifteenth century, it was not until about 1460 
 that the real importance of his discovery was appreciated ; or that 
 plates of larger dimensions began to be executed for the express 
 purpose of multiplying the impressions of engravings for pub- 
 lication. 
 
 The Italian goldsmiths, contemporaries of Finiguerra, were early 
 in their attempts to imitate him in the practice of taking impressions 
 from his engravings in silver, and it is probable the usage soon 
 became general amongst them. Like Maso, however, they appear, 
 for a long time, to have derived little advantage from the exercise 
 of their newly acquired art, beyond the simple gratification of re- 
 taining for themselves a proof or two, taken from their works, before 
 they delivered them, finished Avith niello, into the hands of those 
 who had ordered them ; a custom, indeed, which, there is reason 
 to believe, continued to be practised by the goldsmiths, in different 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 321 
 
 parts of Italy, for many years after the art of Chalcography came 
 into use. 
 
 Lanzi observes, that the Itahan gokismiths are also supposed 
 to have occasionally taken impressions from certain of their other 
 engravings on silver, in which niello was not used. Of this 
 description were the productions which he styles, lavori a graffito ; 
 an expression which appears to indicate that they were superficially 
 scratched on the metal with a steel point, in contradistinction to 
 such engravings as were intended to be finished with niello, which 
 necessarily required to be executed with greater depth of stroke 
 by means of the burin. The term graffito, or sgraffito, however, 
 as applied to works on metal, is not found in Vasari ; and appears 
 to have been used by Lanzi, and some other Italian writers, in a 
 sense so nearly resembling that in which we use the term engraving, 
 that it may be difficult to draw the distinction. 
 
 That the burin itself was used in executing engravings upon plate, 
 not intended to be finished afterwards with niello, is evident from 
 the words of Vasari, in his chapter on Avorks oi niello ; where, after 
 describing the burin, he says expressly, " With this instrument all 
 " things are done, which are engraved upon plates of metal ; 
 " whether to fill the work afterwards with niello, or to leave it 
 " empty, according to the will of the artist." In this preceptive 
 part of his work, however, Vasari speaks in the present tense, and, 
 consequently, it may appear to admit of a doubt, whether his words 
 refer to the practice used in the time in which he wrote, or to that 
 of the ancient goldsmiths. 
 
 But be this as it may, Vasari is decided in ascribing the origin of 
 chalcography to the practice of working in niello; and, in speaking 
 of Maso's practice of taking impressions from his engravings in 
 silver, he mentions those only which were to be finished in that 
 manner. Perhaps in proportion as the art of working in niello fell 
 into disuse, these lavori a graffito came into fashion. 
 
 Works of niello, as we have seen, were often studied and very 
 highly finislied performances ; the smallness of whose dimensions 
 
 2 T 
 
322 IMPRESSIONS OF AVORKS OF NIELLO. [chap. v. 
 
 greatly augmented the difficulty of executing them. Works a 
 graffito, it may be supposed, bore a nearer affinity to drawings, or 
 bold sketches ; and were even used for the decoration of bowls, 
 cups, salvers, and other utensils of inferior metals. Hence it is 
 probable that the early Italian goldsmiths did not bestow the same 
 pains upon their performances in this way, as they were accustomed 
 to do upon their works of niello ; that they were often slight and 
 hasty productions, and that, consequently, some time elapsed 
 before they thought of retaining the impressions of works Avhich, in 
 their opinion, could add so little to their professional reputation. 
 
 From the above observations we may conclude, that the proofs 
 existing of the early Italian goldsmiths, taken by them from their 
 works of niello, or from their other engravings for the decoration of 
 plate, have very unequal pretensions to antiquity ; some of them 
 being perhaps of a date as early as 1440; others, of the latter part 
 of the century ; and, indeed, it is highly probable that even Marc 
 Antonio, who, in his youth, excelled, as Vasari informs us, in works 
 of niello, may have been accustomed to take the impressions of his 
 chief labours in that way ; more especially as it is ascertained that 
 his master, Francesco Francia, Avas no stranger to such a practice. 
 The proofs of the Italian goldsmiths, notwithstanding this probable 
 diversity in their age, may be properly considered, in the aggregate, 
 as the legitimate monuments of chalcography in its infancy ; they 
 also attest, by the diversity of their styles, that the new art, in this, 
 its first state, was widely diffused throughout Italy ; some of them 
 being taken from the rude essays of obscure artisans of distant pro- 
 vinces ; others from the masterh% and, sometimes, highly wrought 
 productions of eminent artists of the best schools. They are like- 
 wise distinguished by the different degrees of success with which 
 they were printed : some of them having been taken off witli a tint 
 of little consistency, by means, perhaps, of friction, or a common 
 roller ; whilst others, especially some of those of a later date, appear 
 to have been printed with a sufficiently well contrived apparatus, 
 and dark oil colour. 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 323 
 
 The Cabinet of the Count Durazzo, at Genoa, rich, perhaps, 
 beyond every other, in prints of the old Italian artists, possesses, as 
 we have said, many of the proofs taken by the early goldsmiths from 
 their works ofji/eUo. The following descriptive catalogue of thirty-two 
 of them, as given by Bartsch, will not be uninteresting to the reader. 
 
 PROOFS OF THE ITALIAN GOLDSMITHS FROM THEIR 
 
 WORKS OF NIELLO. 
 
 Subjects from the New Testament, 
 
 1. The Nativity. 
 
 ' The Virgin Mary and Joseph are represented adoring the 
 newly born infant, who is lying upon a carpet spread on the 
 ground. In the back-ground, on the left, is the stable ; and on 
 the right, the Angel appears announcing the birth of our Saviour 
 to the Shepherds. Three other angels, half of whose figures only 
 are seen, and in front, are in the clouds, holding a scroll, upon 
 which is written : gloria in excelsis deo. Upon a second scroll, 
 placed lower in the composition, is inscribed: evangelico vobis 
 GAUDIUM MAGNUM. This subject is enclosed in a circle, round 
 which is written : dominus . philippus . stancharius . hoc opus . 
 fieri . PRECEPiT . TERTio .KALENDAS . JULii. All these inscriptions 
 are reversed. 
 
 Diameter, 1 inch 7-8ths, independent of the inscription, which 
 is without the border of the composition. 
 
 2. John baptizing Christ. 
 
 * St. John is standing towards the right, baptizing Christ, Avho is 
 in the middle of the print, having his hands joined together and 
 elevated. Two persons in religious habits, with their backs turned 
 towards the spectator, are kneeling in the fore-ground ; the one on 
 the right, the other on the left. Two angels, in attitudes expressive 
 
 2 T 2 
 
324 IMPRESSIONS OF WORKS OF NIELLO, [chap. v. 
 
 of adoration, are standing towards the left, in the back- ground, 
 which represents an extensive mountainous country. God the 
 Father, and the Holy Spirit, surrounded by a glory of angels, appear 
 in the middle of the upper part of the print. 
 
 In height, 3 inches and 3-8ths, by 2 inches 6-8ths in breadth. 
 
 3. Jesus Christ on the Cross. 
 
 ' Jesus Christ on the Cross, occupies the middle of the print : on 
 the left hand is the Virgin Mary, and, on the right, St. John. The 
 City of Jerusalem is seen in the distance. The sky, with the ex- 
 ception of a few clouds, is dark. 
 
 A circle, bounded by a simple line. Diameter, 1 inch l-4th. 
 
 4. Jesus Christ on the Cross. 
 
 ' The figure of our Saviour on the Cross, occupies the middle of 
 the print. In the air, on either side, are two angels, in attitudes 
 expressive of lamentation. At the foot of the cross, on the right, 
 is the Virgin, standing ; and on the same side, in the back-ground, 
 is St. Francis on his knees. St. John is standing on the left ; and 
 behind, in the back-ground, on that side, is St. Jerom kneeling. In 
 the distance, is a city situated on the borders of the sea, out of 
 which rise two islands, each surmounted by a large and steep 
 rock. The letters INRI appear reversed. The composition is arched 
 at top.' 
 
 In height, 2 inches 7-8ths, by 1 inch 7-8ths in breadth. 
 
 The plate from which this proof was taken, is described by Zani, 
 who, however, Avhen he wrote, did not know of the existence of 
 the impression from it in the Durazzo cabinet. The original is no 
 other than a Pax, worked in ?iieUo, by the hand of Francesco 
 Francia, for the church of S. Giacomo, at Bologna. It is now pre- 
 served in the collection of the Institute of Bologna, together with 
 another Pax by the same artist, representing the Resurrection of 
 Christ, who is represented giving the benediction with his right 
 hand, whilst four soldiers are asleep at the four corners of the se- 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 325 
 
 pulchre. This last was originally executed for the church of the 
 Miscricordia, in the same city, and measures 3 inches 9-l6ths in 
 height, by 2 inches 5-l6ths in breadth. Both these engraved plates 
 are surrounded b}^ ornamental frames of chiselled work, one of which 
 is also enriched with enamel, and decorated by a silver basso-relievo. 
 Each bears the arms of the family that caused it to be executed. 
 
 5. The Burial of Ckrkf. 
 
 ' Nicodemus is represented supporting the body of Christ by the 
 middle, and laying it in the sepulchre. On each side is an angel : 
 that on the right holds the crown of thorns. The back-ground is of 
 a plain dark tint. 
 
 It measures 2 inches 3-8ths in breadth, by 1 inch 3-l6ths in 
 breadth. 
 
 Devotional Subjects and Saints. 
 
 6. A Pieta. 
 
 ' The body of Christ, of which only the upper part is seen, is 
 placed upright in the sepulchre, whereon is inscribed : mors . mea . 
 vita . tua. The figure of Christ is surrounded b}^ the instruments 
 of his passion, among which are to be seen, on the right, the ladder, 
 the hand of Judas Iscariot holding the thirty pieces of silver, and 
 the cock ; and, on the left, the heads of the two thieves. This 
 composition is of a circular form, and is enclosed in two borders, 
 one of which is ornamented with foliage ; the other contains this 
 inscription : corporis afplictu . verbis . et . ulnere quino . 
 
 FRANCISCO . FAVEAS SURGAT . ET . IPSA . DOMUS. 
 
 Diameter, 2 inches and one-half. 
 
 7. The Madonna between two Saints. 
 ' The Virgin is seated on a throne, with the infant Christ in her 
 arms. On the left stands a Saint, whose mitre and crosier denote 
 him to be a Bishop ; and, on the right, another Saint of some 
 
326 IMPPxESSIONS OF WORKS OF NIELLO, [chap. v. 
 
 religious order, with a book in his left hand. The throne is elevated 
 upon two steps. The form of this piece is oval. 
 
 In height, 2 inches; in breadth, 1 inch 7-l6ths. 
 
 8. 5/. John the E-cangelist. 
 
 ' The Saint is standing, and holds in his right hand a staiF, sur- 
 mounted by a cross and an oval, in which is represented the lamb : 
 he points with his other hand towards a scroll, on which is written, 
 ECCE AOXS, in characters reversed. Behind him, are two mounds 
 of earth ornamented with trees, and above are some white clouds, 
 relieved upon a dark ground. 
 
 Height, 2 inches o-8ths : breadth, 1 inch l-4th. 
 
 9. St. George. 
 ' St. George is on horseback, and completely armed. His horse, 
 at full gallop, is directed towards the left, where the dragon appears, 
 into whose mouth the saint is thrusting his spear. The queen, whom 
 he has delivered, is on her knees in the back-ground, on the same 
 side. This piece is circular, and surrounded by a simple line. 
 
 Diameter, 1 inch l-4th. 
 
 Subjects of Profane History. 
 
 10. Mutius Scexola. 
 ' Mutius Scevola is represented burning his hand in the fire placed 
 upon an altar opposite to Porsenna, who is seated upon his throne, 
 on the right of the print. On the left are several Roman soldiers, 
 on horseback and on foot. Upon a small cloud over the head of 
 Ponenna, is a crescent, and upon one of the steps of the throne 
 b the letter P. 
 
 Breadth, 3 inches l-8th : height, 2 inches l-8th. 
 
CHAP, v.: IMPRESSIONS OF WORKS OF MELLO. 337 
 
 Mythological Subjects, 
 
 11. HercuJes and Dej antra. 
 
 ' Hercules and Dejanira are represented standing opposite to 
 each other ; the former on the left, the latter on the right ; their 
 arms extended as if they were about to embrace. Above the heads 
 of these figures, are two scrolls, on which are inscribed the names, 
 HERCULES, DiEANiRA. The letter P. is engraved in the middle of the 
 margin at bottom. 
 
 Height, 1 inch 7-8ths : breadth, 1 inch l-4th. 
 
 H. Hercules kilUng the Hydra. 
 
 ' Hercules appears standing on the left, and about to give a 
 blow to the Hydra with the club, which he elevates in his right 
 hand ; he has seized the monster, which is on the right, bv one of 
 its heads. 
 
 Height, i inches : breadth, 1 inch l-4th. 
 
 13. A Sea-God f and a Xereid. 
 
 ' An old Sea-Deity appears traversing the ocean, directing his 
 course towards the left. He is seated upon a sea-horse, which ter- 
 minates in a large ftsh's tail, and has before him a Nereid, who has 
 her right arm romid his neck, and, with her left hand, takes hold 
 of one of the ears of the horse. A circular composition surrounded 
 by a border ornamented with pearls. 
 
 Diameter, i inches l-8th. 
 
 14. The Judgment of Paris. 
 ' Paris is seated on the right, with a dog at his feet : he presents 
 the golden apple, witli his left hand, to Venus, who is standing 
 before him, on the left, accompanied by the tn o other Goddesses. 
 
328 IMPRESSIONS OF WORKS OF NIELLO. [chap. v. 
 
 The back-ground represents a mountainous country. The lower 
 edge of this print is determined by three curved Unes. 
 
 Height, 2 inches, 5-l6ths: breadth, 1 inch ll-l6ths. 
 
 Portraits. 
 
 15. The Portrait of a Man. 
 
 ' The head of a Young Man seen in profde, and turned towards 
 the right. He has strait long hair, and around his head, which is 
 covered with a cap, is a scroll, bearing this inscription : la spe- 
 
 RANZA MI CONFORTA. A circle. 
 
 Diameter, 1 inch l-8th. 
 
 16. Another Portrait of a Man. 
 
 ' The upper part of the figure is seen, he is viewed in profile, and 
 turned towards the right. He has long hair, and his head is covered 
 with a cap, which has a border. An ornamental sprig of foliage 
 is in front of him, and another is behind him. Above are two 
 curtains ; one drawn up towards the left, the other towards the 
 right. 
 
 Height, 1 inch l-4th: breadth, 7-8ths. 
 
 17 The Portrait of a Lady. 
 • A Young Lady, half length, seen almost in front, and turned a 
 little towards the right. Her hair is divided into tresses, two of 
 which fall over her left cheek, two others over her right. A piece 
 of ornamental foliage rises on each side of this portrait. The print is 
 irregularly curved (bombee) at the top. 
 
 Height, 1 inch and one half: breadth 1 inch l-8th. 
 
 18.-4 Male and a Female Head. 
 ' On the left of this piece is the bust of a young man, turned 
 towards the right His head is bent forward, and his hands are 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 329 
 
 crossed upon his bosom. On the right is the bust of a young- 
 woman : she is turned towards the left, and holds a flower in her 
 right hand. Near her head is a scroll, on which is inscribed : 
 ECOME. The upper and the lower edge of this print are irregu- 
 larly curved. 
 
 Breadth, 1 inch and a half: height, left side, 6-8ths of an inch; 
 right side, 7-8ths. 
 
 19. A Male and a Female Head. 
 
 ' The busts of a man and of a woman, seen in profile, and placed 
 opposite to each other ; the woman on the left, the man on the right. 
 Between these heads is a vase of flowers. The back-ground pre- 
 sents a landscape with some trees. The left edge of this plate is 
 curved inwards. 
 
 Breadth, 2 inches l-8th : height, 1 inch. 
 
 20. Two Busts of Me7i. 
 
 ' Two busts of men regarding each other, and placed in niches. 
 That on the left has a cuirass and a helmet, ornamented with three 
 masks. The other has a drapery and a helmet, which is surmounted 
 by a winged figure, holding a cornucopia. 
 
 Breadth, 2 inches l-8th : height, 1 inch and a half 
 
 Fancy Subjects. 
 
 21. ^ Young Female, walking Blindfolded. 
 
 ' A young woman, elegantly dressed, with her eyes covered by 
 a bandage, walking, with an uncertain step, towards the right, and 
 extending her hands, as if to feel her Avaj^ In the back-ground, 
 towards the right, is a dog, looking at her. On a scroll, above, 
 is written, in characters reversed, va in la caneva. A circle. 
 
 Diameter, 1 inch l-4th. 
 2 u 
 
330 IMPRESSIONS OF WORKS OF NIELLO, [chap. v. 
 
 22. The Wheel 
 * On the right, at the upper part of this print, is seen a hand, which 
 projects out of the clouds, and by means of a cord, appears to give 
 motion to a wheel : a fool and two asses are fixed to this wheel, and 
 are accompanied by labels. That to the right is inscribed regnatem ; 
 that on the left, regnabo ; and on that at top is written regna. 
 These words are in characters reversed. A circle. 
 
 Diameter, 1 inch l-4th. 
 
 23. A King, seated. 
 
 ' The monarch is seen in profile, and is turned towards the right. 
 His head is ornamented with a crown, and his hands are both in 
 action. 
 
 Height, 1 inch 3-8ths : breadth, 1 inch. 
 
 24. A Roman General haranguing his Soldiers. 
 
 ' The general, accompanied by another warrior, is standing on the 
 right, upon a raised pavement. He appears to be haranguing three 
 soldiers, one of whom carries a torch : the two others bear trophies, 
 which are fixed to the ends of their lances. An oval. 
 
 Height, 1 inch 3-8ths : breadth, 1 inch l-8th. 
 
 25. A man tied to the Trunk of a Tree. 
 
 ' A naked man, standing, and bound to the stem of a tree ; his 
 hands tied behind his back. His body is turned a little towards the 
 right, and his head is elevated towards the left. Upon a scroll near 
 his head is inscribed, in characters reversed, non Piu (fo)rtuna. 
 The two letters fo are wanting. 
 
 Height, 2 inches : breadth, 7-8ths of an inch. 
 
 26. A Lion destroying a Man. 
 ' The lion is seen in profile, and turned towards the right : he has 
 his paws upon the man, and is about to tear him in pieces. 
 Breadth, 2 inches : height, 1 inch, 1-1 6th. 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 331 
 
 27. A Female binding a Man to a Tree. 
 ' The woman is naked, and standing on a bank, from which rises 
 the stem of a tree. A young man, also naked, is seated at the foot 
 of the tree, to which the woman is binding him witli a cord. Near 
 the top, towards the right, is a scroll, on which, in characters re- 
 versed, are these words : va mori. 
 
 Height, 2 inches l-8th : breadth, 1 inch. 
 
 28. A Young Woman, standing. 
 
 * She is seen in profile, and turned towards the right : her hands 
 are crossed before her. Above her head is a scroll, with these 
 words, in characters reversed : sol in dio spero. This piece is 
 curved at top. 
 
 Height, 2 inches 3-8ths : breadth, 5-8ths of an inch. 
 
 Ornaments, &c. 
 
 29. A Coat of Arms. 
 * The shield is barred in six divisions, and is surmounted by a 
 helmet with its mantles. The helmet is crested by a crown, and a 
 leopard couching, over which is a scroll with these words, in cha- 
 racters reversed : viRTU . viVE . E . NON . TEME. Near the top, 
 towards the right, is the letter M, which is relieved by light, upon 
 a dark ground. A circle. 
 
 Diameter, 2 inches. 
 
 30. Grotesque Ornaments. 
 
 ' This print contains arabesques mingled Avith figures ; amongst 
 which is a male figure with wings, who is sitting with his legs asunder 
 upon the tails of two dolphins, and holds a torch in each hand. 
 Upon the back of each of the dolphins is a winged triton sounding 
 a horn. Above is a cartouch, surmounted by three large birds, 
 
 2 u2 
 
332 IMPRESSIONS OF WORKS OF NIELLO. [chap. v. 
 
 and ornamented in the middle by a small circle, in which is the 
 letter P.* 
 
 Height, 2 inches 3-4ths : breadth, 1 inch ll-l6ths. 
 
 31. A Vignette. 
 
 ' In the middle of this vignette is an oval which is left white, and 
 is ornamented on each side by the figure of a horse, terminating 
 in twisted foliage. 
 
 Breadth, A inches : height, half an inch. 
 
 32. A Design for the Top of a Box. 
 
 * This design, which appears to have been engraved for the top of 
 a box, represents, in the middle, an oval, which is left white, and is 
 ornamented with heads of cherubims, placed at the four corners, in 
 the vacancies left by the oval in the oblong space in which it is intro- 
 duced. At the top of the print is a sort of frieze, in which are four 
 half figures, each placed in a niche. The first of these figures, begin- 
 ning at the right hand, represents the Virgin ; the second, the Angel, 
 who is announcing to her the mystery of the incarnation ; the third 
 is a Saint holding a cross ; and the fourth is a Saint of the Franciscan 
 order, with a book. In another frieze, at the bottom of the print, 
 are four half-length female figures, representing Justice, Fortitude, 
 Temperance, and Prudence, each with a crown on her head.-f- 
 
 Height, 4 inches: breadth, 2 inches 3-4ths.' 
 
 * This letter P is found, also, on Nos. 10 accompanied by fac -similes of the thirty-two 
 and 11, before described; and is, probably, proofs from works oi niello above described, 
 the initial of the artist. I have in vain inquired for this publication 
 
 •}• We learn from Lanzi, tom. i. p. 84, of Boni, in London and at Paris, for several 
 
 that, when he wrote, the Abate Boni, Se- months past ; and have, with great regret, 
 
 cretary to the Marquis DurazEo, was em- been obliged to go to press with the present 
 
 ployed in preparing an account of the ancient Chapter without seeing it. Perhaps I may, 
 
 prints of that nobleman's magnificent coUec- hereafter, be enabled to obtain it : in which 
 
 tion. It appears from Bartsch, " Peintre case, any observations that it may give rise 
 
 Graveur," vol. xiii. p. 24, that Boni has to, shall be given in an appendix. 
 Kince published at least a part of this work, 
 
CHAP, v.] IMPRESSIONS OF WORKS OF NIELLO. 
 
 333 
 
 The following specimens in my own collection, are, doubtless, 
 the proofs of old Italian goldsmiths, from their works of juello, or 
 other engravings for the decoration of plate. 
 
 No. 1. A Cupid riding on a Dolphin ; a pretty group, of which a 
 copy is here subjoined, very accurately engraved from the original. 
 
 2. Its companion. — A figure of Cupid, with his eyes bandaged, 
 his arms tied behind him, and his wings extended, seated on a rock 
 in the midst of the sea. 
 
 These two specimens are, most probably, of the Florentine 
 school, and I should judge them to be of a date not later than 
 1460. They are printed apparently by a roller, with a greyish tint, 
 and the impression of No. 2, is very defective. I am not with- 
 out my suspicions that they, as well as the four following spe- 
 cimens, may be impressions taken by Baldini from some of his 
 works of 7nello. 
 
 3. An upright plate, 4 inches and 7-8ths in height, by 7-8ths 
 of an inch in breadth, ornamented with arabesques. A tripod sup- 
 porting a vase, out of which springs an ornament of foliage that 
 
334 
 
 IMPRESSIONS OF WORKS OF NIELLO, [chap. v. 
 
 rises to the top of the print. The fohage, at the distance of one 
 inch and a quarter from the vase, passes through a small crown, by 
 which it is confined. 
 
 4. The companion to the last described — same dimensions. The 
 foliage, in this print, rises from a sort of candelabrum, of about an 
 inch and a half in height, composed of three parts : viz. its base, 
 which is seen upon an angle ; its body, which is something like a 
 common tea-urn ; and the vase at top. 
 
 5. An ornament of foliage ; lengthways 4 inches and l-8th, by 
 1 inch and l-8th. The center presents four large leaves, with, in 
 the midst of them, something like a small pine-apple. The rami- 
 fications of the foliage pass through four rings, two of which are 
 introduced at either end of the plate. 
 
 6. Of its companion, in which a naked figure of a boy is prettily 
 introduced among the foliage, the reader will be enabled to judge 
 from the following copy. j 
 
 These four specimens, which, as has been said, I am inclined to 
 think are by the same hand as the two circles before described, 
 are, probably, the proofs taken from Avorks of niello, intended to be 
 inserted among the decorations of small cabinets of ivory or ebony, 
 such as Lanzi speaks of, and as have been mentioned in the 
 beginning of this Chapter. Nos. 5 and 6, appear to have been 
 
CHAP, v.] ESTABLISHMENT OF CHALCOGRAPHY. 335 
 
 printed with a common roller, moved backwards and forwards by 
 the hand. 
 
 7. A circle, 1 inch 5-8ths in diameter. Sampson tearing open 
 the Jaws of the Lion. The figure of Sampson is seen nearly in 
 front, and his head is turned towards the left : he presses the back 
 of the lion with his left knee, while, with his hands extended 
 towards the right, he tears open the jaws of the ferocious animal : 
 he has a shield thrown over his shoulder, and is naked. Behind 
 him, on the left, is a tree, and in the distance, on the same side, is a 
 rocky hillock : a mount of greater eminence forms the back-ground 
 on the right. The impression of this print is very dark, but of a 
 soft and confused effect ; and was probably taken off by friction. It 
 is in a very different style from any of the preceding, and is, I am 
 inclined to think, of the old Bolognese school. It is, probably, the 
 proof of a work oi niello by Francesco Francia. 
 
 From such essays, as Lanzi observes, the transition was made, in 
 some parts more early, and in others later, to what maj^ be termed 
 the second state of the art of engraving. The beautiful effects of these 
 proofs from works of niello, at length suggested the idea of engraving 
 works in that finished and delicate taste, and of applying them to 
 the purposes for which, hitherto, wood-prints only had been used. 
 Thus was the cradle of chalcography prepared in the work-shops of 
 the silversmiths, whose first engravings with a view to impression, 
 were executed, it is supposed, on silver or pewter, or on some 
 metallic compound less hard than copper. Plates of larger dimen- 
 sions than those required for works of 7iiello, soon began to be used, 
 and artists of superior abilities entered the lists. The intended subject, 
 together Avith any inscription attached to it, was now engraved in 
 a reverse direction on the plate, that it might come the right way 
 in the impression ; and as, from the increased size of the engravings, 
 the difficulty of printing them with an imperfect apparatus was 
 
336 ESTABLISHMENT OF CHALCOGRAPHY. [chap. v. 
 
 greatly augmented, the plate was sometimes fixed, bj' small nails 
 at its corners, to a table or other flat piece of wood ; that thus it 
 might be kept stead\r during the operation, and the pressure, whether 
 of a roller, or of any other kind, be applied the more effectually. Of 
 this custom of the early Italian engravers, of fastening their plates, 
 during the operation of impression, by means of small nails or pegs 
 of metal, we shall fmd numerous examples among the prints of the 
 early masters which will hereafter be described ; and, indeed, the 
 traces of such a practice, are to be found even as late as the com- 
 mencement of the sixteenth century. 
 
 The observations already made upon the proofs taken by the 
 Italian goldsmiths from their engravings on plate, will in many 
 respects apply to the first essays of the art, in this, the second stage 
 of its progress. They are often unequally and feebly printed, with a 
 tint of little consistency, most frequently inclining to grev, some- 
 times to brown, and have a soft effect. INIany of them seem to 
 attest, by their confused and dazzling appearance, that they were 
 printed with a roller, moved backwards and forwards by the 
 hand : others, of a brown tint, sometimes bear so near a re- 
 semblance to designs executed with a pen and bistre, that I have 
 seen experienced judges hesitate before they would pronounce 
 whether they were really prints or drawings.* 
 
 By degrees the art of printing engravings became better under- 
 stood throughout Italy ; plates of copper began to be used instead 
 of thoseof softer metals ; and, at length, jNIantegna, and some others, 
 appear to have become possessed of a press of adequate power, and 
 printing ink of sufficient depth and consistency, to give to the im- 
 pressions of engravings their fullest effect. The chalcographic art, 
 so far as relates to impression, had then attained what Lanzi terms 
 its third, or mature state. 
 
 * I possess, indeed, in ni}' own collection, triumph — which the best connoisseur might, 
 an early impression of one of Mantegna's en- without discredit, mistake for a drawing, 
 gravings — one of the compartments of his 
 
CHAP, v.] LANZrS OBSERVATIONS THEREON. .337 
 
 This gradual progress of chalcography in Italy, from infancy to 
 adolescence and maturity, is strongly insisted upon by Lanzi, as 
 affording the most substantial proof of its being really the invention 
 of that nation : " whereas," says he, " all the ancient prints, Avhich 
 " have been hitherto produced in Germany, seem, as it were," (with 
 respect to their mechanism,) " perfect in their kind ; for neither 
 " proofs of works oi niello, nor other first attempts at engraving in 
 " metals of a soft temperature, are ever mentioned in that country. 
 " It is therefore most probable that, according to ancient belief, 
 " and the testimony of Vasari, the invention found its way from 
 " Italy into Germany ; and that, as an art easy to the goldsmith, it 
 " was immediately practised with success ; nay, I will add, im- 
 " proved by the artists of Germany. For as they were there 
 ** acquainted with the press, and with the ink proper for printing, 
 " they were enabled to supply to the mechanical parts of the art, 
 " those things of which Italy was still ignorant." 
 
 " I will illustrate what I have said." adds Lanzi, " by an ex- 
 " ample exactly in point. The art of printing books, was discovered 
 " in Germany : history records it, and various monuments confirm 
 " it, which shew the gradual progress of the invention, from the use 
 " of wooden blocks to that of separate characters, likewise of wood; 
 " and from those, to types of metal. In this state the invention was 
 " brought amongst us; and presently Italy, without passing through 
 " these intermediate degrees of imperfection, printed books, not 
 " only with moveable characters of metal, but likewise ornamented 
 '^ with engraved plates ; thus adding to the art a perfection which 
 " was before wanting to it." 
 
 " The Baron Heineken (Idee Generale, pp. 139, 140.) opposes to 
 " my argument, that the Germans, in those times, had but little cor- 
 " respondence with the cities of Italy, with the exception of Venice. 
 " I answer, that our universities of Bologna and Pisa, and not a few 
 " others, were very much frequented by the young men of Germany 
 " at that period ; and that for the iise of foreigners, as well as that of 
 " the citizens, there were printed at Venice, in 1475, and at Boloo-na, 
 
 2 X 
 
333 BARTSCHS ARGUMENT EXAMINED. [chap. v. 
 
 " in 1479, dictionaries of the German language; a circumstance 
 " certainly in itself sufficient to prove a communication not unfre- 
 " quent between two nations. There might be produced moreover 
 " so many other facts, arguing the communication which took place 
 " between Germany and Italy in those early times, as to make it 
 *^- no matter of wonder that the arts of one country found their way 
 " into the other." 
 
 Such were amongst the cogent arguments used by this excellent 
 writer, in answer to a host of opponents, at a time when, in the 
 opinion of many impartial persons, the pretensions of Italy Avere 
 not sustained by evidence of that unquestionable character which 
 their ultimate establishment appeared to require. 
 
 " I also," says he, " have argued the cause of my country to the 
 " best of my abilities, although I am far from flattering myself that I 
 " have put an end to the controversy. Perhaps some time or other, 
 " those proofs of niello and first essays of the art, which no one has 
 " hitherto produced, may be discovered likewise in German^^ Per- 
 " haps one of the writers of that nation, who are at present so 
 " numerous and so learned, may strengthen the hypothesis of Hei- 
 " neken, that the Germans and the Italians, without any know- 
 " ledge of each others' successes, discovered the new art. What- 
 " ever maj' be to come, I argue upon such documents as 
 " already exist." 
 
 Lanzi, I believe, lived long enough, after writing the above, to be 
 informed of the important discovery of Finiguerra's print at Paris ; 
 and probably died with the gratifying conviction, that at length the 
 claims of Italy were indeed established upon the solid basis of posi- 
 t'ne proof — that the controversy was at an end. 
 
 The claims of Italy are indeed established, but the controversy is 
 not at an end. The advocate of Germany now posts himself on 
 other ground; like Proteus, he assumes a new form, and again 
 invites the combat. 
 
 A living German Avriter, already mentioned, INIr. Bartsch, whose 
 book is too much read, and whose arguments are too plausible to be 
 
CHAP, v.] BARTSCH 8 ARGUMENT EXAMINED. 339 
 
 •passed over in silence, has lately treated the subject in " An Essay 
 " on the History of the Discovery of the Art of taking Impressions 
 " from Engravings," prefixed to the thirteenth volume of his exten- 
 sive work, " Le Peintre Graveur," — a volume which contains the 
 catalogues of the Italian engravers who preceded Marc Antonio. 
 Of this essay he seems, in his avant propos, to be not a little proud ; 
 and to say the truth, it is written with considerable ingenuity. 
 
 In the review which I have taken of Finiguerra's invention of 
 the art of taking impressions from engravings, of the early promul- 
 gation of that art in its infant state amongst the Italian goldsmiths, 
 and of its gradual advancement to maturity, I have been obliged 
 to differ most materially from- the opinions urged by Mr. Bartsch in 
 the above essay ; and as I feel it a duty, as far as possible, to clear 
 this part of the subject from the obscurities with which it seems still 
 enveloped, before I proceed further, I shall now devote a few pages 
 to an examination of that Avriter's argument. 
 
 The positive existence of an undoubted print by Finiguerra, of a 
 date at least anterior by thirteen or fourteen years to any impres- 
 sion taken from an engraving on metal, which Germany has been 
 able to produce, could not, after the publication of Zani's book, be 
 any longer denied ; and Bartsch is reluctantly constrained, even in 
 the very heart of Germany, to acknowledge Maso's claim to the 
 honour of having discovered an imperfect method of procuring im- 
 pressions from his works on silver : imperfect indeed — for, artfully 
 clinging to the erroneous reading of Baldinucci, he insists that those 
 impressions were taken from the sulphur casts, not from the engraved 
 plates themselves. 
 
 Having admitted so much, he thinks that Italy ought to be 
 well satisfied with his candour and liberality. Desirous to make 
 amends to his German readers for so great a concession, he 
 turns the early prints of Italy into ridicule; takes prodigious pains 
 to shew that the artists of that country were unable to turn their 
 own invention to any account; and insists that all the credit of per- 
 fecting it, belonged to the brighter Avits of Germany. 
 
 2x2 
 
340 BARTSCH'S ARGUMENT EXAMINED. [chap. v. 
 
 " Finiguerra," says Bartsch, " it is true, had made his discovery, 
 " but appears to have been wholly insensible to the important 
 " results which he might have drawn from it ; and, of" consequence, 
 " to have felt no desire to go one step further towards perfecting it. 
 " It is almost certain that he stopped there, and that he contented 
 " himself, when he had obtained his sulphur cast, and taken from 
 " it, at the most, a couple of impressions. For this reason, there- 
 " fore, we repeat, the first print is to be considered rather as the 
 " production of chance, than as the result of an invention preceded 
 " by researches and combinations. But what is really astonishing 
 ** is, that the discovery, although communicated to several other 
 " goldsmiths, should have remained in the same state of imperfec- 
 " tion during many years; that is, until about 1460. All the prints 
 " that Italy can furnish, printed during this space of time, are con- 
 " fined, in all appearance, to a few proofs of works of niello, the 
 " grey tint and imperfect impression of which, seem to attest, that 
 " they likewise Avere taken from sulj)hurs, and, of consequence, in 
 " a very small number." 
 
 •' That which proves the obscurity in which the new discovery 
 '* remained enveloped, during so long a time, is the absolute silence 
 " of all contemporary writers, as well as the entire Avant of other 
 " notices respecting it, Avhich certainly could not have failed to 
 " reach us, had they been dispersed at all generally." 
 
 I have already given my reasons for differing entirely from 
 Mr. Bartsch, as to the mode in Avhich Finiguerra obtained impres- 
 sions of his Avorks of niello on paper, Avhicii I have endeavoured 
 to shcAV were taken from the plate itself, not from the sulphur; and 
 I am ignorant of the testimony upon Avhich he founds the opinion, 
 that that master never carried the art further : but Avhen, against 
 the evidence of common sense, he Avould persuade us that all the 
 other Italian goldsmiths, Avho took impressions of their engravings 
 during so long an interval, used the same method ; that is, that 
 they resorted, not to the plate itself, so Avell fitted for impression, 
 but to a sulphur cast taken from it, Avhich he has before acknow- 
 
CHAP, v.] BARTSCH'S ARGUMENT EXAMINED. 341 
 
 ledged to be so ill adapted to that purpose, he certainly accuses the 
 Italians of a degree of stupidity which has not hitherto been consi- 
 dered characteristic of that people, and gives his readers credit for 
 a greater share of complacency than I at least possess. Besides, it 
 is to be remembered, that if the Italians began to take impressions 
 directly from their engraved plates no earlier than 1460, (and Mr. 
 Bartsch appears to admit that data in the above passage) they maj'^, 
 even then, boast of having practised the art five years before it is 
 known to have been practised in Germany ; since that country pro- 
 duces no authentic date upon any impression of an engraving on 
 metal, earlier than the years 1465 and 1466. 
 
 With regard to the greyish tint of the proofs of the old Italian 
 goldsmiths, it proves no more than that they Avere taken off with 
 a colour of little consistency ; and as to the imperfect manner 
 in which so many of them are printed, it is sufficiently ac- 
 counted for by the natural supposition, that some were taken off 
 before the discovery of a proper printing press ; others, of a later 
 date, printed by goldsmiths, who, though not ignorant of the 
 existence of such an apparatus, were, nevertheless, unprovided 
 with it, and were,, consequently, obliged, in taking off such im- 
 pressions, to have recourse to the friction of some smooth body, 
 or the insufficient pressure of a common roller. I, myself, once 
 tried the effect of taking two or three impressions from a deeply 
 etched copper-plate, by means of a common roller, pressed over 
 damped paper with all the force I could use : the etching being 
 first fdled with oil paint of a brown colour. Each of the impres- 
 sions, so taken, differed from the rest ; being more or less defective 
 in some parts, according to the inequality of pressure with which 
 the roller passed over the plate in each operation. All of them 
 strongly resembled designs done with a pen; and an engraver of 
 considerable ability, being shewn one of them on the same evening, 
 was for some time deceived into the belief that it was really an 
 original drawing. But however imperfect these impressions were, 
 from the want of sufficient pressure, I am well satisfied that a sul- 
 
342 BARTSCHS ARGUMENT EXAMINED. [chap. v. 
 
 phur cast could not have resisted half the force used in producing 
 them. As to the argument drawn by our author from the silence of 
 contemporary Italian Avriters respecting the promulgation of INIaso's 
 new discovery, it will be best answered by requesting him to inform 
 us of the names of those German writers who, from 1465 to 1480, 
 have recorded the labours of their contemporaries and countrymen, 
 the engraver who marked (^>S • ^I^rtin Schongauver, Israel Van 
 Meek, and others. 
 
