Ulrich Middeldorf 
 
110. COSTUMES. Jost Amman. IM FRAUENZIMMER wirt vermeldt von aller- 
 ley schoenen Kleidungen und Trachten der Weiber, etc. Leipzig, Hirth, 1880, 12mo, 
 . publisher's leather. $15.00 
 ' Excellent facsimile reprint of the costumes of 16th century women (German, French. English, 
 
 Dutch, etc.) with approximately 120 woodcuts by Jost Amman, first published in 1588. Crisp copy. 
 
Cije iDolbem g>octet$>. 
 
 COUNCIL. 
 
 SIR WILLIAM STIRLING-MAXWELL, Bart., N.B., President. 
 HENRY YATES THOMPSON, Vice-President. 
 ALFRED BROTHERS, F.R.A.S. 
 JAMES CROSTON, Honorary Secretary. 
 HENRY GREEN, M.A. 
 ALFRED ASPLAND, Editor. 
 WILLIAM HARRISON, F.S.A. 
 WILLIAM LANGTON. 
 G. W. NAPIER. 
 
THE HOLBEIN SOCIETY'S FACSIMILE REP RENTS. 
 
 THE 
 
 THEATRE OF WOMEN. 
 
 Designed by JOBST AMMON. 
 
 EDITED BY 
 
 ALFRED ASPLAND. 
 
 ^ubltsljriJ for t fje li?olbrin Sortrty by 
 A. BROTHERS, St Ann's Square, Manchester; and 
 TRUBNER & CO., Paternoster Row, London. 
 
 M.DCCC.LXXII. 
 
THE GETTY CCNTIfl 
 
GYN/BCEUM; 
 
 OK, 
 
 THE THEATRE OF WOMEN: 
 
 WHEREIN MAY BE SEEN 
 
 THE FEMALE COSTUMES OF ALL THE PRINCIPAL NATION'S, 
 
 I 
 
 TRIBES, AND PEOPLES OF EUROPE, 
 
 OF WHATSOEVER RANK, ORDER, ESTATE, CONDITION, PROFESSION, 
 OR AGE. 
 
 With new and most exquisite figures unequalled hitherto for 
 
 beauty. 
 
 DESIGNED BY fOBST VMMON. 
 
 Attached to each figure is an eight-line stanza by 
 
 Francis Modius of Bruges. 
 
 A work prepared both in commendation of the female sex, and for the esperi&J 
 gratification of such as by their manner of ordinary life, or from 
 other causes, are hindered from distant travel, but at the 
 same time take pleasure at home in the costume 
 of various people, which is a silent 
 index of their character. 
 
 A.D, 1586. 
 
 Jxankforf: jJublisbcb ui the cost of 
 SIGISMUND FEYKKABEND T. 
 
INTRODUCTION. 
 
 WITH Blake, with the pupils of Bewick, and the 
 contemporaries of Turner, the English school of 
 engraving died out.* Thenceforth those who might have 
 continued it successfully, devoted themselves to the easel, 
 to drawing for book-illustration, or to the profitable super- 
 intendence of those mechanical works by which the public 
 are made acquainted with the works of the artists of 
 the day. 
 
 The explanation is not difficult ; the money rewards 
 were slight, the honours few ; there was no court patronage, 
 and no blue ribbon from the Academy ; the work was 
 injurious to the health and damaging to the sight. Then, 
 again, the increase of wealth during the last half-century, 
 and the consequent large demand for engravings, instead 
 
 * A statement so general must of course not be understood literally. A 
 few artists working on copper still linger amongst us; Mr. Samuel Cousins 
 latterly working in line, scarcely sustains his reputation in mezzotint. Graceful 
 as is the engraving of the Minuet after Millais, it cannot for a moment be 
 compared with the scraping of the Maid and the Magpie. This betrays 
 genius ; the figure of the Maid is a creation, finer in pose and modelling 
 than Landseer's painting. To realize fully the stimulus which Landseer has 
 given to English engraving, we must go back a generation and recall the 
 works of this great artist before he adopted a theatrical treatment to satisfy 
 the debased requirements of modern picture-buyers, and contemplate the two 
 finest works which ever came from his easel, the Shepherd's Chief Mourner 
 and the Shepherd's Grave. Visitors to the Manchester Art Treasures will 
 not easily forget the latter. Over both these pictures the memory lingers 
 tenderly, and it is fame enough for the late George Phelps Gibbon to say 
 that he has rendered with absolute fidelity the pathetic sentiment of the 
 master, and that the executive skill is scarcely inferior to that shown in the 
 finest of modern prints. 
 
viii 
 
 INTRODUCTION. 
 
 of fostering the art has hastened its downfall. The multi- 
 plication of copies, the large number of proofs struck off 
 before the prints appear, has necessitated the use of steel 
 and the introduction of a variety of executive methods, 
 which produce representations of the originals without 
 their spirit or refinement. The same cause which has 
 created so great a demand for engravings, has given 
 unusual activity to the publishing trade, and as nearly 
 every book and magazine must be illustrated, the demand 
 for woodcutting is proportionably great. Designing on 
 wood is a special art, requiring special knowledge and 
 long practice, and the designers were not to be found : 
 Jackson says that at one period there was only one in 
 England capable of drawing effectively on wood ; but 
 whether the men could be found or not, the work had to 
 be done, as woodcuts, being capable of almost unlimited 
 multiplication, were necessary for cheap popular works. 
 The capacity of wood is limited. It can express, perhaps 
 better than copper, the strong contrasts of light and 
 shade, but trade necessities required that it should attempt 
 to do the work of copper ; the tint tools were brought into 
 full use, and the result was an imperfect imitation ; the 
 value of the process is gone, and a poor, tame, and for 
 art purposes, a worthless plate, is produced. 
 
 A book published fifty years ago by Savage, on Deco- 
 rative Printing, illustrates these statements. He employed 
 some of the best artists of his time to furnish designs and 
 put them into the hands of the best woodcutters. Some 
 of them are in imitation of mezzotint engravings, and 
 some of water-colour drawings. The former are flat and 
 spiritless, failing to give an idea of the manner of the 
 artist designer; the latter, although laboriously worked 
 with many blocks, are so coarse and utterly bad as to 
 be beneath criticism. Amongst the engravings where 
 wood has been put to its legitimate use, we have 
 one cut by Charlton Nesbit, and designed by Thurston, 
 of singular interest. It is of large size, being j\ inches 
 by 5. It represents a woody scene, with Rinaldo and 
 Armida in the foreground, and but for some imperfect 
 
INTRODUCTION. 
 
 ix 
 
 work in the figures, would have been one of the finest 
 woodcuts ever executed in this country. If left to himself, 
 Nesbit would, with his executant powers, have overcome 
 any difficulties, but the failure in the figures is fully 
 explained by the naif statement of Savage — " Mr. Nesbit 
 had the benefit of Mr. Thurston's observations in his 
 retouchings." 
 
 I wish we could claim for our countrymen the woodcut 
 of Vanity Fair in Mr. Shields' illustrations to Pilgrim's 
 Progress. It is 7 J by 4 inches in size. The figures are 
 innumerable, and the German engraver has done full 
 justice to the genius of the English designer. It certainly 
 is one of the finest wood-engravings of recent date. Mr. 
 Shields designed plates to illustrate a small edition of the 
 History of the Plague, and photographs of the wood 
 blocks before cutting were fortunately taken : they were 
 ruined by the engraver. The drawing of Solomon Eagle 
 has every quality demanded by the most scrupulous critic ; 
 and if the engraving had been at all commensurate with 
 the design, we should have had an important work of art. 
 
 In stating that we have lost the art of engraving in 
 England, it must not be inferred that the observation 
 applies to another branch of the graphic art — etching. 
 With the needle in the hands of Mr. George Cruikshank, 
 Mr. Samuel Palmer, Mr. Haden, Mr. Millais, or Mr. Whistler, 
 the collector of art gems will never be at a loss to find 
 occupants for his portfolio. 
 
 It is proposed in this volume of the HOLBEIN SOCIETY, 
 to give a specimen of the German engravers of the six- 
 teenth century. Amongst them Jobst Amnion held a 
 distinguished place, and his Book of Costumes has been 
 selected as affording a good example of his work. Not- 
 withstanding his celebrity and industry as an artist, 
 painting, as he is believed to have done, on glass and 
 canvas, engraving on copper, and designing on wood, and, 
 as far as we know, outstripping all cotemporary German 
 artists, we learn nothing of his domestic life. Albert 
 Durer, who preceded him, had a history beyond his 
 studio ; he was the chief magistrate of the town of 
 
 b 
 
X 
 
 INTRODUCTION. 
 
 Amnion's adoption ; he was the chosen friend and 
 constant correspondent of the most distinguished men 
 of the day, amongst whom were Erasmus and Luther, 
 and he was moreover married to a handsome shrewish 
 wife, who embittered his domestic life and shortened his 
 days. His public life, his voluminous correspondence, 
 and the pranks of his unamiable consort, furnished ample 
 materials for his biographers; but Ammon's life was 
 played out in his studio, and we gather little from co- 
 temporary history to mark his career. 
 
 All that we know is, that he was born in Zurich in 
 1 5 39, removed to Nuremberg in 1560, and after thirty 
 years of untiring devotion to art, died in 1591. He is 
 described as one of the Little Masters, from the fact of 
 his engravings being chiefly of a small size, and was so 
 industrious, that one of his apprentices, George Keller, 
 said that if all his drawings made during the four years 
 he was with him had been collected together, they would 
 have filled a waggon. 
 
 He does not seem to have contributed to the literary 
 portions of the works, for the illustration of which he 
 drew designs ; thus, his Book of Trades was brought out 
 under the title of Harts Sacks' Correct Description of all 
 Ranks, Arts, and Trades, with a German text, in 4to. 
 Hans Sachs was a most voluminous writer, and was held 
 in great esteem by his cotemporaries as a man of letters 
 of versatile power. Another edition was brought out in 
 the same year, in i2mo., with the text in Latin. 
 
 John Evelyn was born within thirty years of Ammon's 
 death, and though professing and desiring in his Scnlptura 
 to give an exhaustive catalogue of the engravers of mark, 
 dismisses our artist with two short notices, misnaming him 
 as often as he mentions him. This reticence is not to 
 be regretted, as Evelyn was credulous and deficient in 
 research. So eager was he to be exhaustive, that he 
 began the history of engraving with the specimens 
 on the shelves of our first parent Adam, and stated, 
 on the authority of Thomas Aquinas, in his work 
 De Ente et Essentia, that Adam described a book on 
 
INTRODUCTION. 
 
 xi 
 
 plants in his possession, — nay, that it may scarcely be 
 contradicted that he had a complete series of natural 
 history and other works besides. He hinted that his 
 good genius the angel Razael may have helped him a 
 bit, but whatever assistance he derived, he alone was equal 
 to the occasion. 
 
 The next author of note mentioning Ammon is the 
 French engraver Papillon, who published in 1760 his 
 Treatise on Wood Engraving. The illustrations, though 
 carelessly printed, exhibit skill and power. He not 
 unfrequently blunders in his art history, and makes out 
 two Jobst Ammons, one of Zurich and one of Nurem- 
 berg, from his ignorance of the removal in 1560. 
 
 In Germany, able writers came to the front ; Heinecken, 
 between 1768 and 1790, published at Dresden and Leipsic 
 several important works on engraving, and at the close of 
 the last century, and during the first quarter of the present, 
 Adam Bartsch wrote voluminously on art. Dr. Dibdin, 
 in his Tour in France and Germany, bears honourable 
 testimony to Bartsch's skill and industry as an artist, 
 and to his accuracy as a writer, speaking of his Peintre 
 Graveur, as " a literary performance of really solid merit 
 and utility." 
 
 English writers, whose works are authoritative, such 
 as William Young Ottley, Jackson, and Chatto, quote 
 largely from Heinecken and Bartsch, and each of them 
 furnishes additional matter in aid of the history of wood- 
 engraving. 
 
 In reference to the works of Ammon, Jackson says, 
 " His style bears considerable resemblance to that of Hans 
 Burgmair, as exemplified in the Triumphs of Maximilian." 
 As Burgmair was, after Durer's death, the first wood- 
 designer of his age, and ranks only second to the illus- 
 trious Albert, this assigns a very distinguished position to 
 Jobst Ammon. 
 
 In the Book of Costumes, he probably only drew the 
 designs on the wood, and the cunning fingers of his pupils 
 cut them. Masterly as they are, they exhibit some of the 
 stiffness of the German school, from which even Durer's 
 
xii 
 
 INTRODUCTION. 
 
 works were not free. The eight-line verses accompanying 
 each figure were composed by Francis Modius, a distin- 
 guished commentator of the time, and the preface was the 
 work of Sigismund Feyerabendt. The Feyerabendts had 
 been for generations scholarly publishers at Frankfort-on- 
 the-Maine. If Papillon could be trusted, we might say 
 that the different branches of the family were celebrated 
 for painting, engraving, and for original works in prose 
 and poetry, but as Papillon's authority is so questionable, 
 we must content ourselves with saying that Sigismund 
 Feyerabendt was known as an author and artist, now 
 illustrating bibles with woodcuts, now editing learned 
 works. 
 
 However imperfect the above notice of Ammon, of his 
 art, and of his literary assistants, the subscribers to the 
 Holbein Society may trust to the faithful rendering of 
 the fac-simile of the volume, under the skilful hands of 
 Mr. Brothers, and it only remains to express our grate- 
 ful sense of obligation to Mr. RICHARD Smith, of Balliol 
 College, Oxford, for the translation of the preface. 
 
 The following list of Ammon's works is taken from a 
 fragment of a Dictionary of Engravers, published in 183 1, 
 by William Young Ottley. He broke down when he had 
 reached the letter B, finding life too short for the enter- 
 prise he designed. Ottley's list does not contain the rarest 
 of Ammon's books, — Charta Lusoria Jodoci Ammonni, a 
 4to. volume, published at Nuremberg in 1588. It con- 
 tained fifty-five woodcuts of cards, with illustrative verses 
 by the Imperial Poet Laureate, J. H. Schroter. Although 
 termed Charta Lusoria, they were evidently not meant 
 to play with. In arranging a catalogue of works brought 
 out by Ammon, much care and discrimination is necessary, 
 as, after his death, we find his woodcuts used by various 
 German publishers to decorate their books. 
 
 Alfred Aspland. 
 
 Dukenfield, May 27, 1872. 
 
LIST OF AMMON'S WORKS, 
 
 ETCHINGS. 
 
 1. Celebrated Women of the Old Testament; a set of 12 pieces, 
 
 arched at top, with inscriptions, h. 3§, iv. 2.%. (a) * Eva die Geberin. 
 Jobst Amman fecit. Steffan Herman exc.' (b) 4 Sara die gesegnet.' 
 (c) ' Rebecca die gehorsam.' {d) * RAHEL die holdtsellig.' {e) 'Lea 
 die geduldig.' (/) ' Jahel die redlich.' (g) 1 Ruht die guetig.' (/i) 
 ' Michal die gethreu.' (/') 1 Abigael die vernunfftig.' (£) 'Judith 
 die Messig.' (/) 'Hester die Sanfftmiitig. I. A. (///) 'Susanna 
 die Keusch.' (B. I.) 
 