 Mr. Bartsch strongly urges the paucity of these proofs of the 
 Italian goldsmiths from their works of niello. 
 
 " To hear Lanzi, indeed," says he, " one would suppose that 
 " the number of these proofs of niello was very considerable, that 
 " one could perceive in them the difference of schools, and that 
 " they were dispersed throughout every province of Italy. But on 
 " careful examination of what is said by that eloquent author, one 
 " discovers, that his arguments, however ingenious, are not sustained 
 " by solid and satisfactory proof Where, Ave ask him, is this great 
 " number of impressions of works o{ niello? He himself only speaks 
 " of those preserved in the Durazzo cabinet, at Genoa. We are 
 " not acquainted Avith those pieces, but we haA^e eA'cry reason to 
 " belieA'e that their number does not much exceed that of the 
 " thirty-tAA'o Avhich have been since given to the public in the 
 " copies, AA^iich Ave shall hereafter describe.* We inquire of him, 
 " Avhich are the collections, not only in Italy, but in all Europe, 
 " Avhere prints of this sort are to be found ? We ourselves have 
 " seen several of these great collections, and Ave are acquainted 
 " Avith the most celebrated, as Avell by catalogues, as through other 
 " channels of information ; but we have found them all, either 
 " entirely destitute of, or very scantily [)rovided Avith, prints of this 
 " kind. The rich, the immense imperial collection of prints at 
 " Vienna, never possessed one single piece." 
 
 To these assertions of INIr. Bartsch, and to his questions (for the 
 
 * Bartsch's descriptions of these interesting specimens have been already given. 
 
CHAP, v.] BARTSCH'S ARGUMENT EXAMINED. 343 
 
 Tespected Lanzi is no longer amongst us to answer for himself) 
 I reply : first, that I consider it very possible that some of these 
 proofs may have eluded his search — if, indeed, he ever searched for 
 them, except Avith the hopes of not finding them — amongst ancient 
 anonymous prints. It is next to impossible that the immense Im- 
 perial Collection at Vienna should not contain a single example of 
 that description; unless we may suppose it to have been, at all times, 
 a part of the office of keeper of that collection, to turn out or destroy, 
 as noxious intruders, dangerous to the pretensions of Germany to 
 priority in chalcography, whatever specimen of the kind was from 
 time to time discovered. Secondly, I answer, that I apprehend 
 the fact is not as he has stated it. These proofs of the Italian gold- 
 smiths from their works of niello, or other engravings in silver, are 
 not so very uncommon as he would lead us to suppose. Of what 
 description, I would ask in my turn, are the twenty-four pieces in 
 the collection of Mr. Otto, at Leipzig, which Heineken and Huber 
 ascribed to Finiguerra, and which Bartsch has inserted in an ap- 
 pendix to his catalogue of anonymous prints by Italian engravers 
 of the fifteenth century?* Does it not appear probable, from their 
 descriptions, that some of them, at least, are proofs taken by an 
 Italian goldsmith, from his works of niello, or other engravings for 
 the decoration of plate? Do not Heineken and Huber, in their 
 accounts of these prints, observe of some of them, that they appear 
 to be the impressions of engravings executed on the lids of small 
 boxes ? Besides, some collections that Mr. Bartsch is acquainted 
 with, appear to be " scantily provided with the impressions of works 
 " oi niello" — Why omit them in his catalogues? 
 
 But the extreme rarity of these proofs of works of niello, if ad- 
 mitted, is not so strong an argument, as Bartsch would insinuate, 
 against the prevalence of the custom amongst the Italian goldsmiths 
 in those early times. It is reasonable to suppose that they seldom 
 took, more than two or three impressions from any one engravino', 
 
 * These pieces will be described in our next chapter. 
 
344 BARTSCn S ARGUMEINT EXAMINED. [chap, v. 
 
 previous to filling it with niello, when it became no longer capable 
 of being printed. Manj^ of these proofs have been, doubtless, 
 destroyed; others lost; a catastrophe to which, from the minute 
 dimensions of most of them, they are especially subject; others still 
 remain, unheeded, amongst old collections of drawings ; and others, 
 better printed than the rest, for there can be no doubt of the gold- 
 smiths having, by degrees, improved the process by which they 
 obtained these impressions, escape, undistinguished, in volumes or 
 portfolios of old engravings. For where the impression of a work 
 of niello happens to have been well taken off, and there is no in- 
 scription upon it, which, by presenting its characters reversed, may 
 serve to ascertain it, it may not be so easily known. I have already 
 described half a dozen small prints in my own small collection, 
 which, I am fully convinced, are of the number of these proofs of 
 the Italian goldsmiths : some of them are printed with tolerable 
 effect ; others, less perfectly ; but, as they are destitute of inscrip- 
 tions, I would not undertake to convince Mr. Bartsch that they are, 
 really, what I consider them. 
 
 Ought not the confessed rarity of the prints, even of the early 
 German school, to have deterred Mr. Bartsch from having recourse 
 to such an argument? The plates of all these appear to have 
 been engraved for the express purpose of publication, and, conse- 
 quently, may be supposed to have furnished many impressions : for 
 Germany produces no document, from which it may be conjectured 
 that its goldsmiths of the fifteenth century practised working in 
 niello, or that, previous to the discovery of a well constructed press, 
 they made any attempts to procure impressions from their en- 
 gravings on metal. And yet that writer informs us, in the preface 
 to his Catalogues of the German engravers, from 1466 to the latter 
 part of the sixteenth century, " that so great was the rarity of the 
 " prints described in those Catalogues, that he had only chanced 
 • to see one single impression of about half of them ;" although he 
 had had recourse to all the great collections at Vienna. 
 
 Having demonstrated, as he conceives, that few, if any, of these 
 
CHAP, v.] BARTSCHS ARGUMENT EXAMINED. 345 
 
 proofs of the early Italian goldsmiths exist, excepting those in the 
 Durazzo Cabinet, Bartsch next proceeds, with great ingenuity, 
 to shew that the idea of their having ever been general throughout 
 Italy, has little or no foundation, and that, after all, the whole of 
 those existing may be the Avork of one artist. 
 
 " With regard to the authors of these prints," (says he) " it is 
 " very difficult to determine their number, or to prove that they 
 " resided in different cities of Italy. The inequality of execution 
 " observed in them, is, perhaps, only a deceitful variety; and 
 " it is very possible that the pieces attributed to ten* different 
 " masters are the work of but two, nay, perhaps, even of but one 
 " artist." 
 
 " The inscriptions upon a few of them, indicating, in one instance, 
 " the city of Bologna, in two others, the dialect of Lombardy, are 
 " not such certain attestations of their origin, as Lanzi seems to sup- 
 " pose; since the former, inscribed with the name of a famil}'^, and 
 " the two latter, containing devices, may have been, in fact, executed 
 " by one and the same goldsmith, resident at Florence, in exact 
 " and literal conformity to the desire of three amateurs ; one of 
 " whom lived at Bologna, the others, in some town of Lombardy." 
 
 Would it be believed that Bartsch, whilst he thus wrote, knew 
 that one of the proofs of Avhich he speaks, was taken from an un- 
 doubted work of Francesco Francia of Bologna ?-{• 
 
 It is hardly necessary to urge the want of candour, evinced in 
 this argument, and the monstrous improbability of its writer's hy- 
 pothesis. He is obliged to abandon it, and proceeds : 
 
 " But even allowing that there may have been several gold- 
 " smiths, who left impressions of their works of 7iieUo, and who 
 " resided, either in the same city, or in various cities of Italy, it is 
 " most certain, that in their exercise of the newly discovered art, 
 
 * In the absence of the Abate Boni's Cabinet, were the work of ten different 
 
 work, I am led to conjecture, from the above goldsmiths. 
 
 passage, that that writer was of opinion, that f Viz. the 7neUo of the Crucifixion, de- 
 
 the proofs of works of niello, in the Durazzo scribed No. 4, p. 324, of this chapter. 
 
 2 Y 
 
346 BARTSCH S ARGUMENT EXAMINED. [chap. v. 
 
 " they did not advance one step beyond Maso their prototype." — 
 That is, Maso, it is almost certain, never got beyond his impressions 
 taken from sulphurs, and the other goldsmiths of Italy, most cer- 
 tainly, never advanced one single step towards the further improve- 
 ment of the new art, till about 1460, 
 
 Where Mr. Bartsch got this intelligence, he has omitted to inform 
 us. I answer, that the reverse is almost certain, 
 
 " It is, moreover, remarkable," continues he, " that Vasari 
 " places the discovery of Finiguerra about the year 1460 ; that 
 " is, several years later than it really took place ; and that he 
 " says that Finiguerra was followed by Baldini ; who, nevertheless, 
 " does not make his appearance as an engraver, Avith any degree of 
 " certainty, until 1477, in the tAvo prints," Bartsch ought to have 
 said three, " which he engraved for the work printed at Florence, 
 " under the title of il month santo di dio." 
 
 " Vasari, indeed, it is well known, is not always implicitly to 
 " be depended on ; nevertheless, his absolute silence as to the 
 " existence of engravings printed from the time of Finiguerra's dis- 
 " covery until Baldini, proves sufficiently that he had never seen 
 " any. This, his silence, confirms our opinion ; namelj^ that 
 " Finiguerra Avas blind to the importance of his discovery ; that 
 " the goldsmiths his contemporaries had not the wit to make any 
 " thing of it ; that the one and the others satisfied themselves with 
 " casting their sulphurs, and taking from them as many impres- 
 " sions as their fragile nature would permit ; that is to say, a num- 
 " ber, at best, very inconsiderable." 
 
 " Such was the languishing state of the art in Italy, when a 
 " native of Germany published prints, which, the moment they 
 " are looked at, leave not the smallest room to doubt that they 
 " were engraved on plates of copper, and printed with a press. 
 " We speak of the excellent artist whose name is unknown, but 
 ** who used the initials (^>S« and Avhom we term the engraver of 
 " the year 1466." 
 
 Here Mr. Bartsch comes to the point. Italy, he says, had made 
 
CHAP, v.] BARTSCH'S ARGUMENT EXAMINED. 347 
 
 no step whatever, towards perfecting the new art, Avhen a Ger- 
 man artist surprised the world by the production of fine prints ! ! 
 Let me now be permitted to make a few observations upon this 
 specious tissue of garbled evidence, false premises, and unwarranted 
 conclusions ; fabricated, with more ingenuity than fairness, for the 
 purpose of depriving Italy of the honours due to her as inventress 
 of chalcography, and transferring them to Germany. 
 
 Where, I would ask, did Mr. Bartsch learn that Baldini did not 
 make his appearance as an engraver, with any degree of certaint}^ 
 until 1477, in the prints of the Monte Santo di Dio? Where is 
 his authority for ascribing those prints to Baldini at all "> They 
 indeed may be by that artist, and probably are so : but neither 
 Vasari nor any other old writer says one word of the matter. Is 
 Baldini mentioned in the preface or in the colophon of that curious 
 
 book, as the author of the engravings which it contains ? No on 
 
 the contrary, no mention whatever is made of those embellishments, 
 a circumstance which, of itself, seems sufficient to prove that prints 
 were, at that time, no new things at Florence. For had they been 
 the first public essays of the chalcographic art in that city, there 
 can be little doubt that Nicolo della Magna, the publisher, would 
 have made a merit of the introduction of such novel decorations; 
 dwelling on the utility and importance of the new art, as did the 
 publisher of the geography of Ptolemy, printed at Bologna, and 
 bearing date 1462; a date which probably requires amendment, 
 and, it is thought, ought to have been 1472. 
 
 How came Mr. Bartsch, upon this occasion, to forget to men- 
 tion the very curious Florentine almanack described by Strutt, 
 and accompanied by seven small folio prints, representing the 
 seven planets, with their attributes; a work which he himself 
 admits must have been engraved as early as 1464;— that is, two 
 years prior to the earliest date he had been able to discover on 
 any German engraving on metal— and whose magnitude certainly 
 opposes the idea of its having been a first essay of the art, or of 
 the artist, whoever he was .? The artist, indeed, Mr Bartsch, seem^ 
 
 2 y2 
 
348 BARTSCH'S ARGUMENT EXAMINED. [chap. v. 
 
 afterwards to think, was Baldini ; for he describes the series, in the 
 supplement to his hst of the prints attributed by him to that en- 
 graver. Why did he withhold this information on the present occa- 
 sion ? The answer is obvious ; — he well knew that, had he introduced 
 it, his favourite hypothesis must instantly have fallen to the ground. 
 The fabric he had raised with so much care, was built on another's 
 freehold. Still the sojourn Avas so much to his taste, that he could 
 not resolve to quit it. His title was bad, but he flattered himself 
 that it would escape investigation; that the plausible arguments 
 he had used in its support would have their intended effect, and 
 that he would be left in undisturbed possession. Before the im- 
 partial tribunal of truth, he is soon discomfited ; his eloquence is of 
 little avail, and the right owner is once more re-established in his 
 invaded property. 
 
 So much for Bartsch's argument. Had that author been satisfied 
 to urge, on the behalf of Germany, that that nation was, next to 
 Italy, the first to practise engraving on copper ; and that its pro- 
 fessors greatly contributed to the advancement and perfection 
 of the new art; no reasonable person could have denied assent 
 to his proposition : but when, at the close of his discourse, he 
 recommends that Italy and Germany should shake hands, and 
 equally divide between them the honour of the invention, we are 
 reminded of the man, who, when he found he must lose his law- 
 suit, modestly offered to be satisfied with one half of the estate 
 Avhich had been the subject of litigation. 
 
CHAP. VI.] ANCIENT FLORENTINE ENGRAVERS. 349 
 
 CHAPTER VI. 
 
 The Works of Ancient Engravers of the Florentine School, described. 
 Baccio Baldini — Sandra Botticelli — Antonio del Pollajtwlo. An- 
 cient Prints of this School by unknown Artists. Other early Flo- 
 rentine Engravers. Ghei^ardo. Robetta. 
 
 In the brief sketch given in the preceding chapter, of the pro- 
 gress of the art of taking impressions from engraved plates of metal, 
 from its invention by Finiguerra, to the final establishment of 
 chalcography, Ave have distinguished that art, after the example of 
 Lanzi, into three states of advancement : we have there, also, spoken 
 of the proofs taken by the goldsmiths from their works of niello, or 
 other engravings for the decoration of plate ; because, in the ar- 
 rangement of a collection of ancient prints, these seem to merit the 
 first consideration ; as constituting a distinct class, illustrative of 
 the art we treat of in its frst or infant state. 
 
 The impressions of other ancient engravings, executed on softer 
 or coarser metals than copper, or printed by an imperfect process, 
 may, in like manner, as Lanzi observes, be considered as the 
 monuments of the new art during its second stage of advance- 
 ment ; and, consequently, may naturally appear to merit the 
 being placed in a second corresponding class. Many difficulties, 
 however, oppose themselves to such an arrangement, in a work 
 like the present; and the following objections to it may suffice 
 to justify the method intended to be pursued in the ensuing 
 
350 BACCIO BALDINI. [chap. vi. 
 
 pages : viz. that we find impressions of the same plate, some of 
 them, apparently taken off with an imperfect apparatus, and a tint 
 of little consistency, (and these are, probably, the earliest,) and 
 others, printed with a powerful press and dark glutinous oil colour. 
 So that were we to attempt the above classification, the print 
 which, from the imperfectness of the impression we had chanced to 
 see, we had classed amongst the examples of the art in its second 
 stage of advancement, might be found, in another collection, 
 printed with all the strength and power of the finest print of Marc 
 Antonio; the finest impressions of whose engravings have, as is 
 well known, a richness and depth of colour not to be surpassed. 
 Moreover, in such a classification, it Avould be necessary, in many 
 instances, to separate the works of the same engraver ; as in the 
 case of Mantegna, who, having practised the art of engraving 
 whilst in its second or imperfect state, lived long enough after- 
 wards to contribute, by his example, to its final perfection and 
 establishment. 
 
 In the descriptions, therefore, of ancient prints, which we now 
 proceed to lay before the reader, we shall class the engravings of 
 each school, as nearly as possible, in chronological order ; without, 
 however, separating the known works of any one master from each 
 other ; and in the few instances in which the writings of Vasari, or 
 any other writer of authority, furnish materials, we shall give some 
 account of the artists themselves, as m ell as of their performances. 
 Of the inventor, Finiguerra, we have spoken fully in a former 
 chapter : Baldini next appears to claim our notice. 
 
 BACCIO BALDINI. 
 
 All the information we possess concerning this ancient engraver, 
 is contained in a short passage of Vasari ; wherein that writer, 
 after having recorded the story of Finiguerra's discovery, relates 
 that *• he was followed by Baccio Baldini, a Florentine goldsmith, 
 
 e 
 
CHAP. VI.] BACCIO BALDINI. 351 
 
 " who not being a very skilful designer, engraved all that he did 
 " from the inventions and designs of Sandro Botticelli."* 
 
 This account, scanty as it is, cannot safely be taken in a 
 rigidly literal sense. It is not credible that Botticelli, who was 
 an artist of eminence, constantly occupied in large works of 
 painting, should have found time, on all occasions, to make designs 
 for Baldini to engrave from ; and, indeed, he was sometimes 
 emplo3'ed, for a length of time together, at a distance from Flo- 
 rence; as in the years 1473-4, when he superintended and assisted 
 in the execution of the fresco paintings, made by the order of 
 Sixtus IV., in the chapel newly erected by him in the palace of 
 the Vatican, at Rome. Nor can the expression, that Baldini was 
 not a skilful designer, justify our supposition that he was ex- 
 tremely defective in a part of the art in which, at all times, it 
 was especially the pride of the artists of the Florentine school to 
 excel. Perhaps Vasari meant to say no more than that Baldini, 
 in comparison of many other artists of Florence of the same period, 
 was inferior in design and invention; and that, consequently, for 
 many of his principal works of engraving, he availed himself of 
 the designs of Botticelli and other masters. 
 
 We have before had occasion to observe, that Vasari, in the 
 short account of the infancy of chalcography prefixed to his lives 
 of Marc Antonio and others, betrays evident impatience to pro- 
 ceed. Finiguerra, Baldini, and Mantegna, are indeed the only 
 three ancient engravers of the Italian school that he there men- 
 tions ; although, in other parts of his Avork, he speaks of the 
 engravings of Pollajuolo and Botticelli. It seems, therefore, 
 reasonable to conclude, from his notice of Baldini in this place, 
 that that artist held an eminent rank amongst the professional en- 
 gravers of Florence of his time ; and, especially, that his works 
 
 * " Fu segiiitato cestui da Baccio Baldini, " con inventione, e disegno di Sandro Bot- 
 " Orefice Fiorenlino, il quale non havendo " ticelli." 
 " molto disegno, tutto quello, che fece, fu 
 
.J52 BACCIO BALDINL [chap. vi. 
 
 were numerous, and well known. Now we possess many en- 
 gravings, which, at the same time that they bear every charac- 
 teristic mark of the Florentine school of this early period, appear 
 also, from the peculiarities of their style and execution, to be 
 the productions of one artist : and perhaps the above consideration 
 may be deemed sufficient to justify the conjecture, that those pieces 
 are really by Baldini. 
 
 We commence the catalogue of Baldini's supposed works, with 
 a description of twenty-four prints, which were formerly in the 
 cabinet of the celebrated Baron de Stosch, Avho became possessed 
 of them during a long residence at Florence. They were pur- 
 chased, after the death of Stosch, by M. Otto, of Leipzig, and 
 were ascribed, by Heineken* and Huber,f to Maso Finiguerra. 
 Bartsch, who saw a duplicate impression of one of them, (No. 4,) 
 assures us, that they are by the same engraver who executed the 
 set of fifty prints, known in Italy under the title of II Giuoco di 
 Tarocchi ;:}: an assurance to which we are inclined to give the more 
 credit, as Heineken has given us the fac-similes of two others, (of 
 which copies will be presently presented to the reader,) which, 
 upon examination, appear to justify the remark. We are aware 
 that the circumstance of one or two of the titles, under the figures 
 of the Giuoco di Tarocchi, being written in the Venetian dialect, 
 may appear to constitute a reasonable ground for the opinion 
 stated by Lanzi,§ and afterwards by Zani, || that those engravings 
 are of the Venetian or Paduan school ; but a very careful com- 
 parison of many of them with various ancient engravings of the 
 Florentine school, and, amongst the rest, Avith the three prints 
 published in 1477, at Florence, in the Monte Santo di Dio, has as- 
 
 * liEbE Bacl]ncl)ttn, p. 281, et seq. indeed, says that these prints are ascribed, by 
 
 t " Manuel des Amateurs de I'Art," good judges, to Mantegna. In answer to 
 
 torn. iii. p. 29, et seq. this, I can only say that I find not in them 
 
 % " Peintre Graveur," torn. xiii. p. 142. the smallest resemblance to his style. 
 
 I " Storia Pittorica," torn. i. p. 82. Lanzi, || " Material!," &c. p. 70. 
 
CHAP. VI.] 
 
 BACCIO BALDINI. 
 
 353 
 
 sured us, that they are really Florentine; and, indeed, that they 
 are by the hand of the same individual engraver. 
 
 Huber observes, that, after an examination of the twenty-four 
 pieces in question, he is obliged to confess, that although the en- 
 gravings of the German artists, of the same period, are superior 
 to those of the Italians, in the management of the burin ; the latter 
 have infinitely the advantage, in the grace and contour of the 
 figures, and the taste with which they are composed. 
 
 No. 1. "A female, almost naked, lying upon the ground; per- 
 " haps intended for Venus ; above, is a scroll with these words : 
 
 " AMOR VUOL FE E DOVE FE NONN E, AMOR NON PUO. This Subject 
 
 " appears to have been engraved on the top of an oval box. The 
 " same inscription is to be found on No. 17." 
 
 A careful imitation of the copy given by Heineken of this piece, 
 will enable the reader to form some judgment of its style ; which a 
 good deal resembles that of the Cupid riding on the Dolphin, in- 
 troduced at page 333. 
 
 2. '• A young man and a young woman, who serve as supporters 
 " to a circular shield, upon which the arms of the Medici family are 
 
 2 z 
 
354 
 
 BACCIO BALDINI. 
 
 [chap. VI. 
 
 " sketched with a pen : two short inscriptions at top, as the reader 
 " will perceive from the following copy, are added in the same 
 " manner. At the bottom of the shield, is a vase of ilowers ; and, 
 " upon it, is a basket filled with apples ; of which fruit each of the 
 " figures holds one in the air. The female is dressed in the Greek 
 " costume, and has two girdles. This subject appears to have been 
 " engraved on the lid of a round box. 
 
 " Diameter, 4 inches 3-4ths. 
 
 3. " A circular print, with a large border, composed of eight 
 " bunches of fruit, tied together; in the middle is a half-length 
 " figure of a corpulent young man, whose head is encircled with 
 
CHAP. VI.] BACCIO BALDINI. 355 
 
 " vine-leaves : he has a paroquet on his shoulder, and is playing on 
 " the guitar. 
 
 " Diameter, 7 inches l-4th. 
 
 4. " Another circle, representing a naked Cupid, at the period 
 " of adolescence, with a bandage over his eyes, and his vs^ings ex- 
 *' tended. His arms are tied over his head to a tree, to Avhich he 
 " is also bound near the feet and at the waist. On each side of 
 " him are two females, magnificently dressed in the fashion of the 
 " time : the first, on the left side,* menaces him with a fan ; the 
 " second, with two arrows and a broken bow ; the third, on the 
 " opposite side, holds a quiver, and threatens him with a spindle, 
 " and the fourth advances towards him with a knife. 
 
 " Diameter, 7 inches one-half 
 
 5. " Another circle, wherein is represented the same Cupid ; his 
 " eyes bandaged, and his wings extended, with his hands tied be- 
 " hind his back. On each side of him, as in the print last described, 
 " are two women : the first seizes him by one of his wings ; the 
 " second pulls him by the ribbon which supports his quiver, and 
 " menaces him with a battledore ; the third is going to strike him 
 " with a large sword, and the fourth has a pair of scissars. 
 
 " Diameter, 6 inches one-half. 
 
 6. " Another circle, surrounded by an ornament of foliage, 
 " wherein are introduced eight ovals ; each containing a Cupid 
 " playing upon a musical instrument : beautiful little figures, exe- 
 " cuted M'ith great delicacy. In the round space, within this border, 
 
 * Bartsch, vol. xiii. p. 142, prefaces his To preserve uniformity, therefore, in the 
 
 account of these pieces by saying, " En present work, I have, where the left or the 
 
 " transcrivant ici le detail de M. Huber, r^gA^hand of the print is referred to, made 
 
 " nous remarquerons seulement, que cet the necessary alteration in the word. By the 
 
 " auteur appelle le c6t6 droit ce que nous right, I mean that pafC of a print which is 
 
 " nommons le c6te gauche, et vice versa." opposite to the right-hand of the spectator. 
 
 2 z 2 
 
356 BACCIO BALDINI. [chap, vi, 
 
 " are two heads of a man and a woman, in profile, looking at each 
 " other : above is a small fillet, on which is written with the hand : 
 " dammi conforto. Heineken, (I3eue j0acl;rul)ten, p. 283,) does not 
 " mention this inscription. 
 
 " Diameter, 7 inches l-4th. 
 
 7. " Another circle, surrounded by a border of foliage, in which 
 " are six upright ovals ; each containing a Cupid playing on a 
 " musical instrument ; as in the preceding print. At the bottom is 
 " another oval, lengthways ; in which are two figures, lying on the 
 •' ground, of a naked woman, and a man who presents her with a 
 " carnation. In the circle, in the middle, are two elegant figures of 
 " a gentleman and lady dancing. , 
 
 " Diameter, 8 inches. 
 
 8. " Another circle, with a border composed of fruits. The 
 " middle represents a landscape, in which is seen a bear attacked 
 " by five large dogs. Above, between two orange-trees, are two 
 " cartouches, upon which the balls of the arms of the Medici family 
 " are traced with a pen and ink, as in No. 2. 
 
 " Diameter, 8 inches. 
 
 9. " Another circle, in a little border. The scene represents a 
 " garden, in the near-ground of which is a cavalier playing on the 
 " guitar : he is seated by the side of a lady, finely dressed, who has 
 " a garland, in one hand, and, in the other, a rose, and whose robe 
 " is embroidered with pomegranates. Between these two figures, is 
 " another lady standing, playing on a small harp; and above, 
 " near an inclosure, two lovers are seen caressing each other. On 
 " the right, is a table laid out with fruit, and a large vase. 
 
 '* Diameter, 6 inches one-half. 
 
 10. " Another circle, surrounded by a small border of foliage. 
 " The inside presents a monstrous face, seen in fi-ont, with large eyes, 
 
CHAP. VI.] BACCIO BALDINI. 357 
 
 " and two hands, which open the mouth with two of the fingers, in 
 " such a manner as to shew all the teeth. 
 
 " Diameter, 7 inches l-8th. 
 
 11. " Another round print, where, within a border of laurel, is a 
 " cartouch, without any inscription ; and, on each side, a medallion, 
 " also in a border of laurel, attached, by ribbons, to that in the 
 " middle. The medallion on the left contains the half-length 
 " figure of a young man in profile, with a flower in his hand ; that 
 " on the right, a lady seen in front. Above, a dog is seen attack- 
 " ing a stag, and a hare running away : below, a dog is seizing a 
 " wild boar, and another dog is devouring a hare. 
 
 " Diameter, 6 inches. 
 
 12. " Another circle, in which is represented, in a landscape, a 
 " lady, whose head is decorated with a large garland of flowers : she 
 " is seated, holding a unicorn between her knees, which she caresses 
 " with the one hand, whilst, with the other, she holds a collar, to 
 " put about its neck ; that she may tie it to the trunk of a tree, 
 " which is behind her. At her feet is a little dog ; and, on each 
 " side, a tree, from which hangs a tablet, or cartouch, without any 
 " inscription. 
 
 " Diameter, 6 inches l-4th. 
 
 13. " Another circle, in which is represented Judith, standing, 
 " dressed in the antique costume, and holding, in her left-hand, 
 " the head of Holofernes, whilst, with her right, she brandishes an 
 " enormous sabre over her head. The body of Holofernes is behind 
 " her, extended on the ground. On each side is a tree ; to the trunk 
 " of one of which is aflixed a cartouch, without inscription. 
 
 " Diameter, 5 inches 3-8ths. 
 
 14. " Another circle, representing the same subject ; though with 
 " some variation. Judith is standing, holding the head of Holo- 
 
358 BACCIO BALDINI. [chap. vi. 
 
 " femes with one hand, and, with the other, a large sabre, the 
 " point of which is inclined downwards. She is richly dressed, and 
 " has a crown on her head. Behind her is the dead body, extended 
 " on the ground. 
 
 " Diameter, 5 inches l-4th. 
 
 15. " Another circle, in which are represented a gentleman and 
 " a lady, promenading in a landscape ornamented with three 
 " cypresses ; and a young man in the fore-ground, playing on the 
 " pipe and tabor. 
 
 " Diameter, 5 inches 5-8ths. 
 
 16. " Another circular print, in the middle of which is a space 
 " intended to contain armorial bearings. On the right is a young 
 " warrior, Avho holds a small scroll in his left-hand, on which is 
 " written* — gianson. With his right-hand, he sustains a large 
 " ornamental vase, assisted by a young female, dressed in the 
 " Greek costume, who is placed on the other side of the print, and 
 " Avho also holds a scroll, on which is written — medea. Beneath is 
 " a small figure of a ram. 
 
 " Diameter, 6 inches. 
 
 17. " Another circle, wherein, on the right of the print, is seen 
 " a cavalier standing upon a piece of rock, holding in his right- 
 " hand a scroll, containing these words — amor vuol fe, e dove 
 " FE NONNE — and sustaining a sphere ; assisted by a female, dressed 
 " after the antique costume, who is standing on a rock on the 
 " opposite side of the print : she also holds a scroll, on which are 
 •' these words — amor non puo. The head of a cherubim serves 
 ♦* as support to a circle in the middle, which is left empty. 
 
 " Diameter, 5 inches 3-4ths. 
 
 * Querj — if written or engraved ? 
 
CHAP. VI.] BACCIO BALDINI. 359 
 
 18. " Another circle ; in the middle of which is a globe, intended 
 " to contain armorial bearings. On the right, is a young lady ; 
 " and, on the left, a young cavalier. These tvs^o figures hold a crown 
 " of laurel over the globe. Above, in the air, is a Cupid, who 
 " shoots an arrow at the cavalier ; and beneath is a dog asleep upon 
 " some herbage. 
 
 " Diameter, 4 inches 3-4ths. 
 
 19. " Another circle ; in which is seen a man, whose hands and 
 " arms are tied to a tree; and a woman, who is shewing him the 
 " heart, which she has been tearing from his bosom : on each side is 
 " an escutcheon hung to a tree. 
 
 " Diameter, 4 inches. 
 
 20. " Another circle, in which is represented a guardian angel, 
 " with large extended wings, dressed in a pontifical habit and a 
 " mitre, leading an infant by the hand : the back-ground is a 
 " landscape. 
 
 " Diameter, 4 inches. 
 
 21. " An oval, 8 inches l-4th in length, by 4 inches in height. 
 " Two Cupids supporting, by long ribbons, a circular border of 
 " fruits and foliage; in the midst of which is a little Cupid standing, 
 " his eyes bandaged, and his wings extended, holding in one hand 
 " his bow, and, in the other, an arrow. 
 
 22. " Another oval, 9 inches l-4th in length, by 4 inches in 
 " height. In the middle is represented a car, surmounted by a 
 " trophy of gabions which throw out flames, and drawn by 
 " Cupids ; some playing on musical instruments, others carrying 
 " torches. The procession is opened by a Cupid who bears a 
 " standard ornamented with flames, on which is inscribed — purita; 
 " and is terminated by another Cupid, bearing a similar standard, 
 " on which are these words — al fuogedil. 
 
360 BACCIO BALDINI. [chap. vi. 
 
 23. " Another oval, 7 inches 3-8ths in length, by 2 inches 3-8ths 
 " in height, representing two females elegantly dressed, seated 
 " in a landscape, and supporting a border formed of two cornu- 
 " copias. The circular space in the middle is emptj'. A fine 
 " impression. 
 
 24. " Another oval, 6 inches 3-4ths in length, by 2 inches 3-4ths 
 " in height, representing two warriors, each with one knee on the 
 " ground, who support an escutcheon of an octagon form, on which 
 " is the figure of a female, dressed in the antique costume, with her 
 " hands raised towards heaven." 
 
 Heineken says, that these pieces do not appear to have been 
 printed with a press ; but, in the manner described by Vasari, by 
 the application of a common roller moved backwards and forwards. 
 The impression of one of them. No. 6, is, he adds, taken off double, 
 in consequence of the paper having got a crease during the opera- 
 tion. Huber observes of them generally, that they are, for the most 
 part, well printed and in good preservation. 
 
 Heineken and Huber both remark of the two first of these prints, 
 that they appear to haA^e been engraved on the tops of boxes ; an 
 assertion which seems ill to accord with the circumstance of the 
 inscription upon No. 1, being in its proper direction. At least it is 
 so in Heineken's copy ; and that inscription, unlike the inscriptions 
 and the arms of the Medici family on No. 2, (which, in the original, 
 are added with a pen,) bears every mark of an engraved inscription. 
 It is, indeed possible, that in the original of No. 1, the inscrip- 
 tion may be reversed ; and that Heineken's engraver, who, most 
 probably, worked only from a finished tracing, may have erro- 
 neously copied the wrong side of that tracing. Such an error, 
 in case he had not been apprised of the peculiar nature of the ori- 
 ginal print, and, consequently, of the importance of the circum- 
 stance, would, indeed, be extremely likely to happen : certainly 
 much more so than that the German critic should not have re- 
 
CHAP, vr.] BACCIO BALDINI. 361 
 
 fleeted, that if the figures, with the inscription, had been engraved 
 on the top of a box, that inscription would naturally have been 
 engraved in the direction used in writing, from left to right ; and 
 that consequently, in such case, the inscription in the impression 
 would appear, as in oriental writings, from right to left. Huber, 
 however, who wrote after Heineken, has given no explanation of 
 the apparent anomaly, and Bartsch copies the descriptions of the 
 last mentioned writer, verbatim, without comment. The reader 
 is, therefore, left to determine the point in question upon the pre- 
 ponderance of probabilities ; and I will only add concerning it, 
 that the circular or oval form of most of these engravings, is 
 in favour of the supposition, that they are really the impres- 
 sions taken by some goldsmith, from engravings executed 
 upon plate, or other ornamental furniture; and that the pro- 
 bability of such being the case, is further strengthened by 
 the circumstance that, with the exception of No. 4, of which 
 Bartsch informs us he saw a duplicate, they appear to be 
 unique. 
 
 Amongst the first uses to which the new art of chalcography 
 appears to have been applied, was that of making almanacks, play- 
 ing cards, and, we may doubtless add, devotional pieces. Of the 
 former kind, Strutt discovered a set of engravings, in the collection 
 of Dr. Monro, which are certainly of the old Florentine school, 
 and most probably by Baldini ; at least they bear so strong a resem- 
 blance of manner to the three prints in the Monte Smito di Dio, and 
 several other pieces usually ascribed to that engraver, as to leave 
 no doubt that they are by the same hand. It is, however, proper 
 to observe, that the impressions of these engravings, which are now 
 preserved in the collection of the British Museum, appear to have 
 been taken off after the plates had been worn by repeated use, 
 and rudely retouched all over ; so that they want much of that 
 softness and delicacy of appearance, which no doubt the early 
 impressions possessed : it is remarkable that, nevertheless, no other 
 
 3 a 
 
362 BACCIO BALDINI. [chap. vi. 
 
 impressions of them are known. We shall describe them in Mr. 
 Strutt's own words.* 
 
 * These curious and valuable specimens of ancient engraving, 
 which, I believe,' says Mr. Strutt, * are unique, must have been exe- 
 cuted as early as the year 1464 The set consists of eight plates ; 
 
 namely, the seven planets, and an almanack, by way of frontis- 
 piece, on which are directions for finding Easter, from the 5'^ear 
 1465 to 1517 inclusive; and the dates regularly follow each other, 
 which plainly proves that there can be no mistake with respect 
 to the first ; and we may be well assured, in this case, the engravings 
 were not antedated ; for the almanack of course became less and 
 less valuable every year.' 
 
 I. ' The almanack,' continues Mr. Strutt, ' exhibits a calendar 
 of the saints' days, and a calculation of the day on which Easter 
 would fall, from 1465 to 1517 inclusive. Upon twelve small 
 circles in the middle of the plate, are represented the employ- 
 ments for the twelve months of the year, with the zodiacal sign 
 belonging to each month ; and the gradual increase and decrease 
 of the days, is expressed by the extent of the shadow upon the 
 border, within which these delineations are inclosed. They are 
 as follow : 
 
 ' January. An elderly gentleman seated at a table, spread 
 with provisions, near the fire, holding a glass with liquor in his 
 hand. 
 
 * February. The gardener digging his ground. 
 
 * March. The employment of the two figures represented in this 
 compartment is rather obscure; probably the man is planting shrubs 
 or herbs in the garden, according to the direction of the lady who 
 is standing by him. 
 
 * Dictionary of Engravers, vol. i. p. 15, pieces; the almanack and the planet Venus, 
 and pp.25. 26. 27. Mr. Strutt has also PI. II. and III. of the same work. 
 
 given very faithful copies of two of these 
 
CHAP. VI.] BACCIO BALDINI. 363 
 
 ' April. Hawking, and hunting the hare. 
 
 * May. Running at the ring. 
 ' June. Mowing. 
 
 * July. Gathering in corn, and thrashing. 
 
 ' August. Sickness : the doctor is examining the urinal. 
 ' September. Gathering grapes. 
 
 * October. Making wine. 
 
 * November. Ploughing. 
 
 * December. Killing of swine, and providing good fare for 
 Christmas. 
 
 ' The following directions are written in Italian, at the bottom 
 of the plate : If you will know when Easter shall be, find the date of the 
 year in this eng7-aving, the letter A standing for April, and the letter 
 Mfor March. 
 
 II. ' This plate represents the planet Venus : she appears in the 
 clouds, riding in her chariot drawn by doves, accompanied by 
 Cupid, who has just discharged an arrow at one of the ladies stand- 
 ing in a balcony : at a distance we see an unfortunate lover upon 
 his knees, invoking the assistance of the deity : the rest of the 
 figures appear to be immediately under the direction of her powerful 
 influence. On the wheels of her chariot are represented the Bull 
 and the Balance, with these inscriptions — toro and bilance — 
 the signs of the zodiac, over which this planet was supposed to 
 preside. 
 
 ' At the bottom of this, and the six other plates, are inscriptions, 
 importing the properties of the planets represented upon them. 
 I shall give the following entire as a specimen for the whole. • 
 
 VENERE . E segno . FEMININO . POSTA . NEL TERZO . CIELO . FREDDA 
 . E VMIDA . TENPERATA L.\ QUALE . AQVESTE . PROPRIETA . EAMA BELLI 
 . VESTIMENTI . ORNATI DORO . E DARGENTO . E CHANZONE E GAVDII . E 
 GVOCHI . ET . E LACIVA . ET HA DOLCE PARLARE . EBELLA NELLIOCHI . 
 E NELLA . FRONTE . E DI . CORPO . LEGGIERI . PIENA . DI CARNE . E DI . 
 
 3 A 2 
 
364 BACCIO BALDINI. [chap. vi. 
 
 MEZZANA . STATVRA . DATA . A . TVTTI . OPERE . CIRCA . ALLA . BELIZZA 
 . ET . E SOTTO POSTO . ALLEl . LOTTONE E . IL . SVO . GIORNO , EVENERDI 
 . E LA . PRIMA . HORA . 8 . 15 . ET 22 . E . LA . NOTTE . SVA . E MARTE 
 DI . E IL . SVOAMICO . E GIOVE . EL NIMICO . MERCVRIO . ET . HA . DVE 
 HABITATIONNI . EL . TORO . DI . GIORNO . E LIBRA . DI . NOTTE . E PER 
 CONSIGLIERE . EL . SOLE . E LAVITE . SVA . EXALTATIONE . EIL PESCE . 
 ELA MORTE EDVMILIAZIONE . E VIRGO . E . VA . IN 10 MESI . 12 SENGI . 
 INCOMINCANDO . DA LIBERA . E IN 25 . GIORNO . VA VNO . SENGNO . EIN . 
 VN GIORNO . VA VNO GRADO . E 12 MINVTI . E . IN VNA ORA . 30 MINVTI. 
 
 [It is not worth while to attempt the translation of this astrolo- 
 gical stuff, and we, therefore, immediately proceed to Mr. Strutt's 
 description of the next plate.] 
 
 III. * GiovE — Jupiter. He is seated in his chariot, in the clouds, 
 with a crown upon his head, and a dart in his left-hand ; before him 
 is represented Ganymede, kneeling, with a small vase in one hand, 
 and a cup in the other. The chariot is drawn by two eagles ; and 
 on the wheels are the two signs, Sagittarius and the Fishes, with the 
 words SAGiTARio and pisce. The distance is a mountainous coun- 
 try, with figures, on horseback and on foot, hunting and hawking : 
 in the fore-ground, towards the right, we see an emperor upon his 
 throne, with figures, doing him homage ; and, to the left, three 
 figures, representing (as it is supposed) Boccacio, Dante, and 
 Petrarch, seated in an alcove, &c. with the inscription underneath, 
 beginning thus : — 
 
 GIOVE . EPIANETA . MASCVLINO . POSTO . NEL SESTO . CIELO . CALDO . 
 E HVMIDO . TEMPERATO . DI NATURA . DARIA . DOLCE . SANGVIGNO . 
 SPERANTE, &C. 
 
 IV. ' Sole — the Sun. He is represented, splendidly armed, with 
 a crown upon his head, and seated in his chariot, drawn by four 
 horses ; u[)on the chariot-wheel is the zodiacal sign of the Lion, 
 inscribed beneath, leo. In the back-ground, we see a castle upon 
 a hill, and some figures shooting at a mark with cross-bows : near 
 
CHAP. VI.] BACCIO BALDINI. 565 
 
 them are two men, praying to a crucifix ; others are diverting 
 themsehes with mock fights ; and a laughable figure of a dwarf is 
 standing by them, with a sword under his arm : others, again, are 
 throwing stones and wrestling ; whilst, in the front, an emperor is 
 seated, and three tumblers are depicted before him, exhibiting their 
 feats of activity. The inscription begins in this manner: — 
 
 SOLE . E . PIANETA . MASCVLINO . POSTO . NEL QVARTO . CIELO . CALDO 
 . E . SECHO . INFOCATO , CHOLERICO . DI COLORE . DORO, &C. 
 
 V. ' Marte — Mars. He is seated in his chariot, drawn by two 
 horses, and represented completely armed, with wings upon his head, 
 and a sword in his right-hand : upon the wheels of the chariot, are 
 the Ram and the Scorpion, two signs of the zodiac, and under them 
 is written — ARIETE and scarpione. At a small distance is a castle, 
 with figures fighting before it, and a man is represented ringing 
 the alarm-bell : in the fore-ground, a foraging party of soldiers are 
 seen falling upon a company of herdsmen, and seizing their cattle : 
 the inscription begins in the following manner : — 
 
 MARTE . ESENGNO . MASCVLINI . POSTO . NEL QVARTO*. CEILO . MOLTO 
 . CALDO . FOCOSO . ET HA QVESTE . PROPRIETE . DAMARE . MILIZIA . 
 BATTAGLE . ET UCCISIONI . MALIGNO . DISCORDINATO, &C. 
 
 VI. ' Satvrno — Saturn. He is seated in his chariot, drawn by two 
 dragons : in his right-hand he holds a scythe ; and upon the wheels 
 of the chariot are two signs, the Goat and the Water-bearer, in- 
 scribed CAPRICORNO and aqvario. The distant country is bounded 
 with mountains, and with castles ; and a figure is represented 
 hanging upon a gallows, holding a cross in his hands : near to the 
 spectator, is seen a man, ploughing with two oxen, in a large space 
 overflowed with water; and other men are thrashing corn in the 
 
 * I suspect tins word should be quinto, however, to Mr. Strutt's accuracy, in giving 
 as in another print of the same subject, which these inscriptions, 
 will presently be described. I have trusted, 
 
366 BACCIO BALDINI. [chap. vi. 
 
 open field. Towards the left, appears an hermitage, surmounted 
 with a cross ; and the hermit is seated at the door, near which is 
 a man cutting wood, and two other labourers with their tools : in 
 the fore-ground, to the right, is a prison, and before it, a man, 
 seated, with his legs and arms in the stocks, and two grotesque 
 figures are standing in the front : towards the left, are men killing 
 hogs, one of which is hanged upon a tree. The inscription at 
 bottom begins as follows : 
 
 SATVRNO . E PIANETA . MASCVLINO . POSTO . NEL SETIMO . CIELO . 
 FRIDDO . E SECHO . MA . ACCIDEITALMENTE . HVMIDO . DI NATVRA . 
 DI TERRA, &C. 
 
 VII. ' Mercvrio — Mercury. He is represented in his chariot, 
 holding his caduceus, and drawn by two birds, like hawks : on the 
 wheels of his chariot, are two zodiacal signs, the Virgin and the Twins, 
 inscribed, virgo and gemini. We are here presented with the inside 
 of a city : in the back-ground, is a view of a street ; and, in the front, 
 towards the right, a large building, which the workmen are deco- 
 rating with ornaments : below, appears the potter, with a variety of 
 small vessels ; and, in the fi-ont, the sculptor, carving a head in 
 stone : above him are two philosophers, holding a celestial sphere, 
 and, near them, a table, covered with viands : in the building, 
 towards the left, we see a musician, playing upon an organ. It is 
 singular enough, that the bellows, by means of which the instru- 
 ment is supplied with wind, resembles the common bellows which 
 we have in our houses at this day : in a compartment below, are 
 two figures at a table, writing ; and a third is regulating a clock. 
 The perspective, in which science the artist had here an opportunity 
 of she^ving his abilities, is most dreadfully defective. The inscrip- 
 tion at the bottom begins in this manner : — 
 
 MERCVRIO . E PIANETA . MASCVLINO . POSTO NEL SECONDO . CIELO . 
 ET SECHO . MA PERCHE . LA SVA . SICCITA . E MOLTO . PASSIVA LVI . E 
 FREDO, &C. 
 
CHAP. VI.] BACCIO BALDINI. 367 
 
 VIII. * LvNA — the Moon. She is seated in her chariot, drawn by 
 two females, holding a bow in her left-hand, and a dart in her right : 
 upon the wheel of the chariot is the zodiacal sign of the Crab, with 
 the Latin name, cancer, written underneath it. The distance repre- 
 sents a mountainous country, with a castle and a town, very rudely 
 executed. Nearer to the eye, is a fowler, setting his nets ; figures, 
 fishing, in a boat ; and a man shooting at a flock of birds with a bow 
 and arrow : near him, some people are seated at a table, playing at 
 dice : in the fore-ground, towards the left, is a water-mill, part of 
 the wheel of which appears ; and a bridge over the river, upon which 
 we see a man on horseback, and an ass fallen down under his 
 load : beneath the bridge are naked figures, in the water, fisliing 
 with a net. The inscription at the bottom of the plate begins as 
 follows : — 
 
 LA LVNA . E PIANETA . FEMININO . POSTO . NEL PRIMO . CIELO . FREDA 
 . E . VMIDA . FLEMATECHA . MEZANA TRA EL HONDO . SVPERIORE ET LO 
 . INFERIORE . AMA . LA GEOMETRL\, &C.' 
 
 The above series of engravings, admitting Mr. Strutt's argument 
 as to their date to be conclusive, as appears to have been univer- 
 sally allowed, is decisive evidence of the early establishment of 
 chalcography at Florence, where, without doubt, they were ex- 
 ecuted. 
 
 It is probable, that in Italy, as we know to have been the case in 
 Germany,* it had been the custom, long previous to the invention 
 of typography, to manufacture almanacks by means of wood en- 
 graving; and that such things were sold by those Avho dealt in 
 
 * A large folio work has been for some of them, is a very curious almanack, embel- 
 time publishing in Germany, in parts, con- lished, like the almanack in the British Mu- 
 taining the impressions of a great number of seum above described, by twelve circles, re- 
 ancient engraved blocks still in existence, presenting the occupations of the twelve 
 Of the two first parts of this work, I have months of the year. There appears to be 
 seen a copy in the possession of my friend good grounds for supposing that it was exe- 
 Mr. Douce. Amongst the contents of one cuted betsveen the years 14i50and 1440. 
 
368 BACCIO BALDINI. [chap. vi. 
 
 playing-cards, the images of saints, and, perhaps, in various articles 
 of stationery. Upon the discovery of chalcography, the Florentines, 
 who had not yet received among them the invention of typography, 
 appear to have applied their new art to similar purposes of utility or 
 amusement; and it is certain that the artist, by whom the series above 
 described was engraved, executed more works of the same kind 
 than one. 
 
 Two prints of the planets, belonging to another set of larger dimen- 
 sions, and, apparently, somewhat still more ancient, are in the valuable 
 collections of Mr. Lloyd and Mr. Douce. These pieces measure 
 ten inches and seven-eighths in height, (independent of the inscrip- 
 tions underneath them, which occupy about one inch and seven- 
 eighths more,) by eight inches and seven-sixteenths in breadth ; 
 and are both of them early impressions ; taken before the plates had 
 suffered, as is the case with those in the British Museum, by 
 retouching. The general subjects* represented in these two prints, 
 are much the same as in the corresponding pieces of the set above 
 described, but the arrangement of the groups is in some degree 
 varied. 
 
 Mr. Lloyd's print represents the Planet Mars — 
 
 The God is seated in his chariot on the clouds, and is drawn by 
 
 two horses. He is completely armed, with wings to his helmet, 
 
 and grasps a sword in his right hand. His name, Marte, appears 
 
 on a label over the chariot, and the signs of the zodiac, ISCAR- 
 
 * The subjects introduced in the many be described in nearly the same words as 
 sets of the Planets which appear to have were used by Strutt in describing the above, 
 been engraved in the fifteenth and sixteenth The designer, it is true, often varied the 
 centuries, in Italy and Germany, (and, per- arrangement of his compositions; but the 
 haps, I might add France) were, if I may general occupations of the chief groups re- 
 be allowed the expression, conventional : so presented in these sets of the Planets, appear 
 much so, that a set of wood-prints of the to have been for the most part strictly ad- 
 seven Planets, in my possession, probably hered to. 
 executed in Nuremberg, about 1520, might 
 
CHAP. VI.] BACCIO BALDINI. 369 
 
 PIONI and ARIETE, are inscribed on other labels, underneath the 
 wheels. 
 
 In the back-ground, on the right-hand, is a fortified castle, sur- 
 rounded by a moat, in which a man is seen ringing the alarm-bell. 
 Without the castle is a soldier standing, with a spear in his right 
 hand, and his left resting on his shield. More in the centre are 
 four figures fighting, and behind them is a large bonfire. Upon an 
 eminence, on the left, a drummer is stationed beating his drum. 
 
 The fore-ground is occupied by a numerous party of soldiers; 
 who are assailing a party of peasantry, and endeavouring to carry 
 off their women and cattle. Towards the centre of this group, a 
 soldier is seen embracing a female with both his arms, and a coun- 
 tryman, who, in the struggle, has fallen to the ground, is en- 
 deavouring to free her from his grasp ; whilst a second soldier, 
 behind the woman, appears aiming a blow with an axe at a large 
 dog which is flying at him. Behind this soldier and the dog, a 
 third soldier is endeavouring forcibly to bear aAvay another female. 
 Further to the right, is a peasant with his spade uplifted ; and near 
 him is a dog, and two children running away terrified. A little to 
 the left, a peasant is extended dead on the ground, and another 
 appears to have just received a wound in the neck from the lance 
 of a soldier, whose helmet is decorated with two Avings. Behind 
 these figures, on the left, a troop of cavalry are represented, driving 
 before them the sheep and oxen which they have seized. A second 
 party of cavaliy, completely armed, Avith their visors closed, are 
 arriving on the right. The inscription commences : 
 
 MARTE . E . SEGNO . MASCULINO . POSTO NEL ftUINTO CIELO MOLTO 
 CALDO FOCOSO . E A QUESTE P | * ROPRIETA DAMARE MILITIA BATTAGLIE 
 ET UCCISIONI . MALIGNO DISORDINATO, &C. 
 
 This piece possesses a considerable share of spirit and expression. 
 
 * This perpendicular mark is here intro- artist commences the next line of the iuscrip- 
 
 duced to shew the termination of the line tion with the second letter of the word pro- 
 
 in the original. It is remarkable that the prieta. 
 
 3 B 
 
370 BACCIO BALDINI. [chap. vi. 
 
 The impression is taken off with a light grey colour, approaching 
 to green, but apparently by means of a press. 
 
 The print in the possessiori of Mr. Douce represents the Moon. 
 
 Luna — the Moon. She is seated in her chariot, in the clouds, 
 and drawn by tAvo females, elegantly dressed. She has a bow in 
 her left-hand, and an arrow in her right; and upon the wheel of 
 her chariot, which is directed towards the left, is the zodiacal 
 sign of the Crab — but without the name cancer found in the cor- 
 responding print of the series in the British Museum. Her title, 
 LUNA, is engraved on a label at the top of the print. The extreme 
 distance rises so high, in the composition, as almost to touch 
 the chariot : it represents, in the middle, a large stream of water, 
 which is joined by a smaller stream, and appears to take its course 
 towards the fore-ground, where jjart of it passes under a bridge 
 of two arches, and gives motion to a water-mill. In the dis- 
 tance, on the right-hand of the river, several men are seen, 
 catching birds ; and, a little nearer, on the same side, a gentleman 
 and lady, seated in an arbour, are amusing themselves with the 
 same diversion, by means of nets. Tlie extreme distance, on the left, 
 represents a castle, with a flag flying upon it, situated on a rocky 
 mount ; and, on the middle-ground, on that side, a group of several 
 men are amused at a circular table, by the tricks of a juggler. 
 Near this group are two young men with bows. Upon the river, 
 two other men, in a boat, are employed in fishing with a net. 
 
 From the off-wall of the bridge, in the fore-ground, rises a column, 
 supporting a sun-dial ; and, upon the bridge, is a man, seated on a 
 horse, with two sacks of grain, which he is bringing to the mill, on 
 the right, to be ground : behind him is an ass, fallen down under 
 the load of two other sacks, and two men, Avho are endeavouring 
 to raise the animal, by pulling at its tail and at the halter. In the 
 water, under the bridge, two naked figures are bathing, and others 
 are fishing with a net. At the door of the mill a man is seen tying 
 up the mouth of a sack. 
 
CHAP. VI.] 
 
 BACCIO BALDINI. 
 
 371 
 
 With the permission of Mr. Douce, the reader is here presented 
 with a careful copy of the chariot of Luna ; and perhaps he will be 
 of opinion with the author, that the two female figures, drawing the 
 car, possess much spirit and elegance. I must not omit to observe 
 of this interesting print, that, unlike the planet Mars in Mr. Lloyd's 
 collection, it is printed with dark oil colour, and is, in every respect, 
 a good impression — a sufficient proof, if its supposed antiquity be 
 admitted, that the example of the old engravers of Germany was 
 not necessary, as Bartsch affirms, to instruct the Italians in the 
 mode of taking the impressions of their engravings. 
 
 My opinion, that the series, of which the two engravings last 
 described formed a part, are more ancient than those described by 
 Strutt, is principally formed upon the greater rudeness of the ortho- 
 graphy, in the inscriptions underneath them ; and the circumstance 
 of the numerous repetitions which occur in them of the letter S, 
 appearing always (or with only one exception) in a reversed direc- 
 tion ; whereas, in the inscriptions on the almanack and the accoro- 
 
 3 B 2 
 
372 PACCIO BALDINI. [chap. vi. 
 
 panying planets, described by Strutt, that letter is generally repre- 
 sented in its proper direction. An engraver, whose chief occupation 
 in the early part of his life, had been to engrave figures and inscrip- 
 tions for the decoration . of plate, would, for a long time, be liable 
 to similar errors ; and, indeed, they occur, though less frequentlj^ 
 in the inscriptions on one of the plates, by the same artist, in the 
 Monte Santo di Dio. 
 
 The orthography of the inscription, under Mr. Douce's print, is 
 carefully attended to in the following transcript : — 
 
 L/V LUNA EPIANETA FEMININO . POSTO NEPRIMO CIELO FREDA . HE 
 VMIDA ET FLEMATICHA . M * ] EZANA TRALMONDO SUPERIORE ET LO IN- 
 FERIORE AMALAGEOMETRIAETCIOCHE AESSA | SA PARTIENE DIFACCIA 
 TONDA DISTURA (di Statura) MEZANA METALLI AL ARGIENTEO DELLE 
 CHONP I MPLESSIONILAFREADETENPIELVERNODEGLIELEMENTILAQUA 
 EL DI SUO E IL VENERDI CH | ON LA HORA PRIMA . 8 . 15 E 22 E LA SUA 
 NOTTE E QUELLA D^L VENERDI AMICO SUO E GIOVE IN | IMICO MARTE . 
 A UNA SOLA ABITAZIONE . EL CHANCHRO PRESSO A SOLE EMETRCHURIO 
 (mercurio) . LA ESAL | TAZIONE SUA . E IL TAURO LA MORTE . OVERO . 
 VMILIAZIONE . E SCORPIO . VA . IN . 12 . SENGNI . IN . 28 . DI . COMICIANDO 
 I DAL CHANCRO . IN 2 . DI . E I . VA . UN SENGNIO . 13 GRADI . PERDI . 
 52 . MINUTI 56 . SECONDI . PEDRORA . E IN 28 DI . A DISCOR | SI . E 
 .... 12 SENGNI CHONPUTAMENTE . E PIU 8 GRADI . E 26 MINUTI . E 20 . 
 SECHONDI P (per) QUESTO SIDIMOSRA, &C. 
 
 The remaining two lines of the inscription are so much rubbed, 
 and otherwise mutilated, as to be illegible. 
 
 The annexed fac-simile of part of the first six lines will convey 
 some idea of the rudeness of the original. 
 
 * As in a recent page, the perpendicular the terminations of the lines in the original 
 marks here introduced are intended to denote inscription. 
 
CHAP. VI.] BACCIO BALDINI. 37.J 
 
 LALVNA EPIAtJETA FE/AINlNOfOSTO NEPRIA\0 CIEUO FE^EDM 
 EfANA Tf\AL/AONDO^V PERI ORE ET LOlNFEWOkE A/AALKGEO 
 ZAPARTltNE DlFACClA TONPA DlZTvt\K /^^£CANA yAETALLl 
 A^PLE^^10NI LAFREA DETEHPI ELVEKHO DEGUELE/^' Tl LAq\ 
 ONLAHORAPWA'NA-S l<EZZELAZVA NOTTE EqVELLA DELVE 
 I/MCO AVARTE AVN/\20LA AblTAaoilE ELCHANCHCRO PR£?20A 
 
 The engraving now about to be described, if admitted to be the 
 work of Baldini, (and it certainly bears every appearance of having 
 been executed by the same hand that engraved the planets above 
 described) furnishes a justification of the opinion already given ; 
 that Vasari's assertion, that all Baldini's plates were engraved 
 from the designs of Botticelli, is not to be taken in a strictly literal 
 sense. 
 
 This curious print is no other than a copy of the picture repre- 
 senting Hell, executed in fresco, in the fourteenth century, by 
 Bernardo Orcagna, in the Campo Santo of Pisa; and still in 
 existence, although injured by retouching. The painter is said to 
 have taken for his model the description of Dante. 
 
 A large hideous figure of Lucifer, having three faces, with the 
 three mouths of which he is devouring human creatures, forms the 
 principal object, in the centre of the composition. He has another 
 face, with a mouth, at the bottom of the abdomen, out of which a 
 minor devil is pulling the undigested body of Simon Magus, whose 
 name, in characters reversed, is inscribed on a label. He grasps 
 two other men in his hands, who, at the same time, are bitten by 
 two serpents Avhich are twisted round his arms. Seven more un- 
 happy criminals with caps on their heads, are within the grasp 
 of the large claws with which he is provided instead of feet. The 
 names of Nebuchadnesar, Julian the Apostate, and Attila — and 
 another name which I cannot satisfactorily decipher — are inscribed 
 in small characters on four of the caps. The remainder of the com- 
 position is intersected by three horizontal divisions, so as to form 
 four separate plains or friezes. In the bottom division, on the left, 
 
374 BACCIO BALDINI. [chap. vi. 
 
 one man is tormented by having melted lead poured down his 
 throat ; a second has his tongue pulled out ; the teeth of a third are 
 knocked down his throat ; and a fourth has his head sawn in two : 
 on the right, several men are roasted alive, one of them being trans- 
 fixed by a spit, whilst others are tormented by serpents and red hot 
 pincers. Serpents constitute the chief mode of torment in the second 
 division, on the left of Lucifer ; but, on the right, a party of people, 
 who appear to have a keen appetite, are constrained to starve, whilst 
 standing round a table covered with good fare. In the third divi- 
 sion, on the left, men are, again, tormented by serpents ; and, on 
 the right, a multitude of the wicked are immersed in a large re- 
 servoir of boiling sulphur, and tormented by three devils with 
 pitchforks. The upper division, Avhich alone is not, in any part, 
 covered by the gigantic figure of Lucifer, represents men holding 
 their severed heads in their hands ; others hanging by the head or 
 the heels ; and others flayed alive, or cut in pieces. The right hand 
 of this compartment is terminated by an enormous open mouth, 
 into which a man is dragged by a little devil in the form of a cat, 
 whilst a second is carried in upon another devil's shoulders. At the 
 two upper corners of this piece, are two small holes,* such as Lanzi 
 speaks of. In the left upper corner is this inscription, in characters 
 strictly resembling those on the planets above mentioned : questo 
 
 . ELINFERNO . DEL . CHAPOSANTO . DI PISA. 
 
 The original plate, which has, doubtless, been often retouched, 
 is still in existence at Pisa ; and impressions from it are inserted 
 in the first Volume of the Pisa Illustrata of H/onwja, 1787. It 
 measures, within the marginal line, ten inches and seven-eighths in 
 width, by eight inches and a half in height. 
 
 The engravings of the Planets, and the representation of Hell, 
 above described, bear, I think, too striking a resemblance to the 
 three prints in the Monte Santo di Dio, of which we are about to 
 speak, to leave a doubt of their being the work of the same artist. 
 In these last, however, Baldini was, I am of opinion, assisted 
 
 • See pp. 335, 336. 
 
CHAP, VI.] 
 
 BACCIO BALDINI. 
 
 375 
 
 by the drawings of his friend Sandro Botticelli ; at least it is cer- 
 tain that the first and the second jirint, partake considerably of that 
 artist's style of design. 
 
 Engravings in the MoNTE Sancto di Dio, published at Florence, 
 by Nicolo di Lorenzo della Magna, in 1477. 
 
 I. In the first piece which occurs on the reverse of the last page 
 of the Index, opposite the first Chapter of the work, a rocky 
 mountain rises with a rapid ascent, and in a pyramidal form, to 
 more than two thirds the height of the print. Upon the summit 
 of this mountain stands the figure of Christ, enveloped in glory, and 
 surrounded by eight cherubims, four on each side; the clouds on 
 either hand, being also interspersed with the heads of cherubs, 
 ranged symmetrically at regular distances. The annexed engraving 
 will give a sufficiently good idea of the figure of Christ, with the 
 celestial attendants by which he is immediately environed. 
 
376 BACCIO BALDINI. [chap. vi. 
 
 From the middle of the print, at bottom, a ladder rises to the 
 top of the Mount, which a good friar is represented as beginning to 
 ascend. On the ground, at bottom, is written humilta, and upon 
 the steps of the ladder are inscribed prudentia . temperantia . 
 
 FORTEZZA . JUSTITIA . TIMORE . PIETA . SCIENTIA . FORTEZZA, (for the 
 
 second time) consiglio . intellecto . sapientia. On the shafts of 
 the ladder are these words oratione . Sacramento. Half way up 
 the mount, on the right of the ladder, is a figure of Christ on the 
 Cross, near which are written the words fede & carita. The friar 
 on the ladder addresses his prayers to this crucifix in the following 
 words, inscribed on a label, which proceeds out of his mouth : tirami 
 DOPPO TE. At the bottom of the mount, on the right, are the 
 words COGNOSCIMENTO dilatato ; and half way down it, on 
 the left, is the word speranza: the word perseveranza appears 
 through the spokes of the ladder. On the left of the print is the 
 figure of a young man, richly dressed in the fashion of the time, 
 standing ; his eyes elevated towards heaven, and his left hand raised 
 over his head, as if to prevent his being overpowered by the bril- 
 liancy of the glory above. The following ejaculatory inscription is 
 on a scroll near him : levavi oculos meos i montes unde veniat 
 ausilium michi ausilium meum a domino. The left leg of this 
 young man is bound by a ribbon or bandage, inscribed cecita, 
 which is held by a demon at bottom, who has also a long iron hook, 
 ■with which he assails his desired victim. 
 
 This plate, within the black line which bounds the subject, 
 measures nine inches and seven-eighths in height, by seven inches 
 in width. The iigure of the young man, Avhich possesses a consi- 
 derable share of easy gracefulness, is copied in the annexed plate. 
 It will also be found, accompanied by the friar about to ascend the 
 ladder, in the Bibliotheca Spenceriana, vol. iv. p. 30. 
 
CHAP. VI.] 
 
 BACCIO BALDINI. 
 
 377 
 
 
 II. The second print is inserted on the reverse of signature 
 n. viij. opposite the first chapter of the second book of the work, 
 which treats of the glory of Paradise. 
 
 The centre of this piece is occupied by a majestic figure of Christ, 
 standing in a glory of flames, of an oval shape, but pointed at top and 
 at bottom : this glory is supported by six angels and ten cherubim, 
 
 3 c 
 
378 BACCIO BALDIM. [chap. vi. 
 
 who are placed at regular distances around. Our Saviour is repre- 
 sented with his left-hand on his bosom, and his right-hand elevated, 
 as if in the act of giving the benediction. The whole measures ten 
 inches and a quarter in height by seven inches in width. Mr. 
 Dibdin has had a correct copy of the Christ and two of the angels 
 engraved for the fourth volume of his Bibliotheca Spenceriana.* 
 
 III. The third and last print with which this curious volume is 
 enriched, is introduced at the bottom of the page, sig. p. vij. at the 
 end of the second book, and is a representation of Hell — prepa- 
 ratorv to the tliird and last division of the work, which treats of the 
 punishments of the damned. 
 
 This print is of considerably smaller dimensions than the other 
 two, and of a different form. It measures about six inches and 
 a half in width, by four inches and three quarters in height. The 
 centre represents a colossal figure of Lucifer, standing up to his 
 middle in a large basin of pitch, or some other infernal fluid, cut 
 in the rock. He is seen in fi-ont, and has two horns and two 
 large ears : his shoulders are furnished with a pair of bat's wings, 
 which rise to the top of the print, and his body and arms are 
 covered with hair. He has three mouths, with which he is 
 devouring the wicked ; two of whom he also grasps in his hands. 
 On either side of Lucifer are three caverns, in which the reprobate 
 are tormented in various manners. In the upper cavern, on the right, 
 a devil is tearing out the entrails of one man ; a second man, whose 
 bodv is surrounded by a serpent, appears hanging, with his head 
 downwards ; and a third is holding his head, which has been cut 
 off, in his hands. In the cavern immediately underneath, four 
 culprits, amongst whom is a bishop, are placed around a table 
 covered with viands, of which they are not allowed to partake ; and 
 in the bottom cavern, three men are immersed up to the neck in a 
 
 * Sir Mark "SI. Sykes also fwssesses a and from which, with his permission, ihe 
 copy of tlus very rare book, which forroerly fee-similes, given in this work, have been 
 bekaoged to the Ricardi family of Florence, engraved. 
 
CHAP. VI.] BACCIO BALDINI. 379 
 
 cauldron of boiling fluid. In the upper cavern, on the left, one of 
 the wicked is tormented by a devil with a flaming torch, and 
 a second is cut with an axe. In the cavern underneath are three 
 of the damned, one of them with a regal crown, enveloped in 
 flames, and beaten by a devil with a rod. In the lowest cavern, on 
 this side, a devil is seen pouring melted lead, or perhaps gold, down 
 the throat of one of the reprobate (perhaps a miser), and another 
 devil is emptying a large bag of money into a vase. In a seventh 
 cavern, which is seen at top, between the wings of Lucifer, is a 
 monstrous dragon's head, into the open mouth of which a devil 
 is thrusting another of the wicked. 
 
 I now come to speak of the set of fifty prints, supposed to have 
 been intended for playing-cards, and called by the Italian writers, 
 II Giuoco di Tarocchi. Bartsch asserts, as has been observed, 
 that they are by the same artist* that engraved the twenty-four 
 pieces in the collection of M. Otto ; and I give the more credit 
 to the assurance, as it appears to be confirmed upon a comparison 
 of several of them with the copies, given by Heineken, of two of 
 M. Otto's prints, and repeated in this work. 
 
 It is proper, however, to premise, that the fifty pieces called II 
 Giuoco di Tarocchi, appear to have been anciently engraved more 
 than once ; and that, in the opinion above stated, I refer, like Bartsch, 
 to that set of which the five different classes are distinguished by the 
 initials E. D. C. B. A.f Zani considers this set the original, whilst 
 Bartsch (vol. xiii. p. 120) gives the preference to a second set, the 
 five classes of which are marked with the letters S. D. C. B. A. 
 
 * Bartsch, vol. xiii. p. 142, speaks with " guerra, comme quelqiies auteurs ont ete 
 
 great confidence on this point. Prefatory to " tente de le presumer, mais bien par le 
 
 his description of the twenty-four prints in " m&me anonyme qui a grav6 les cartes de 
 
 M. Otto's possession, he says : " Nous " tarot decrites ci-dessus aux Numeros 
 
 " u'avons vii de ces pieces qu'une seule, " 18.67-" 
 
 " savoir No. 4. ; mais cette seule a suffi -f ^"tii observes, in speaking of tlie pieces 
 
 " pour nous convaincre qu'elles n'ont sure- of the Giuoco di Tarocchi, (Material!, 
 
 " ment pas ete gravees par Maso Fini- note 69, p. 149,) " that he has found these 
 
 3 c 2 
 
380 BACCIO BALDINI. [chap. vi. 
 
 The last-named writer mentions his having seen also a few pieces 
 of a third set, which he considers rather less ancient. 
 
 Lanzi,* and, after him, Zani, ascribed these engravings to the 
 schools of Venice or Padua ; chiefly, I believe, because the titles 
 under a few of the figures, appear to be written, as they say, in the 
 Venetian dialect — as Doxe, Artixan, Famejo, &c. It may appear ill 
 to become me to express any doubt as to the authority of the Italian 
 writers above mentioned, in matters respecting their own language; 
 nor, were there good ground for such doubt, am I prepared for the 
 question. I must, nevertheless, observe that, upon some occasions, and 
 especially in Latinizing proper names, the Italians of even the six- 
 teenth century, appear to have used the x instead of the s. Of this 
 I have now an example before me, in a print of a group of Venus 
 and Cupid ; one of a set of antique statues coarsely engraved at 
 Rome between the years 1550 and 1555. The marble belonged to 
 the sculptor and architect Gio. Ant. Dosio, and the inscription 
 under the figures runs thus : Veneris Signum Roince in cedibus Joannis 
 Antonij Doxij Architecti. This print is numbered 70, at the right- 
 hand bottom corner : the name of Dosio, under a statue of Bacchus, 
 
 " letters thus interpreted : A. Tutto; B. Bus- the means of unravelling every difficulty, but 
 
 " tone; C. Coppe ; D. Danari ; E. Spade, that he reserves their application to his pro- 
 
 " What weight is due to such an explanation," mised more extensive work. Perhaps, being 
 
 says he, " will be seen in my work, at the destitute of his means of determining the 
 
 *' article concerning playing-cards, Part II. question, I might hazard too much, were I to 
 
 " Class V. In the mean time, I will observe suggest that, in old Italian orthography, the 
 
 " that, in the copies which we have of this words Spada or Spadone might sometimes 
 
 " set of cards, the ten pieces, forming the have been improperly written Espada or 
 
 " first class, are marked with the letter S. Espadone. The redundant letter I. in Isca r- 
 
 " instead of the E. The S." he adds, "will pioNi, in Mr. Lloyd's print of the planet 
 
 ♦' do perfectly well for Spada : — must we. Mars, described in a former page of this 
 
 " therefore, read the E. in the original set, chapter, appears to be something of this 
 
 " Epcc, in French ?— But of this in another kind. 
 
 "place." Zani, upon this occasion, as in * " Storia Pittorica," tom.i. p. 82. Lanzi, 
 
 many other parts of his volume, tantalizes his however, does not appear to speak so posi- 
 
 reader, by hinting that he is in possession of lively as to this point as Zani. 
 
CHAP. VI.] BACCIO BALDINI. 381 
 
 No. 83, of, I believe, the same set of prints, is properly spelt with 
 an s. Independently, of the possibility that examples may hereafter 
 be found of the use of such words as Doxe, Artixan, Famejo, &c. in 
 the fifteenth century, in other parts of Italy, as well as in the Vene- 
 tian state, I must further remark, that these figures, being intended 
 for playing-cards, (which had hitherto been, at least very chiefly, ma- 
 nufactured in the Venetian state,) the engraver, although a Floren- 
 tine, might probabl}^ consider it necessary to conform, in some de- 
 gree, to the customary orthography in the titles underneath them ; 
 I say in some degree, because in most cases, the orthography of the 
 inscriptions will do quite as well for the old Florentine dialect as for 
 any other. I shall, however, leave to others, the task of account- 
 ing more satisfactorily for the orthography in a few of the inscrip- 
 tions, and shall proceed to enumerate the pieces ; fully satisfied, as 
 I am, that they are by the hand of a Florentine artist. Indeed they 
 closely resemble the pieces of the Monte Santo di Dio, in the 
 mechanism of engraving ; and many of the figures are designed so 
 much in the style of Botticelli, as to give reason to believe that the 
 engraver was assisted by his drawings, at least in some of them.* 
 
 * I will not, however, omit to mention publisher of these plates, and not that of the 
 
 a circumstance noticed by Zaiii, (Materiale, engraver : for the circumstance of two sets 
 
 p. 71,) lest it should be supposed that I keep of the planets having been executed by the 
 
 back an argument which some may be of same artist, perhaps within a very few years, 
 
 opinion opposes the supposition that these seems to justify the supposition, that he was 
 
 prints of // giuoco di Taiocc/ii were en- not tiie publisher of his own plates, but that 
 
 graved by Baldini ; viz. " that on the print he engraved many of them, at least, for 
 
 " representing Poesia, xxvii. 27, the letter others. Fortunately, however, I have had 
 
 " C. distinguishing that class, is joined to the opportunity of making inquiries concern- 
 
 " another letter, so as to form," says Zani, ing this matter, the result of which renders 
 
 " die mark CF or CE, or perhaps a Gothic such an hypothesis wholly unnecessary. Mr. 
 
 " E only. But of this mark," continues Zani, Cumberland, to whose pen the world is in- 
 
 " I shall speak in another place :" — tiiat is, in debted for the catalogue of Boiiasoiii's 
 
 his promised Dictionary. Did the print in engravings, possesses a set of the Giuoco 
 
 question really bear this mark, I should di Tarocchi, of the edition now spoken of, 
 
 satisfy myself with suggesting that it might complete, except one. In answer to my 
 
 possibly be the mark of the proprietor and queries, be informs me, that no such niaik 
 
382 BACCIO BALDINI. [chap. vi. 
 
 Bartsch and Zani, as has been already observed, mention two sets 
 of the Giuoco di Tarocchi, the one as the copy of the other, although 
 they are at variance as to which is the original. The fact appears 
 to be, that many of the pieces of the one series are rather the repe- 
 titions of the same subjects, engraved with variations in the designs 
 of the figures, than what may be properly called copies. The same 
 personages, accompanied by the like symbolic distinctions, were to 
 be represented in each ; but, in other respects, the artist does not 
 appear to have been expected, like the card-makers of the present 
 day, to be the servile copyist of what was done before. It is, in- 
 deed, probable, that great part of the figures, in both the sets about 
 to be described, were copied, with variations and improvements, 
 from more ancient cards engraved in wood. 
 