 2. The twelve Months of the Year, represented by the figures of men 
 
 of different conditions, 12 pieces of an oval form. h. 3J, 10. 3§. The 
 name and number of the month is towards the top of each, and the mark 
 LA. near the bottom. The first has: l Jo. Amman fe. St. Herman 
 ex.' (B. 3.) I do not agree with Bartsch in supposing the set of prints 
 of the Apocalypse, described by him under No. 2, and marked with a 
 G. and a P., to be by Jobst Amman. 
 
 3. The Employments of the twelve Months of the Year, 12 pieces, 
 
 curved, which, when joined together, form a circular frieze, fitted to 
 decorate the edge of a large dish or of a shield. The initials I. A. at 
 the top of each. They contain extensive compositions of small figures. 
 /. at top iof, at bottom 9J, //. 2}. (B. 4.) 
 
 4. The five Senses, represented by female figures, in ovals, which are sur- 
 
 rounded by ornaments ; with title, 6 pieces. The title represents, by 
 animals, the four Elements, and has on a tablet, at bottom : 'Job. 
 Amman fe. St Herman ex. 1586.' The figures are etched by J. Amman ; 
 
LIST OF AM MOWS WORKS. 
 
 the surrounding ornaments were probably added with the graver by 
 S. Herman. The names of the Senses are at the bottom of the plates, 
 in latin, h. 3 J, w. 2§. (B. 5.) 
 
 5. Various Figures of Warriors, in different attitudes and costume, 
 
 three, or four, upon a plate ; 8 pieces ; /. 4§, by 2$, etched with great 
 intelligence and delicacy. The first has two warriors standing, one on 
 each side of a cartouch, on which is inscribed : ' Jost Aman Inventor 
 Norimberg. Stephan. Herman excusit Onnoltzbachensis. 1590.' (B. 6.) 
 
 6. Soldiers and others Fighting, whether with swords or staves, 8 pieces, 
 
 marked I. A. On the first is a little herald, between a drummer and a 
 fifer. /. 3§, h. 2§. (Heinecken.) 
 
 7. Artisans of different Denominations, fighting, armed with the 
 
 implements of their art. 12 pieces, ovals, /. 31, h. 2.\. On the first : 
 ' Eben kommt mich an, &c.' (Heinecken.) Bartsch describes five of 
 the set, each marked LA. {a) A painter with his easel-stick and a 
 dauber with a large brush, (b) Two goldsmiths, one armed with pincers 
 and the other with a pair of bellows, (c) Two sculptors with drills. 
 (d) A blacksmith with a large file, and an apothecary with a syringe. 
 {e) Two men, one with a brush, the other with something resembling a 
 ham. (B. 7.) 
 
 8. A set of Huntings, 8 pieces. /. 6, h. if. Under the first, representing 
 
 hare-hunting: ' Jobst Avian fe. Stefan. Herman ex.' Each has the 
 initials I. A. and the cypher of Herman, composed of the letters H.S. 
 (B. 8.) 
 
 9. The Liberal Arts, 7 pieces. /. 8|, h. 3^. engraved in 1577. 
 
 (Heinecken.) 
 
 10. The Elector and other Princes of Bavaria, with their Wives, 
 
 standing figures ; 80 plates, etched by Jobst Amman, and for the most 
 part bearing his initials, h. 7f , w. 5f . (B. 9. ) 
 
 11. Portraits of the Kings of France, 42 pieces, h. 4I, w. 3! ; 
 
 20 others, completing the set, being by Virgilio Solis. The series 
 begins with Pharamond and ends with Henry III., each print containing 
 the bust of the monarch in a medallion, and, in a compartment under- 
 neath, some story of his life. They were published with a title on which 
 
LIST OF AMMON'S WORKS. 
 
 xv 
 
 are two winged genii, holding a laurel crown over the arms of France, 
 and this inscription : 1 Effigies regum Francorum omnium, &c. Caela- 
 toribus Virgilio Solis Noriber: et Justo Amman Tigurino Noribergae, 
 1576. In Ofhcina Catharinae Theodorici Gerlachii relictae Viduae,' 
 &c. in 4to. (B. 10.) 
 
 12. ' Perspectiva Corporum regularium ; Das ist, &c. That is, examples 
 of the five regularly-formed bodies, whereof Plato writes in his Timaeus, 
 and Euclid, in his Elements, &c, brought very ingeniously into per- 
 spective .... by a method never before seen in use, by Wenceslas 
 Jamitzer, Citizen and Goldsmith at Nuremberg, 1568.' In fol. 
 
 This work contains 50 plates ; viz. 43 of studies, and 6 ornamented titles, 
 besides the general title of the book ; the whole etched by Jobst Amman. 
 The former were, of course, done by him from the designs of Jamitzer ; but 
 the latter, which show much fancy and are etched with great delicacy, appear 
 to be entirely his own. The plates are not numbered. The Title or THE 
 Work (a) is printed with moveable characters within an oval frame or car- 
 touch, surrounded by four allegorical female figures with attributes, and the 
 names : ' Arithmetica, Geometria, Architectura, Perspectiva,' and two winged 
 infants or genii : * Inclinatio,' and ' Diligentia.' This plate measures, h. 10}, 
 70. 7f, and has the initials I. A. at an inch from the bottom ; though they 
 escaped the eye of Bartsch. The remaining plates are a little smaller, being 
 from 9f to 10 by 6f to 7. The six other Titles or Frontispieces are prefixed 
 to the different classes of studies into which the work is divided. The First 
 (b) is intended to represent the Element of Fire ; in the centre is a large 
 flame issuing from a vase at bottom ; and around it are children with lamps 
 and lanterns, fiery dragons, and other accessorial introductions. It is marked 
 under the vase, I. A., and is prefixed to the first four plates of studies, marked 
 at top : A. (c) The Second represents the Element of Air. In the middle 
 is a large pair of bellows, and around are cupids with appropriate attributes, 
 birds, butterflies, &c. It has the initials I. A. at bottom ; and is prefixed to 
 the next four plates of studies, marked E. {d) The Third has a large leaf 
 in the centre, around which are cupids with baskets of fruit, &c. ; this piece 
 denoting the element Earth. The initials I, A. are at the bottom of a little 
 basket on the left of the print, which is placed before four plates of studies 
 marked I. (e) The Fourth represents the Element of Water ; a large 
 shell occupies the centre, and around are cupids with vases, fish of various 
 kinds, &c. The letters I. A. are upon a trident, on the left, and this piece is 
 prefixed to four plates of studies marked O. (/") The Fifth has in the 
 centre a large circle of light, above which arc the sun and a large star, and 
 on either side are three cupids with spheres, quadrants, and other astronomical 
 
LIST OF AMMON'S WORKS. 
 
 instruments. On the right near the bottom are the initials I. A. This 
 piece is followed by four plates of studies marked V. {g) The Sixth, and 
 last Title, appears to be intended to denote the ordinary employments of 
 mankind in this sublunary state. At top are three infants, one of them in a 
 military dress beating a drum ; and below are two others, one of which has 
 a bow. The initials I. A. are in the middle at bottom. This plate and the 
 twenty-three plates of studies which follow it, and complete the work, are 
 oblongs. /. io, h. 7. Having spoken of the ornamented titles, I shall add 
 now a few words concerning the other plates. 
 