 Bartsch has given separate catalogues of the two sets of the 
 Giuoco di Tarocchi above-mentioned, but does not appear to have 
 seen an entire set of either. It is my lot only to be acquainted with 
 a part of the set which Zani and I consider the originals ; these, in 
 the following catalogue, are placed first, and are followed by the 
 corresponding pieces of the other set, distinguished by the letter (a). 
 These last stand first in Mr. Bartsch's catalogue, to which I have had 
 recourse for the description of some of those pieces which I have not 
 seen. It remains to be observed that, in both sets, each piece has 
 its title in Roman capitals, underneath, followed by its number in 
 Roman numerals : the number is repeated, in Arabic figures, on 
 the right hand corner, and, on the left, is the letter distinguishing 
 the class to which it belongs. The pieces of the two sets differ a 
 little in size : those which we consider the originals, measure seven 
 inches in height, including the margin with the inscription, by 
 
 is to be found on the Poesia, xxvii. 27, E instead of a C, (which latter is the proper 
 
 which is marked with the proper distinguish- letter distinguishing the class,) and afterwards 
 
 ing letter of the class only, C : but that in to have corrected his error by engraving a C 
 
 theprintrepresentingGEOMETRiA,xxiiii.24. over it, without erasing the former letter; so 
 
 the engraver appears originally to have en- that this piece appears marked thus : ^ 
 graved a wrong distinguishing letter; viz. an 
 
CHAP. VI.] BACCIO BALDIINI. 383 
 
 four inches in width ; the others, which Bartsch considers the most 
 ancient, are somewhat smaller, measuring only six inches and three 
 quarters, by three inches and three quarters. 
 
 Il Giuoco di Tarocchi. 
 
 Class I. The ten pieces of this class represent different states and 
 conditions of men : in the set which we consider the most ancient, 
 tliey are marked E : the corresponding pieces of the other set (o) 
 are marked S, 
 
 E. MiSERO. I. 1 (a). S. A poor man, almost naked, 
 
 resting on his stick. He is turned towards the right. 
 
 E, Fameio. II. 2. A servant, carrying a dish Avith a cover, as 
 if to an entertainment. He is dressed in a short habit, which reaches 
 to the middle of the thigh only, and has a large napkin hung over 
 his arms and his left shoulder. His head is uncovered, and his steps 
 are directed towards the left. 
 
 (a). S. According to Bartsch's description, the corresponding 
 piece of this set is in a reverse direction : the servant is walking 
 towards the right, 
 
 E. Artixan. III. 3. A goldsmith, in his shop, seated at his 
 work, on the right of the print. On the table before him, are a 
 hammer, compasses, and other tools. Opposite to him is a forge, 
 with a pair of bellows ; and, behind him, is a boy looking over his 
 shoulder. 
 
 (a). S. The goldsmith, in this print, is seated on the left ; and, 
 according to Bartsch, the other objects in the piece are disposed 
 differently. 
 
 E. Merchadante. IIII. 4. The merchant is dressed in a 
 loose gOAvn, with large sleeves, and a girdle ; and wears a cap made 
 
384 BACCIO BALDINI. [chap. vi. 
 
 of cloth, the folds of which hang down on one side to his girdle, 
 and over his right shoulder. He is reading a letter, Avhich he holds 
 with both hands, his iigure being turned towards the left. 
 
 (o). S. This piece, according to Bartsch, is numbered thus : — 
 IV. 4. The figure appears to be in a reverse direction, being turned 
 towards the right. 
 
 Trifling as the observation may appear, I will here remark, that 
 the appearance of the Roman numerals on this piece (IV.), and on 
 No. IX. of this series, is amongst the arguments which I consider in 
 favour of the priority of the other set, where the same pieces are 
 numbered in the more ancient manner — IIII. Villi. 
 
 E. ZiNTiLOMO. V. 5. The gentleman is dressed in a jacket, 
 folded in stiff perpendicular plaits, with a double border, reaching 
 half way down the thigh. He is walking towards the right, having a 
 falcon in his left-hand, and . the thumb of his right-hand thrust 
 into his belt. Behind him is a lad with a brace of small hounds. 
 
 («). S. In this piece, according to Bartsch, the gentleman has a 
 stick in his right-hand. As in the other, he holds a falcon with his 
 left-hand, and is walking towards the right. 
 
 E. Chavalier. VI. 6 (a). S. The cavalier has a 
 
 dagger, Avhich he grasps with both hands. He is attended by a 
 page, who bears his sword, and is introduced in the back-ground on 
 the right. 
 
 E. DoxE. VII. 7. The Doge of Venice, standing, dressed in 
 his usual habit. He is turned towards the left. 
 
 (a). S. The Doge of Venice, walking towards the right. 
 
 E. Re. VIII. 8. A king, seated on his throne, holding a sceptre 
 in his right-hand, with his other hand resting upon his haunch. 
 He wears a crown, and is seen quite in front ; his knees are 
 asunder, and his feet are drawn back. The design of this figure is 
 
V^ 7 :^ 77 77 7 I /J ///^ 
 
 r 
 
 UU^EkAlXM^MIII 
 
 9 
 
CHAP. VI.] BACCIO BALDINI. 385 
 
 entirely different from that in the corresponding piece of the other 
 series. 
 
 (fl). S. A king, seated on his throne, with a sceptre in his right- 
 hand. He is seen in a three-quarter point of view, and is a Httle 
 turned towards the left. His left foot is somewhat extended forAvards. 
 
 E. Imperator. VIHI. 9. An emperor, seated on his throne, 
 holding a globe in his right-hand, and having the thumb of his left- 
 hand thrust into his belt. At his feet is an eagle. 
 
 The reader will find this piece correctly copied in the annexed 
 plate.* 
 
 (ff). S. Numbered thus : — IX. 9. An emperor, seated upon 
 his throne, holding a globe in his left-hand, and, in his right, a 
 sceptre. At his feet is an eagle. 
 
 E. Papa. X. 10. The Roman Pontiff seated, holding the keys 
 in his right-hand, and resting his left on a large book. He is seen 
 in front. The print will be found copied in Mr. Singer's work upon 
 playing-cards, from the original in my own collection. 
 
 (a). S. This piece appears, according to Bartsch, to differ from the 
 coiTesponding piece of the other series : the ears are exposed, which, 
 in the other, are covered with the hair. 
 
 Class 2. Marked in both the sets with the letter D. The figures 
 of this class represent Apollo and the nine Muses. 
 
 'O' 
 
 D. Caliope. XI. 11. She is seen in front, and appears walking 
 
 * It is proper, however, in this place, to worn, and perhaps, also, retouched; and 
 
 observe, that the original impression itself, the same observation, I am sorry to say, will 
 
 is far from giving a just idea of the skill of apply to the original impression of another 
 
 the ancient artist by whom this series of piece of the series, No. 39, of which the 
 
 engravings was executed, having been evi- reader will also be presented with a copy, 
 
 dently taken off after the plate was much Both are in my own collection. 
 
 3d 
 
386 BACCIO BALDINI. [chap. vi. 
 
 forwards — her right leg uncovered. She blows a long trumpet, the 
 end of it dow^nwards, and has a globe at her feet. In the back- 
 ground, on the right, is a fountain, the stream of which issues from 
 a rock, and falls into a basin of ornamental sculpture. 
 
 («). In this piece, the fountain in the back-ground appears, from 
 Bartsch's description, to be on the left-hand. He makes no mention 
 of the globe at the Muse's feet. 
 
 D. Urania. XII. 12. An easy, graceful figure. She has a pair 
 of compasses in her right-hand, and, in her left, which is elevated, 
 a globe. Her right leg is uncovered ; her body is a little turned 
 towards the right, and her head towards the left. 
 
 (a). In this piece, Urania holds the compasses with her left-hand, 
 and the globe with her right. 
 
 D. Terpsicore. XIII. 13. She is seen in front, and holds, 
 with her left-hand, a small guitar, which she plays on with her 
 right. She has very long hair, part of which is seen on the left. The 
 back-ground represents a large river, and at her feet, behind her, is a 
 globe. 
 
 (a). The name in this piece, according to Bartsch, is spelt Tersi- 
 core, and the figure is quite different. She is playing on the guitar, 
 her body being turned a little towards the right, and her head 
 towards the left. On the right, at her feet, is a globe. 
 
 D. Erato. XIIII. 14. She is playing on the tambarine, and 
 walking towards the right. 
 
 (a). There appears, according to Bartsch, to be a small difference 
 between this piece and the corresponding print of the other series. 
 In the piece above described, he informs us that the tambarine, 
 Avhich the muse plays upon, touches the border of the engraving on 
 the right ; whereas, in this, there is an interval of about a quarter 
 of an inch between the tambarine and the border. 
 
CHAP. VI.] BACCIO BALDINL 387 
 
 D. PoLlMNiA. XV. 15 (a). She is playing on a 
 
 sort of lyre. Her head is turned towards the right of the print. 
 
 D. Talia. XVI. 16 (a). She is playing upon a 
 
 small violin, and kneeling with her left knee on the ground. 
 
 D. Melpomene. XVII. 17. The lower part of her figure is seen 
 in front, but her face and the upper part of her body are turned 
 towards the left. She blows a horn, and at her feet, on the left, is 
 a globe. 
 
 (a). Melpomene blowing a horn, her figure being directed 
 towards the right. 
 
 D. Euterpe. XVIII. 18. The Muse is playing upon a double 
 pipe; her back resting against a tree. Her figure is turned towards 
 the left of the print, and at her feet is a globe. 
 
 (a). According to Bartsch this piece is in a reverse direction. Her 
 figure is turned towards the right. 
 
 D. Clio. XVIIII. 19. She is standing on a swan, which is 
 swimming in the water. Her body is turned a little towards the right 
 of the print, but she looks towards the left, and has her right hand 
 elevated in an action expressive of admiration. With her left hand 
 she holds up her drapery, which is much in the taste of ancient 
 sculpture, and extremely elegant. Part of her long hair, which 
 reaches to her legs, is seen behind her figure on either side. The 
 whole is very graceful. 
 
 (a). From Bartsch's description, it appears that the figure in this 
 piece is reversed. — The Muse holds up her drapery with the right 
 hand. 
 
 D. Apollo. XX. 20. He is seated upon a throne formed of two 
 swans placed back to back : his feet rest on a celestial globe. His 
 right leg is uncovered, and he has a wand in his right hand. 
 
 3 D 2 
 
388 BACCIO BALDINT. [chap. vi. 
 
 (fl). In this piece, according to Bartsch, the left leg of Apollo, 
 and not the right, is uncovered. Bartsch also mentions a branch of 
 laurel, which Apollo holds in the left hand. 
 
 Class 3. The ten pieces of this Class represent the liberal arts, 
 and some of the sciences. They are marked, in both sets, with 
 the letter C. 
 
 C. Grammatica. XXI. 21. Grammar is represented under the 
 semblance of an old woman with a hood ; she is turned towards 
 the right, and has a file in the right hand, and a vase in the left. 
 
 (fl). The principal difference between this piece and the above, 
 appears to be, according to Bartsch, (torn. xiii. p. 134) that the 
 vase is held in the right hand and the file in the left. The German 
 wTiter, however, appears, in this place, to contradict what he ad- 
 vanced in p. 125, where he says, expressly, " tenant un vase de la 
 main gauche, et de Vautre nne ferule." The title under this piece 
 appears to be spelt with one m only ; thus : Gramatica. 
 
 C. LoiCA. XXII. 22. She is turned towards the right of the 
 print, her face in profile. She has a dragon, covered by a veil, 
 in her left hand, at Avhich she is looking. Her right hand is in an 
 attitude expressive of admiration. 
 
 (a). In this piece, according to Bartsch, the figure of Loica holds 
 the dragon in the right hand instead of the left. 
 
 C. Rhetorica. XXIII. 23. Rhetoric is represented by a female 
 figure of dignified and commanding deportment, with a helmet, sur- 
 mounted by a regal crown, on her head, and a naked sword in her 
 right hand. She is seen in front, and on each side of her is a small 
 infant, or genius, with wings, blowing a trumpet. That on the 
 right of the print has the trumpet elevated. This piece will be 
 found, copied from the original in my collection, in Mr. Singer's 
 work upon playing-cards. 
 
CHAP. VI.] BACCIO BALDIINI. 389 
 
 (a). In this piece, according to Bartsch, the genius on the left 
 has its trumpet elevated, instead of that on the right. The design is , 
 probably, also different in some other respects. 
 
 £. Geometria. XXIIII. 24 («). A fe- 
 male figure hovering in the clouds, and employed in tracing 
 geometrical figures. She is turned towards the right. Underneath 
 is a landscape. 
 
 C. Aritmetricha. XXV. 25. A graceful female, seen in front ; 
 her head a little inclined towards the left. A girdle encircles her 
 waist; and her head, from wliich issue rays of light, is covered 
 with a veil that descends on her breast, and flows back over her 
 shoulders. She looks downwards, and is counting money from one 
 hand into the other. 
 
 (o). The figure, according to Bartsch, is much the same ; but 
 the hands are employed differently. The left hand holds a tablet, 
 on Avhich are the figures from 1 to 10 — as well as the number 
 14085. 
 
 C. MusiCHA. XXVI. 26. A female in a loose robe, her arms 
 naked from the shoulders, sitting on a semicircular chair or bench 
 without a back. She is playing on a pipe or flute, which she stops 
 with some of the fingers of both hands. On the left of the print is 
 a swan, standing ; and, on the ground, scattered in various direc- 
 tions, are a small portable organ or regals, a lute, a harp, a pipe, 
 and a kind of violin with two strings, and a bow belonging to it; 
 the latter instrument leaning against the bottom of the chair on the 
 right-hand. The head of the female is uncovered, and her hair 
 curled up in front. She looks down, towards the left, on the swan ; 
 but the lower half of her body is turned towards the right. 
 
 (a). She is seated, says Bartsch, playing on a flute, and is turned 
 towards the right. She has a swan near her, and is surrounded 
 by musical instruments scattered on the ground. 
 
390 BACCIO BALDINl. [chap. vi. 
 
 C. PoESiA. XXVII. 27. She is seated near a fountain, and is 
 playing on a pipe or flute which she holds in her right hand. In 
 her left hand is a vase. 
 
 (o). The figure, according to Bartsch, is in a reverse direction. 
 She holds the pipe in the left hand and the vase in the right. The 
 shape of the fountain is different. 
 
 C. Philosofia. XXVIII. 28. She holds a lance in her right 
 hand, and a shield, on which is the Gorgon's head, in her left. 
 
 (a). The figure, generally, according to Bartsch, is in a reverse 
 direction. She holds the lance, however, in her right hand, and 
 the shield in her left. 
 
 C. AsTROLOGiA. XXVIIII. 29. A graceful female figure, with 
 wings to her shoulders, beautifully draped. She is turned towards 
 the right, and her face is seen in profile. She has a crown of 
 stars, and appears to be contemplating a circle filled with stars, 
 which is placed opposite to her in the sky. In her left-hand is a 
 book, and, in her right, a wand, the point of which is directed 
 downwards. 
 
 (a). The figure, according to Bartsch, is in a reverse direction ; 
 and the wings, which, in the print above described, are extended 
 upwards, have their points downwards. The wand also is in a dif- 
 ferent position, being held with its point upwards. o 
 
 C. Theologia. XXX. 30 (a). Theology is repre- 
 sented by a female figure, with two faces, like the god Janus. One 
 of these faces is that of a woman, and looks towards the right ; the 
 other face is that of a man, and is turned in the opposite direction. 
 The upper part only of the figure is seen ; the lower extremities 
 being hid by a large globe covered with stars. 
 
CHAP. VI.] BACCIO BALDINI, 391 
 
 Class 4. The ten pieces of this class represent astronomy, chro- 
 nology, cosmogony, and the seven cardinal virtues.* They are 
 marked with the letter B. 
 
 B. Iliaco. XXXI. 31. Astronomy f is represented by a winged 
 genius, holding the sun in his right-hand. 
 
 (a). The figure is in a reversed direction. The genius holds the 
 sun in his left-hand. 
 
 B. Chronico. XXXII. 32. Chronology is represented by a 
 winged genius, holding a dragon with its tail in its mouth, the 
 emblem of eternity, in his right-hand. His left-hand rests upon his 
 haunch. The figure is turned towards the left. 
 
 (a). The figure, according to Bartsch, is in a reversed direction, 
 and holds the serpent in the left-hand. 
 
 B. CoSMico. XXXIII. 33. Cosmology is represented under 
 the figure of a winged genius, holding, in his right hand, a globe, 
 half terrestrial and half celestial. His left hand is extended towards 
 the spectator. 
 
 (o). The genius holds the globe with the left hand, and rests the 
 right upon his haunch. 
 
 B. Temperancia. XXXIIII. 34. An elegantly draped female, 
 pouring liquid from one vase into another. She is attended by a 
 
 * The circumstance of three of the the Planets, the Virtues, the Sciences, &c. 
 
 sciences being united in this class with the as Strutt supposed, we should find them 
 
 seven cardinal virtues, so as to make together arranged, at least in the two former instances, 
 
 ten pieces, furnishes, I think, a satisfactory in classes of seven pieces each, 
 proof, that these prints must have been in- *f- I am ignorant of the authority upon 
 
 tended, according to the assertion of the which Mr. Bartsch translates the term Iliaco 
 
 Italian writers, to be used as cards ; since, by the word Astronomie, 
 if they had been published merely as sets of 
 
.392 BACCIO BALDINI. [chap. vi. 
 
 little animal resembling a pig, which is looking at itself in a 
 mirror placed on the ground, on the left of the print, 
 
 (a). According to Bartsch, this piece is in a reverse direction from 
 the above. 
 
 B. Prudencia. XXXV, 35. Prudence is represented under 
 the figure of a woman with two faces, viz, that of a female, and 
 that of an old man with a beard. With the female face, which is 
 turned towards the right, she is looking at herself in a mirror held 
 by her in her left hand. In her right-hand she has a pair of com- 
 passes. At her feet, on the right, is a cockatrice or dragon, 
 
 (fl). Reverse of the above, 
 
 B. FoRTEZA, XXXVI, 36. Fortitude, She has her head covered 
 with the skin of a lion, and has a sceptre in her right hand, whilst, 
 with her left, she is breaking a column. At her feet, on the left of 
 the print, is a lion, 
 
 (a). In this piece, according to Bartsch, the head of Fortitude is 
 covered by a helmet, and the lion at her feet, is on the right. She 
 holds the sceptre, however, with the right hand. 
 
 B. JusTiciA. XXXVII. 37. She is seen in front, and has a 
 pair of scales in her left hand, and, in her right, a sword. At her 
 feet is a crane. 
 
 (a). The principal ditference between this piece and the above is, 
 according to Bartsch, in the head of the female, which is seen in a 
 three-quarter view, and turned towards the right. 
 
 B. Charita. XXXVIII. 38. A standing female, in an easy 
 dress, with a girdle. Over this dress is a long flowing robe, fastened 
 on the breast, with a gem fibula. The head is uncovered, and the 
 hair, separated in the middle, hangs over her shoulders. In her 
 vight hand, the arm of which lifts up part of the loose outer robe. 
 
•B 
 
 SPEk.AJNZAXX\\lllI 
 
CHAP. VI.] BACCIO BALDINL 393 
 
 she holds an inverted purse, from which several pieces of money 
 are dropping ; whilst, with her left, she pulls aside her drapery, 
 and exposes her bosom, from whence issues a flame of fire. At the 
 bottom of the print, on the left hand, is a pelican nourishing her 
 young. The figure of Charity fronts the spectator; but her 
 face, which looks downwards on the pelican, is turned towards 
 the left. 
 
 (a). She holds the purse in the right hand, as in the piece above 
 described, but the pelican beneath is on the right. 
 
 B. Speranza. XXXVIIII. 39. A dignified and graceful female, 
 standing, Avith her eyes looking towards heaven, and her hands 
 raised in an attitude expressive of prayer. The figure is turned 
 towards the left ; on which side of the print, on the ground, is a 
 phoenix standing in the midst of the flames. This piece is carefully 
 copied in the annexed engraving. 
 
 («). Reverse of the above described. 
 
 B. Fede. XXXX. 40. A female figure seen in front. Her 
 eyes are directed towards a chalice with the host upon it, which she 
 holds elevated in her right hand. In her left hand is a cross, and 
 at her feet, on the right of the print, is a little dog. 
 
 (a). The figure, says Mr. Bartsch, is reversed, but still the cross 
 IS held in the left hand, and the chalice in the right. 
 
 Class 5. The ten pieces of this class, represent the planets, 
 c. Th 
 letter A. 
 
 &c. Thev are marked, in both the sets, with the distinffuishing- 
 
 A. LuXA. XXXXI. 41. Diana, in her car, drawn by two 
 horses. Their course is directed towards the left, 
 (o). The car moves in a reverse direction. 
 
 3 E 
 
394 BACCIO BALDINI. [chap. vi. 
 
 A. Mercuric. XXXXII. 42. Mercury is represented play- 
 ing on a flute, which he holds in his left hand: in his right 
 hand is the caduceus. A cock, and the head of a man, are at 
 his feet. 
 
 (a). The figure, says Bartsch, is reversed ; but, nevertheless, 
 Mercurj'^ holds the caduceus in his right hand, and the flute in 
 his left. 
 
 A. Venus. XXXXIII. A3. The goddess is bathing herself in a 
 rivulet, on the banks of which are three nymphs, and a Cupid ; the 
 former on the right hand, the latter on the left. 
 
 (a). The composition in this piece, according to Bartsch, is re- 
 versed; the nymphs being placed on the left hand, and the Cupid 
 on the right. 
 
 A. Sol. XXXXIIII. 44. Phaeton falling from the chariot of 
 the sun, the course of which is directed towards the right, 
 (fl). Reverse of the above described. 
 
 A. Marte. XXXXV. 45. Mars seated on his throne, with a 
 
 r 
 
 sword in his right hand. At his feet is a dog. 
 
 (a). The design of this piece, says Bartsch, is much the same as 
 the above described ; except that the helmet of Mars, in this piece, 
 is decorated by wings, which is not the case in the other. 
 
 A. Jupiter. XXXXVI. 46. Jupiter, seated in an oval, with 
 a dart or javelin in his right hand, which he is about to throw at 
 a little figure sitting beneath. At the top of the piece is the 
 eagle. 
 
 (rt). The head of the eagle at the top of the print, according to 
 Bartsch, is turned towards the left ; whereas, in the above described, 
 it is turned towards the right. The design, in other respects, is, he 
 says, much the same. 
 
CHAP. VI.] BACCIO BALDINI. 395 
 
 A. Saturno. XXXXVII. 47. Saturn, holding, in his right 
 hand, one of his children, which he is about to devour. 
 (a). Reverse of the above described. 
 
 A. OcTAVA Spera. XXXXVIII. 48. A winged female, beau- 
 tifully draped, supporting, with both hands elevated, a large circle 
 filled with stars. Her figure is turned towards the left of the print, 
 and her left leg is uncovered. 
 
 (a). Reverse of the above. The figure is turned towards the right. 
 
 A. Primo Mobile. XXXXVIII I. 49. A winged female figure, 
 with beautiful draper}^ and full of spirit. She appears as if 
 about to spring from the globe of the earth, which she touches 
 only with her left foot. She supports a large globe with both her 
 hands, and is seen in profile ; her figure being directed towards the 
 left. 
 
 (a). Reverse. The figure is turned towards the right. 
 
 A. Prima Causa. XXXXX. 50. The globe of the earth sur- 
 rounded by seven circles representing the seven planets. 
 
 [a). There appears, from Mr. Bartsch's description of this print, 
 to be a considerable variation between it and the above described; 
 viz. that, in addition to the circles, the symbols of the four 
 Evangelists are introduced at the four corners of the piece. 
 
 Perhaps the series of twenty-four prints of the Prophets which 
 follows, would have been more properly placed immediately after 
 the two prints of the Planets in the collection of Mr. Douce and 
 Mr. Lloyd, which they strictly resemble, as well in their st3'le of 
 execution, as in the forms of the characters and the rudeness of the 
 orthography in the inscriptions underneath them. Three of these 
 pieces are in the collection of the British Museum ; besides two 
 other pieces, representing Joseph and the IVIadonna, which, with- 
 out doubt, originally accompanied the series. I shall arrange these 
 
 3 e2 
 
396 BACCIO BALDINI. [chap. vi. 
 
 prophets according to Bartsch, who has given a hst of the whole, 
 but I shall be more minute than he has been in the description of 
 the few that I have seen. 
 
 THE PROPHETS. 
 
 " These Prophets," says the above-mentioned writer,* " are repre- 
 " sented sitting in different attitudes ; some of them upon thrones ; 
 " others upon clouds, from which issue flames of fire in a horizontal 
 " direction on either side. The name of each prophet is engraved 
 " in the upper part of the plate ; some of them have also a scroll 
 " with an inscription ; and, in the margin, at the bottom of each, 
 " are eight Italian verses." I shall briefly remark, in addition to 
 the observations of Bartsch, that, in the pieces at the British 
 Museum, all the inscriptions are in capitals, and that the letter S 
 appears always reversed. 
 
 Each piece measures, including the bottom margin with the 
 verses, seven inches in height, by four inches and one-eighth in 
 breadth. 
 
 1 . NoE PROFETA. The first verse underneath, begins : // verbo 
 etterno e certo, &c. 
 
 2. Jachob. An inscription upon it : Ad predam deacend'isti, 
 &c. The first verse underneath, begins : O sole nascente sanza 
 
 fine, &c. 
 
 3. MuiSE PROFETA. Inscription : 'Non adorahis deos, &c. First 
 verse : O chiave di Davit, &c. 
 
 4. Aron PROFETA. First verse : Disc el padre signore, &c. 
 
 5. Samuel profeta. First verse : O color santo della luce, &c. 
 
 6. Davit profeta. Inscription: Laldate pueri Doniinus, &c. 
 First verse: A voi present i dove, &c. 
 
 * " Peintre Graveur," vol. xiii. p. 164. 
 
CHAP. VI.] BACCIO BALDINI. 397 
 
 7. Salomon.* First verse : Lardente tnente del divhio, &c. 
 
 8. Helia profeta. First verse : lo veiigho certamente, &c. 
 
 9. Elixeo profeta. First verse : Fer Yhv Jie ogni diibbio 
 I'imosso, &c. 
 
 10. Jeremia PROFETA. First verse : Per ve7'o a me sifu, &c. 
 
 11. Baruch profeta. (The b in the name of Baruch a minus- 
 cule, the other letters capitals). An impression of this piece, which 
 does not appear to have been seen by Bartsch, is in the British 
 Museum. The prophet is seated upon a cloud of an oblong shape, 
 placed horizontally, from which proceed rays of glory, and is 
 turned a little towards the right. His feet are supported by another 
 cloud of the same form. In his right hand he holds a book, which 
 is closed, and fastened with two clasps ; and in his left is a large 
 scroll. This scroll rises, and traverses the print behind his head ; 
 and on it is inscribed his title ; the word Baruch being on one side 
 of his head, and profeta on the other. The head of the prophet is 
 by no means devoid of character, and has a handsome beard and 
 long hair. He wears a cap, with a broad border turned up all 
 round, and a pointed crown, surmounted by a small ball or button. 
 The two first verses of the inscription beneath, not indeed very in- 
 telligible, are as follows : 
 
 IVIDIILSENGNIO CHENELLORIENTE 
 CIDIMOSTRO LOGRAN GOCONDITADE. 
 
 12. Ezechiel profeta. Inscription : Excdtavit lignum humiliter.f 
 
 13. Dan lELO profeta. Inscription: Post edomodas VII et LXII 
 occidetu XPS. First verse : Vendendo la notte, &c. 
 
 14. Joel profeta. This piece is also in the British Museum. 
 The prophet is seated, and has his feet resting on clouds exactly 
 
 * Mr. Bartsch observes that, in the only may be found to be the case with other im- 
 
 impression he had seen of this piece, the pressions of it. 
 
 scroll intended for the name was vacant ; and -f- Bartsch has omitted to notice the verses 
 
 that he is ignorant whether or not the same under this piece. 
 
398 BACCIO BALDINI. [chap. vi. 
 
 like those in the print of Baruch above described, and is a httle 
 turned towards the right. His right hand rests upon a book, which 
 is closed, and lying on his lap, and with his left he holds a large 
 scroll, like that of Baruch, on which is his title. He wears a linen 
 cap, and over it, another cap, which is turned up all round, and 
 has a pointed crown. He has a beard, and his hair is rather long 
 than otherwise. His countenance is full of character. The two 
 first verses underneath are as follow : 
 
 FATE EXULTAZIONE ATUTTI VOI 
 E QUALI DISIDERATE LAGUSTIA. 
 
 15. Amos PROFETA. First verse: O priucipio divino, &c. 
 
 16. Abias PROFETA. First versc : Po7jgiv o popo/o ebi-eo, &c, 
 
 17. GlONA PROFETA. First verse : Predichar femmi lonperio, &c. 
 
 18. Nav (Nahum) PROFETA, First verse : O pontejice sommo, &c. 
 
 19. Abachuch PROFETA. First verse : Preiida chi vol diletto, &c. 
 
 20. Ageo PROFETA. An impression of this piece is also in the 
 British Museum. The prophet is sitting on, and supported by 
 clouds, like Baruch and Joel ; but his figure, which is nearlv seen 
 in front, is a little inclined towards the left. On his lap is a book, 
 in which he is reading : he holds it open Avith his right hand, and, 
 with his left hand, part of Avhich only is seen, he appears to be 
 pointing to that part of the page Avhich employs his immediate 
 attention. He has a beard and long hair, and wears a turban, sur- 
 mounted by a high crown or tiara, with a small pine-apple at to]), 
 A veil proceeds from underneath the turban, the two ends of Avbich 
 float in the air on either side his shoulders. The title Ageo 
 PROFETA is introduced in the upper part of the print, on the left, 
 but is not on a scroll. The head of this prophet, like the others, 
 has considerable merit. The verses at bottom begin : 
 
 ECIELI SON GRANDI ESIL LOR MALTURA 
 ECREDO PARTORIRA PRESTAMENTE. 
 
CHAP. VI.] BACCIO BALDINI. 399 
 
 21. Xaccheria PROFETA. First verse : Chostui sara quella, &c. 
 
 22. Malacchia PROFETA. First verse : Echo die vien di tutti, &c. 
 
 23. Jesue PROFETA. First verse : O re de re o signor, &c. 
 
 24. IsAiA PROFETA. First verse : Eccho la vergin, &c. 
 
 I have no doubt whatever that the two following pieces which, 
 as has been said, are in the collection of the British Museum, belong 
 to the above series ; and that they were placed, very properly, at 
 the end, as descriptive of the completion of the ancient prophecies 
 in the birth of Christ. When bound in a volume, and placed op- 
 posite each other, these two pieces would constitute, as it Avere, one 
 composition. 
 
 The first piece, which, under the above supposition, was intended 
 to be placed on the left-hand, represents the Madonna, who is 
 kneeling on the ground, and turned towards the right. She has 
 a glory of an oval form over her head ; and before her, on the 
 ground, is the divine infant, Avho has a circular diadem, or glory, 
 round his head, and is moreover entirely surrounded by rays, or 
 flames, which appear to descend upon him from a star, placed 
 immediately over him in the sky. Behind the infant, on the right, 
 are seen the ox and the ass ; and on the left, behind the virgin, is 
 part of the hovel rising up to the top of the print. There is no 
 inscription or title at the upper part of this piece ; but there are 
 eight verses, as in the prints of the prophets, at bottom. The two 
 first are as follow : — 
 
 AVE FIDELE ISCHORTA DE MORTALI 
 PELSANTOPARTO DIGESU TUO FIGLIO. 
 
 The other represents Joseph, and bears, on a scroll at top, this 
 title : JusEPPO. Joseph is seated on the ground, and is turned 
 towai'ds the left. He extends his right-hand, as if he were pointing 
 out the infant to the shepherds, although none appear, and, with 
 his left-hand, holds his mantle over his bosom. On the left of the 
 
400 BACCIO BALDINI. [chap. vi. 
 
 piece is the ass's pack-saddle. The verses underneath, addressed 
 to the virgin, plainly shew that this print was intended, as I have 
 supposed, to be united, or at least to be placed opposite to its com- 
 panion, so as to form one subject. The two first are thus : — 
 
 AVE VIRGO FIGLIOLA DISANTANNA 
 DELNOSTRO VERO IDIO MADRE EFIGLIUOLA. 
 
 I will only add, though I do not take upon me to assert it, that 
 I tliink it very probable that the above series t\^as engraved after 
 designs made by Botticelli, at an early period of his life — probably 
 not later than between 1460 and 1470 — and that from the incor- 
 rectness of drawing in the hands of most of the figures, the only 
 naked parts, except the faces, that are seen, there appears to be 
 every fair ground for placing them amongst the first productions of 
 Baldini. That they are by the same engraver who engraved the 
 planets, so often mentioned, is, I think, unquestionable. 
 
 According to Bartsch, the inscriptions under these pieces, after 
 the plates had furnished a certain number of impressions, were cut 
 off; by which the plates were reduced to five inches and a half in 
 height. These second impressions are numbered from 1 to 24, on 
 the right-hand corner, at top ; and there are also, he tells us, one or 
 two other small alterations in some of the pieces ; as on No. 3, 
 where the words Midse profcta are effaced, and Moise propheta 
 engraved higher in the plate in their stead. At length, according 
 to Bartsch, the plates underwent a further change ; and in these 
 third impressions the pieces are ranged in a different order, and 
 numbered on the right-hand at bottom. 
 
 Besides the above series of the prophets, Mr. Bartsch also notices 
 a set of twelve pieces, representing the Sibyls; which, as there 
 appears, from his account of them, to be every reason to believe, 
 not only that they appertain to the same engraver, but also that 
 they were a sort of sequel to the same work, are here enumerated. 
 
chap; vi] BACCIO BALDINL 401 
 
 THE SIBYLS. 
 
 These pieces, according to Bartsch, are as nearly as possible, of 
 the same dimensions as those of the Prophets ; and, in like manner, 
 each has eight Latin verses underneath. The Sibyls are represented 
 seated, and their names are engraved in the upper part of the plates ; 
 sometimes on scrolls. Besides the verses underneath, they also bear 
 other inscriptions. The pieces are numbered from 1 to 12 — on the 
 left-hand corner, at top. 
 
 1. SiBiLLA Persicha. She is seated on a bank, and turned 
 towards the left. She has a book, open, in her left-hand, and has 
 her right elevated. Inscrip. Ecce Jilhts del, &c. First verse at 
 bottom : Eccho perchvi la bestia, &c. 
 
 2. SiBiLLA LiBiCA. She is seated on a bank, and turned towards 
 the left, having a book in her right-hand, the leaves of which she 
 is turning over with her left. Inscrip. Ecce veniet, &c. First verse : 
 II di terra chelletterno, &c. 
 
 3. SiBiLLA Delficha. She appears seated on a piece of land 
 surrounded by the sea, and is turned towards the right. She sup- 
 ports a scroll with both her hands, on which is her title — sibilla 
 DELFICHA ; and has also, in her right-hand, a large horn or trumpet. 
 Inscrip. Nascetur propheta e virgine, &c. First verse : None daeser 
 lenta, &c. 
 
 4. Sibilla Chimicha. She is sitting on a seat surrounded with 
 flames or rays, and is turned towards the right. She is reading in a 
 book which she holds Avith both hands. Inscrip. In pueritia sua, 
 &c. First verse : Una vergine santa, &c. 
 
 5. Sibilla Eritea. She sits on a seat surrounded by rays or 
 flames, and placed in a circle. With her right-hand, she holds a 
 
 3 F 
 
402 BACCIO BALDINI. [chap. vi. 
 
 naked sabre, and, with her left, a scroll, on which is inscribed — 
 Morte morktur et trihus, &c. First verse, underneath : Risguardo 
 iddio dello, &c. 
 
 6. The Sibyl of the Hellespont. Mr. Bartsch does not appear to 
 have had an opportunity of seeing either this piece, or No. 8. 
 
 7. SiBiLLA CuMANA. The seat on which she is placed is sur- 
 rounded by flames or rays, and she is turned towards the right. 
 She has a book in her left-hand, in which is written — Jam redit et 
 Virgo, &c. First verse : Lultimo mie parlar, &c. 
 
 8. The Sibyl of Samos. 
 
 9. SiBiLLA Frigia. She sits on a seat surrounded by flames, 
 and is turned towards the right. In her left-hand she holds a scroll, 
 on which is inscribed — Veniet de super Jilius, &c. First verse: Vidi 
 leccelso idio, &c. 
 
 10. SiBiLLA TiBURTiNA. She is seated on a rocky bank, and is 
 turned towards the right. She has a book on her knees, the leaves 
 of which she appears to be turning over with her right-hand. 
 Upon a long scroll is an inscription, commencing — Nascetur in 
 Bettelem, &c. First verse below : II gusto ddio, &c. 
 
 11. SiBiLLA EuROPA. She is seated on a bank, and turned 
 tOAvards the left ; and is reading in a book, which she holds with 
 both her hands. Inscrip. Veniet collet et montes, &c. First verse 
 below : Verra quel vebrbo, &c. 
 
 12. SiBiLLA Agrippa. She is seated on a throne, and holds a 
 book with her right-hand, at which she is pointing with her left, and 
 wherein is an inscription, commencing thus : Hoc verbum invisibile, 
 &c. First verse beneath : Qundo sa questo, &c. 
 
. CHAP. VI.] BACCIO BALDINI. 408 
 
 1 shall close this list of the supposed Avorks of Baccio Baldini, 
 with the following beautiful little print, which is engraved exactly 
 in the same manner as the set of pieces of the " Giuoco di Tarocchi," 
 before described, and is preserved in the valuable cabinet of 
 Mr. Lloyd ; by whom it was purchased out of the collection 
 formerly appertaining to the Riccardi family* at Florence. It is 
 evidently a first impression of the plate, and, as far as I am able 
 to learn, is unique. The subject is the Death of Orpheus. 
 
 Orpheus is represented upon the ground, in the centre of the 
 piece, resting on his right hand and right knee. His left hand, 
 with which he holds a part of his mantle, is raised to his head, as 
 if for its protection : he is looking up towards the right, and seems 
 imploring the pity of one of the two nymphs who are beating him 
 to death with long clubs. The nymph on this side is seen in a 
 back view ; the other, on the left, is seen in a front. Both these 
 figures are covered by beautiful drapery. The figure of Orpheus, 
 except the mantle on his shoulders, is naked. A little to the left 
 of the nymph which is seen in a front view, a child appears run- 
 ning away terrified ; and, immediately behind the child, a tree, 
 supported by a single perpendicular stem, rises to the top of the 
 print. Behind the group of Orpheus and the two nymphs, is a 
 rocky mount, perpendicular on the right, and surmounted by 
 a walled city with a high tower. The lyre, or rather the guitar of 
 Orpheus, is lying before him on the ground. 
 
 This little print is shaded with cross hatchings in various di- 
 rections, like the pieces already described. The whole is designed 
 with much elegance, and finished throughout with the greatest 
 delicacy. Being, moreover, perfectly well printed, and in excel- 
 
 * The Riccardi collection of prints and It was far from being, upon the whole, a 
 
 drawings, together with several pictures, was fine collection ; but it contained a few very 
 
 purchased a few years ago by an English interesting engravings of the early Florentine 
 
 gentleman at Florence ; and, afterwards, sold school ; the best of which now grace the 
 
 by auction at Stuart's Rooms in Piccadilly, cabinet of the friend mentioned in the text. 
 
 3 F 2 
 
404 SANDRO BOTTICELLI. [chap. vi. 
 
 lent preservation, it may justly be termed a most interesting 
 specimen of the artist's talents. I shall leave it to the research 
 of future writers, to explain the engraver's meaning in the scroll, 
 or flourish, which is introduced over the figure of Orpheus, and is 
 
 here faithfully copied : ^ 
 
 This print measures eight inches and a quarter in width, by five 
 inches and a half in height. 
 
 ALESSANDRO, or SANDRO, FILIPEPI, commonly called 
 
 SANDRO BOTTICELLI. 
 
 Nat. 1437. Ob. 1515. 
 As many doubts have been suggested by recent writers relative 
 to the engravings of Sandro Botticelli — especially to his prints for 
 the Dante of 1481 — and as the account given us by Vasari has 
 been frequently misinterpreted,* I have judged it the safest method 
 to introduce the old Florentine artist to my readers in a careful 
 translation of Vasari's life of him. For, although only a small part 
 of it treats immediately of Botticelli's works of engraving, the re- 
 mainder, which contains the descriptions of his paintings, may be 
 found not a little interesting to the collector of ancient prints ; and 
 maj^ by giving him a fuller insight into his style of composition 
 than he would otherwise possess, occasionally assist him in forming 
 his decisions concerning the probable authenticity of such pieces as 
 he may find ascribed to him ; especially if, in addition to this species 
 of information, he shall have had the 0])portunity of a pre\'ious 
 acquaintance with any of that artist's genuine designs, or of his 
 works of painting. 
 
 * Heineken, for example, " Diet, des but, nevertheless, inserts the pieces ascribed, 
 
 Artistes," torn. iii. p. 209, makes Balditu whether to Botticelli or Baldini, in the s:inie 
 
 the engraver of the prints in tlie Dante. — article. Hither, " Manuel," &c. torn, in, 
 
 Bartsch, " Peintre Graveur," torn. xiii. p. 38, is positive in ascribing the prints in 
 
 p. l6l. appears doubtful upon this point, the Dante to Baldini. 
 
CHAP. VI.] SANDRO BOTTICELLI. 405 
 
 " In the time of the magnificent Lorenzo de' Medici the elder, 
 " which was, in truth, to persons of genius, a golden age, flourished 
 " Alessandro, called, according to our custom, Sandro, and surnamed 
 " Botticelli, for the reasons which will presently appear. This 
 " person was the son of Mariano Filipepi, a Florentine citizen, by 
 " whom he was diligently brought up, and caused to be instructed 
 " in all those things which it is customary to teach young boys 
 " previous to their being put to some trade : nevertheless, although 
 " he learned with great facility every thing to which he applied, 
 " he could never be satisfied with any school of reading, writing, 
 " or accounts ; insomuch that his father, tired by his volatilit}^ 
 " and determined to fix his attention to some one object, placed 
 " him with a goldsmith, a friend of his, called Botticello, who had 
 " then the reputation of a skilful professor of that art. 
 
 " There was, in those times, a very great degree of fellowship, 
 " and, as it were, a continual intimacy, between the goldsmiths and 
 " the painters ; whence Sandro, who was a young man of an acute 
 " mind, and entirely dedicated to the study of design, became 
 " enamoured of painting, and anxiously desired to apply himself to 
 " the practice of it. He therefore freely opened his mind to his 
 " father, who, knowing the ardour of his disposition, conducted 
 " him to Fra Filippo Lippi, of the Carmelites, then a professor of 
 " painting of great reputation, and placed him under his care, that 
 " Sandro, according to his inclination, might learn that art. Having 
 " given himself up, therefore, entirely to the study of painting, he 
 " followed and imitated the style of his master with such assiduity, 
 " that Fra Filippo became much attached to him, and instructed 
 " him with so much care that, in a short time, he attained a degree 
 " of excellence which no one could have imagined possible. 
 
 " When yet a lad, he painted ' Nella Mercatantia,' at Florence, 
 " a figure of Fortitude, between the pictures of the Virtues which 
 " Antonio and Pietro del Pollajuolo were then executing. He 
 " painted a picture in the ' Capella de' Bardi,' in the church 
 " of S. Spirito, at Florence, which is executed with great care. 
 
406 SAINDRO BOTTICELLI. [chap. vi. 
 
 " and extremely well finished ; wherein are certain olive and palm- 
 " trees painted with exquisite delicacy. He painted a picture for 
 " the church of the Nuns of the * Convertite,' as also one for the 
 " monastery of S. Barnaha. In the church of Ogni Santi, he 
 " painted, in fresco, by the side of the door which leads to the 
 " choir, a figure of S. Agostino, whereon (being ambitious to sur- 
 " pass all the painters of that time, but especially Domenico Ghir- 
 " landaio, who, on the other side, had painted a S. Girolamo) he 
 " bestowed much pains ; which work was deserving of great praise, 
 " as he had expressed, in the head of the saint, that profound intelli- 
 " gence and acuteness of intellect, which are proper to persons 
 " abstracted from worldly thoughts, and continually emploved in 
 " the investigation of sublime or abstruse subjects. This painting, 
 " as has been stated in the life of Ghirlandajo, was, in this year, 
 " 1564, removed safe and entire from its original situation. Whence 
 " having acquired reputation, he was employed by the companj^ of 
 " * Porta S. Maria' to paint a picture of the coronation of the Virgin, 
 " with a choir of angels, for the church of S. Marco ; which work 
 " was correctly designed, and skilfully executed. He painted many 
 " things in the house of the Medici, for Lorenzo the elder, and 
 " especially a figure of Minerva, over a device representing gabions 
 " throwing out flames,* which figure was the size of life ; and also 
 " a S. Sebastian. In the church of S. Maria Maggior, at Florence, 
 " is a Pieta by him, with figures of great beauty and expression, by 
 " the side of the chapel of the family Panciatichi. For various 
 " private houses in the city, he painted pictures of a circular form ; 
 " and many with female figures naked : two of which are now at 
 " Castello, a villa of the Duke Cosimo ; the one representing the birth 
 " of Venus, with the winds, the loves, and the zephyrs ; the other, 
 " Venus adorned with flowers by the Graces, denoting the Spring ; 
 
 * I have some doubt of the accuracy of bronconi may, amongst its other significations, 
 
 my translation in this place. Vasari says : mean gabions ; without which freedom of 
 
 " su una impresa di bronconi, che buttavano interpretation I can make no sense of the 
 
 fiioco ;" and 1 have conjectured that the word passage. 
 
CHAP. VI.] SANDRO BOTTICELLI. 407 
 
 " both of them composed and executed with taste. In the house of 
 " Gio. Vespucci, in the ' Via de Servi,' now that of Pietro Salviati, 
 " he painted several pictures round a room, surrounded with carved 
 " ornaments of Avalnut-tree ; in which are many figures of great 
 " spirit and excellence. In like manner he painted, in the house of 
 " the Pucci family, Boccaccio's story of Nastagio degli Honesti, in 
 " four pictures of small figures, full of animation and beauty; and, 
 " in a circle, the adoration of the Magi. He also painted a picture 
 " of the Annunciation in a chapel of the * Monaci di Castello.' In 
 " the church of San Pietro Maggiore, near the side entrance, he 
 " painted for Matteo Palmieri, a picture Avith a prodigious number 
 " of figures, representing the Assumption of the Madonna, Avith the 
 " different zones or partitions of the heavens, according as they are 
 " described, with the Patriarchs, the Prophets, the Apostles, the 
 " Evangelists, the MartjTS, the Confessors, the Doctors of the 
 " Church, the Virgins, and the host of Angels ; the whole according 
 " to the plan given him by Matteo, who was a man of talent and 
 " learning ; which work he executed in a most masterly and 
 " finished manner : and at the foot of it was represented the 
 " portrait of Matteo, on his knees, as also that of his wife. But 
 " notwithstanding that this work is of the greatest beauty, there 
 " were not Avanting envious persons and calumniators, who, not 
 " being able to find other fault, asserted that Matteo and Sandro 
 " had introduced into it notable heresies ; concerning Avhich accu- 
 " sation, whether it be true or false, I do not pretend to be a judge. 
 <* This I know, that the tigures which Sandro inserted in it are 
 " worthy of praise, as well as the diligence and skill with Avhich he 
 " expressed the circles of the heavens, and the divisions between 
 " the saints and the angels ; as also the fore-shortenings, and the 
 " varied points of view in which the different objects are seen : the 
 " whole being conducted with excellent design. 
 
 " About the same time Sandro was employed to paint a small 
 " picture, Avith figures about three-quarters of a cubit long, Avhich 
 " Avas placed in S. Maria Novella, between tAvo of the doors of the 
 
408 SA>DRO BOTTICELLI. [chap. vi. 
 
 " west end of the church : in it was represented the Adoration of 
 " the Magi, with great propriety of expression ; especially in the 
 " figure of the first old man, who, kissing the foot of our Lord, 
 " and melting with tenderness, shews most evidently that he has 
 " attained the end for which he undertook his very long journey. 
 " In the person of this king is represented the portrait of old Cosimo 
 " de' Medici ; and it is, of all that now exist of him, the truest and 
 " most striking resemblance. The second king represents Giuliano 
 " de' Medici, the father of Pope Clemente VII. He is wrapt in 
 " contemplation, whilst he devoutly bows before the infant, and 
 " offers his present. The third, who is also on his knees, and 
 " appears, whilst worshipping the infant, to return him thanks, and 
 " to acknowledge him to be the true Messiah, is Giovanni, the son 
 " of Cosimo. Nor is it possible to do justice to the skill displayed 
 " by Sandro in the heads in this picture; the diversity of character 
 " by which those of the young and the old men are distinguished, 
 " or the various points of view in which they are represented ; 
 " some of them being seen in front, some in profile, others in three- 
 " quarters, or looking down : the whole evincing all that judgment 
 " in the composition, which could be expected from his consum- 
 " mate mastery ; Sandro having so well characterized the attend- 
 " ants of each of the three kings, that the servants of the one cannot 
 " be mistaken for those of the others. It is certainly a most ad- 
 " mirable work for colouring, design, and composition ; and so 
 " beautifullj^ finished that, even in these days, every artist is asto- 
 " nished at it.* And, indeed, it acquired him so great a reputation, 
 " as well at Florence as in other parts, that Pope Sistus IV., Avho 
 " had recently built the chapel in the Papal Palace at Rome, and 
 " determined upon ornamenting it Avith pictures in fresco, appointed 
 " him to the superintendance of that work : upon which occa- 
 " sion, Sandro himself executed the following subjects: — viz. when 
 "• Christ is tempted by the Devil ; — Moses killing the Egyptian, and 
 
 * This picture is now the property of the author. 
 
CHAP. VI.] SANDRO BOTTICELLI. 409 
 
 " when he assists the Daughters of Jethro against the Shepherds 
 " of Midian — also the Sons of Aaron, who, whilst sacrificing, are 
 " destroyed by fire from Heaven — and some of the figures of the 
 " Popes, which are, in the niches, over the Sacred Histories. 
 " Whence having acquired increased fame and reputation amongst 
 " the many artists of Florence and other cities who worked in com- 
 " petition with him, he received from the Pope a considerable sum 
 " of money. This he soon dissipated in his lodgings at Rome, 
 " Avhere, according to his usual custom, he lived without any 
 " thought for the morrow ; and, having finished that part of the 
 " work which had been allotted to him, he immediately returned 
 " to Florence. 
 
 " Here, being a person fond of novel pursuits, he commented 
 " upon a part of Dante ; and designed and engraved the Inferno ; 
 " about which work he consumed a great deal of time. This, 
 " preventing his painting, was the occasion of very great disorder 
 " in his affairs. He likewise engraved many other things from 
 " designs which he had made ; but in an indifferent manner, because 
 " he had but little skill in the management of the burin ; so that 
 " the best print which we see by his hand is the Triumph of the 
 " Faith of Fra Girolamo Savonarola of Ferrara,* of whose sect he 
 
 * I think I have given the true meaning " meglio eke si vegga Di sua mano ^ i7 
 of this interesting passage of Vasari, relative " trionfo della Fede di Fra Girolamo Sa- 
 to Botticelli's engravings, in the text ; never- " voiiaro/a da Ferrara," &c. In the first 
 theless, for the further satisfaction of the edition of Vasari, the passage respecting 
 reader, the words of the A retine writer are Botticelli's engravings is shorter; but the 
 here inserted. " Dove per essere persona sense of it is the same. Indeed it happily 
 " sofistica comentt* una parte di Dante : e furnishes a satisfactory proof, that the inter- 
 " figurl^ lo Inferno, e lo mise in stampa, pretation given in the text of the terms 
 " dietro al quale consum6 di molto tempo, " mise in stampa,' ' is according to Vasari's 
 " per lo che non lavorando, fi» cagione d'in- true meaning. For after the sentence reia- 
 " finiti disordini alia vita sua. Mise in tive to the engravings from Dante, which is 
 " stampa ancora molte cose sue di disegni verbatim the same in all the editions, he 
 " ch'egli haveva fatti, ma in cattiva maniera, says : " Mise in stampa ancora il trionfo 
 " perche I'intaglio era mal fatto, onde il " della Fede di Fra Girolamo Savonarola da 
 
 3g 
 
410 SANDRO BOTTICELLI. [chap. vi. 
 
 " was so active a partizan, that it occasioned him to abandon paint- 
 " ing ; and, in consequence, as he had no income to support him, 
 " caused the greatest embarrassment in his circumstances. For, 
 " being obstinate in his attachment to that part}^ and going about 
 " continually whining, he neglected to attend to his work ; and, 
 " at length, when he was grown old, he found himself so poor, that 
 " if Lorenzo de' Medici, (for whom, besides many other things, he 
 " had executed considerable works at the Spedaletto of Volterra,) 
 " as well as several other respectable friends Avho admired his 
 " talents, had not assisted him, he Avould have been almost starved 
 " to death. In the church of S. Francesco, outside the gate at 
 " S. Miniato, there is, by the hand of Sandro, a circular picture of 
 " the Madonna, with angels of the size of life, which was esteemed 
 " a most beautiful performance." 
 
 Vasari proceeds to relate a couple of anecdotes of Sandro's plea- 
 santry, not worth translating; and a third, which, as it contains 
 a second mention of his Commentary on Dante, is not AvhoUy 
 uninteresting. 
 
 " It is recounted of Sandro," says Vasari, " that, for a joke, he 
 " accused one of his acquaintance, to the vicar, of heresy ; and 
 " that the person having appeared, and demanded the name of his 
 " accuser, and the nature of the alleged offence, was informed, 
 " that it was Sandro ; and that he had asserted him to hold the 
 " opinion of the Epicureans, who say, that the soul dies with the 
 " body. The accused person, therefore, desired that he might be 
 
 " Ferrara ;" and tliis piece, he expressli/ tells signs. And, in fact, the general tenor of 
 
 us, in his second and augmented edition, was Vasari's account, agrees in this respect ; as it 
 
 engraved by Sandro's own hand. The would have been light work to Botticelli, 
 
 words, " mise in .stampa ancora (also) im- who designed with greater facility than 
 
 mediately referring, as they do in this place, to almost any artist of his time, to prepare 
 
 the engravings from Dante, appear, therefore, drawings for the Inferno, for other artists to 
 
 to leave no doubt that Vasari meant to say that engrave from ; and could never have been the 
 
 those pieces were also engraved by Botticelli occasion of the inconveniences in his affairs 
 
 himself; and not, as some writers have sup- which Vasari speaks of. 
 posed, by Baldini, or others, from his de- 
 
CHAP. VI.] SANDRO BOTTICELLI. 411 
 
 * brought, face to face with his accuser, before the judge; when, 
 
 * Sandro having appeared, he thus addressed the tribunal : — ' It is 
 ' indeed true that I entertain this opinion of the soul of that fellow, 
 ' because he is a beast. Besides which, do you not perceive that 
 ' he is a heretic — seeing that, although he is so destitute of learn- 
 
 * ing, that he can scarcely read, he has the assurance to write a 
 ' Commentary on Dante,* and takes his revered name in vain ?' 
 
 " It is said," continues our author, " that Sandro always esteemed 
 ' those whom he knew to be studious of the art, and that he gained 
 ' a great deal of money; although, from want of care and proper 
 
 * management, he got rid of it as fast as he made it. At length, 
 ' being old and infirm, he was obliged to Avalk upon crutches ; and, 
 ' lastly, in the year 1515, he died at the advanced age of seventy- 
 ' eight, and was buried in the church of Ognisanti, at Florence. 
 
 " In the Guardaroba of theDukeCosimo, there are, by his hand, 
 
 * two female heads, in profile, of great beauty ; one of which is 
 
 * said to be the portrait of a lady who was beloved by Giuliano 
 
 * de' Medici, the brother of Lorenzo ; and the other, that of 
 Madonna Lucretia de' Tornabuoni, the wife of the said Lorenzo. 
 
 ' There is also, by the pencil of Sandro, in the same collection, an 
 ' animated figure of Bacchus, drinking out of a barrel which he 
 ' holds up to his mouth with both his hands. 
 
 " In the Duomo, at Pisa, in the ' Capella dell' Impagliata,' he 
 ' commenced a picture of the Assumption, with a glory of angels; 
 ' but as the work did not satisfy him, he left it imperfect. In 
 
 * I would gladly be informed concerning Sandro, upon the occasion of the altar-piece 
 
 Sandro's commentary. I have, sometimes, painted by him for Matteo Palmieri, leads 
 
 suspected that he might have written, or fur- me to suspect that he might, perhaps, have 
 
 nished the materials for, the short account of written some whimsical opinions as to the 
 
 the early Florentine artists, prefixed to Lan- etiquette and rules of precedence which he 
 
 dino's commentary ; and that this was all. imagined proper amongst the different classes 
 
 But Vasari's second mention of the circum- of saints and angels in heaven ; and that, in 
 
 stance in this place, coupled with the account these opinions, he had been found (as, I be- 
 
 of the accusation of heresy, which he for- lieve, Dante is in some places) at variance 
 
 merly stated to have been brought against with the established doctrines of the church. 
 
 3 G 2 
 
412 SANDRO BOTTICELLI. [chap. vi. 
 
 S. Francesco, at Monte Varchi, he painted the picture at the 
 principal altar; and at the church of the ' Pieve' at Empoli, on 
 that side where is the St. Sehastian by Rossellino, he painted 
 two angels. He was among the first that discovered the method 
 of preparing and executing the decorations on the standards, and 
 similar things, carried in processions, by letting in the cloths, or 
 silks, of different colours, in pieces ; so that the colours shcM'ed 
 on both sides the standard, and the work was not so liable to 
 fade : in which manner he painted the standard of ' Or San 
 Michele,' filled with .beautiful and varied representations of the 
 Madonna,"* &c. 
 
 " Sandro Avas a most excellent designer, and drew a great deal, 
 insomuch that, for some time after his death, his designs were 
 sought after and highly prized by the artists ;t and in our book]: 
 are several which are executed with great freedom and judg- 
 ment. In his historical compositions he was copious, and intro- 
 duced a great number of figures ; as may be seen in the frieze 
 of the Crucifixion which the friars of S. Maria Novella bear in 
 procession, and which Avas worked in tapestry after his designs. 
 Sandro, in fine, merited great praise for all his works of paintino-, 
 
 * I am unable to understand clearly the which would do no discredit to the hand of 
 
 meaning of the author in the two lines which RafFaello, or da Vinci, 
 
 complete this sentence, and have, therefore, | That is, the large volume in which Va- 
 
 omitted them. sari had collected together the original designs 
 
 t A stronger testimony to the merits of of all the greatest artists of Italy, from the 
 Botiicelli, than tliat the artists of Florence revival of painting by Cimabue to his own 
 should have coveted to possess his drawings, time. The drawings contained in this col- 
 even some years after the greatest painters lection (which, perhaps, consisted of more 
 and sculptors of the sixteenth century had than one volume) appear to have been dis- 
 made their appearance, can scarcely be con- persed about a century ago. The Duke of 
 ceived. That the fact, however, was as Devonshire's cabinet possesses some of them ; 
 Vasari has stated, I can readily believe; and a few others, especially a sheet of 
 having, amongst other drawings by him in studies by Cimabue, which was, probably, 
 my own collection, two studies of heads from the first leaf of the collection, are in my 
 nature, drawn on a tinted paper with a silver own. 
 point, and touched in the lights with white. 
 
CHAP. VI.] SANDRO BOTTICELLI. 41J 
 
 " and especially for those which he executed in his more delicate 
 " and finished manner ; as was the case with the picture of the 
 ** ' Adoration of the Magi' at Santa Maria Novella, before-mentioned, 
 " which is really an astonishing performance. There is also great 
 " beauty in a little circular picture by his hand, with small figures, 
 " which is preserved in the apartment of the superior of the convent 
 " * degli Angeli,' at Florence. Lastly, M. Fabio Segni, a gentle- 
 " man of Florence, possesses, by the hand of Sandro, a picture of 
 " the same dimensions as the said * Adoration of the Magi,' of the 
 " greatest possible beauty ; in- which is represented ' the Calumny 
 " of Apelles.' This picture was presented by the painter himself 
 " to Antonio Segni, his intimate friend, and under it we now read 
 " the following lines, which were written by the above-named 
 " M. Fabio.* 
 
 " Indicio quemquam ne falso Isedere tentent, 
 " Terrarum Reges parva Tabella monet. 
 
 " Huic similem Aegypti Regi donavit Apelles. 
 " Rex fuit, et dignus munere : munus eo." 
 
 Here ends Vasari's Life of Sandro Botticelli. 
 
 The testimony of Vasari, in the above account, appears too 
 decisive as to the fact of Botticelli's having engraved many pieces 
 from his own designs, and, amongst the rest, certain plates from 
 the Inferno of Dante, to admit of any reasonable doubt concerning 
 it ; or, at least, of such having been the common belief when Vasari 
 wrote : (unless, indeed, it be urged, that Vasari's expression, as to 
 his having engraved the Inferno of Dante, may refer only to a single 
 plate, not now known :) and as several engravings from passages of 
 the Inferno are found in the Edition of Dante published by Nicolo 
 della Magna, in 1481, which, in their style of design and com- 
 
 * This picture is now preserved, amongst of painting, in the collection of the Gallery 
 other specimens of the early Florentine school of Florence. 
 
414 SANDRO BOTTICELLI. [chap. vi. 
 
 position, closely resemble the known works of painting still existing 
 by this ancient Florentine artist, we are surely not going too far, 
 when we conclude, that these pieces are those to which the Aretine 
 biographer intended to refer. 
 
 But although the text of Vasari warrants such a conclusion, and, 
 indeed, seems to authorise no other, still it must be confessed, that 
 these pieces from Dante bear, in their style of execution, a very 
 strong resemblance to the engravings which we have ascribed to 
 Baldini, and especially to the series of the Prophets, and the three 
 prints in the Monte Santo di Dio. Hence, no doubt, the opinion 
 of those who consider the pieces in question to have been designed 
 only by Botticelli, but engraved by Baldini ; an opinion which we 
 have already shewn to be in opposition, not only to the letter, but also 
 to the general spirit, of Vasari's account. For, as we before observed, 
 the task of making certain drawings from Dante, for Baldini to engrave 
 from, could not have occupied Botticelli (who was one of the most 
 practised designers of his age) for that length of time, or have given 
 rise, in consequence, to that embarrassment in his affairs, which 
 Vasari describes. It is not improbable that Baldini, to whom 
 Botticelli was in the habit of furnishing designs, might, in return, 
 have instructed his friend in the art of engraving ; and that the 
 latter, who, as Vasari says, was fond of novel pursuits, finding the 
 task of engraving figures upon so small a scale more troublesome 
 than he had expected, called in the occasional aid of Baldini. 
 Perhaps, on the other hand, Sandro might now and then have 
 corrected the outline of Baldini's engravings, on the copper; and 
 indeed I cannot help suspecting that he did so, in some parts of 
 the first print in the " Monte Santo di Dio ;" especially the head 
 and the upper part of the figure of the young man looking up 
 to heaven. 
 
 Lanzi* was of opinion, that the first two engravings of the 
 Dante of 1481, only, (which, in all the copies of that work, are 
 found printed upon the pages at the beginning of the first and 
 
 * " Storia Pittoiica," torn. i. p. 83. 
 
CHAP. VI.] SANDRO BOTTICELLI. 415 
 
 second cantos,) were executed by Botticelli himself; and that 
 the other seventeen, which are sometimes found, pasted in the 
 vacancies left for the purpose at the beginning or at the end of 
 other cantos, were engraved by a different and inferior artist. But 
 I cannot discover a difference sufficiently marked, between those 
 two prints and the others, to justify such a supposition. For 
 although, in some of the latter pieces, the heads and the extremities 
 of the figures appear to be drawn with less care and intelligence 
 than is the case in the first two, the same cannot be said of others. 
 Upon the whole, whilst I admit that the question is one of extreme 
 difficulty, I incline to the opinion, that a few of the engravings 
 are entirely the work of Botticelli ; that he was assisted, more or 
 less, by Baldini in the execution of others ; and, that some of them 
 were engraved by Baldini alone. 
 
 Engravings for the Edition 0/ Dante, printed at Florence, by 
 Nicolo di Lorenzo della Magna, in 1481. 
 
 These prints measure six inches three-quarters in width, by three 
 inches three-quarters in height. 
 
 I. Canto. On the left of this piece, is a fine expressive figure of 
 Dante, lost in contemplation, in the depths of a forest. Nearer 
 the centre, the poet again appears, coming out of the Avood, and 
 looking up, his left-hand raised over his head, towards the sky. 
 Both these figures are turned towards the right. A little further, 
 towards the right, the spirit of Virgil, the destined guide of Dante, 
 makes its appearance : the upper part only of this figure is seen. 
 In the fore-ground, on the right-hand, are a lion and a panther; 
 and, behind them, the author of the poem is introduced, for a third 
 time, in a very animated figure, in a back view, running away 
 terrified from a wolf. 
 
 In this engraving, as well as in most of the others of the series, the 
 artist has included the representations of different passages of the 
 
410 SANDRO BOTTICELLI. [chap. vi. 
 
 Canto, and, of consequence, of different points of time, within the 
 limits of the same composition ; according to the custom of the 
 early schools of painting. The whole is executed with great feeling, 
 and the heads and the extremities of the figures, especially, evince 
 more intelligence of design than Baldini was, I think, master of 
 
 II. Canto. Dante and Virgil appear, on the left of the print, 
 standing, in earnest conversation, under the foliage of two trees : 
 the former being seen in a back view, the latter in front. In the 
 middle, upon a rising ground, the two poets are introduced 
 a second time ; Dante, as before, being represented in a back 
 view, and Virgil in front. The eyes of both of them are directed 
 towards a small and not inelegant female figure, intended to repre- 
 sent Beatrice, which appears, surrounded by rays of glory, in the 
 sky. At the top of a hill, on the right, is the entrance into Hell, 
 over which is inscribed : per me. 
 
 The two above described pieces will be found copied in Hei- 
 neken's ' Idee Generale,' and in Jansen, ' Essai sur 1' Origine de la 
 Gravure.' An indifferent copy of the second piece is likewise given 
 in Strutt's ' Dictionary of Engravers.' 
 
 III. Canto. On the left of this engraving, on the further side of 
 the river Acheron, Dante and Virgil are represented about to enter 
 the gate of Hell ; their figures being directed towards the right. 
 Virgil points, with his left hand, to an inscription over the entrance, 
 which Dante appears to read with emotion. This inscription, in 
 which the letter s is in both instances reversed, contains the first words 
 of the three celebrated lines at the opening of the third canto : 
 
 Per me si va nella citta dolente. 
 Per me si va nell etherno* dolore 
 Per me si va TRA la perduta gente. 
 
 * So spelt in the edition of 1481. 
 
CHAP. VI.] SANDRO BOTTICELLI. 417 
 
 In the centre of the piece, Dante and Virgil appear a second 
 time, within the precincts of Hell ; and, be3^ond them, a group of 
 unhappy spirits, amongst whom a king and a bishop mav be 
 descried, is seen following a demon Avho bears a standard. The 
 steps of all these figures are directed towards the right. On the 
 right of the piece, Dante and Virgil appear a third time, standing 
 on the brink of the river, and turned toAvards the left ; and the 
 figure of Dante is also represented a fourth time, fallen down in 
 a sAvoon. Between these figures and the spectator, the hideous 
 Charon, with wings, and the face of a monster, is seen, sitting in 
 his boat. This print is numbered 3 (the figure reversed) and also 
 in. at the left corner at bottom. 
 
 A fac-simile of this engraving will be found in the fourth volume 
 of the ' Bibliotheca Speuceriana.' 
 
 IV. Canto. In the upper part of this piece, towards the left, Dante 
 appears recumbent, and just awakened from the swoon or trance 
 into which he had fallen by a clap of thunder. Further to the left, 
 he is represented again, descending, with his guide, into Limbo, 
 the outer circle of the infernal regions. This habitation of the 
 souls of the Poets, the Philosophers, and the Heroes of Antiquity, 
 is surrounded by seven circular walls with battlements, and, on the 
 right, are seven towers. In the circular space in the centre, Dante 
 and Virgil are once more seen, conversing with the spirits which 
 inhabit the place. An armed figure, in the middle, was probably 
 intended to represent Julius Caesar : Latinus, and his daughter 
 Lavinia, appear seated, a little on the right of the last-mentioned 
 figure ; and three other figures are represented standing. Further 
 to the right, behind the towers before-mentioned, appears Homer, 
 who is represented with a sword, and is followed by Horace, Ovid, 
 and Lucan. 
 
 The number of the piece is rudely engraved, in Roman numerals, 
 at the left corner at bottom ; and the Arabic figure, 4, is at the 
 right hand corner at top. 
 
 3 H 
 
418 SANDRO BOTTICELLI. [chap. vi. 
 
 V. Canto. In the upper part of this piece, on the left hand, are 
 seen Dante and Virgil, who are arrived within the second circle : 
 here Minos decides respecting the punishments of the condemned 
 spirits that are brought before him, some of which are seen pre- 
 cipitated into the abyss by a whirlwind. In the fore-ground, on the 
 right, the two poets are represented a second time. Dante appears 
 calling to him the spirits of Paolo and Francesca, which are seen 
 mourning their fate in the space above. The number V is engraved 
 near the left hand corner at bottom. 
 
 VI. Canto. The centre of the print represents the monster 
 Cerberus, with wings, large claws, and three heads. He is seated 
 amongst the wicked, condemned of the vice of gluttony, whom he 
 tears in pieces ; at the same time that they are also punished by a 
 continued shower of enormous hail stones. The monster is turned 
 towards the left, and appears threatening the destruction of Dante, 
 who is introduced in the upper part of the piece, on that side, in an 
 attitude indicating his alarm. Under the figure of Dante, that of 
 Virgil is represented, in the act of collecting a large handful of 
 earth or mud, in order to throw it at the monster, to quiet him. 
 On the right of the piece, Virgil and Dante are again represented ; 
 Dante being in conversation about the two parties of the hianchi 
 and the neri, with a Florentine, named Ciacco ; whose figure, 
 kneeling on one knee, is turned towards the right. The number of 
 the Canto is introduced in a reverse direction, so as to appear like 
 four, IV. on the left-hand, at bottom. 
 
 This piece will be found copied in the fourth volume of the 
 * Bibliotheca Spenceriana.' 
 
 VII. Canto. In this piece the punishments of the avaricious and 
 the prodigal are represented. These persons, amongst whom are 
 introduced a bishop, a cardinal, a king, and an emperor, appear on 
 the ground, on their hands and knees ; and are employed in rolling 
 large weights, by pushing at them with their breasts. In the middle 
 
CHAP. VI.] SANDRO BOTTICELLI. 419 
 
 of the print, near the top, the monster Pluto appears falling back- 
 wards at the rebuke of Virgil, who is represented, with Dante, upon 
 a rising ground on the right. The two poets appear again, lower in 
 the composition, towards the left ; and in the middle, at bottom, the 
 upper part of the figures of Virgil and Dante are seen, for a third 
 time, descending into the fifth circle. The number of the canto, 
 seven, appears in a reverse direction, on the left-hand, at bottom. 
 
 VIII. Canto. In the middle of the upper part of this piece, 
 Dante and Virgil are seen, between two rocks, descending towards 
 the river Styx. On the right they appear, a second time, at the 
 bank of the river, about to enter the boat of Phlegias. In the 
 centre of the print, the boat of Phlegias is again introduced, and 
 Virgil appears pushing away the spirit of Philippo Argenti, who 
 had endeavoured to insult Dante. On the left are two towers, 
 guarding the entrance of the burning city of Dite. A demon 
 appears running in at the gate ; and, behind him, Virgil is repre- 
 sented, for the fourth time, comforting and encouraging Dante, who 
 had been so terrified at what he saw, as to be induced to desire his 
 immediate return to the regions of light. At the bottom of the 
 print, near the middle, the number eight is inscribed in Roman 
 numerals reversed. 
 
 IX. Canto. On the right of this piece, the horrid figure of 
 Medusa is introduced ; and, in the middle, Virgil appears covering 
 the eyes of Dante with his hands, lest, seeing her, he should be 
 turned into stone. Behind the group of Dante and Virgil is a 
 tower, and a celestial spirit which appears crossing the river Styx 
 dry-footed. On the left is another tower, upon the summit of 
 which are three furies, enveloped in flames. The gate of this tower 
 is opened by the angel, with the touch of his wand, to the astonish- 
 ment and mortification of two groups of demons, which guarded it 
 on either side. 
 
 3 H 2 
 
420 SANDRO BOTTICELLI. [chap. vi. 
 
 The number nine, in Roman numerals reversed, is engraved near 
 the middle of the print, at bottom ; thus : IIIIV. 
 
 X. Canto. On the left, at the upper part of the print, is an open 
 gate, guarded by two demons. Dante and Virgil have just entered 
 it, and fmd themselves in an inclosed place, filled with burning 
 sepulchres, containing the souls of those who have been condemned 
 of heresy. In the middle, at bottom, Virgil, accompanied by Dante, 
 is introduced, a second time, pointing to the cover of one of these 
 sepulchres, on which is inscribed, in four lines — pap an astas lo gu 
 ARDO ; the letter s in both instances being reversed. More to the 
 right, Dante is seen, a third time, in conversation with the Floren- 
 tine Cavalcante, whose head and left arm appear rising amidst the 
 flames out of his sepulchre. The figure X. is inscribed at the 
 bottom of the plate, near the middle. This piece is inferior, in 
 point of design, to most of the pieces of the series. 
 
 XL Canto. Dante and Virgil are here represented in the upper 
 part of the print, on the left : they are seated upon a rocky emi- 
 nence, amongst burning sepulchres of a different kind fi'om the 
 former, in Avhich the heads of their miserable inhabitants appear 
 through the flames. The cover of the tomb of the pope is again 
 represented, on the right of the figure of Dante ; and is inscribed, 
 in five lines, thus : anas tasio papa guar do — the s being in both 
 instances in its proper direction. The No. XL, in Roman numerals, 
 reversed, so as to appear like nine; thus: IX. — is inscribed at 
 the left-hand corner, at bottom. 
 
 XII. Canto. In the upper part of this piece, on the left, the 
 Minotaur is represented, who, at the appearance of Virgil and 
 Dante, being unable to do them injury, turns his rage against him- 
 self In the distance, near the centre, Dante and Virgil are again 
 introduced, near the river of blood, in which those are plunged 
 
~W""^.fi': ,c- 
 
 
 •1^ 
 
 a- 
 
 
 
 '' "iSl H ^ 
 
 
 :.f ;.""!'i^ 
 
 
CHAP. VI.] SANDRO BOTTICELLI. 421 
 
 who have been guilty of the blood of others. On the right-hand, 
 the centaurs Nessus, Chiron, and Pholus, oppose their passage. On 
 each side of the river of blood are placed the centaurs, that they 
 may shoot their arrows at those condemned spirits who venture to 
 raise themselves above the surface of the stream. The figure of 
 Dante is represented, a third time, in the fore-ground on the right, 
 seated on the back of a centaur, which Chiron has given orders to 
 carry him. The number XII. is inscribed, in characters reversed, 
 on the left-hand of the plate, at bottom. 
 
 By the permission of George Hibbert, Esq. who, for that pur- 
 pose has obligingly favoured the author with the loan of one of the 
 finest copies of the Dante of 1481 in the kingdom, a careful fac- 
 simile of this piece is given to the reader in the annexed plate. 
 
 XIII. Canto. Dante, accompanied by Virgil, enters a thick 
 wood, in which there is no path, and wherein the trees are full of 
 knots, and covered with empoisoned thorns. The trees of this 
 forest contain, shut up within their barks, the souls of condemned 
 persons, and amongst their branches are the harpies. Dante and 
 Virgil appear three times in this composition : first, in the upper 
 part of the piece, on the left ; secondly, a little towards the right, 
 where Dante is seen tearing a branch containing the soul of Piero 
 delle Vigne ; and, thirdly, in the fore-ground, on the right, where 
 Virgil appears collecting together the fragments which have been 
 torn from the bush containing the soul of Jacomo da Padoua, by 
 the dogs employed to hunt down and tear in pieces the miserable 
 Lano Sanese. The number XIII., in Roman numerals, reversed, 
 is inscribed at the bottom of the plate, near the middle. 
 