 The first twenty consist of perspective views of the five regular solids, and 
 of various forms fancifully derived from them ; each plate containing six 
 designs in circles. The subject of the first four plates, marked A, is the 
 Triangular Pyramid ; of the second four, marked E, the Octohedron ; of 
 the third, I, the Cube ; of the fourth, O, the Icosahedron ; (two of these 
 having the initials I. A. with the date 1567, and a third the initials only) ; 
 and the fifth, V, represent the Dodecahedron. The artist's plan appears to 
 have been, first, to represent the figure itself, and such forms as are produced 
 by cutting parts from it ; secondly, to represent the figure itself, and its deri- 
 vatives, in another point of view ; thirdly, to show such forms as may be 
 obtained by combining two of the simple figures in such a way as that the 
 angles of the one should proceed from the centres of the sides of the other. 
 The manner in which the complex figures have been obtained from the simple 
 ones can, for the most part, be easily traced ; but sometimes, in consequence 
 of the arbitrary sections made in them, this becomes difficult. 
 
 Of the twenty-three plates at the end, the first two are marked A ; the 
 second two, E ; the third, I ; the fourth O ; and the fifth, V ; and these ten 
 plates represent perspective views of the figures above named, hollowed out 
 and perforated ; the remaining thirteen being devoted to fanciful delineations 
 of the sphere, the cone, and the wheel. (B. 11.) 
 
 A second edition of this curious set of prints was published, with two leaves 
 of letter-press, at Amsterdam, in 161 8, under the title of ' Sintagma, in quo 
 Varise Eximiaque corporum,' &c. 
 
 13. Military Subjects, &c., 15 pieces,^. 14!, w. iof, representing marches 
 of troops, encampments, battles, on land and at sea, &c. The plates are 
 marked with numbers referring to some book for which they were 
 intended. Six of these etchings bear the initials of Jobst Amman, and 
 one piece has the date 1572. (B. 12.) 
 
LIST OF AM MOWS WORKS. 
 
 xvii 
 
 ETCHINGS— SINGLE PIECES. 
 
 14. The Portrait of Gaspar de Coligni, half-length, turned a little 
 
 towards the left, in an oval surrounded by ornaments and allegorical 
 figures. At top : ' Effigies Gasparis de Coligni, D. de Castilione, 
 Amiralis Franciae.' In a cartouch below the massacre of St. Bartholo- 
 mew's, Aug. 24, 1572. At bottom: 1 Fecit Norinibergae Jost Ammaji 
 Tignrinus 1573.' h. 14^, w. iof. (B. 17.) 
 
 15. Frederick, Bishop of Wurzbourg, half-length, turned towards the 
 
 left, in an oval, ornamented with allegorical figures : 1 Fridericus Dei 
 Gratia,' &c. At bottom, L A. 1572. h. uf, w. 8f. (B. 18.) 
 
 16. Hans Sachs, a celebrated poet of Saxony, at the age of 81 ; bust, nearly 
 
 in front. At top, his name; at bottom: ' Zwey Monath, &c, 
 M.D.LXXVI.,' and the intitials I. A. Bartsch says this piece is done 
 with the burin, h. \2\ with margin, to. 84 ? (B. 19.) 
 
 17. 'Sigismundus Feierabendt bibliopola, aetatis suae XLII. Anno 
 
 MDLXIX.' half-length, turned towards the left, in an oval surrounded 
 by ornaments, and four allegorical figures. Without the artist's initials. 
 h. 9f, w. 7|. (B. 20.) 
 
 18. Portrait of a Man, half-length, with a polygon in the left hand, 
 
 which he is measuring with compasses ; in an oval surrounded by 
 four allegorical figures. Without the artist's initials. //. 10^, w. 8J. 
 (B. 21.) 
 
 19. Eight Busts, on the same plate ; four of men, and four of females ; so 
 
 disposed that each man has opposite to him a female. The first bust on 
 the left is that of a warrior in a helmet, which is ornamented with a 
 small coronet. Near it are the initials I. A. Done, according to 
 Bartsch, with the burin. /. 6|, h. if. (B. 22.) 
 
 20. A Shield of Armorial Bearings. Quarterings a turk's-head and a 
 
 shoe (sabot) : helmet with crest, a turk's-head ; supporters, a lion and a 
 winged dragon. At top, two winged genii with garlands of flowers. 
 At bottom, on the left, I; and on the right, A. //. 7$, w. 6\. 
 (B. 23.) 
 
 C 
 
xviii 
 
 LIST OF AM MOWS WORKS. 
 
 21. The Council of the Germanic Empire, in which is seated the 
 Emperor, surrounded by Kings, Dukes, Margraves, &c. Towards the 
 left, at bottom, I. A. An oval. /. 13^, h. iof. (B. 13.) 
 
 22. An Allegorical Design, in honour of the Emperor Maxi- 
 
 milian II. within an ornamented oval ; at the top of which, on either 
 side, is a figure of Victory, with a wreath in the right hand, and a palm 
 in the left. In the centre of the piece is represented the Emperor in 
 complete armour, kneeling upon a sort of tabernacle, whereon is in- 
 scribed : ' Templum Pacis. ' He has a large sword in his right hand, 
 and with the left touches the sacred volume, which is supported by an 
 angel, and on which is written : ' spes miseris.' Upon the step of the 
 tabernacle are seated Peace, Wisdom, and Victory ; on his right hand 
 stands Justice, on his left Faith ; and upon a basement, on either side, 
 decorated with the statues of eminent persons of the Old Testament in 
 niches, are the virtues, Patience, Benignity, Fortitude, Magnanimity, 
 Truth, Charity, Hope, and Temperance, also standing. In the sky are 
 two Angels supporting the Imperial diadem ; Christ, surrounded by the 
 symbols of the four Evangelists, and Angels with the instruments of the 
 Passion, &c. ; and on the ground below are six figures kneeling, their 
 hands raised in supplication ; the three on the left being intended to 
 denote Unanimity, Piety, and the Church, and those on the right, the 
 - subjects of his imperial majesty. These three are male personages ; but 
 the Virtues, &c, are all represented by female figures, with their appel- 
 lations written in Latin. The print has various other inscriptions, and 
 among them three in Latin verse, which occupy three tablets, one at the 
 top, and two at the bottom. These are printed with moveable charac- 
 ters upon separate papers, and are added by pasting. They begin thus : 
 'Scis Caesar, custos Orbis,' &c. ' Haud secus,' &c. 'Nos infinitas 
 bellorum,' &c. At six inches and a quarter from the bottom are the 
 initials I. A. ; and below, at the edge of the plate, M.D.LXXI. h. 27I, 
 w. 194. (O.) 
 
 23. A Sacred Allegorical Representation ; same form and dimensions 
 
 as the last. In the spandles of the oval, at top, are two figures of 
 Victory, each holding a wreath with both hands. In the sky is repre- 
 sented Christ, seated on the globe, with an olive-branch in the right hand, 
 a sword in the left, and his left foot resting on the cross. On either side 
 of him are angels with the instruments of the passion, &c, and below 
 him are twelve female figures with attributes, seated on the clouds, each 
 with her title in Latin : ' Philanthropia, Pax, Misericordia, Lux Mundi,' 
 
LIST OF A MM ON' S WORKS. 
 
 &c. In the centre of the print is Truth, 'Veritas,' represented by a 
 winged female, standing with a large open book under her left arm, in 
 which is written ' Ecce Agnus Dei qui tollit peccata Mundi,' and her 
 right hand pointing to heaven : on each side of her is another winged 
 female ; that on her right being in the act of baptising an infant whose 
 father and mother kneel below, whilst the other is employed in adminis- 
 tering the eucharist. Within an arch, under the figure of Truth, is hell ; 
 and on the ground below are eight prostrate, or kneeling figures, denoting 
 Sin, Contrition, Penitence, &c, distinguished by letters of the alphabet, 
 A to H, of which the explanations are given in papers printed with 
 moveable type, in two tablets at bottom, similar to those in the other 
 print. The inscription in the tablet, at top, commences : ' Christus. 
 Venite ad me omnes,' &c. In the middle, near the bottom, I. A. ; and 
 underneath, 1 los. Amman F. M.D. LXXI.' These two prints, from 
 their dimensions, and the care with which they are executed, merit 
 perhaps to be considered as the artist's most capital performances on 
 copper. It is remarkable that neither Ileinecken nor Bartsch appears to 
 have been acquainted with them. (O. ) 
 
 24. The Storming of a Fortified Town. The walls of the city, forti- 
 
 fied by various round towers, are on the left ; the attack is made 
 simultaneously by cannon, bombshells, and infantry scaling the walls ; 
 and on the right are two large bodies of troops drawn up in squares. At 
 bottom, near the left corner of the print, are the initials I. A., the former 
 letter intersecting the first stroke of the latter ; and within the lower 
 division of the A. is a small capital G, the singification of which is un- 
 known to me. Three inches further to the right is the date '1564.' In 
 different parts of this plate are letters of reference, showing it to have 
 been accompanied originally by letter-press. It is undoubtedly by 
 Jobst Amman, and though slightly etched, is full of spirit. /. 22, 
 h. ill (O.) 
 
 25. A View of a Small Fortified Town, by Night, with numerous per- 
 
 sons, some in a carriage, and others on foot and on horseback, witness- 
 ing a display of rockets and other fireworks which are thrown from the 
 walls and bastions. Towards the right, at bottom, '1570. Jos. AmvianFS 
 Bartsch supposes this plate to have been engraved with the burin, but I 
 think it chiefly done by etching. The figures and horses are admirably 
 varied in their grouping and attitudes, and the effect of night is finely 
 represented. On the whole it is a masterpiece. /. 13^,//. 8f. (B. 14.) 
 
 26. The Dresses and Manners of the Four Quarters of the Globe ; 
 
LIST OF AM MOWS WORKS. 
 
 those of the European nations being represented in a compartment at top, 
 and those of Asia, Africa, and America, in three compartments below. 
 The initials I. A. are upon a vase in the middle compartment at bottom. 
 /. 1 8, h. 14. (B. 15.) 
 
 27. A Triumphal Arch, of three openings. Under the middle archway are 
 two officers, one of whom has a halberd ; in a balcony above are 
 musicians, and at top is the imperial eagle. Without the initials of the 
 artist. /. 2o|, h. 16. (B. 16.) 
 
 WOOD-ENGRAVINGS, IN BOOKS, OR SETS. 
 
 28. ' Biblia, das ist die ganze heilige Schrift. D. Mart. Luther. Frankf. am 
 
 Mayn. 1565, Durch Georg Raben, Sigismund Feyerabend und Weygand 
 Hanen Erben.' In fol. This work, according to Bartsch, contains a 
 great number of scriptural subjects ; /. 6, h. 4§, a large proportion of 
 which appear to have been done after the designs of Jobst Amman. 
 (B. 1.) 
 
 29. Stories of the New Testament, &c, 78 pieces, /. 3 J, h. 2§. Three 
 
 only of these pieces have the initials of Jobst Amman ; the others are 
 without any artist's mark. They were published with this title : 
 'Kunstliche und wohlgerissene Figuren,' &c. Durch Jost Amman, 
 Burgern zu Nurnberg. Frankf. am Mayn 1579. Durch Peter Fabricius, 
 auf Kosten Sigismunds Feyerabend,' in 4to. The preface is followed by 
 a cut representing the prophet Elijah fed by the raven, h. 45, w. 4J, 
 and an emblematical piece of the same size. The scriptural pieces have 
 Latin verses at top, and German at bottom. (B. 2.) 
 
 30. ' Icones Livianae : praecipuas Romanorum historias, &c. M.D.LXXii,' 
 
 being a set of 75 pieces, representing subjects of the Roman history, /. 6, 
 h. 45 ; each with the initials of Jobst Amman, besides which six pieces 
 bear the mark of two wood-engravers who cut them. (B. 3.) 
 
 These prints were first employed in a Latin edition of Livy, published at 
 Frankfort on the Mayne, in 1 568, in fol. 
 
 31. ' Kunst und Lehrbuch, &c. (a) or A Book of Art, and Instruc- 
 
 tion, IN WHICH TO LEARN TO DRAW AND PAINT, l578,'in4tO. (b) 
 
 * Desgleichen Zweytes Buch. Jost Ammons neues Kunstbuch, 
 
LIST OF AMMON'S WORKS. 
 
 &c, 1580,' in 4to. These works were reprinted with additions, after 
 the artist's death, under this title : (c) ' Kuntsbuchlein,' &c, or 4 A 
 little Book of Art, wherein, besides the representations of many persons 
 of high and low rank, both Ecclesiastics and Seculars, as well as those 
 of the Turkish Emperors and their chief men, are contained all kinds of 
 masterly designs and figures ; as the seven planets, the ten ages, &c, by 
 the late excellent and far renowned Jost Ammon of Nuremberg. Frankf. 
 am Mayn 1599, Durch Romanum Beatum, in Verlegung Johann 
 Feyerabends. ' In 4to. This admirable volume contains, according to 
 Heinecken, 298 pieces, though Bartsch says 289. Twelve of them bear 
 the initials of Jobst Amman, and several have the marks of the wood" 
 engravers who cut them. The prints are of a small 4to size, and furnish 
 abundant proof of the inventive genius of their author, and of his great 
 power as a designer. The two sets, each of 10 pieces, representing the 
 Ages of Man and Woman, are particularly excellent. (B. 4.) 
 
 32. 1 Artliche und kunstreiche Figuren, &c. Frankfurt am Mayn, in 
 
 Verlegung Sigmund Feyerabend, 1584.' This work contains 92 cuts of 
 armed men and others on horseback, studies of horses, females on horse- 
 back, &c, which, if I rightly understand Bartsch, were afterwards, in 
 1599, introduced into the collection last mentioned. (B. 5.) 
 
 33. Costumes of the Roman-Catholic Clergy, &c. 1 Cleri totius Ro- 
 
 manae ecclesiae subjecti, seu pontificiorum ordinum omnium omnino 
 utriusque sexus, habitus, artificiosissimis figuris, &c, nunc primum a 
 Judoco Ammanno expressi, &c. Francofurti sumpt. Sigismundi Feyer- 
 abendij. 1585,' in 4to. It consists of 103 prints, without the artist's 
 initials, h. 3I, w. 2§. (B. 6.) 
 
 34. The Dresses of Women of different Nations ; 122 pieces, h. 3!, 
 
 w. 2§ ; published with title : ' Gynaeceum, sive theatrum mulierum, &c. 
 Artificiosissimis nunc primum figuris, Sec. cxpressos a Jodoco Amano, 
 &c. Francofurti, impensis Sigismundi Feyerabendij, 1586.' In 4to. 
 Each cut has two Latin verses at top, and two at bottom. They are 
 without the artist's initials. (B. 7.) 
 
 35. Jobst Amman's Book of Trades ; entitled : 1 TlavoirXia omnium illibe- 
 
 ralium mechanicarum aut sedentariarum artium genera continens, &c. 
 Per Hartmannum Schopperum. Francof. ad Moenum, 1568. Apud 
 Georgium Corvinum, impens. Sig. Feyerabend.' In 8vo. It contains 
 130 pieces, h. 3^, 7v. 2§. There are several editions. (B. 8.) 
 
xxii LIST OF A MM ON' S WORKS. 
 
 36. Hunting ; a set of 40 pieces, /. 4§, h. i\ : ' Kiinstliche wohlgerissene 
 
 neue Figuren, &c, durch den kunstreichen und weitberiihmten Jost 
 Amnion. Frankfurt am Mayn 1592. Durch Johann Feyerabend, in 
 Verlegung Sig. Feyerabends Erben.' The cuts have Latin verses at 
 top, and German at bottom. Two pieces have the initials I. A. and 
 five others the marks of wood-engravers. (B. 9.) These blocks were 
 again printed in a book of instructions for hunting, in German, with the 
 title : 1 Adeliche Weydwercke, &c. Franckfurt am Mayn, Bey Joh. 
 Wilhelm Ammon und Wilh. Serlin Buchh. Im Jahr. 1661.' In 4*0. 
 This J. W. Ammon was probably of the same family as the artist, and, 
 at this time, a chief proprietor of the engraved blocks left by him. 
 