 XIV. Canto. This piece represents a tract of sterile land, covered 
 with burning sand, where those who have been guilty of impiety 
 towards Heaven, are tormented by flames of fire falling upon them 
 f]-om above, and resting on various parts of their bodies. The 
 figures of the damned are all naked, and running, or struggling on 
 
422 SANDRO BOTTICELLI. [chap. vi. 
 
 the ground, in various attitudes, expressive of the tortures they 
 endure. One alone, whose head is covered with a regal crown, 
 and who is intended to represent the proud and impious Capaneus, 
 lies recumbent, in tranquil state, as if despising the utmost rigour of 
 divine vengeance. Dante and Virgil, who are on an elevated wall 
 on the left, appear to be in conversation with Capaneus. The two 
 poets also appear, a second time, on the right. The forest, which 
 constitutes the subject of the last described piece, forms the back- 
 ground of the present one. The number XIIIl., reversed, is in- 
 scribed on the left-hand corner, at bottom. 
 
 XV. Conto. In this piece, Dante and Virgil appear standing on 
 one of the two broad walls, or banks of stone, which form a boun- 
 dary on either side the river of blood, and run in a diagonal direc- 
 tion, from near the left-hand corner of the print at top, to the middle 
 at bottom. The remaining space on the right is occupied by naked 
 figures, tormented like those in the last described print, by flames 
 of fire. The figure of Dante is near the left-hand upper corner of 
 the piece, and is turned towards the right : he is stooping down, and 
 in earnest conversation with the spirit of Brunetto Latini. Virgil, 
 whose figure is placed a little more to the right, and seen in a back 
 view, appears turning round and addressing Dante with the advice 
 that he should remember what Brunetto was telling him. The 
 number XV., reversed, is engraved near the centre, at bottom. 
 
 XVI. Canto. The same river that appears in the last described 
 piece, forms a more prominent feature in the present. Dante and 
 Virgil are standing on the bank, as in the other. The Tuscan poet 
 is occupied in conversation with the souls of Ruggieri Guidoguerra, 
 Tegghiaio Aldobrandi, and Jacopo Rustichucci. Nearer to the 
 right-hand corner, the two poets are again introduced, and Virgil is 
 seen throwing the girdle of Dante at a monster that appears rising 
 from the bottom of the river, and of which Dante seems terrified. 
 The head only of this monster is seen. The number of the canto 
 
CHAP. VI.] SANDRO BOTTICELLI. 423 
 
 is engraved in Roman numerals reversed, on the left-hand bottom 
 corner of the print. 
 
 XVII. Canto. The monster Gerione, whose head only was seen in 
 the piece last described, is the most striking object in the one before 
 us. His head, which is that of a man, is surmounted by a crown ; 
 but his body is that of a serpent, and he has the claws of a griffin. 
 He is turned towards the right, and on his back is seated the poet 
 Virgil, who appears inviting Dante to place himself also on the 
 monster's back, before him. On the right D^nte appears a second 
 time, in conversation with three condemned spirits, who appear 
 seated amidst the flames, each with a shield containing armorial 
 bearings hung round his neck. At the bottom of the piece, part of 
 the head of the monster Gerione is seen again, as well as the upper 
 parts of the figures of Dante and Virgil, whom he is conducting, 
 seated on his back, to the lower regions of hell. The number 
 XVII., in characters reversed, is inscribed near the bottom corner, 
 on the left-hand. A copy of this engraving will be found in 
 Mr. Strutt's Dictionary of Engravers. This piece, and the preced- 
 ing, are executed in a cruder manner than many of the others, and 
 are, at the same time, inferior in point of design. 
 
 XVIII. Canto. Being brought b}^ Gerione to the foot of a rock, 
 which forms the boundary of the eighth circle, called malebolge, 
 the two poets descend from the monster's back. Dante and Virgil 
 appear standing on the left, upon the borders of the bolgia, whereon 
 a demon, armed with a scourge in each hand, is driving before him 
 the souls of condemned persons. In the distance, on the right, 
 Dante and Virgil are introduced a second time, and appear to be 
 talking together, concerning Venetico de Caccianimici of Bologna, 
 whose head is seen looking up from below. On the fore-ground, to 
 the left of this group, Dante and Virgil appear, a third time, bend- 
 ing forward towards the left, in order to discover Thais. The 
 figures in this piece have considerable merit, and the whole has 
 
424 SANDRO BOTTICELLI. [chap. vi. 
 
 a soft effect. The number XVIIL, reversed, is indistinctly engraved 
 at the bottom of the print, near the centre. 
 
 XIX. Canto. On the left, and in the centre of this piece, are 
 manv round pits of equal dimensions. Flames of fire issue from 
 some of them; and the legs of condemned spirits, each Avith flames 
 at their feet, are seen coming out of others. Dante, and his com- 
 panion Virgil, make their appearance four times in this piece. First, 
 on the left ; secondly, on a sort of arched rock, on the right ; and 
 twice at the right-hand corner, at bottom, where the upper part of 
 their figures only are seen. The number XVI III., in Roman 
 numerals, reversed, is inscribed at the left-hand corner of the piece, 
 at bottom. 
 
 Besides the nineteen pieces above enumerated, Mr. Bartsch 
 describes a twentieth, Avhich is no other than a varied composition 
 of the subject represented in the third plate of the series. This 
 piece was probably designed, as Avell as engraved, by a different 
 hand from any of the above ; and is shaded Avith simple diagonal 
 hatchings in the manner used by Mantegna, and adopted, soon 
 after the establishment of engraving, by a large proportion of the 
 engravers throughout Italy. It has no number. It will be found, 
 copied in outline, in the fourth volume of the ' Bibliotheca Spen- 
 ceriana,' being inserted as a variety, together with the other nine- 
 teen pieces, in Lord Spencer's copy of the Dante of 1481. 
 
 Vasari, after having made mention of the prints for the Dante, 
 observes generally, that Botticelli engraved various other pieces 
 from his own designs ; and especially a print representing ' the 
 Triumph of the Faith of Fra Girolamo Savonarola, which he assures 
 us Avas preferable to all that he ever did in that Avay. Could this 
 identical piece by Sandro be discovered, Avhich, excepting the 
 ' Inferno of Dante,' is the only one Vasari specifies, it Avould, 
 doubtless, greatly assist us in determining concerning the others 
 by his hand. No ancient engraving, however, exactly answering 
 
CHAP. VI.] SANDRO BOTTICELLI. 425 
 
 the above title, has hitherto been found ; and when I venture to 
 suggest that the following piece may, very possibly, be that which 
 the Aretine biographer intended to describe, I must, at the same time, 
 assure the reader, that I should not offer such a conjecture, were it 
 not, in the first place, that the design is so strictly conformable, in 
 its style, to the known works of Botticelli, as to leave, I think, no 
 doubt of its being his ; and, secondly, that the subject represented 
 in it, viz. the triumph and universal exercise of the Christian virtues, 
 appears to be such as Vasari, in his hasty, and, often, careless 
 manner of writing, may readily be supposed to have described under 
 the above title ; more especially if one of the two probabilities be 
 admitted, — either that he omitted to read the inscriptions on the 
 plate, or that he wrote from memory. 
 
 THE PREACHING OF ERA MARCO DI MONTE SANTA 
 
 • MARIA IN GALLO. 
 
 Era Marco, of the Convent of Minor Franciscans at Monte Santa 
 Maria in Gallo, a village near Ancona, is represented preaching 
 from a pulpit, which is placed near the bottom of the engraving 
 towards the left. On the pulpit is this inscription in small mi- 
 nuscules : frare marco de monte sancta maria in gallo. The Friar's 
 numerous auditors, some standing, others seated on benches or on 
 chairs, occupy the lower part of the print. Beyond this audience, 
 the mount, or bank of Charity, instituted by Era Marco, is repre- 
 sented by a large heap of money, from whence certain citizens 
 are distributing alms to the poor. On a label underneath, are the 
 words, MONS PiETATis, engraved in capitals ; as are all the other 
 inscriptions on the piece, except that on the pulpit before-men- 
 tioned. Further, in the back-ground, are seven fabrics, four on the 
 left-hand, and three on the right, in which are exhibited the seven 
 works of mercy ; and a chapel is also seen, on the right, in which 
 Christ is introduced appearing to St. Gregory, during the celebra- 
 
 3 I 
 
4-26 SANDRO BOTTICELLI. [chap. vi. 
 
 tionofmass. Each of these fabrics bears an inscription : infirmus 
 
 ERAM ET VISIT ASTIS ME — NUDUS ERAM ET VESTISTIS ME, &C. &C. The 
 
 distance shews, in epitome, within the segment of a circle, the globe 
 of the earth — the ocean — various cities, &c. and, OA'^er it, the vault 
 of heaven is represented by various belts or zones of parallel cur- 
 vature, wherein are placed the seven planets, and the fixed stars. 
 In the centre of the upper part of the print, over these zones, Jesus 
 Christ and the Madonna are seen, seated on either side of the glory 
 of the Father, which is represented by a circular space, left white, 
 and surrounded by two rows of cherubims. Our Saviour, who is 
 on the left, appears giving the benediction with his right hand, 
 whilst, with the other, he holds a scroll, on which is inscribed : 
 VENITE BENIDITTI PATRis Mil. The Virgin is on the right, and 
 holds in her right hand, a scroll, with an inscription commencing 
 thus : FiLii DULCissiME, &c. In the spaces on either side the figures 
 of Christ and the Madonna, are the host of angels, ranged behind 
 each other in four rows of similar curvature to the zones beneath — 
 the entire figures of the angels in the front row being seen, but the 
 upper part only of the others. 
 
 At the bottom, on the left-hand, in the impression of this piece 
 described by Bartsch,* is the following inscription : Septem miseri- 
 cordiae opera, hi aes incisa Florentiae sub inventam incidendi artem, 
 cujus ai'cheti/pum Romae in Musaeo F. Gualdi Ariminen. Milit. S. 
 Stephani asservatur, et Urbano VII f. P. M. Lnci reddita. 1632. 
 
 The collection of Mr. Lloyd possesses an impression of this inte- 
 resting print, but without the inscri})tion at bottom, which has been 
 scratched out. It bears the aj)pearance of a modern impression 
 taken from an ancient engraving, after the plate had been coarsely 
 retouched all over. The figures are designed with great spirit, and, 
 in many })arts, very skilfully grouped. In its style of engraving, 
 it bears no resemblance to the prints for the Dante, being shaded 
 throughout by parallel diagonal hatchings, which, in many places, 
 
 * " Peintre Graveur," vol. xiii. p. 89. 
 
CHAP. VI.] SANDRO BOTTICELLI. 427 
 
 terminate abruptly at one end, near the contours of the figures, so 
 as to produce a harsh and disagreeable etfect. Perhaps it was some- 
 thing of this kind to which Vasari referred when he observed of 
 Sandro's engravings, ' che I'intaglio era mal f'atto.' It measures 
 twenty inches in height, by fourteen inches in width. 
 
 Mr. Bartsch considers the above inscription as decisive of the 
 engraving in question being merely a copy of an ancient Floren- 
 tine print formerly preserved in the Museum Gualdi at Rome ; but 
 I think this by no means a necessary inference, and am rather of 
 opinion that the original, spoken of as existing in 1632 at Rome, was 
 the design, or rather the picture, from which Botticelli had engraved 
 the plate; and that this plate having long laid neglected, perhaps in 
 some convent of the Franciscan order. Pope Urban VIII. hearing of 
 it, might, in 1632, give directions that it should be republished. I 
 am, indeed, the more inclined to believe such to have been the 
 case, because Botticelli appears often to have employed himself in 
 painting similar representations of religious mysteries, in composi- 
 tions of numerous figures on a small scale; and because, in its style 
 of execution, the print in question, so far from having the appear- 
 ance of a modern copy, bears the strictest resemblance to manj'- 
 known Florentine engravings of the fifteenth century. 
 
 This plate, if I am right in the opinion that it is the true one, and 
 not a copy, must, according to Bartsch, have been engraved between 
 the years 1470 and 1480. He informs us that he collects thus much 
 from the Annales Minorum, sen triwn ordimtm a S. Fransisco imtitu- 
 torum, by the father Luc Wadding. Rotnae, 1735. Vol. xiii. p. 456, 
 No. XI. where the author speaks of this ancient engraving* as being 
 preserved in the collection of rarities appertaining to his order. Fra 
 Marco, Mr. Bartsch adds, died in 1496. 
 
 * There is, unfortunately, no copy of this plate itself, and not an impression from it 
 
 work of Wadding, in the library of the only, might have been preserved, in the time 
 
 British Museum, and, consequently, I have of the writer, amongst the valuables of the 
 
 Jio opportunity of referring to it ; else I should convent to which he belonged, 
 hope to tiud, upon examination, that the 
 
 3 I 2 
 
428 SANDRO BOTTICELLI. [chap. vi. 
 
 Since writing the above, I have had the good fortune to meet 
 with an interesting tract of Fra Marco, in octavo, or small quarto, 
 printed at Florence, in 1494, by Antonio Miscomini. The book 
 bears the following title : * Da Frate Marco dal Monte Sancta Maria 
 in Gallo dell ordine de Frati minori della provincia della Marcha di 
 Ancona fu composto questo libro delli comandamenti di Dio del Testa- 
 mento Vecchio et Nuovo et Sacri Canoni.' Under this title is a wood- 
 cut, spiritedly executed in outline, representing ' Fra Marco, 
 preaching,' of which Mr. Dibdin has, I believe, given a fac-simile 
 in one of his typographical works. On the reverse of fol. a. ii. is 
 another wood-cut, copied upon a small case, and with considerable 
 variations, from Botticelli's engraving above described. It is 
 styled, in a printed title over it, * Jigura della vita eterna o vero del 
 paradiso et delli modi et vie di pei'venire ad quello.' This work, bound 
 in a volume with one or two other Italian tracts of the same kind, 
 was formerly in the Pinelli Library, and is, at present, in the pos- 
 session of Messrs. J. and A. Arch. The text, I am sorry to say, 
 gives no further account of its author, than that, in the month of 
 December, 1486, he was preaching at Venice. 
 
 The following piece, as well in respect to its style of design, as 
 the manner of its execution, exactly resembles the last described 
 engraving in Mr. Lloyd's collection, and is, no doubt, by the 
 same hand. 
 
 THE LAST JUDGMENT. 
 
 The upper part of this print represents, in the middle, Jesus 
 Christ seated, with his arms extended, in a glory of a form similar 
 to that in which he is standing in the second print of the Monte 
 Santo di Dio, and bordered by ten cherubims. At a small distance 
 from these cherubims is the host of angels, ranged around the glory, 
 so as still to preserve the form of an upright oval. One of the angels. 
 
CHAP. VI.] SANDRO BOTTICELLI. 429 
 
 immediately under the figure of Christ, is standing on the clouds, 
 and holds the instruments of his passion ; namely, the cross, the 
 spear, the reed with the sponge, the nails, and the crown of thorns. 
 Four other angels are placed, two on each side of this figure, blow- 
 ing trumpets. On either side the outer glory of angels, near the 
 top of the print, the patriarchs, the saints, and the martyrs, are 
 ranged in two rows, fifteen on either hand ; those in the front row 
 being seated on the clouds, and those behind, standing. Amongst 
 those on the left-hand, the Madonna, St. Peter with the keys, 
 Moses with the tables of the law, and Pope Gregory with the Holy 
 Spirit at his ear, are distinguished ; and amongst those on the right, 
 are St. John the Baptist dressed in camel's hair, St. Paul with his 
 sword, and David with a harp or dulcimer. 
 
 In the lower part of the print, the composition is divided into 
 two distinct parts, by the sepulchres, of a square form, which their 
 inhabitants have just vacated. On the left, are the righteous, 
 whom the angels are collecting together, and conducting, up four 
 steps, to the gate of heaven. On the right, the devils are dragging 
 or thrusting the wicked into Hell, Avhich is represented divided 
 into different caverns, destined to receive the different classes of 
 sinners, in the heart of a mountain. Under these caverns, in which 
 the wicked are tormented in various manners, as in the representa- 
 tions of Hell described in former pages of this chapter, are the titles : 
 
 LUSSURIA, ACCIDIA, IRA, GOLA, AVARITIA, INVIDIA, SUPERBIA. The 
 
 letter s, in these inscriptions, appears in its proper direction. 
 
 This most interesting and spirited performance contains, in the 
 whole, not less than an hundred and fifty figures, and measures 
 nineteen inches and a half, in Avidth, by fourteen inches in height. 
 An impression of it, probably taken from the plate after it had been 
 retouched, is in the collection of the British Museum ; and another 
 similar, is in the possession of Sir Mark Masterman Sykes, Bart. 
 
 The engraving now about to be described, is, in every respect, 
 so exactly what, from my acquaintance with Botticelli's designs 
 and works of painting, I should expect from him, that, from the 
 
430 SANDRO BOTTICELLI. [chap. vi. 
 
 first moment I chanced to see it, I have entertained little or no 
 doubt of its being really a genuine production of his burin. The 
 composition, the design, the characters, are decidedly his ; and the 
 bold negligence, approaching to rudeness, with which it is engraved, 
 is truly characteristic of a painter ; at the same time that it appears 
 to justify Vasari's criticism respecting the deficiency of Sandro in 
 the executive part of the art. Though engraved with less neatness 
 than the two pieces last described, it is, like them, shaded by simple 
 diagonal hatchings. 
 
 THE ASSUMPTION OF THE MADONNA. 
 
 The lower part of this piece, which is engraved on two large 
 plates, intended to be joined together, represents the Apostles 
 assembled around the vacant sepulchre in which the Virgin was 
 entombed. They are witnesses of her assumption, and are in 
 various attitudes expressive of reverence or astonishment. In the 
 upper part of the print, the Madonna appears seated on the clouds, 
 borne and surrounded by angels bearing palm-trees, lilies, and 
 branches of the rose-tree. Seven of these angels, over her head, 
 are singing out of a large scroll : other angels, four on the right- 
 hand and four on the left, are in the air, playing on musical instru- 
 ments. U})on a rocky eminence, half way up the print, on the 
 left, is St. Thomas on his knees, extending his hands to receive the 
 girdle Avhich the Virgin lets fall towards him. The distance presents 
 the view of a city. 
 
 This piece, Avhen joined, measures thirty inches in height, by 
 twenty-one inches and three-quarters in width. An impression of 
 it is in the valuable collection of Mr. Lloyd. 
 
 Of the three engravings above described, it is proper the reader 
 should be informed, that Mr. Bartsch places the first, and the third, 
 in his catalogue of prints by unknown Italian engravers of the 
 fifteenth century ; and that, without assigning any authority, he 
 
CHAP. VI.] 
 
 SANDRO BOTTICELLI. 
 
 431 
 
 ascribes the second piece, representing the Last Judgment, to Nico- 
 letto da Modena. That he should not also have augmented the 
 catalogue of his favourite Nicoletto* with the large print last 
 
 * In a former chapter of this work, 
 (p. 339, et seq.) I have had occasion to 
 notice the preliminary Essay prefixed by 
 Mr. Bartsch to the thirteenth volume of his 
 " Peintre Graveur," and to animadvert upon 
 ^hat writer's unfair attempts to deprive the 
 Italians of the honour due to them as the 
 inventors of chalcography. In his arrange- 
 ment of the catalogues of the early Italian 
 engravers, in the same volume, the German 
 critic appears to keep the same laudable 
 purpose constantly present to his mind. He 
 had asserted in his Essay, that the Itahans 
 never thought of turning their invention to 
 any account until some time after the Ger- 
 mans had gone far towards bringing it to 
 perfection : and it required some manage- 
 ment that the bulk of the volume, following 
 that Essay, might not appear at variance with 
 such assertion. Having given an account, 
 therefore, of Finiguerra, and a list of the 
 thirty impressions from works of niello in the 
 Durazzo Cabinet, he proceeds (instead of at- 
 tempting a mode of classification calculated to 
 exhibit the gradual progress of the new art 
 at Florence, and in other cities of Italy) to 
 throw a very large proportion of the most 
 ancient Italian engravings together into one 
 undistinguished mass, with others executed 
 at the very close of the fifteenth century, or 
 hi the early part of the sixteenth ; and 
 indeed, whether from carelessness, or with 
 the view to throw doubt upon the antiquity 
 of the others, he inserts some pieces which 
 would more properly be arranged after those 
 of the scholars of Marc Antonio. Next 
 
 follows his catalogue of Baldini, wherein he 
 studiously avoids the mention of Strutt's in- 
 genious argument in proof of the antiquity of 
 the eight engravings of the planets and the 
 almanack in the British Museum. The short 
 catalogue of Pollajuolo's engravings comes 
 next, and is followed by the catalogue of an 
 unknown engraver, who marked his plates with 
 a P., and sometimes with O. P. D. C, and 
 dated one of them with the year 1511. Men- 
 tion is next made of Marcello Fosolino, of 
 whom he says : " Peintre qui a vtcu vers I'an 
 1500, a Vicence." After Fogolino, comes 
 Girolamo Mocetto, whose engravings, Mr. 
 Bartsch informs us, appear to have been exe- 
 cuted at the close of the fifteenth century, and 
 to be more ancient than those of Andrea Man- 
 tegtia — of course wishing his readers to infer, 
 that the engravings of Mantegna appertain 
 more properly to the sixteenth than to the 
 fifteenth century. 
 
 It is needless to remark further on Mr. 
 Bartsch's arrangement of this volume, which, 
 at the same time that it affects to be chrono- 
 logical, is so managed as to leave the in- 
 cautious reader with the impression, that 
 Italy can only boast of three or four engravers 
 earlier than the commencement of the six- 
 teenth century. 
 
 Mr. Bartsch finds the dates 1500 and 
 1512 on two of the pieces of Nicoletto da 
 Modena ; and as the engravings of that artist 
 at the same time that some of them bear the 
 appearance of considerable antiquity, are ex- 
 ecuted with much variety of manner, he has 
 found it convenient to his system to intro- 
 
432 SANDRO BOTTICELLI. [chap. vi. 
 
 described, is indeed somewhat extraordinary ; since he says ex- 
 pressly of it — " grande piece dont la taille rappelle les pieces de 
 " la Passion et les Triomphes de Petrarque, graves par Nicoleto de 
 " Modene." 
 
 The following series of twelve pieces, representing the Sibyls, 
 are designed so exactly in the manner of Botticelli, and, in their 
 style of engraving, bear so striking a resemblance to the two above 
 described pieces of Fra Marco's Preaching and the Last Judg- 
 ment, that I think I incur but little risk of error, when I ascribe 
 them to the same artist. Indeed, the more 1 have examined them, 
 the more I have been convinced that they are his work. 
 
 THE SIBYLS. 
 
 These pieces measure about seven inches in height, (including 
 the bottom margins, each of which contains, like the Prophets and 
 Sibyls by Baldini, eight Italian verses,) by four inches and an eighth 
 to four inches and a quarter in width. Besides the verses underneath 
 them, they have also other inscriptions. The impressions of nine of 
 these pieces, preserved in the British Museum, have a harsh and 
 disagreeable appearance ; and were doubtless taken off after the 
 plates, being worn by frequent printing, had been coarsely re- 
 touched. The inscriptions are all in capitals, and the letter S, in 
 all of them, appears in its proper direction. I should consider 
 these pieces to be later, by several years, than the Prophets and 
 Sibyls of Baldini. 
 
 1. Sibylla persica. She is seated on a cloud, from Avhich pro- 
 ceed rays, and has her feet also supported on a cloud, like some 
 
 duce at least thirty of the earliest engravings ture to add, in defiance of every rule of fair 
 of the Florentine school amongst them, with- connoisseurship. 
 out any authority whatever, and, I will ven- 
 
CHAP. VI.] SANDRO BOTTICELLI. 433 
 
 of the prophets of Baldini. Her figure is turned a little towards the 
 left. She raises her right hand, and points upwards with her fore- 
 finger ; and has a book on her lap, which she holds with the other 
 hand. Her long hair falls over her shoulders, and, besides a head- 
 dress of a conical form, she has her brows encircled b)^ a wreath of 
 small flowers. Her title, Sibylla Persica, is inscribed on the upper 
 part of the sky, on the right; and on the left is an inscription, 
 beginning : Ecce Jilius dei, &c. The verses at bottom commence 
 thus : Ecco per cui la hestia, &c. 
 
 2. Sibylla Libica. She is seated and supported, like the last, on 
 clouds, and is inclined a little towards the left. Her right hand is 
 upon her bosom, and, with her left, she holds a book which lies on 
 her lap. Her head-dress is fanciful, and not inelegant, and, like 
 the sibyl Persica, she wears a wreath of flowers. Her title is in 
 the sky, on the left ; and, on the right, is an inscription : Ecce 
 tenientem diem, &c. The verses at bottom begin : // di verra chellet- 
 temo signore, &c. 
 
 3. The Sibyl Delphica. Mr. Bartsch does not appear to have seen 
 this piece, nor is it in the British Museum. 
 
 4. SiBiLLA Chimicha. She is seated, according to Mr. Bartsch, 
 like the two first described figures, and is seen in front. She holds 
 an open book with her left hand, at which she points with her 
 right, and wherein is inscribed : In piteritia sua, &c. Her title, 
 Sihilla Chimicha, is engraved on a scroll. The verses at bottom 
 begin : Una Veraine Sancta, &c. 
 
 'O' 
 
 5. Sibylla Eritea. She is dressed in a habit resembling that of 
 a nun, and is seated on a cloud, like the figures above described. 
 The cloud upon which her feet are supported, is enclosed within a 
 double circle enriched with stars. She is seen in front, and holds 
 a sword in her right hand, whilst, with her left, she supports a large 
 
 3 K 
 
434 SANDRO BOTTICELLI. [chap. vi. 
 
 open volume, on which is an inscription, commencing: Morte 
 morietur, &c. Her title, Sibi/Ua Eritea, is inscribed on a scroll, 
 part of which is seen on each side her head. The verses at bottom 
 commence : Hisgnardo iddio dello excelso ahitacolo, &c. 
 
 6. SiBiLLA Elispotica. She is seated on a singular and fanciful 
 kind of chair, made of the branches of the palm-tree joined together, 
 and is turned towards the left. With her left hand she holds a 
 book, which rests on her knee ; and, with her right, a large scroll, 
 which rises up above her head, and bears an inscription, com- 
 mencing : Ex eccelso hahitaculo, &c. Her title is engraved, in 
 larger characters, in the sky, underneath the scroll. The verses at 
 bottom begin : Nella miescola stando vidifare, &c. Bartsch observes 
 that, in the first impressions of this piece, part of the drapery which 
 covers the right knee of the sibyl is left light; but that in the 
 retouched impressions, this part is entirely covered with hatchings. 
 This is the case with the impression in the British Museum ; and 
 indeed I have little or no doubt that all the nine pieces of the series, 
 preserved in that collection, and now before me, are retouched 
 impressions. 
 
 7. The Cumean Sibyl. Mr. Bartsch does not appear to have 
 been acquainted with this piece, nor is it in the collection of the 
 British Museum. 
 
 8. SiBiLLA Samia. She wears a high head-dress, over which is 
 a veil, and sits on a handsome seat with a cushion. Her figure 
 is turned towards the right. She holds part of her vest, which is 
 richly embroidered, with her right hand, and rests her left hand 
 on a large book, which is upon her knee. A naked sword lies, 
 traversing the print, at her feet. On a long scroll, which winds 
 behind her, part of it touching her left knee, is an inscription, 
 commencing : Ecce veni et dives et pauper. Sec. Her title is 
 engraved, on the right, in the sky, under part of the scroll. 
 
CHAP, vr] SANDRO BOTTICELLI. 435 
 
 The verses at bottom begin thus : Echo che presto ne verra quel 
 die, &c. 
 
 9. Sibylla Phrigl\. She is seated and supported on clouds, in 
 the manner already described, and is turned towards the right. She 
 wears a kind of turban, and from under it proceeds a veil, the folds 
 of which are fancifully, and not ungracefully, twisted round her 
 neck. On her lap is an open book, which she supports with her 
 left hand, whilst, with her right, she appears pointing to its con- 
 tents. On the left, in the sky, is her title ; and, on the right, is 
 an inscription beginning thus : Veniet de super jilius, &c. The verses 
 at bottom commence : Vidi lo excelso iddio, &c. 
 
 10. Sibylla Tiburtina. She is seated and supported on clouds, 
 and is turned a little towards the right. In her left hand, which is 
 extended on the right of the print, she holds a book, closed, at 
 which she points with her other hand. Her title is inscribed on the 
 left, in the sky ; and above, is a scroll, the windings of which are 
 seen on either side her head. On the scroll is an inscription, com- 
 mencing : Nascetur in Bettelem, &c. The verses at bottom com- 
 mence : El gusto iddio a tal 7nestier ma data, &c. 
 
 11. Sibylla Euro pa. She is seated on clouds, like the last, and 
 is turned a little towards the left. She supports a large book, open, 
 on her knee, to the contents of which she points with her left hand ; 
 looking, at the same time, at the spectator. On the book is an 
 inscription : Veniet colles et tnojites, &c. Her title is on a scroll behind 
 her head. The verses at bottom begin : Verra quel verbo eterno in- 
 maculato, &c. 
 
 12. Sibilla Agrippo. She is seated on clouds, like the last- 
 described, and is turned a little towards the left. She holds a large 
 book, open, with her right hand, and points towards it with her 
 left. In the book is an inscription : Hoc verbum invisibile, &c. and 
 
 3 K 2 
 
436 SANDRO BOTTICELLI. [chap. vi. 
 
 on a scroll over her head is her title. The verses underneath begin 
 as follows : Quando sara qiiesto sommo dikcto, Sec. This print is more 
 coarsely executed than the others ; and was, I am inclined to think, 
 entirelv engraved bv the artist bv whom thev were retouched. Per- 
 haps the original plate of this figure had been lost ; and it became 
 necessarv to re-engrave the piece, in order to complete the new 
 edition of the work. [Bartsch, ' Peintre Graveur,' tom. xiii. p. 95, 
 No. 50 ; and p. 98, No. 32.] 
 
 Baldinucci, as we have had occasion to remark in a former 
 Chapter,* says, in his life of Botticelli, that " that artist engraved 
 " a considerable number of pieces from his own designs, but that, 
 " in the course of time, they were, for the most part, destroyed, or 
 " lost through neglect, in consequence of the great improvement 
 " which took place in the art of engraving after his time : inso- 
 " much," continues he, " that the only engravings I have chanced 
 " to see bv his hand, are a set of twelve pieces, representing, in very 
 " small figures, divers stories of the life of our Lord Jesus Christ."-f- 
 In this passage, I am of opinion, Baldinucci meant to say, that, in 
 consequence of the rapid advancement which Marc Antonio and 
 others made in the art of chalcography after Botticelli's time, the 
 copper-plate printers,^ who were in possession of the engraved 
 plates of that ancient artist, soon neglected to print them, finding 
 them in little demand ; and perhaps also, that at length they effaced 
 some of them, in order that the plates, after they were polished 
 anew, might serve for other engravings, better suited to the taste of 
 the dav. Baldinucci does not, however, appear to have had any 
 express authority for the above remark ; nor should I have thought 
 
 .,,* Chap. i. pp. 41, 42. • copper-plate printers appear to have become 
 
 ■\ Baldinucci, " Notizie de' Professori del the chief proprietors of engraved plates, 
 
 ijisegho," &c. Edizione con Annotazione throughout Italy, soon after the beginning of 
 
 del Manni, tom. iv. p. G4. the sixteenth century. 
 \-.% It may be proper to obsenre that the 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 437 
 
 his words required any comment, were it not that Bartsch* seems 
 to have considered them as bearing a reference to some especial sup- 
 pression of Sandro's engravings, by the interference of magisterial 
 authority. 
 
 1 will only add, concerning Sandro Botticelli, that I am much 
 inclined to be of opinion that, amongst the anonymous engravings 
 mentioned by Bartsch, in the thirteenth volume of the work so often 
 referred to, there may be many others, besides those above described, 
 which might, with propriety, be enumerated in this place as the pro- 
 bable productions of his hand ; and especially the six prints of " the 
 Triumphs of Petrarch," inserted by him, as has been before observed, 
 in his Catalogue of Nicoletto da Modena. I am, however, unac- 
 quainted with these pieces, and I found my conjecture, principally, 
 upon Mr. Bartsch's own observations as to the resemblance which 
 they bear to some of those that I have seen. 
 
 ANTONIO DEL POLLAJUOLO. 
 
 Nat. 1426. Ob. 1498. 
 
 We possess, of Antonio del Pollajuolo, a large engraving, bearing 
 his name ; and he is said, by Vasari, to have executed several 
 others : but that author has neglected to specify the subjects they 
 represent ; and I have therefore, with a view to facilitate the dis- 
 covery of some of them, judged it expedient to extract such passages 
 from Vasari's account of Pollajuolo, as may serve to make the reader 
 acquainted with the general character of his works. 
 
 * " Peintre Graveur," torn. siii. p. l60. not, in fact, admit of such an interpreta- 
 
 " Les estampes de Boticello," says he, " ne tion. He says of Sandro's engravings : " le 
 
 " peuvent avoir existe qu'en tres petit nombre, " quali in tempo son rimase oppresse a cagione 
 
 " parceque les planches en ont ete supprimies, " del gran megliorare, die ha fatto quell' 
 
 " comma Baldinucci nous I'apprend positive- " arte dopo I'operar suo." 
 " ment." The expression of Baldinucci will 
 
438 ANTONIO DEL POLLAJUOLO. [chap. vi. 
 
 This artist, one of the most eminent of his time in painting and 
 sculpture, was born in the city of Florence, of very low parentage. 
 His father, however, fortunately saw in him the promise of talent, 
 and, being too poor to give him, and his brother Pietro, a literary 
 education, placed Antonio with Bartoluccio Ghiberti, a goldsmith 
 of great reputation, and his other son with Andrea del Castagno, 
 who was then considered the best painter in Florence. " Antonio, 
 " therefore, under the guidance of Bartoluccio, learned the art of 
 " setting jewels, acquired practice in works of enamel upon silver, 
 " and was soon considered more skilful in the use of his tools than 
 " any goldsmith of his time. 
 
 " Lorenzo Ghiberti was, at this period, employed in the Brass 
 " Gates for the Baptistry of Florence ; and, having noticed the 
 " ability of Antonio, engaged him to assist him in that work, 
 " together with several other young men.* Lorenzo, therefore, 
 " having set him about one of the festoons, which he had then in 
 " hand, Antonio made a quail, which is still to be seen, so beauti- 
 " fully, and with such perfection, that it seemed ready to fly away. 
 " Antonio, therefore, had not been many weeks thus occupied, 
 " before he was allowed to be the best amongst those who were 
 " employed to assist Lorenzo in his work ; as well for his know- 
 " ledge of design, as for his ingenuity and diligence : and having 
 " soon acquired the reputation of a consummate artist, he shortly 
 " afterwards left Bartoluccio and Lorenzo, and opened a hand- 
 " some goldsmith's shop of his own, in Mercato Nuovo, in the 
 " above-named city ; where he for many years followed that art ; 
 " designing continually, and modelling bassi-relievi, and other 
 " things, in wax ; so that in a short time he was considered, as he 
 " really was, the first in his profession." 
 
 After the passage, often before referred to, relative to Maso Fini- 
 
 * At this time Antonio was quite a lad, those who assisted him in the celebrated 
 as appears from the passage in Vasari's life bronze gates. See p. 289. 
 of Ghiberti, where he enumerates some of 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 439 
 
 guerra,* Vasari proceeds to inform us that Antonio-f- did some 
 stories in competition with tliat artist ; " in which he equalled him 
 in diligence, and surpassed him in design." 
 
 " In consequence of this," continues he, " the ' Consoli dell' 
 " Arte de' Mercatanti,' seeing the skill of Antonio, deliberated 
 " amongst themselves, whether or not, as some stories in silver 
 " were required to be made for the altar of S. Giovanni, Antonio 
 " should not be commissioned to execute them ; for it had long 
 " been their custom to allot, at different times, these works to the 
 " most skilful artists. This question being decided in the affirm- 
 " ative, Antonio executed two bassi-relievi, in which he represented 
 " the Supper of Herod, and the Dancing of the Daughter of Hero- 
 " dias ; which were of such excellence as to be considered superior 
 " to any of the others which had been done. But above all is to 
 " be admired his figure of S. John the Baptist, entirely of chiselled 
 " work, which is in a space in the middle of the altar.:}: Whence 
 " the said * Consoli' also commissioned him to make the silver 
 " candlesticks, each of three cubits in height, together with a cross 
 
 * See pp. 265, 290. " Johannis Baptistae in carcere decollationem, 
 
 •j- It is supposed, as has been before ob- " et ostensioneui ejus capitis in disco tem- 
 
 served, that PoUajuolo was first employed in " pore convivii natalitii regis Herodis ; opus 
 
 the works at S. Giovanni (the Baptistry) about " Andreiz Michaelis del Verrocchio." The 
 
 1450. See p. 290. latter of these stories is, undoubtedly, the same 
 
 J Vasari was in error when he ascribed this out of which Vasari has made two : ascribing 
 
 figure of John the Baptist to PoUajuolo, as them, at the same time, to Antonio del Pol- 
 
 we learn in Gori's Thesaurus Veterum Dip- lajuolo, instead of their real author, Andrea 
 
 tychorum(tom.iii. p. 312), where that learned Verrocchio: so that in this small space, he 
 
 antiquary, upon the authority of the ori- has committed as many errors as he well 
 
 ginal books of the company above men- could. He seems, however, to have been 
 
 tioned, informs us that it was the work of generally right in the encomiums which he 
 
 Michelozzo, the son of Bartolommeo, in bestowed upon PoUajuolo, who, from the 
 
 1452. In the next page, Gori ascribes (no before- mentioned Gori's account of the e.x- 
 
 doubt upon the same authority) the story of tensive works of silver made at this time for 
 
 the Nativity of John the Baptist to Antonio the Company di Mercatanti, appears to have 
 
 del PoUajuolo. And afterwards, " duae vero been considered the greatest amongst the 
 
 " ex argento coraposilse (sunt) quae ostendunt artists employed. 
 
440 ANTONIO DEL POLLAJUOLO. [chap. vi. 
 
 " of proportionate magnitude : all which works he finished with 
 " the greatest perfection ; engraving upon them so many beautiful 
 " things, that they have ever since been the admiration of the 
 " natives of Tuscany, as well as of strangers. 
 
 " In this profession Antonio laboured with incredible diligence ; 
 " as well in the works which he made of gold, as in those of enamel 
 *' (smalto) and silver ; amongst which are certain paxes in S. Gio- 
 " vanni of very great beauty ; for, although coloured with the fire, 
 " they are so finely executed, that they could be done but little 
 " better with a pencil. And in other churches, at Florence, at 
 " Rome, and in other towns of Italy, are to be seen works of enamel 
 " by his hand, Avhich are truly astonishing." 
 
 Vasari next mentions several young men to whom Antonio taught 
 the goldsmith's art ; and then proceeds to relate, that being de- 
 sirous of excelling in the more noble art of painting,* he quitted his 
 former profession, and applied to his brother Pietro, from whom, in 
 a few months, he learned the use of colours. He adds, that, in 
 company with Pietro, Antonio executed many works of painting, 
 in oil colours, on board, on the wall, and on canvass ; after, which 
 he goes on to describe those which that artist painted without his 
 brother's assistance. 
 
 " In the chapel of S. Sebastian, belonging to the Pucci family, 
 " at the convent * de' Servi,' he painted the altar-piece, represent- 
 " ing the martyrdom of that saint. In this picture, besides the 
 
 * It appears, however, that Antonio did and his Annotator, Manni, cites tlie pnbhc 
 
 not so soon abandon the Goldsmith's pro- archives, under the year 1489, as follows: 
 
 fession, but that he exercised it, at least occa- Dominus Frariciscus Archangeli de Caval- 
 
 sionally, to a late period of his life. Baldi- cantibus CappeUamu Cappel/anice f'irginis 
 
 nucci cites a document of a determination of Marie de BaroncelUs in Ecclesia Sancli 
 
 the government of Florence, in consequence Petri Scheradii local ad pensiouem Antonio 
 
 of the victory of Volterra, to present the olim Jacobi del Pollaiolo Aurijici Civi 
 
 Conte d' Urbino, who commanded their Florentino warn apothecam ad usiini Au- 
 
 forces upon the occasion, with some pieces rijicis in populo S. Cecilie in f'ia di f^acche- 
 
 of plate, and, amongst the rest, with a silver reccia. 
 helmet, made by Antonio del Pollajuolo; 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 441 
 
 " figure of S. Sebastian himself, which was painted from the hfe, 
 " and is the portrait of Gino di Lodovico Capponi, are several 
 " excellent horses, well drawn naked figures, and admirable fore- 
 " shortenings ; and, indeed, it is the most esteemed work of paint- 
 " ing that Antonio ever produced. Throughout this work, he 
 " sought to imitate nature to the utmost of his abilities ; and so 
 " well succeeded, that, in the figure of one of the archers, who, 
 " having placed the shaft of his cross-bow against his breast, stoops 
 " down to pull the thong, he expressed in a most lively manner 
 " the exertion necessarily employed, even by a strong man, in 
 " bending such a powerful instrument : for we see in this figure the 
 " swelling of the veins and muscles, and even that the man holds 
 ** his breath, that he may acquire additional force. Nor is this 
 " figure only worthy to be admired, but also the others, which, in 
 " various attitudes, bear ample testimony to the diligence and 
 " research employed by the artist in this picture ; — industrj^ which 
 " Antonio Pucci, his employer, was so sensible of, that, upon the 
 " work being finished, in 1475, he presented Antonio with three 
 " hundred crowns ; observing, at the same time, that he paid little 
 " more than the value of the colours.* After this, he painted, at 
 " S. Miniato, on the outside of the church, near the entrance, a 
 " figure of S. Christopher, ten cubits in height ; a work of great 
 " excellence, and finished in a style nearly approaching to the 
 " modern ; and which was considered the best proportioned figure. 
 
 * Of this picture there is an outline, very preceded him ; but, as a composition, it is 
 
 indifferently executed, in the Etruria Pittrice, by no means to be admired ; for, indepen- 
 
 and also a separate print of the two figures dently of the archers being placed at measured 
 
 with cross-bows, shaded ; but very inferior distances round the figure of the saint, four 
 
 to the originals. Vasari's eulogium of the of them are evidently copied, with little or no 
 
 picture is, notwithstanding, I think, greatly variation, from the same modelled figure, 
 
 exaggerated. It is painted in a good sober seen in different views ; and the other two 
 
 tone of colour, and with considerable force, figures, charging their cross-bows, from a 
 
 and the figures are more correctly and power- second model, one seen in a back-view, tlie 
 
 fully drawn than those of any painter who other in front. 
 
 3 L 
 
442 ANTONIO DEL POLLAJUOLO. [chap. vi. 
 
 ** of its size, that had then been produced.* He also painted a 
 '* crucifix, with a S. Antonino, on cloth, which is placed in a chapel 
 " at S. Marco, at Florence; and a figure of S. John the Baptist, 
 " in the ' Palazzo della Signoria.' 
 
 " In the house of the Medici family, he painted, for Lorenzo the 
 " elder, three pictures of Hercules, of five cubits in height. In the 
 " first of these, wherein he is represented squeezing Antaeus to 
 " death, the figure of Hercules is most admirable ; as we see ex- 
 " pressed in it, in the most lively manner, the great exertion of 
 " Hercules, who, grinding his teeth, and straining every nerve and 
 " muscle of his body to the utmost, raises himself on tiptoe, that he 
 " may the better accomplish his purpose. Nor was he less suc- 
 " cessful in the figure of Antseus, who, pressed within the arms 
 " of Hercules, seems to have become faint, to have lost all vigour, 
 " and, with his mouth open, to be at the last gasp. In the second 
 " piece, in which he is represented killing the lion, Hercules presses 
 " his left knee against the breast of the lion, whilst with both hands 
 " (grinding meanwhile his teeth) he tears open the jaws of the fero- 
 " cious animal ; unmindful of the wounds which, in its defence, it 
 " is inflicting upon his arms. The third picture, in which Hercules 
 " is killing the Hydra, is a most wonderful performance ; especially 
 " for the serpent, which is coloured with such skill, and so much 
 " like life, that it is impossible to surpass it. And, indeed, the poison, 
 " the fire, the fierceness, and the rage of the monster, are expressed 
 " with so much vivacity, that it is worthy not only to be celebrated, 
 " but also to be imitated, in these respects, by all good artists. For 
 " the company of S. Angelo, in Arezzo, he painted, in oil, a stan- 
 " dard to carry in procession ; on one side of the cloth of which he 
 " represented a crucifixion, and, on the other, a S. Michael, fighting 
 " with the dragon ; which last is one of the finest things that 
 
 * Baldinucci, torn. iv. p. 23, mentions wrote, the fresco was still in tolerable preser- 
 
 a tnidition, " that Michelagnolo Buonaroti, vation. His annotator, Manni, in 1769, 
 
 when a young man, frequently designed from regrets that it had been lately much injured by 
 
 this figure of Pollajuolo." When Baldinucci the hand of an ignorant restorer. 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 443 
 
 " Antonio ever did : for the figure of the S. Michael, who, with 
 " undaunted courage, attacks the dragon, grinding meanwhile his 
 " teeth, and curving his brow, seems truly descended from heaven, 
 " to work the vengeance of the Almighty upon the pride of 
 " Lucifer. 
 
 " Pollajuolo understood the naked body better than any artist 
 " before him, and dissected many dead subjects in search of anato- 
 " mical knowledge. And he was the first who discovered the 
 " method of searching out the muscles, so as to represent them 
 " in their proper form and order in his figures ; and of all these, 
 " encircled by a chain, he engraved a battle, on copper ; and, after 
 " that, he executed other prints, which are engraved in a much 
 " better manner than those of the other masters who had been 
 " before him. 
 
 " By all these works, Antonio had acquired great celebrity 
 " amongst the artists of his time ; insomuch that, upon the death 
 " of Sixtus IV." (in 1483) " Pope Innocent, his successor, invited 
 " him to Rome, where he made, of metal, the monument of Inno- 
 " cent, in which he represented him, from the life, seated in the 
 " manner which he used when he gave the benediction; which 
 " work was placed in the church of St. Peter, by the side of the 
 " chapel that contains the lance which pierced the body of Christ. 
 " He also made the monument of Sixtus, upon which is the recum- 
 " bent figure of that Pontiff) extremely well executed ; and this 
 •' work being finished at a very great expense, and richly orna- 
 " mented, was placed, entirely insulated, in the chapel called after 
 " that Pope's name. 
 
 " It is said that Antonio made, for Pope Innocent, the design for 
 " the fabric of the ' Palazzo di Belvidere,' although, as he had not 
 " much practice in the executive departments of architecture, the 
 " work itself was conducted by others. 
 
 " Lastly, Antonio and his brother Pietro, having both of them 
 " acquired considerable fortunes, died, shortly after each other, 
 " in the year 1498, and were buried at Rome, in the church of 
 
 3 l2 
 
444 ANTONIO DEL POLLAJUOLO. [chap. vr. 
 
 " S. Pietro in Vincula ; where, in memory of them, a monument is 
 ** raised, on the left hand of the chief entrance of the church, with 
 " the portrait of each in marble ; and this inscription : 
 
 Antonius Pullarius patria Florentinus, pictor insign. qui 
 DUOR. Pont. Xisti et Innocentij ^rea Moniment. miro opific. 
 EXPRESsiT. Re famil. composita ex test. Hic secum Petro 
 fratre CONDI voluit. Vix. An. LXXII. Obijt Ann. sal. M.IID. 
 
 " Antonio made a basso-relievo of metal, representing a battle of 
 " naked figures, which was carried to Spain, and was a work of great 
 ** excellence ; as may be seen in the plaister casts of it still preserved 
 " in the studies of many of the artists of Florence : and there was 
 " found, after his death, a design and model which he had made for 
 " Lodovico Sforza, for an equestrian statue of Francesco Sforza 
 " Duke of Milan ; which design, varied in two different ways, is in 
 " our book of drawings. In one of them, Sforza has, underneath 
 *' him, the city of Verona ; in the other, he is richly habited, and is 
 " making his horse spring upon an armed soldier ; the whole being 
 " supported by a pedestal ornamented with battles. I have been 
 " unable to learn the reason why these designs were not carried 
 " into execution. The same artist made also some most beautiful 
 " medals ; amongst which was one, executed upon occasion of the 
 " conspiracy of the Pazzi, representing, on one side of it, the heads 
 " of Lorenzo and Giuliano de' Medici, and, on the reverse, the choir 
 " of S. Maria del Fiore, with the fact exactly as it took place. He 
 " likewise made the medals of some of the Popes, and many other 
 " things, with which our artists are not unacquainted."* 
 
 In the short passage wherein Vasari speaks of Pollajuolo's en- 
 gravings, there is a small variation of expression between the first 
 
 * The short remaining paragraph of Va- taining nothing to our immediate pur- 
 lari's life of Pollajuolo is omitted, as con- pose. 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 445 
 
 and the second editions of his work, which it may be proper to 
 notice. In the first edition, after describing PoUajuolo's engraving 
 of the bat le, he simply adds : " and he also engraved other plates, 
 " in a better manner than had been practised by other artists." 
 But in the second edition, he says : " and after that he engraved 
 ** other prints, which were executed in a much better style of en- 
 " graving than had been practised by the artists Avho preceded 
 " him," — an expression, could we depend upon Vasari's accuracy, 
 from which it would seem reasonable to conclude, that the battle he 
 speaks of was amongst the earliest of Antonio's productions in that 
 way, and that he afterwards executed other pieces of greater per- 
 fection. Be this as it may, there is little doubt that the following 
 piece is the battle of naked figures which Vasari intended to de- 
 scribe ; although, as the reader will perceive, the figures it contains 
 are not encircled by a chain. 
 
 A BATTLE OF NAKED FIGURES. 
 
 This celebrated print represents ten naked figures, each of the 
 dimensions of from nine to eleven inches in height, armed with 
 various offensive weapons, and fighting in a wood. On the right- 
 hand, at bottom, a vanquished warrior, fallen on his back, is 
 stabbed by his opponent, who, standing behind him, raises his 
 head with his left-hand, whilst with the other he inflicts the wound. 
 The conqueror, meanwhile, is himself menaced by the uplifted 
 battle-axe of a man behind him. In the centre of the piece, two 
 warriors, each of them having hold of a chain with the left-hand, 
 are combating with sabres. Behind these two figures, is an excel- 
 lent figure of a warrior, who, menacing his adversary with a sabre, 
 which he grasps in his right-hand, endeavours at the same time, 
 with his left, to prevent the stroke of a battle-axe, raised against 
 him : and, further to the left, behind the last described figure, 
 is a man drawing a bow. In the fore- ground, on the left, is a 
 
446 ANTONIO DEL POLLAJUOLO, [chap. vi. 
 
 spirited group of two combatants, armed with daggers, which the 
 reader will find carefiilly copied in the annexed plate. The back- 
 ground represents a forest ; and, on the left, upon one of the trees, 
 a large tablet is suspended, on which is this inscription : — opus . 
 ANTONii . POLLAIOLI . FLORENTINI. This piece, which was probably- 
 engraved between the years 1460 and 1470, measures twenty- four 
 inches and a half in width, by about sixteen inches and a half 
 in height. The outlines of the figures are engraved with a firm 
 and deep stroke, and the internal parts are shaded, with sin- 
 gular delicacy and neatness of workmanship, by zigzag diagonal 
 hatchings. The whole, while it justifies the observation of Vasari, 
 that PoUajuolo possessed a far more perfect knowledge of the con- 
 struction of the human figure than all the artists who had preceded 
 him, appears also to merit the eulogium bestowed on it by Lanzi, 
 who eloquently styles it — " la celebre hattagUa de nudi, idtimo e 
 " vicinissinio grado aljiero stile di Michelangiolo."* 
 
 Of the following engraving of PoUajuolo, described by Mr. 
 Bartschjf I am not aware that any impression exists in the collec- 
 tions of this country. 
 
 HERCULES COMBATING THE GIANTS. 
 
 Hercules, whose figure appears near the centre of the print, 
 wears a sabre by his side, on the scabbard of which is inscribed his 
 name, thus : hercules. He grasps an axe, with which he com- 
 bats the giants, Avho are assailing him on all sides, armed with bows, 
 poniards, and sabres. In the middle, at the bottom of the print, 
 under the ligure of a giant, who, being thrown to the ground, 
 covers himself with his shield, is the following inscription : QUO- 
 
 MODO . HERCULES . PERCUSSIT . ET VICIT . DUODECIM . GIGANTES. This 
 
 piece, continues Mr. Bartsch, does not bear the name of PoUajuolo, 
 * " Storia Pittorica," torn. i. p. 94. f " Peintre Graveur," torn, xiii, p. 203. 
 
'imiimmnmifi 
 
CHAP. VI.] ANTONIO DEL POLLAJUOLO. 447 
 
 but there is every reason to believe that it is by his hand, although 
 it is somewhat inferior to the last described. It measures about 
 twenty-two inches in width, by fourteen inches and three quarters 
 in height. Mr. Bartsch adds, that the Imperial collection at Vienna 
 possesses an unfinished proof of this engraving, in which the two 
 upper corners of the print appear Avhite. It likewise wants the 
 inscriptions. 
 
 Mr. Bartsch also ascribes the following piece to Pollajuolo. 
 
 HERCULES AND ANTiEUS. 
 
 The right foot of Hercules comes a little forward, and he 
 squeezes Antaeus to death, by pressing him round the loins with 
 both his arms. Antaeus, meanwhile, makes efforts to disengage 
 himself, by pushing, with his left elbow and right-hand, against the 
 shoulders of his adversary. He bends his head towards the left, 
 and appears to utter cries of agony. The back-ground is dark, 
 except a part of the left edge of the plate. This piece is curved at 
 top, and has neither name nor monogram. It measures about ten 
 inches in height, by near six inches and three quarters in width. 
 
 When I insert the following curious print, in this place, as a pro- 
 bable work of Pollajuolo, I must, at the same time, confess that I 
 do so in consequence of its general character as to design and com- 
 position, rather than because it bears any particular or striking 
 resemblance to the celebrated battle of naked figures above 
 described, in respect of the mechanism of engraving. 
 
 A BATTLE OF CENTAURS. 
 
 This piece represents a combat between two centaurs, in the pre- 
 sence of three warriors dressed in armour; each centaur being 
 
448 ANTONIO DEL POLLAJUOLO. [chap. vi. 
 
 armed with a weapon, composed of a staff, to the end of which three 
 ponderous balls are attached by three chains. The centaur on the 
 right-hand has the lower part of a lion : he is seen in profile, is 
 turned towards the left, and has a large bow, and a quiver with 
 arrows, thrown over his shoulder. He raises his weapon with both 
 hands, and is about to inflict a tremendous blow upon his adversary ; 
 Avho, seen more in front, and turned toAvards the right, rests his 
 right knee on the ground, whilst, with both hands, he raises the 
 staff of his weapon over his head, to ward off the blow. The 
 lower parts of this centaur, whose broken bow is lying on the 
 ground beneath, are those of a horse. The human parts of both 
 these figures are draAvn with great anatomical intelligence, and 
 energy of style. On the right, behind the first centaur, is one of 
 the three warriors, holding a short staff with both hands, and 
 turned towards the left ; and in the fore-ground, on the left, are the 
 other two warriors, who, turned towards the right, are attentively 
 viewing the combatants. Of these last, the one nearest the cen- 
 taurs is seen in nearly a back view, and rests his right hand on his 
 haunch; the other leans with his right hand upon his sword, the 
 point of which rests on the ground. Both are excellent and well 
 poised figures. The back-ground represents a hilly landscape with 
 a few scattered trees. 
 
 The outlines of the figures, in this piece, are engraved with a 
 firm, deep stroke, but the shading is executed with delicate hatch- 
 ings, loosely thrown in various directions. It is remarkable that, 
 in many parts of the plate, even in such as are central, the marks 
 of holes, made by nails or pegs of metal, afterwards filled up, are 
 clearly perceptible. These nail-holes appear to be too many in 
 number to justify the supposition, that they were made in order to 
 keep the plate steady whilst printing ; and I am, consequently, not 
 without my suspicions that the plate may have been originally 
 engraved and used for the decoration of some piece of furniture, 
 and that, at an after period, it was removed from its original 
 •situation, in order that impressions might be taken from it. This 
 
CHAP. VI.] ANONYMOUS ENGRAVINGS. 449 
 
 interesting print, which has escaped the researches of Bartsch, 
 was purchased by its present possessor, Mr, Lloyd, from the 
 Riccardi collection. It measures twelve inches and five-eighths in 
 width, by eight inches in height. 
 
 VARIOUS ANONYMOUS ENGRAVINGS OF THE EARLY 
 FLORENTINE SCHOOL. 
 
 THE LIFE OF THE MADONNA. 
 
 This series is composed of fifteen plates ; each measuring eight 
 inches and three quarters in height, by six inches and a half in 
 width. Bartsch, as I have had occasion to remark in a former page,* 
 erroneously ascribes the work to Nicoletto da Modena. Heineken 
 was nearer the mark when he inserted it in his catalogue of Botti- 
 celli ;-f- who, nevertheless, was not, I think, the author. I have 
 seen only two of the pieces ; but these have been sufficient to con- 
 vince me that the work is of the early Florentine school : they are 
 designed in the best style of the fifteenth century, and are finished, 
 for the most part, in a very delicate manner, by diagonal hatch- 
 ings, I have recourse to Bartsch, (Peintre Graveur, tom. xiii. 
 p. 257, et seq.) for a description of the pieces. 
 
 * See note, pp. 318, 319. Bartsch swells hand, on which he has signed his name at 
 
 the catalogue of Nicoletto di Modena with length. The truth is, that very few of the 
 
 these and other ancient Florentine engravings early Florentine engravers marked their plates 
 
 without deigning to assign any reason what- with their names or cyphers, and that Nico- 
 
 ever for so doing. It certainly might have letto, seldom, if ever, omitted to mark his. 
 been expected of him that he should account, f " Diet, des Artistes," tom. iii. p. 213. 
 
 in some way or other, for the modesty of Heineken entitles the series, " the Life of 
 
 Nicoletto, in omitting to mark so many of Christ," and is of opinion that it comprises 
 
 his most capital pieces, even with his mono- more than fifteen pieces ; though he had only 
 
 gram ; especially as we have so many trivial seen that number, 
 engravings of single figures of saints by his 
 
 3m 
 
450 ANONYMOUS ENGRAVINGS OF [chap. vi. 
 
 I. The Annunciation. The angel Gabriel is represented kneel- 
 ing, on the left of the print, with a branch of lily in his right-hand. 
 He is turned towards the Virgin, who appears rising from her 
 orations ; and, with both her hands, expresses her astonishment at 
 the unexpected messenger. The back-ground shews the interior of 
 a vaulted chamber, supported in the middle by a column. 
 
 II. The Visitation. The Virgin and S. Elizabeth are repre- 
 sented meeting, near the middle of the print, and hold each other 
 by the hand. On the left, behind the Virgin, Joseph is seen, 
 resting Avith both hands on his staff; and, on the right, behind 
 Elizabeth, Zaccharias appears, holding a stick with his right-hand, 
 and, with his left, raising a part of his mantle. These four figures 
 stand on a magnificent pavement of black and white marble, in 
 front of a temple, supported by columns, which constitutes the 
 back-ground. An impression of this engraving is in the collection 
 of Mr. Lloyd. 
 
 III. The Nativity. Near the middle of this piece, the Ma- 
 donna is seen on her knees, adoring the newly born infant, who is 
 lying on a bed of straw. S. Joseph is standing by, on the left of 
 the print ; and, on the right, behind the Virgin, is the stable, with 
 the ox and the ass. In the distance, on the right, the angel an- 
 nounces the birth of Jesus to the shepherds, who are assembled on 
 a hill ; and, at the top of the print, in the middle, the Almighty 
 appears, surrounded by a glory of angels. 
 
 IV. The Presentation in the Temple. In the middle of the 
 print, Simeon is represented, holding the infant Jesus, who is quite 
 naked, and seated on a sort of altar of a hexagonal form. The Ma- 
 donna is standing on the right, and Joseph, who is prepared with 
 the offering of a pair of doves, is on the left. The scene is a mag- 
 nificent pavement in front of a temple. 
 
CHAP. VI.] THE EARLY FLORENTINE SCHOOL. 451 
 
 V. Christ disputing with the Doctors. The youthful Jesus 
 is represented standing on an elevated plane in the centre of the 
 engraving, in the back-ground. The doctors appear sitting on the 
 two sides of the temple ; with the exception of two of them, who are 
 standing in the fore-ground of the piece ; the one, seen in profile, 
 on the left ; the other, represented more in a back view, on the 
 right.* 
 
 VI. Christ praying on the Mount of Olives. Jesus is seen 
 in the back-ground, on the right, turned towards the angel, who is 
 represented holding a chalice. The three disciples appear sleeping 
 in the fore-ground ; the first, on the left-hand, is lying on his back ; 
 the second, on the right, is seated, and rests his head on both his 
 hands ; and the third is lying down in the middle, at a little distance 
 from the others. 
 
 VII. Christ insulted in the Palace of the High Priest. 
 Jesus appears seated on a sort of throne, under a vaulted roof, in 
 the middle of the back-ground ; his head being crowned with 
 thorns,-f- and his eyes covered with a bandage. He holds a reed 
 with his right hand, and with his left a globe. He is surrounded 
 and insulted, in various manners, by a great number of the Jews, 
 amongst whom may be remarked a man, standing on the left of 
 Christ, who strikes him upon the head with his fist. 
 
 VIII. The Flagellation. Our Saviour appears standing in 
 
 * I have little or no doubt that the two " est couverte de tallies dans I'epreuve re- 
 
 figiires, which Mr. Bartsch here describes " touchee." 
 
 as standing on either side, were intended f In describing, afterwards, the variations 
 
 for the Madonna and J oseph : for, in in the two different impressions of this piece, 
 
 another page, (264) speaking of the varia- (p. 265) Mr. Bartsch contradicts what he 
 
 tions between the_^rs^ and the second impres- here asserts : for, in speaking of the second 
 
 sions of the piece, he says : " L'aureole impression, he says : " La tete du Christ 
 
 " du saint, qui est debout au devant de la " est couronnee d'epines, tandis qu'elle ne 
 
 " droite, blanche dans la premiere epreuve, " I'est pas dans la premiere epreuve." 
 
 3 M 2 
 
452 ANONYMOUS ENGRAVINGS OF [chap. vi. 
 
 the middle of the print ; his hands and his body being bound to a 
 column. He is scourged by two men armed with whips, and, at the 
 same time, the man on the left, pulls the cord by which he is 
 bound. High up, in the back-ground, two of the superiors of the 
 Jews are seen looking on from a balcony ; the one on the left-hand 
 having a wand. 
 
 IX. Christ bearing his Cross. Jesus, bearing his cross, di- 
 rects his steps towards the right, escorted by a great number of 
 soldiers armed with spears. Meanwhile the commander of the 
 troops, mounted on horseback, lifts his mace, and appears to 
 threaten St. John and the Madonna, who are seen in the fore- 
 ground on the left-hand, as if desirous to prevent their following 
 the Saviour. 
 
 X. The Crucifixion. Jesus Christ is represented on his cross, 
 in the middle of the print, between the crosses to which are at- 
 tached the two thieves. Beneath the crosses are a great number of 
 soldiers, on foot and on horseback. In the middle of the fore- 
 ground, the Madonna is seen fainting, supported and assisted by 
 several pious women, amongst whom is one, on the left-hand, who 
 is on her knees, and seen in a back view. 
 
 XI. The Resurrection. Christ is repTesented in the middle of 
 the print, coming out of the tomb. He holds a banner in his left- 
 hand, and, with his right, gives the benediction.* Six guards are 
 seen sleeping, in different attitudes, on the ground, around the sepul- 
 chre. Amongst them one in particular may be remarked, who is 
 
 * In the early representations of the Re- for a small liberty which I have taken in my 
 
 surrection, the figure of Christ almost always, translation cf Mr. Bartsch's description of 
 
 perhaps I might say invariably, appears giving this piece. He says, " II tient une banniere 
 
 the benediction with the right-hand, and " de la main gauche, et fait de la main droite 
 
 holding a banner with the other. I mention " elevee uu geste conime pour marquer sa 
 
 the circumstance in this place as the reason " Resurrection," 
 
CHAP. VI.] THE EARLY FLORENTINE SCHOOL. 453 
 
 lying flat on his stomach, on a large shield, in the fore-ground, on 
 the left-hand. Mount Calvary and the three Crosses appear in 
 the distance, on the right. 
 
 XII. The Ascension.* The figure of Christ is seen, in the 
 middle of the top of the print, standing on a cloud surrounded with 
 rays of glory, and worshipped by four angels, two of which are in 
 the air, and the others kneeling on the clouds. The Apostles, and 
 the Virgin Mary, who appears on the right-hand, are ranged beneath 
 on their knees, in a semicircular row. 
 
 XIII. The Descent of the Holy Ghost. The Holy Ghost 
 appears descending upon the Apostles and the Virgin Mary, who 
 are assembled together in the upper apartment of a building, around 
 the bottom of which the inhabitants of Jerusalem are represented, 
 in various attitudes, expressive of their admiration and astonish- 
 ment. Amongst them, on the right, is a man standing, with his 
 legs asunder, at whose feet is a dog, barking. 
 
 XIV. The Virgin presenting her Girdle to St. TnoMAS.f 
 The Madonna is represented in the middle of the upper part of the 
 print, seated on the clouds : she is surrounded by rays, and also by 
 a glory of angels, St. Thomas is on his knees, on the right, near 
 the tomb of the Virgin, which is filled with flowers. He is seen in 
 a back view, and lifts up his arms to receive the girdle, which she 
 presents to him with both her hands. In the back-ground is a 
 landscape. 
 
 XV. The Coronation of the Virgin. 
 
 Of this piece, I happen to possess a first impression in my own 
 
 * Mr. Bartscli, carelessly and erroneously, precede ; and also makes the mistake of 
 
 styles this piece, " the Transfiguration." styling tlie apostle, to whom the Madonna 
 
 f Mr. Bartsch places this piece after ' the presents the girdle, St. John the Evaugehsl, 
 
 Coronation of the Virgin,' which it ought to instead of St. Thomas. 
 
454 ANONYMOUS ENGRAVINGS OF [chap. vi. 
 
 small collection ; and as from the elegance and purity of its design, 
 the richness of its composition, and the delicacy with which it is 
 engraved, it is worthy to be considered one of the most beautiful 
 and interesting specimens of the early Florentine school, the reader, 
 I trust, will not be displeased to have a more detailed description of 
 it than Mr. Bartsch has enabled me to give of any of the other 
 pieces of the series. 
 
 The upper part of the print represents the Almighty, seen in a 
 front view, and seated on a throne, raised upon an elevated platform, 
 to which, in the near-ground, there is an approach by three steps. 
 This throne is covered with a canopy of Gothic architecture, sur- 
 mounted by a dome, which, with the lantern over it, reaches to 
 the top of the piece. On either side the throne, as in the Pax by 
 Finiguerra, in my possession, a cornice is continued to the edge 
 of the print ; and over each of these cornices is a rich frieze, com- 
 posed of ornaments of foliage, two cornucopias, and a vase from 
 which issue flames of fire. The Madonna is devoutly kneehng 
 before the Almight}^ who, with both hands, is about to place the 
 crown upon her head : her figure is seen nearly in a back view, but 
 turned a little towards the right. On either side the throne is a 
 pilaster, from the lower part of which a parapet projects forward, 
 as in Finiguerra's Pax of the Assumption ; and on each parapet, as 
 in that Pax, is an angel, standing, holding a vase of flowers. Lower 
 down, behind each parapet, the upper part of an angel is seen, 
 holding a branch of lily : lower still, behind, and leaning on two 
 lower parapets, which join to, and form a continuation of the former 
 ones, are two other angels with lilies, one on each side ; and at the 
 termination of each of these lower parapets is an angel, on its 
 knees, supporting a festoon of flowers. Higher in the piece, nearly 
 upon a level with the two angels holding the vases of flowers, and 
 immediately under the two cornices before mentioned, stand six 
 angels, three on either side, blowing trumpets ; and in the space on 
 each side the throne and the elevated platform, stand a multitude 
 of saints of both sexes. In the near-ground are four other saints. 
 
CHAP. VI.] THE EARLY FLORENTINE SCHOOL. 455 
 
 seen in a back view, on their knees. Of these last, the saint nearest 
 the left-hand is turned towards the right, and has at the back of his 
 head a solid diadem, or glory, of an oval form ; the only one in the 
 piece, except the diadem round the head of the Almighty. The 
 next saint, nearer the centre, is a youthful figure, and wears a gar- 
 land of small flowers : this figure is also turned a little towards the 
 right, and kneels with one knee on the lowest of the three steps 
 before mentioned. The third saint, more to the right, kneels with 
 both knees on the same step, and is turned a little towards the left. 
 The figure of the fourth saint, near the right-hand border of the 
 piece, is also turned towards the left ; but his head, which is orna- 
 mented with a bishop's mitre, looks upwards towards the right. 
 
 The two following interesting specimens of the early Florentine 
 school, are in the possession of Mr. Lloyd. 
 
 A BEAR HUNT. 
 
 This piece represents a hunter, who, with his five dogs, is attack- 
 ing and subduing a bear. The bear is turned towards the right, 
 and has hold of one of the dogs with his paAvs and teeth : mean- 
 while two other dogs are biting his head, a fourth has seized him 
 by the thigh, and the huntsman, who is behind the bear, on the 
 left, is piercing the animal with his spear. A tree with an upright 
 stem, perhaps intended for a palm-tree, rises behind the group, 
 near the centre ; and, in the distance, is a broad river winding 
 amongst rocks. This engraving is not noticed by Bartsch. It is 
 executed much in the manner of the planets of Baldini, described 
 in a former part of this chapter, though the figures are much larger. 
 Perhaps it might, with propriety, have been arranged in our cata- 
 logue of that artist's supposed works. It measures eleven inches 
 and a quarter in height, by eight inches in width, and was formerly 
 in the Riccardi collection. 
 
456 ANONYMOUS ENGRAVINGS. [chap. vi. 
 
 THE ASSUMPTION OF THE VIRGIN. 
 
 The lower part of this print represents eleven of the Apostles, 
 who, kneeling around the vacant sepulchre of the Madonna, are 
 witnesses of her Assumption. The eyes of all of them, with the 
 exception of one on the right, are directed upwards towards 
 heaven, where the Virgin appears, standing in the clouds, amidst 
 a glory of cherubims, and attended by six angels seated on clouds, 
 three on each side of her, and playing on musical instruments. 
 Upon a bank on the left-hand, in the middle distance, is St. Thomas, 
 who, kneeling on his right knee, has just received the Madonna's 
 girdle. The distance represents a river, upon which are five small 
 boats, and a rocky country interspersed with buildings. Amongst 
 these, on the right-hand, is a water-mill, near which, in a square 
 court, are eight men threshing corn. 
 
 The draperies in this piece are designed with much purity though 
 dryness of manner ; the figures are arranged with greater formality 
 than is common in the works of those artists of the Florentine 
 school who flourished towards the end of the fifteenth century, and 
 the heads of the Madonna, the Angels, and all the Apostles, have 
 glories or diadems of a solid appearance ; marks of distinction 
 which, as I have observed in another place, fell gradually into 
 disuse soon after the middle of the century, and are not, indeed, 
 once found in the large two-sheet print of the Assumption by Bot- 
 ticelli, before described. 
 
 Upon the whole, I am inclined to consider this engraving very 
 ancient. I must observe, however, that the impression in Mr. 
 Lloyd's collection appears to have been taken off after the plate, 
 which was originally finished in a very delicate manner, with cross 
 hatchings, had been retouched all over. It measures seventeen inches 
 in height, by twelve inches in width, and is not mentioned by Bartsch. 
 
 The following piece is executed in a very different style of 
 
CHAP. VI.] GHERARDO. 457 
 
 engraving from anj' hitherto described in this work. The shading, 
 which, in the engravings ascribed to Baldini, is, for the most part, 
 effected by close hatchings, crossing each other in various direc- 
 tions, but without curvature, is here represented by fine curved 
 strokes, terminating, in many instances, in the light parts of the 
 figures, Avith dots or other short dehcate touches of the burin, in 
 the manner used by Martin Schongaver and other ancient engravers 
 of the German school. The landscape also exhibits a similar kind 
 of workmanship. Now we learn from Vasari that the prints of 
 Schongaver made their way into Florence in considerable numbers, 
 many years before the end of the fifteenth century ;* and I am 
 therefore of opinion that this plate was executed by some early 
 artist of the Florentine school, who, being struck with the supe- 
 riority of mechanism displayed in those engravings, desired to 
 imitate them. 
 
 Possibl)^ it may be the work of that Gherardo, a contemporary of 
 Domenico Ghirlandajo, who enjoyed the reputation of a good 
 painter in mosaic, distemper, and, more especially, in miniature ; 
 and of Avhom Vasari relates, that he engraved an excellent copy of 
 one of IMartin's engravings representing a Crucifixion, with the 
 Madonna and St. John the Evangelist standing on either side the 
 cross, -j- and also some other pieces. If, at any future time, Gherardo's 
 
 * According to Vasari, Michelangiolo de' Medici, his patron. Tlie artist, therefore, 
 
 Buonaroti, when a boy, copied the celebrated probably died about 1493. Vasari, in the 
 
 print of St. Anthony, by Schongaver, in life of Gherardo, iu his second edition, after 
 
 colours. This must have been before the speaking of certain works of mosaic executed 
 
 year 1490, since Buonaroti was bom in 1474. by him for Lorenzo de' Medici, proceeds as 
 
 f In the first edition of his work, Vasari follows : " Whilst Gherardo was employed 
 says nothing of Gherardo's engravings, but " in these works, there were brought to Flo- 
 he is more explicit as to the time of his " rence certain prints, in the German style, 
 death than he is in his subsequent edition. " executed by Martin, and Albert Durer :" 
 In both of them he states that Gherardo died [the mention of Albert Durer's engravings 
 at the age of sixty-three ; but in the first edi- in this place, must be put to the account of 
 tion, only, he states that his decease was ac- the writer's accustomed carelessness,] " and 
 celerated by grief for the death of Lorenzo " tliat kind of engraving happening to please 
 
 3 N 
 
458 GHERARDO. [chap. vi. 
 
 copy of this Crucifixion should chance to be discovered, it may 
 then be possible to ascertain, by a comparison of it with the piece 
 about to be described, the truth or fallacy of my conjecture. 
 
 THE DEATH OF VIRGINIA. 
 
 In the middle of the piece, Virginius, dressed in armour, and 
 wearing a helmet ornamented with wings, is about to plunge his 
 uplifted poniard into the bosom of his daughter, who is standing 
 beside him on the left. Both these figures are seen in a front view. 
 Behind the figure of Virginia, on the left, is another female, seen 
 in profile, and turned towards the right, who, raising her arms, 
 endeavours to arrest the stroke of the dagger. On the right, is the 
 Consul Appius. He wears a crown of laurel, and is standing in 
 the midst of a group of men, whose various gestures are expressive 
 of terror and astonishment. On the left, in the back-ground, are 
 three soldiers, two of them armed wdth spears ; and in the fore- 
 ground, on the same side, is a child, who holds a torch, conversing 
 with another cliild, who is astride on a walking-stick, and holds 
 a sort of weather-cock affixed to the end of a wand in his left hand. 
 The back-ground represents a rocky landscape, with here and there 
 a tree, without any foliage. 
 
 The two female figures in this piece are sufficiently graceful, but 
 
 " him very much, he set himself to work " miuiature painter, applied himself to copy 
 
 " with the burin, and copied some of those " it with the burin, and succeeded admirably; 
 
 " engravings extremely well, as may be seen " tliough, as he did not live long afterwards, 
 
 " in certain pieces in our book, together with " he did not pursue the art further, (non 
 
 " various designs by his hand." In the intro- " seguit6 piit oltre.)" The fair sense to be 
 
 duction to tlie hfe of Marc Antonio, Vasari collected from ail these statements seems to 
 
 mentions, amongst other engravings of Martin be, that, towards the latter part of his life, 
 
 Schongaver, the piece noticed in the text, Gherardo employed himself occasionally in 
 
 of " Christ on the Cross, with St. John and engraving, and that, by way of improving him- 
 
 " the Madonna, standing ; which print," con- self in the management of the burin, he 
 
 tinues he, " was in so good a style of en- copied a few of Schongaver's prints. 
 •' graving, that Gherardo, a Florentine 
 
CHAP. VI.] ROBETTA. 459 
 
 those of the men, especially the group of Appius and his attendants, 
 have little to recommend them. The details of ornament in the 
 dresses of the figures are finished throughout with scrupulous dili- 
 gence, but the naked parts are not so well understood ; and the 
 wdiole savours much of the taste of an artist who was more accus- 
 tomed to paint or design in miniature, than to execute works upon 
 a large scale. This print measures eleven inches and five-eighths in 
 width, by nine inches and a quarter in height. 
 