 37. The Tricks of the Fox, a set of 50 pieces, /. 2|, h. if ; in a work 
 
 entitled : ' Hartmanni Schopperi Speculum vitae aulicae. De admi- 
 rabili fallacia et astutia Vulpeculae Reinikes, &c. Francof. ad Moenum 
 1574,' in i2mo. Ten of the cuts have the initials I. A. (B. 10.) 
 
 38. Bible-Subjects, 24 pieces, with the initials I. A. /. 6, h. in an 
 
 edition of the Jewish Antiquities of Josephus, published at Francfort on 
 the Mayne, 1580, in fol. A larger number of wood-cuts in the same book 
 were engraved after the designs of Tobias Stimmer. (B. 12.) 
 
 39. Wood-Engravings in a Book upon Cookery : 1 Ein neu Kochbuch,' 
 
 &c, by Marc Rumpolt. Frankfort, 1581, published by I. Feyerabend. 
 In fol. This book contains a great number of wood-cuts, several of 
 them after the designs of Jobst Ammon, and some bearing his initials. 
 (a) Vignette in the title-page representing a kitchen, with a man-cook and 
 
 his female assistant. /. 4^, h. 31. [b) Head-piece to the Dedication, 
 
 containing the arms of Anne of Denmark, wife of Augustus Elector of 
 
 Saxony, /. 5J, h. 5. (c) A Prince seated on his throne, giving orders 
 
 to the persons of his court ; with the mark of the wood-engraver, h. 4!, 
 
 w. 4§. (d) A Prince speaking to one of his ministers, who stands 
 
 before him, on the right. In the fore-ground on the left is a dog. Same 
 size. (e) A man accompanied by a dog, delivering a vase to a gentle- 
 man, who is standing on the right ; with the mark of a wood-engraver. 
 
 Same size. (/) A Cup-bearer, with a goblet in his right hand, and at 
 
 his feet a dog. h. 45, w. 3§. {g) An Imperial banquet, in a magni- 
 ficent hall. On the left, at bottom, the initials I. A., and on the right 
 
 the mark of a wood-engraver. /. 5f, h. \\.- {h) A Royal banquet. 
 
 /. 5 1, h. 4J. (i) A nobleman with a goblet in his right hand, speaking 
 
 to a lady who is standing by him. h. 5, w. 4^. (k) A banquet of 
 
LIST OF AMMON'S WORKS. xxiii 
 
 the King of Hungary ; on the left, guards, and on the right, musicians. 
 
 /. 5 1, h. 4. (/) Lazarus at the foot of the stairs of the rich man's 
 
 palace. The initials I. A. on the right. /. 5f, h. 4§. (m) The 
 
 Marriage of Cana. The initials I. A. on the left. Same size. (B. 14.) 
 
 40. Wood-Engravings, in a Book upon the Art of War, entitled : 
 ' Kriegszbuch, Ander Theyl. Von Wagenburgk, &c. Getruckt zu 
 Franckfurt am Mayn, im Jar nach Christi Geburt 1573.' In fol. This 
 title is ornamented with two vignettes, each representing a cannoneer 
 with a piece of artillery. The volume itself is not before me ; but only 
 the above title to the second part, and 85 wood-engravings belonging to 
 it ; over the last of which, representing a figure of Fame, in an oval, 
 within a square ornament, 4§ in diam., is this colophon : 'Getruckt zu 
 Franckfurt am Mayn, durch Martin Lechler, In verlegung Sigmundt Fey- 
 erabendt,' and underneath : 1 Anno m.d.lxxiii.' The work appears to 
 have been unknown both to Heinecken and Bartsch, and I shall there- 
 fore briefly describe the chief prints it contains, which are among Jobst 
 Amman's most spirited performances ; premising that several of them, 
 according to the custom of the time in works thus ornamented, are re- 
 peated two or three times in different parts of the volume. (a) Three 
 
 Vignettes, without marginal line, /. h. \ \ to if; each represent- 
 ing a cannoneer with one or two pieces of artillery, in the manner of 
 those on the title, {b) Another Vignette, /. 41, h. 2f, representing 
 a waggoner with four horses, on one of which he is seated, (c) Baggage- 
 carts, conducted by military, moving to the left. /. 4|,//. 2%. (d) Various 
 pieces of Artillery, cannon-balls, &c, /. 5^, //. 2§ ; the initials I. A. on 
 the right, (e) A Cannoneer, with a piece of ordnance, taking aim at a 
 tower; /. 5^, //. 2. (/) A large Cannon, with a soldier guarding it ; 
 /. 5$, h. 4. {g) Two Mortars, with a guard ; /. 5f, h. 4. (//) A group 
 of Waggons laden with military stores ; /. 5^, h. 4. (/') Various 
 Cannon, pointed at two towers; /. 5*, //. 4. (A) Two Mortars 
 throwing shells, in the presence of various officers on horseback ; /. 5^, 
 7v. 4. (/) The Bombardment of a Fortified Town ; /. 5^, 70. §. 
 (m) A Set of 52 pieces, of an oval form, h. 4k, 70. jf, which are 
 printed within 'passe-par-touts,' ornamented with trophies and figures, 
 of which there are fifteen different from each other ; h. 5§, to. 5|. These 
 52 pieces represent the dresses and employments of all classes of per- 
 sons belonging to an army, with appropriate backgrounds ; the method 
 of holding courts-martial ; military punishments ; councils of war ; the 
 sending, or receiving of ambassadors ; marchings of troops ; battles, &c. 
 One print of the set, only, bears the initials of Jobst Amman, the others 
 
xxiv LIST OF AMMON'S WORKS. 
 
 having no artist's mark whatever. This print represents a group of 
 soldiers playing cards, &c, and on the left are three large barrels, upon 
 the furthest of which are the initials I. A. in cypher, and immediately 
 underneath, what appears to me to be the little knife, or other instru- 
 ment, which is often found accompanying the monograms of the wood- 
 engravers of the time ; though I will not too much insist upon this 
 appearance, as it is possible the artist may have intended it for an 
 instrument used in drawing, (n) Fourteen Pieces, /. 5f, h. 4 ; viz. 
 Four officers on horseback, on the left, the bearers of a letter to the 
 
 Governor of a besieged town. Men undermining a fortified city. 
 
 The taking of a city by storm ; the initials I. A. at bottom, on the 
 
 right. A march of Infantry through a defile ; on the left an officer 
 
 on horseback, in complete armour. A combat of Turkish and Euro- 
 pean Cavalry. A combat of Muscovite and Turkish Cavalry. 
 
 Two, of naval engagements. A Turkish General seated in his tent ; 
 
 two Turks standing on the left, addressing him. A Turkish Banquet, 
 at which are entertained two European Ambassadors. An amicable 
 
 meeting between a Turkish and an European General. A messenger 
 
 delivering a letter to a king, who is seated on the left ; on the right the 
 
 initials I. A. Turkish troops leading persons of every age and sex 
 
 into captivity. A king on his throne, on the left, listening to the 
 
 address of an Ambassador. (0) The Emperor of Germany on his 
 throne ; and on either side the princes of the empire ; and a Judge, 
 before whom is brought a criminal ; two pieces, which I think by some 
 inferior designer. /. 5§, h. {p) A circular piece, surrounded by an 
 ornament, at the top of which is the Imperial Eagle, and at the corners 
 the figures of Justice, Faith, Charity, and Peace. It represents a general 
 in armour, addressing the Emperor, who is seen in front, seated on his 
 throne ; his courtiers standing on either side and in the foreground. 
 h> 5i> w - 5- (?) The Turkish Emperor, seated on his throne, on the 
 left, listening to the address of two Tartar Ambassadors who have 
 brought him tribute ; an oval, within an ornament. /. 5§, h. 
 (r) A General on horseback, haranguing his army ; in a cartouch. 
 /. 5I, h. 4.5. (s) The Portrait, half-length, of a man in a military 
 habit, with a cap and feather ; perhaps the author of the book ; an 
 upr. oval, in one of the passe-par-touts used for the set of 52 pieces 
 already described, h. 5§, w. 5. 
 