 We shall close this series of the engravings of the early Floren- 
 tine school, with some account of the works of Robetta. 
 
 ROBETTA. 
 
 In the life of Gio. Francesco Rustichi, a Florentine sculptor of 
 some eminence, Vasari gives an amusing account of a society or 
 club, which was founded by Gio. Francesco, and consisted of 
 twelve members, most or all of them artists. The party styled them- 
 selves ' la co)npagnia del Paiuolo,' and it was their custom to meet 
 at supper, alternately, at each other's houses. In the catalogue of 
 the members of this club, after the name of Rustichi, we read, 
 amongst others, the names of Andrea del Sarto, Domenico Puligo, 
 Aristotile da San Gallo, and Ruberto di Filippo Lippi, all painters ; 
 and with these Avas associated Robetta, who was, doubtless, the 
 author of the engravings we are about to describe, and of whom 
 Vasari gives us no further information, than that he was a gold- 
 smith. These meetings appear to have taken place about the year 
 1511 or 1512; but we have no information as to the age of 
 Robetta at that time ; and, consequently, in conjecturing the epoch 
 to which his works of engraving appertain, we shall be best guided 
 by their style of design, which is evidently that of the latter part 
 of the fifteenth century ;* though there is also reason to believe that 
 
 * Mr. Barlsch, however, torn. xiii. p. " Robetta florissoit vers 1520, et que par 
 392, says : " on a tout sujet de croire que " consequent ses estampes appartiennent 
 
 3 N 2 
 
460 ROBETTA. [chap. vi. 
 
 a few of his engravings were executed in the early part of the 
 sixteenth century. 
 
 The works of Robetta bear evidence that he was no ordinary 
 goldsmith. He appears to have possessed a fertile imagination, and 
 to have composed with facility. In his small draped figures of 
 females or angels, he is frequently graceful ; but he was not equally 
 successful in his naked figures, which are often lamely drawn, and 
 ' sometimes ill proportioned. His engravings, which appear executed 
 with freedom, are finished with close hatchings carelessly thrown 
 in various directions; and, in the light parts of his figures, and 
 upon the ground, he sometimes introduces a few dots, or short 
 curved strokes, in the manner used by Schongaver, and other early 
 engravers of Germany or the Low Countries. He sometimes 
 signs his prints with his name at length ; but more frequently he 
 uses the four letters R B T A . only. Many of his engravings are 
 without any mark. 
 
 Subjects of the Old Testament. 
 
 The Creation of Eve. 
 
 Adam is represented sleeping, seated on the ground, on the left 
 of the print, his back and his head resting against a cluster of twigs. 
 Eve appears coming out of his side ; her hands are joined together, 
 and she bends forwards towards the Creator, who is standing on a 
 bank of earth, on tne right. It is remarkable, that the Almighty 
 
 " plutot au commencement du seizi^me that the society above mentioned, was in being 
 
 " si^cle qu'^ la fin du quinzi^me." Huber, at least as early as 1512, since he expressly 
 
 however, ' Manuel,' torn. iii. p. 50, is of a mentions one of their entertainments which 
 
 very different opinion. " En general," says took place in that year ; and, for aught we 
 
 he, " les productions du burin de Robetta know to the contrary, Robetta may then 
 
 " paroissent de beaucoup anterieurs a celles have been a man of sixty, or upwards, as 
 
 " de Mantegna." Now it is certain, if there appears reason to believe his friend 
 
 Vasari's account is to be depended upon, Rustichi himself was at that time. 
 
CHAP. VI.] ROBETTA. 461 
 
 is represented in this print as a very young man, and not, as 
 usual, with a long beard. 
 
 This piece, which has neither the name nor initials of the artist, 
 measures six inches and a half in height, by five inches and three 
 eighths in width. {Bartsclis Catalogue of Robetta, No. 1 .) 
 
 Adam and Eve driven out of Paradise. 
 
 On the left is the angel, with a sword elevated in his right 
 hand. Adam, whose figure is seen in nearly a back -view, in the 
 middle of the print, directs his steps towards the right ; where Eve, 
 seen in a front view, appears standing on a bank, having her right 
 hand on her bosom, and, with her left, covering her nakedness. With- 
 out name or mark. This piece measures six inches and seven-eighths 
 in height, by five inches and three-eighths in width. {Bartsch, No. 2.) 
 
 Adam and Eve with the Infants Cain and Abel. 
 
 Adam appears, seated on the left, with the infant Cain beside 
 him ; Eve is seated on the right, with the young Abel on her knees, 
 whom she holds with her left hand. Her right hand rests on the 
 large stone on which she is sitting ; and from under her left arm 
 rises a distaff. This piece, which, like the foregoing, is without 
 name or mark, measures six inches and seven-eighths in height, by 
 five inches and a half in width. (Bartsch, No. 5.) 
 
 The Sacrifice of Cain and Abel. 
 
 In the middle of the print is an altar of a square proportion, 
 beautifully decorated with ornaments of sculpture, in the manner 
 of the antique. Upon it is Cain's offering of the first fruits of the 
 earth, burning. Cain himself appears standing on the right, dressed 
 in a short jacket, the folds of which he has hold of with his right 
 hand : he raises his left hand, and bends forward, looking towards 
 
462 ROBETTA. [chap. vr. 
 
 his brother Abel, who is standing, on the left, with his offering of 
 a small ram, or goat, which he bears in both hands. The figure of 
 Abel has considerable elegance, and is larger than that of Cain, The 
 back-ground, which rises high up in the print, represents a pleasing 
 landscape, with two or three scattered houses situated on the banks 
 of a lake. This piece, which, with the one following, was, I think, 
 no doubt intended to accompany the three preceding, is in my own 
 collection. It appears to have escaped the researches of Bartsch, 
 and has no mark. It measures six inches and five-eighths in height, 
 by five inches and a quarter in width. 
 
 The Death of Abel 
 
 The figure of Abel, lying on his back, on the ground, is seen in 
 a boldly fore-shortened point of view, his head being towards the 
 spectator, on the left of the print. In the fore-ground, on the right, 
 stands Cain, Avho is seen in a back view. He rests his right-hand 
 on his club, and raises his left as if in expostulation ; looking up, at 
 the same time, at the Almighty, whose half-figure, leaning forwards 
 from a cloud, appears in the sky, on the left, over the figure of 
 Abel. Behind the figure of Abel is seen part of a rustic fence. This 
 piece, which is in the collection of Mr. Lloyd, has neither the 
 name nor the initials of Robetta. Bartsch appears to have been 
 unacquainted with it. It measures six inches and three-quarters in 
 height, by five inches and a quarter in width. 
 
 Adam and Eve with the Infants Cain and Abel. 
 
 This composition is very different from that of the same subject 
 already described. Adam is seated on a bank, on the left of the 
 print, fatigued after the labour of the day. At his feet is the infant 
 Cain, seated on the ground, and holding a bird. On the right is 
 Eve, standing with her distaff, and the infant Abel by her side. The 
 back-ground represents a landscape. In the middle of the print. 
 
CHAP. VI.] ROBETTA. 463 
 
 at bottom, are the letters R b t a. Tliis piece measures nine inches 
 and a quarter in height, by six inches and three-quarters in width. 
 
 Mr. Bartsch notices two different impressions of this engraving. 
 In the first, the sky is left white. In the second impression, which 
 he says is retouched, there are several clouds, particularly on the 
 right-hand. {Bartsch, No. 3.) 
 
 A Repetition of the same Subject. 
 
 Adam, whose countenance is expressive of sadness, holds the hoe, 
 with which he has been tilling the ground, with his right hand, and 
 is seated on a bank by the side of Eve, who has the infant Abel on 
 her lap, and points towards Cain, who is sitting at her feet, in the 
 fore-ground, on the right-hand. The back-ground represents a 
 landscape. This piece, which is without mark, measures nine inches 
 and seven-eighths in height, by seven inches in width. {Bartsch, No. 4.) 
 
 Subjects of the New Testament, Saints, &c. 
 
 The Adoration of the Shepherds. 
 
 In the middle of the print, the Madonna is represented on her 
 knees, her hands joined together, and elevated, adoring the infant 
 Jesus, who is supported in the arms of an angel, who is kneeling on 
 the right. Two other angels are on their knees, one on either side the 
 Virgin, and a fourth angel, in a similar attitude of devotion, is seen 
 a little behind. Beyond this group, a little to the right, is a build- 
 ing fallen into ruins, through the door of which is perceived the ox 
 and the ass. Towards the near-ground, on the same side, is Joseph, 
 standing : he is seen in a back view, and turns his head towards a 
 shepherd, who, with his arms extended and elevated, prostrates 
 himself on the ground. This shepherd is attended by two dogs. In 
 the fore-ground, on the left, are three other shepherds. The dis- 
 
4G4 ROBETTA. [chap. vt. 
 
 tance on this side presents the view of a village. Mr. Bartscli 
 observes of this piece, that it does not bear the initials nor the name 
 of Robetta, but that it is undoubtedly by his hand. It measures 
 about ten inches and a half in height, by six inches and three 
 quarters in width. {Bartsch, No. 7.) 
 
 The Adoration of the Magi. 
 
 The Virgin is seated on a rocky bank, in the middle of the print, 
 and is seen in a front view. She has the Infant on her lap, who 
 holds a small vase, one of the presents of the Magi. The stems of 
 two trees, one on each side the Madonna, rise to the top of the 
 print, and support a light canopy or roof of thatch, under which is 
 a group of three angels singing out of a scroll. Immediately behind 
 the Virgin, on the left, part of the figure of Joseph is seen, who 
 appears conversing with her, and on the right are the ox and 
 the ass. 
 
 The Magi, with their attendants, occupy the near-ground on 
 either side the print Amongst these, an old man, whose cap, sur- 
 rounded by a crown, lies on the ground, appears kneeling on the 
 right ; and a second, a youth, kneels on the left, offering his present of 
 a small vase : on the ground beneath this figure is a turban. The 
 back-ground represents the view of a lake surrounded by a hilly coun- 
 try. On the right-hand, at bottom, under the cap of the old man 
 before mentioned, is the name of the artist, thus : robetta. This 
 piece, which is one of Robetta's most capital performances, measures 
 eleven inches and three-quarters in height, by ten inches and three- 
 quarters in width. [Bartsch, No. 6.) 
 
 The Baptism of Christ. 
 
 St. John the Baptist, accompanied by two angels, who appear 
 conversing together, occupies the right-hand of the print. In his 
 left hand he holds a long staff surmounted by a cross, and, in his 
 
CHAP. VI.] ROBETTA. 465 
 
 right, a bowl, from Avhich he pours water on the head of Christ, 
 who, with his hands joined, is standing in the river Jordan. On 
 the left, two men are seen, undressed, the one standing, and the 
 other seated, on the bank of the river. In the middle, at the top 
 of the print, the half figure of God the Father appears in a cloud, 
 surrounded by four angels in the act of adoration. The letters 
 RBTA, are engraved about the middle of the print, at bottom. 
 This piece measures eleven inches and three-quarters in height, by 
 eight inches and a half in width. (Bartsch, No. 8.) 
 
 Christ taking leave of his Mother: 
 
 Jesus, seen in profile, is standing towards the right, accompanied 
 by his disciples. He bends his head with an air of sadness, and 
 appears to listen to the Madonna, who, standing on the left-hand, 
 in company with a number of persons who appear to take an in- 
 terest in the scene, is addressing herself to him. Amongst other 
 figures, may be remarked that of a naked infant, Avho is seated in 
 the fore-ground, playing with a little dog. In the middle of the 
 back-ground is a group of soldiers assembled around a well. The 
 distance, on the right-hand, represents a town situated on an emi- 
 nence. The letters r b t a are engraved in the middle of the print, 
 at bottom. This piece measures ten inches and three-eighths in 
 height, by eight inches and a half in width. (Bartsch, No, 9.) 
 
 The Resurrection. 
 
 Jesus Christ, holding a banner with his left hand, and pointing 
 towards heaven (or perhaps giving the benediction) with the other, 
 (see note, p. 452) appears hovering in the air, over the sepulchre 
 which he has just vacated. Two soldiers, armed with spears, are 
 running off towards the left. Two others, on the right, one of whom 
 covers his head with his round shield, are getting up from the ground 
 that they also may make their escape. Upon the front of the se- 
 
 3 o 
 
466 ROBETTA. [chap. vi. 
 
 pulchre is a basso-relievo, in which two angels are represented in the 
 air, bearing the handkerchief of S. Veronica. The letters R b t a, are 
 engraved in the middle of the print, at bottom. This piece measures 
 eleven inches and three-quarters in height, by eight inches and a 
 half in width. {Bartsch, No. 10.) 
 
 The Virgin and Child, with Angels. 
 
 The Madonna is giving the breast to the infant Jesus. The little 
 St. John is seen further otf. On either side are angels, in all five 
 in number, in attitudes expressive of adoration. This piece is 
 marked robta, and measures five inches in width, by four inches 
 and three-quarters in height. {Ba7'isch, No. 11.) 
 
 The Virgiii and Child. 
 
 The Madonna is seated, in a landscape, with the infant Jesus in 
 her lap, whom she supports with her left hand, whilst, with her 
 right, she presents him with a small bird. The letters ret a are 
 engraved in the middle of the print, at bottom. It measures seven 
 inches and three-quarters in height, by six inches and three-eighths 
 in width. {Bartsch, No. 12.) 
 
 The Virgin and Child, with Angels. 
 
 The Virgin is seated, in the middle of the print, supporting the 
 infant Jesus with both hands, who, seated on her lap, bends 
 forward to embrace the little St. John the Baptist. On the left are 
 two angels, figures of the greatest elegance, standing, one of whom 
 raises his hands in devotion, and, at the same time, turns towards 
 his companion, as if inviting him to join him. On the right, behind 
 the Madonna, is another angel. This piece bears neither the name 
 nor the initials of Robetta, but it is undoubtedly by his hand, and 
 may, indeed, be considered one of his most beautiful productions. 
 
CHAP. VI.] ROBETTA, 467 
 
 It measures nine inches and nine-eighths in height, by seven inches 
 and a quarter in width. (Bartsch, No. 13.) 
 
 St. Sebastian and St. Rock, 
 
 St. Sebastian, pierced by arrows, and bound to the trunk of a tree, 
 stands on the left. On the right, stands St. Rock, holding a staff 
 with his right hand, and, with his left, lifting up a part of his garment, 
 in order to expose the wound in his thigh. In the sky is an angel, 
 descending, with the palm and the crown of martyrdom, towards 
 St. Sebastian. This piece, which has no mark, measures eight 
 inches and three-eighths in height, by five inches and a half in 
 width. {Bartsch, No. 14.) 
 
 Faith and Charity. 
 
 The figure of Faith has a chalice in the left hand, and a cross in 
 the right. Charity is represented with a child on her lap, holding 
 a bird, and another child seated by her on the ground. The back- 
 ground represents a landscape. This piece is marked rbta, and 
 measures seven inches and a half in height, by six inches and three- 
 quarters in width. (Bartsch, No. 15.) 
 
 Subjects of Heathen Mythology, Fancy Subjecis, &c. 
 
 Ce 
 
 res. 
 
 The Goddess is represented with her brows encircled by a gar- 
 land of ears of corn, and a sort of thyrsis in her hand, surmounted 
 by a vase filled with fruits and grain. She carries an infant satyr, 
 and is followed by another. This piece is marked rbta, and 
 measures seven inches and an eighth in height, by five inches and 
 a h^lf in width. {Bartsch, No. 16.) 
 
 3 o2 
 
468 ROBETTA. [chap. vi. 
 
 A Venus with Cupids. 
 
 Venus appears seated on a bank, holding, with her right h»nd, a 
 wand, to the end of which is affixed a vase, filled with fruits and 
 flowers. She is playing with two little Cupids : one of them is 
 upon her lap ; the other, who is standing by her, on the left, looks 
 up towards her, and presses her bosom with his left hand. A third 
 Cupid, holding a bird, is seated in the fore-ground, on the right, 
 and, in the back-ground of the same side, a fourth Cupid is seen, 
 seated on the ground, and amusing himself with a little dog, which 
 he holds by a ribbon tied round his neck. All these Cupids are 
 without wings. Towards the middle of the piece, rises a tree without 
 foliage, to which is suspended a tablet, whereon the traces of the 
 name of Robetta may be perceived, covered by dark hatchings. This 
 piece measures nine inches and three-quarters in height, by seven 
 inches in Avidth. {Bartsch, No. 18.) 
 
 Apollo and Marsyas. 
 
 Apollo is playing upon a pipe made of reeds, and is listened to 
 by Marsyas, near whom, lying on the ground, is a sort of violin, 
 the bow of which he holds in his hand. Tavo men, who are seated, 
 and a female, who is standing, appear to be the judges of the per- 
 formance. At the feet of Marsyas is a child, holding in his arms a 
 small monkey. This piece is marked R B T a, and measures ten 
 inches and an eighth in height, by seven inches and a quarter in 
 Avidth. {Bartsch, No. 19.) 
 
 All iinknown Subject. 
 
 On the right of this piece, a young man is represented, seated on 
 a stone, Avith his back against the trunk of a tree, to Avhich he is 
 bound by cords, Avith his hands behind him. He appears to com- 
 plain of his captivity to a young Avoman Avho is standing before 
 
CHAP. VI.] ROBETTA. 469 
 
 him with her hands crossed on her bosom. Another young female, 
 who is standing, in the middle of the print, plays on the harp, and, 
 on the left. Pan is represented, playing on a horn, which he holds 
 elevated. In the fore-ground of this side, is a second young man, 
 seated, in an easy attitude, on a piece of rock, at whose feet is a 
 small snake twisted round a stump. All these figures are naked. 
 The scene is a landscape. This piece bears the letters R b t a, en- 
 graved in the middle of the print, at bottom, and measures nine 
 inches and three-eighths in height, by six inches and three-quarters 
 in width. (Bartsch, No. 17.) 
 
 The Choice of Hercules. 
 
 Hercules is represented, in the flower of his youth, standing, 
 towards the left of the print, and resting with both hands on his club. 
 He listens attentively to what is said to him by two naked females, 
 intended to personify Virtue and Vice ; of whom the one, standing 
 in the middle of the piece, is seen in front, and the other, on the 
 right, in a back view. Behind, on the left, are the three Graces ; 
 and above, on either hand, are Cupids flying in the air. This en- 
 graving, according to Bartsch, bears neither the name nor the initials 
 of Robetta. He considers it one of that artist's earliest produc- 
 tions. It measures ten inches and an eighth in height, by seven 
 inches and a half in width. (Bartsch, No. 20.) 
 
 Hercules destroying the Hydra. 
 
 Hercules, who is standing, near the middle of the print, is giving 
 a blow to the Hydra with his club ; the monster being represented 
 near the mouth of a cavern, on the left-hand. The back-ground 
 exhibits a mountainous landscape. About the middle of the piece, 
 at bottom, are the letters R b t a. This engraving measures nme 
 inches and an eighth in height, by seven inches and a quarter in 
 width. {Bartsch, No. 21.) 
 
470 ROBETTA. [chap. vi. 
 
 Mr. Bartsch observes, that there are two different impressions of 
 this piece. In the^r,s^, the whole of the sky is left white, but, in the 
 second, some clouds are introduced, and also a falcon chasing a heron. 
 
 Hercules and Antaus. 
 
 Hercules is represented strangling Antaeus ; and, in the fore- 
 ground, on the left-hand, is an infant, who appears to be in con- 
 vulsions. Bartsch observes that this piece is ill drawn. He con- 
 siders it one of the artist's earliest works. It is without the name or 
 initials of Robetta, and measures ten inches in height, by seven 
 inches and a half in width. {Bartsch, No. 22.) 
 
 Mutius Scavola. 
 
 Mutius Scsevola stands on the right, burning his hand in the fire, 
 which is upon an altar in the middle of the print. Near him are 
 two soldiers, in attitudes testifying their astonishment at the action. 
 On the lefl stands Porsenna, holding a small standard, and accom- 
 panied by another soldier. This engraving is marked R b t a, and 
 measures eight inches and a quarter in height, b}'^ six inches and a 
 quarter in Avidth. {Bartsch, No. 26.) 
 
 The Torments of Love. 
 
 In the middle of this piece, a young man is represented, seated 
 on a bank, with his back against a tree, and bound, by the left 
 arm, to one of its branches by Cupid, at the same time that he is 
 caressed by a woman, who is standing by him on the left. A man, 
 on the same side, accompanied by an infant, stands looking at 
 them. On the right, is another man, who is also accompanied by 
 an infant, and appears forcibly leading away a female, whose 
 countenance is full of sadness, and who raises her right arm in the 
 air, in an attitude expressive of her distress. All these figures are 
 
CHAP. VI.] ROBETTA. 471 
 
 naked. Upon a tablet, suspended to the branch of a tree, near the 
 right-hand border of the print, is the name, thus : robeta. This 
 engraving measures eleven inches and three-quarters in height, by 
 eleven inches in width. {Bartsch, No. 25.) 
 
 The Old Woman and the four Lovers. 
 
 In the middle of this piece is an old woman, standing, and seen 
 in a front view. She looks down, towards the left, at a little child, 
 who is seated on the ground, hugging and playing with a bird. 
 Behind the infant is a young man, sitting on a piece of rock, cares- 
 sing his mistress, who is seated upon his lap. On the right are two 
 other lovers, who, standing, and holding each other round the 
 waist, are conversing together; the woman being seen in front, and 
 the man in a back view. All these figures are naked. On the left 
 border of the print is a group of trees ; nearer the centre, in the 
 middle ground, is a single tree; and, in the distance, is a hilly 
 landscape, terminating, on the right, with the view of a small town. 
 The two bottom corners of this plate appear to have been cut away. 
 The print bears neither the name nor the initials of Robetta, but it 
 is undoubtedly his work. It measures ten inches and an eighth in 
 height, by seven inches and an eighth in width. (BaiHsch, No. 24.) 
 
 It is worthy of remark, that the view of the town in the distance 
 of this piece, is copied, with little alteration, but in a reverse direc- 
 tion, from part of the back-ground of one of Albert Durer's en- 
 gravings on copper ; viz. that styled by Bartsch, (vol. vii. No. 73) 
 * L'efFetde la jalousie;' in which is represented a naked female, 
 recumbent in the lap of a satyr, defended from the attacks of another 
 woman, who is endeavouring to beat her with a stick, by the inter- 
 position of a naked man, armed with a small tree, which he has torn 
 up by the roots.* 
 
 * This piece of Durer, as is the case with of engraving, is, unfortunately, without date, 
 a considerable proportion of his early works It was, perhaps, executed by him between 
 
472 ROBETTA. [chap. vi. 
 
 Two Female Figures with a Lyre. 
 
 On the left of this piece, a female, who is dressed in the costume 
 of the antique, and holds a masque with her left hand, is repre- 
 sented leaning upon a sort of altar, and apparently listening with 
 great attention to the sound of a lyre which is placed upon the 
 altar, and played upon by another female, who is standing on the 
 right. The letters r b T A are engraved in the middle of the piece 
 at bottom. It measures eight inches and a quarter in height, by 
 five inches and three-eighths in width. [Bartsch, No, 23.) 
 
 I must add, respecting this piece, that it appears to have been 
 engraved by Robetta, from a very elegant design, painted in 
 chiaro-scuro in fresco, by Filippino Lippi, the son of Fra Filippo 
 Lippi,* in the ' Capella Strozzi,' in the church of S. Maria Novella, 
 at Florence. I have not, indeed, seen the print ; but a drawing, 
 made from the fresco itself, is now before me ; and it so exactly 
 agrees with the above description (except that, in the print, the 
 figures are reversed, having been engraved on the copper in the 
 same direction as the painting) as to leave in my mind no doubt as 
 to the fact. It is not improbable that some of Robetta's other 
 works may also have been taken from the designs of Lippi ; and I 
 am the more inclined to indulge such a conjecture, because amongst 
 the members of the ' Compagnia del Paiuolo' before-mentioned, 
 there was, as we have seen, one Ruberto di Filippo Lippi,f (doubt- 
 
 the years loO-i and 1508, in the first of executed before any of the prints of the Ger- 
 
 which years he engraved his celebrated print man artist found their way to Florence, 
 of Adam and Eve. Robetta's print, there- * Filippino Lippi, after the death of his 
 
 fore, may probably have been executed as father, which took place when he was yet a 
 
 late as 1309 or IjlO. I must add, how- boy, became the scholar of BotliceHi. He 
 
 ever, that, amongst the other engravings which died, aged forty-five, in the year 1505. 
 I have seen by Robetta, I have found no f This Ruberto is spoken of, in Vasari's 
 
 similar instance of plagiarism from Albert life of Gio. Francesco Rustichi, as the 
 
 Durer ; whence I think it fair to conclude scholar and assistant of that artist. The pro- 
 
 that the chief part of his engravings were bability is, that he was originally a scholar 
 
CHAP. VI.] 
 
 EARLY FLORENTINE SCHOOL. 
 
 473 
 
 less so called because he was a relative, or had been a scholar ot 
 Lippi) who may readily be supposed to have possessed some of 
 Lippi's drawings, and occasionally to have obliged his friend Robetta 
 with the loan of them to engrave from. 
 
 That, besides the engravers already mentioned, there were many 
 other natives of Tuscany, who, during the last forty years of the 
 fifteenth century, and the early part of the sixteenth, practised the 
 newly discovered art, there can be little doubt; and, indeed, 
 the fact may be collected, as was observed in a former page, (319,) 
 from the general tenour of Vasari's account.* He has neglected, 
 however, to record the names of these artists, and, unfortunately, 
 other obstacles join in opposing themselves to any present attempt 
 to render our series of the ancient engravers of this school so com- 
 plete as we could wish. For althoug^h, in default of the evidence of 
 history, our inquiries might be aided by an extensive and frequent 
 reference to ancient Italian prints themselves, these are of so great 
 
 of Lippi, but that, preferring sculpture to 
 painting, he afterwards attached himself to 
 Rustichi. He is not mentioned at the end 
 of the life of Filippino Lippi, amongst that 
 artist's scholars, which leads me to suspect 
 that he might have quitted him some time 
 before his death, in 1505. 
 
 * I have sometimes thought that Vasari 
 meant to designate Andrea del Verrocchio as 
 an engraver, when he called him, at the be- 
 ginning of his life, " Orefice, Prospettivo, 
 Scultore, Intagliatore, Pittore, e Musico;" 
 though I admit that the term is equivocal, 
 and may mean that, besides being a sculptor, 
 a painter, and a goldsmith, he was also a 
 carver in wood. Stronger grounds of con- 
 jecture are furnished by Landino concerning 
 Leone Battista Alberti, of whom, in one of 
 the introductory chapters to his commentary 
 upon Dante, (viz. that bearing the title " Fio- 
 
 RENTINI EXCELLENTI IN DoTTRINa") 
 
 he thus speaks : " Scrisse de sculptura : el 
 " qual libro e intitolato statua. Ne sola- 
 " mente scrisse : ma di mano propria fece : 
 " et restano nelle mani mie commendatissime 
 " opere di penello, di scalpello, di bulino, et 
 " di getto dallui fatte." That even Lionardo 
 da Vinci might have occasionally practised en- 
 graving, I was some years ago led to think, 
 upon the occasion of turning over the inva- 
 luable volume of designs, by that great artist, 
 in his Majesty's collection; in which I found, 
 pasted on the leaves amongst Lionardo's 
 studies of horses, two engravings, or, per- 
 haps, two pieces of the same engraving re- 
 presenting horses' heads, executed exactly 
 in the taste and manner of his drawings. 
 From what I remember of these fragments, 
 I suspect they are no other than the anony- 
 mous print mentioned by Bartsch, vol. siii. 
 p. 331, and ascribed by him to lo. Ant, 
 Brixianus, cut in two. 
 
 3 P 
 
474 ANCIENT ENGRAVING BY [chap. vi. 
 
 rarity, (more especially the engravings of the early Florentine school) 
 that the means of" making the necessary comparisons are denied us. 
 
 I shall close this chapter with the description of an engraving, 
 not less singular on account of the matter it represents, than re- 
 markable for the manner in which it is executed. I cannot, indeed, 
 take upon me to assert positively that it is of the Florentine school ; 
 but I incline to the opinion, and have therefore thought it better 
 to insert it here, than to place it amongst the engravings of any other 
 school to which it appears to bear less affinity. Bartsch, Avho has 
 described it, (vol. xiii. pp. 357, 358.) gives it for title, " La puis- 
 sance de I'Amour." He acknowledges, however, that its real signi- 
 fication is enigmatical, and I, therefore, prefer styling it : 
 
 AN UNKNOWN ALLEGORICAL SUBJECT. 
 
 In the upper part of this print, in the middle, a graceful figure 
 of a young man is represented, standing on a pedestal, and seen in 
 front. In his right hand, he holds a long wand, surmounted by a 
 vase, from which issue flames of fire, and, in his left, which is ele- 
 vated, a crescent.* His bosom is exposed, but the folds of a mantle, 
 which is thrown over his shoulders, cover the lower part of his body. 
 Below this pedestal, on the left, a young man is seen kneehng, resting 
 on his staff; and, on the right, an old man, the upper part of whose 
 body is naked, is represented, kneeling on a pedestal of larger 
 dimensions than the former : he is turned towards the man with 
 the crescent, and holds, with both hands, a small idol, bearing a 
 vase on its head, which he appears to present to him. On a third 
 pedestal, resembling a tombstone, and situated under the pedestal 
 which supports the first described figure, another old man appears. 
 
 * Bartsch remarked, within the curve of a man on horseback. I am unable to distin- 
 ibis crescent, an extremely minute figure of guish it in the impression before me. 
 
CHAP. VI.] AN UNKNOWN ARTIST. 475 
 
 lying asleep on his back; and, upon a fourth pedestal, a little 
 more to the right, is an elegant female figure, seated, caressing an 
 infant. This woman is accompanied by two other females, with 
 their infants standing on each side of her, one of whom bears her 
 child upon her shoulders ; and behind, on the right-hand border of 
 the print, the heads of tAVO other female figures are seen, bearing 
 vases, and also the head of an old man. Upon the ground, under 
 the last described group, are two figures, seated; one of which, ac- 
 companied by a little dog, appears bathing its feet in a small stream 
 of Avater : nearer the middle of the fore-ground, is a young man, 
 leaning on his left arm, asleep, at whose feet are a vase, a little 
 child, and a dog ; and on the ground behind him are tAvo other 
 men, the one seated, the other recumbent. In the fore-ground, on 
 the left, are two horses : at the feet of one of them an infant appears, 
 lying on the ground ; and on the back of the other is seated a naked 
 man, whose brows are encircled by a garland. Behind these figures 
 is an elevated platform, or pedestal, of wider extent than any of 
 those before described, and reaching from near the centre to the 
 left border of the print. Upon this pedestal stands a young man, 
 naked, supporting, with his left hand, a large vase, which he 
 appears to offer to a naked female, who is standing, more to the 
 right, by his side. Behind these two figures, on the same pedestal, 
 are a little child, and a vase of larger dimensions than the former ; 
 and, on the left, are an old man with a child on his shoulders leaning 
 on his staff, a younger figure holding with both hands a small 
 vase, and three other figures, of which only the heads are seen. 
 The back-ground, on the left, represents part of a colonnade of the 
 Corinthian order ; and on the right are various portions of rich archi- 
 tecture, decorated with statues and bassi-relievi. In the middle of 
 the print, at bottom, is the mark of the artist, composed of the 
 letters P P, in the manner which will be presently shewn. This 
 engraving measures nine inches in width, by seven inches in 
 
 height 
 
 3p 2 
 
476 ANCIENT ENGRAVING BY [chap. vi. 
 
 " This piece," says Mr. Bartsch, " is extremely remarkable for 
 " the variety in the attitudes of the numerous figures it contains, 
 " as well as on account of the correctness, the precision of outline, 
 " and the gracefulness that reigns throughout. The shadows," he 
 adds, " are for the most part produced by a very delicate sort of 
 " work executed with the dry point ; a circumstance which gives to 
 " the print much of the appearance of a drawing outlined with a 
 " pen, and highly finished with Indian ink." 
 
 It is proper, however, to observe, that the last remark seems to 
 apply only to an impression of this interesting engraving, taken 
 before the plate was worked over with dots, executed with the 
 graver, by means, as Mr. Bartsch thinks, of the percussion of a 
 hammer. I shall, therefore, here give the distinctions which that 
 writer notices between the two impressions which came under his 
 cognizance. 
 
 " In the Jirst impression,'' says he, " the work is extremely de- 
 " licate, and the upper parts only of the letters P P appear; the 
 " lower parts of those letters, as well as the thin stroke which unites 
 " them, being effaced.* 
 
 " The second impression," continues he, " was taken from the 
 " plate after it had been retouched by strokes of the hammer, by 
 " some goldsmith of little ability, who spoiled the engraving ; more 
 " especially as he omitted to fmish the whole subject : for the 
 " figure of the young man holding the crescent, that of the old 
 " man kneeling who presents him with the idol, five figures in 
 " the fore-ground on the right-hand, and the architecture in 
 " the back-ground on the same side, are left in the state to 
 '* which that part of the plate was reduced when the artist under- 
 " took the task of retouching it ; that is to say, all those figures 
 " are very feebly expressed, the plate having previously suffered 
 
 • " EfFacees :'' Bartsch must surely mean added in the second impression, not that they 
 that the lower parts of the above letters were were effaced from the first. 
 
CHAP. VI.] AN UNKNOWN ARTIST. 477 
 
 " by too much printing. It is also to be remarked that, in this 
 •' impression, the lower parts of the letters P P, and the thin 
 " stroke by which they are joined together, are clearly ex- 
 " pressed."* 
 
 I have not had an opportunity of seeing the two impressions of this 
 engraving, which Bartsch thus describes ; but I possess an impression 
 of it, differing materially from both of them ; having been taken 
 off after the artist, whom he supposes to have retouched the plate, 
 had completed his work, with the exception of one or two very 
 small parts, not worth noticing. I am, therefore, led to suspect 
 that Bartsch's opinion, that the plate, after it had been worn by 
 frequent printing, got into the hands of an ignorant goldsmith, by 
 whom it was retouched, may be without foundation ; and that, on 
 the contrary, the plate was worked up with dots by the original 
 artist himself: under which supposition, the^Vs^ impression, noticed 
 by Bartsch, must be considered as a proof, taken by the artist 
 before he scraped off the hurr left by the dry point, preparatory 
 to his beginning to finish the plate, according to his original inten- 
 tion, with the graver, by means of the strokes of a small hammer. 
 I am, indeed, the more inclined to this opinion, because, indepen- 
 dent of its having been customary with the early engravers to begin 
 their plates with the dry point, (of which numerous examples 
 might be readily referred to in the works of Marc Antonio and 
 others,) I do not discover, in the finishing of the print before me, 
 those marks of ignorance of which Mr. Bartsch speaks ; although 
 I can readily conceive that the proof impression described by him, 
 may possess a greater freedom of outline and delicacy of effect, 
 than the finished print, in consequence of the artist having been 
 better skilled in design than practised in the management of the 
 burin. The reader will be enabled to form some idea of the style 
 of this singular engraving, from a copy of part of the right-hand 
 
 * Bartsch, vol. xiii. pp. 359- 360. 361. 
 
478 
 
 ANCIENT ENGRAVING BY 
 
 [chap. VI. 
 
 bottom corner of it, which, with the mark before-mentioned, is 
 here inserted. It 4 i i 
 
 The Abbe Lanzi, " Storia Pittorica," vol. i. p. 83, of the edition 
 already referred to, mentions a print representing * Christ taken 
 down from the Cross,' marked, like the above, with the letters P P ; 
 initials which he considers as indicating Pietro Perugino ; but in the 
 last and augmented edition of his Avork, (Bassano, 1809,) he omits 
 the passage altogether ; doubtless because, upon further considera- 
 
CHAP. VI.] AN UNKNOWN ARTIST. 473* 
 
 tion, he found there was no good ground for his original opinion; or 
 rather, perhaps we ought to say, for the opinion of a former pos- 
 sessor of the engraving in question, who, according, to Zani, " Ma- 
 teriah," p. 129, had written underneath it, with a pen, Petrus 
 Ferusinus. Zani, who saw this print in the collection of the Count 
 Antonio Remondini, at Bassano, informs us, that it presents a com- 
 position of fifteen principal figures, and that it is marked at bottom 
 with the letters P P, tied together, in the lower parts of the letters, 
 with a knot or flourish, in the manner indicated in the opposite plate. 
 It measures, he says, seven inches and six lines in height, (I am 
 uncertain whether or not he means old French inches,) by six inches 
 and two lines in width. Zani adds, that he is acquainted with two 
 or three other pieces marked in the same manner, one of which re- 
 presents, in a composition of numerous and very minute figures, the 
 hunting of a lion. This piece is described by Bartsch, vol. xiii. p. 3^, 
 and, according to him, measures five inches and a half in width, by 
 four inches and five eighths in height. I will only add that, besides 
 the engravings above-mentioned, Bartsch also ascribes to the same 
 artist a small print of a bacchanalian subject, copied from a larger 
 one by Andrea Mantegna. This piece I have seen: it is marked 
 n n, or, perhaps, rr; but I find nothing in it to induce me to con- 
 sider it by the same hand as the above. 
 
 THE END OF VOL. I. 
 
 J. M'Creery, Printer, 
 Black-Horse-Conrt, Fleet-Street, London. 
 
ERRATA. 
 
 Page 27. .note, line 10 for, that " certaia," read that ia " certain." 
 
 94. .note, line 3 torn of, torn off. 
 
 147. .line 16 conTallium convalliim. 
 
 149 13 rooped grouped. 
 
 178 6 dignatories, dignitaries. 
 
 18o..note, line 9 1459, 1469. 
 
 195 . . line 20 appeasr, appears. 
 
 207 6 spandle, spandril. 
 
 305 5 spandles, spandrils. 
 
 327 . .the paging 337, 327. 
 
 327. .line 5 DIEANIRA, DEIANIRA. 
 
 376. .last line page 30, page 130. 
 
 422. .line 2 from bottom and of which, and at which. 
 
 494.. line 9 LAERTIOR, LAETIOR. 
 
 677. .line. ... 12 from bottom which, whom. 
 

 
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