 Heinecken mentions two or three other books, with wood-cuts by Jobst 
 Amman, which I have omitted to notice ; doubting whether the same blocks 
 may not have been also printed in some of the above. 
 
LIST OF AM MOWS WORKS. xxv 
 
 DETACHED PIECES, ENGRAVED IN WOOD. 
 
 41. Martin Luther, half-length, nearly in front; in a circle within a 
 
 border ornamented with four scriptural subjects. Within the circle : 
 1 D. Martinus Luterus ; ' and in the middle at bottom : I. A. /. 5, h. 4^. 
 (B. 19.) 
 
 42. Steph. Bathory, prince of Transilvania, elected King of Poland ; died 
 
 1 586 : half-length, turned towards the right ; his right hand on the hilt 
 of his sword, and the left on his haunch. In the middle at bottom are 
 the initials I. A. h. I2f, w. 9|. (B. 20.) 
 
 43. The History of Adam and Eve, from their creation to the death of 
 
 Abel ; the whole represented in one piece, printed in clair-obscure from 
 two blocks. In the middle at bottom are the initials I. A. h. iof, 
 w. 7\. Impressions of this piece, printed from a single block, are 
 introduced in the Latin edition of Josephus, of 1580, before mentioned. 
 (B. 15.) 
 
 44. St. Christopher, with the infant Saviour on his shoulders ; the initials 
 
 I. A. on the right, h. 9§, w. 6f. (B. 18.) 
 
 45. A Tournament, held at Vienna, by order of the Emperor Maxi- 
 
 milian II. The initials I. A. with date 1565, towards the right at top. 
 /. i 3 i,A. 8. (B. 21.) 
 
 46. An Allegorical Representation : ' Designatio picturae, officium 
 
 boni coloni exprimentis ; ' with explanations printed with type. In the 
 middle at bottom, the initials I. A. and on the left the mark of the wood- 
 engraver. //. 15^, w. 9|. (B. 23.) 
 
 47. Time drawing Truth from Obscurity, in spite of the opposition of 
 
 two demons ; the background, an extensive landscape. The initials 
 I. A. with date 1562, are on a bridge on the left. /. 17!, //. \2\. 
 (B. 24.) 
 
 48. An Allegorical piece on Commerce. In the foreground, on the left, 
 
 a female figure representing Obligation ; and on the right another 
 denoting Liberty. A man, standing in the middle, and two groups of 
 other men, a little lower in the piece, on the right and left, denote 
 Integrity, the knowledge of Languages, and Taciturnity. These figures 
 are represented in a large hall, wherein are accountants, weighers of 
 
xxvi LIST OF AM MOWS WORKS. 
 
 money, men packing merchandise, &c, and in various tablets are German 
 verses, printed with moveable type. The initials I. A. are on a package, 
 on the left. /. 23I, h. nf. (B. 25.) 
 
 49. A Procession of Military, in five pieces joined. A Captain on horse- 
 
 back followed by two men with halberds and with two muskets ; three men 
 with muskets, and a drummer and a fifer, four men with halberds, a boy 
 with a goose on his back, and a soldier with a spear ; three other soldiers 
 with spears, and a part of the followers of the troop, &c. The initials 
 I. A. are on the last piece. /. 68, h. 104. The first piece is higher than 
 the others. (B. 26.) 
 
 50. A View of St. Mark's Place at Venice, with the Procession of 
 
 the Doge and Senate, &c, before embarking in the Bucentaur, for the 
 ceremony of espousing the Sea. The initials of the artist are about the 
 middle at bottom. In fourteen pieces, joined. /. 74I, h. 30. Rare. 
 (B. 27.) 
 
 Additional. Authority, Chatto on " Playing Cards." 
 
 51. Charta Lusoria Jodoci Ammoni. 4to. Nuremberg, 1588. It con- 
 
 tains 55 woodcuts of cards, with illustrative verses by the Imperial Poet 
 Laureate, J. H. Schroter. This is the rarest of Amnion's works. 
 
INDEX OF ILLUSTRATIONS, 
 
 1. An Empress — A 4, verso. 
 
 2. A Queen of France— B. 
 
 3. A Queen of Germany — B I. 
 
 4. A Queen of Spain — B 2. 
 
 5. A German Princess — B 2, verso. 
 
 6. A Spanish Princess — B 3. 
 
 7. An Italian married lady of rank — B 4. 
 
 8. A maiden of the illustrious family of Fuggers — B 5. 
 
 Ammon seems to have had an eye to business, as this cannot be accepted 
 as a portrait, neither is it to be supposed that the Fuggers wore any special 
 costume. The Fuggers, though of mean origin, had risen by trading to great 
 wealth, and were the Rothschilds of the sixteenth century, and probably his 
 patrons. They were a numerous family, and had formed marriage-alliances 
 with most of the noble families of Germany. They were not Jews. Occa- 
 sional traces of the family are still found, such as almshouses with their 
 names recorded as founders ; but the only descendants now alive are said to 
 be in abject poverty. 
 
 About the period of the publication of this Book of Costumes, one of the 
 family, Huldric Fugger, a bibliomaniac, was pursued by his family in a court 
 of justice at Augsburg and declared incompetent to manage his property. The 
 special reason which satisfied the court of his incapacity was his purchase of 
 costly manuscripts, which he printed at the press of Henry Stephens. Biblio- 
 maniacs of the present day would probably fare better in the Court of Chancery. 
 Huldric retired to Heidelberg, and died in 1584. 
 
xxviii INDEX OF ILLUSTRATIONS. 
 
 9. A Roman lady of rank — B 6. 
 
 10. A German Princess — C. 
 
 11. A German Countess — C 2. 
 
 12. A noble lady of Saxony — C 3. 
 
 13. A noble married lady of Meissen — C 4. 
 
 14. A noble Franconian lady — D. 
 
 15. A noble married lady of the Palatinate — D 2. 
 
 16. A noble married lady of Hesse — D 3. 
 
 17. A noble maiden of Meissen — D 4. 
 
 18. A noble maiden of Saxony — E. 
 
 19. A noble maiden of Franconia — E 2. 
 
 20. A noble lady of Augsburg — E 3. 
 
 21. An Augsburg woman of the lower class — E 4. 
 
 22. An Augsburg maiden — F. 
 
 23. An Augsburg serving woman — F 2. 
 
 24. A Suevian maiden — F 3. 
 
 25. An Augsburg lady going to church — F 4. 
 
 26. A noble lady of Frankfort-on-the-Maine — G. 
 
 27. A noble bride of Frankfort — G 2. 
 
 28. A married woman of the lower order of Frank- 
 
 fort— G 3. 
 
 29. A woman of Frankfort — G 4. 
 
 30. A serving woman of Frankfort — H. 
 
 31. A serving woman of Frankfort going to church — 
 
 H 2. 
 
INDEX OF ILLUSTRATIONS. xxix 
 
 32. A woman of the lower orders of Frankfort — H 3. 
 
 33. A noble maiden of Frankfort — H 4. 
 
 34. A married woman of Nuremberg — I. 
 
 35. A noble lady of Nuremberg in walking dress — I 2. 
 
 36. A noble betrothed lady of Nuremberg — I 3. 
 
 37. A noble maiden of Nuremberg in her wedding 
 
 dress — I 4. 
 
 38. A maiden of the lower orders of Nuremberg — K. 
 
 39. A serving woman of Nuremberg — K 2. 
 
 40. A married woman of Leipsic — K 3. 
 
 41. A maiden of Leipsic — K 4. 
 
 42. A woman of Strasburg — L. 
 
 43. A married woman of Heidelberg — L 2. 
 
 44. The wife of a lawyer of Spire — L 3. 
 
 45. A woman of Cologne — L 4. 
 
 46. A serving woman of Cologne — M. 
 
 47. A maiden of Zurich — M 2. 
 
 48. A married woman of Basle — M 3. 
 
 49. A woman of Halle, in Suabia — M 4. 
 
 50. A woman of Wurzburg, in Franconia — N. 
 
 51. A Franconian woman of the lower orders — N 2. 
 
 52. A noble lady of Meissen in mourning — N 3. 
 
 53. A Thuringian maiden — N 4. 
 
 54. A Silesian married woman — O. 
 
 55. A betrothed Silesian — O 2. 
 
xxx INDEX OF ILLUSTRATIONS. 
 
 56. An Austrian married woman — O 3. 
 
 57. A noble married lady of Sweden — O 4. 
 
 58. A Lubeck married woman — P. 
 
 59. A Dantzic bride — P 2. 
 
 60. A Dantzic serving woman — P 3. 
 
 61. A wife of a Doge of Venice — P 4. 
 
 62. A Venetian noble lady — Q. 
 
 63. A Venetian noble bride — Q 2. 
 
 64. A noble Venetian maiden — Q 3. 
 
 65. A noble Venetian lady in a summer dress — 
 
 66. A Venetian married woman — R. 
 
 67. A Venetian woman of the lower orders — R 
 
 68. A newly-married Roman lady — R 3. 
 
 69. A Roman maiden — R 4. 
 
 70. A Roman courtezan — S. 
 
 71. A Neapolitan married woman — S 2. 
 
 72. A noble Neapolitan maiden — S 3. 
 
 73. A Florentine married woman — S 4. 
 
 74. A Florentine maiden — T. 
 
 75. A noble married lady of Milan — T 2. 
 
 76. A noble maiden of Milan — T 3. 
 
 77. A noble married woman of Ferrara — T 4. 
 
 78. A Mantuan noble lady — V. 
 
 79. A Veronese woman — V 2. 
 
 80. A Patavian noble married lady — V 3. 
 
INDEX OF ILLUSTRATIONS. xxxi 
 
 8 1. A woman of Placentia — V 4. 
 
 82. A noble married lady of Vicentia — X. 
 
 83. A married woman of Sienna — X 2. 
 
 84. A maiden of Bologna — X 3. 
 
 85. A married woman of Bologna — X 4. 
 
 86. A Spanish married woman — Y. 
 
 87. A noble English kidy — Y 2. 
 
 88. A married woman of London — Y 3. 
 
 89. A French noble married lady — Y 4. 
 
 90. A French noble maiden — Z. 
 
 91. A Parisian noble married lady — Z 2. 
 
 92. A noble married lady of Lyons — Z 3. 
 
 93. A noble married lady of Lorraine — Z 4. 
 
 94. A Burgundian maiden — a. 
 
 95. A married Belgian lady of high rank — a 2. 
 
 96. A Belgian maiden — a 3. 
 
 97. A Brabant woman — a 4. 
 
 98. A Dutch woman — b. 
 
 99. A Belgian serving woman — b 2. 
 
 100. A woman of Aix-la-Chapcllc — b 3. 
 
 1 01. A Cologne bride — b 4. 
 
 102. A woman of Bclgic Flanders — c. 
 
 103. A noble married woman of Hungary — c 2. 
 
 104. A woman of Prague — c 3. 
 
 105. A Bohemian married woman — c 4. 
 
xxxii INDEX OF ILLUSTRATIONS. 
 
 1 06. A Polish married woman — d. 
 
 107. A Livonian woman — d 2. 
 
 108. A Livonian lady of high rank — d 3. 
 
 109. A noble Livonian married lady — d 4. 
 no. A Russian lady of high rank — e. 
 
 111. Camilla, the daughter of the Turkish Sultan — e 2. 
 
 112. A Turkish courtezan — e 3. 
 
 113. A Peruvian woman— ^4. 
 
 1 14. A nun of the order of St. Catharine—/ 
 
 1 1 5. A nun of the order of St. Bridget — -f 2. 
 
 1 16. Order of the White Nuns with the black veil— / 3. 
 
 117. Order of Paid Attendants on the Sick— / 4. 
 
 118. A Beguin— g. 
 
 119. The lay order of St. Catharine — g I. 
 
 120. Order of Penitent Women — g 2. 
 
 121. Order of the Virgin Clara— g 2, verso. 
 
 122. An abbess — g 3. 
 
TO THE MOST SERENE 
 
 LADY ISABELLA OF AUSTRIA, 
 QUEEN OF FRANCE. 
 
 ALTHOUGH authorities do not appear to be suffi- 
 ciently agreed as to the race of men who first 
 made themselves clothing such as we daily wear — each 
 assigning the credit of such an invention to those of his 
 own race and country — one thing I take to be beyond 
 dispute, namely, that our first parent, while still dwelling 
 in Paradise with his wife, but after the actual transgression 
 of the law given to him, covered himself with the leaves 
 of trees, until, having been expelled from that garden of 
 delights and compelled to seek for more effective protection 
 against the severity of cold, he began to make use of skin 
 garments, i.e. untanned hides of wild or domesticated 
 animals; and this unquestionably remained as an example 
 of clothing to posterity. For the statement of Eusebius 
 (in his work, De Prceparatiouc Evangclica, where he is 
 writing on Phoenician affairs), that one Uso, a Sicilian, 
 first made coverings for the body from the skins of wild 
 beasts, I take to refer only to the Phoenicians, since 
 skin-garments, as I have said, had long before been in- 
 vented by the first man ; or, to speak more correctly, and 
 more in agreement with the sacred Scriptures, liberally 
 assigned to the first man for his use by the very Author of all 
 good things, Almighty and Most Gracious God. The case 
 
 c 
 
xxxiv 
 
 DEDICA TION. 
 
 is the same with regard to linen, which Pliny, in his seventh 
 book, declares to be the gift of Arachne, a maid of Lydia. 
 He was clearly ignorant of its use by the Hebrews so long 
 before the birth of Arachne, just, as with regard to many 
 other things, the bestowal of which the same Pliny and 
 other profane writers assign to different persons. In the same 
 way, the arts of spinning wool and weaving are assigned 
 by Ovid to Pallas, or, what is much the same, by Trogus, 
 or rather Justin, to the Athenian worshippers of Pallas, 
 and by Pliny to the Egyptians. So the art of fulling, by 
 which garments are improved and brightened, is assigned 
 to one Nicias of Megara ; sewing to some unknown Boe- 
 thius ; embroidery to the Phrygians, whence the name of 
 Pkrygiones, applied to those who work it, is derived ; many- 
 coloured robes to the Babylonians ; watered stuffs to Caia 
 Caecilia, who is identical with Tanaquil ; costly dalmatics 
 to the Dalmatians ; and, on the other hand, the very low- 
 priced cilician dress to the Cilicians by Varro, Trogus, 
 Diodorus, and Pliny who has been already quoted. Silk 
 only, than which there is at the present day nothing 
 commoner, was both discovered later, and for a long 
 time more sparingly transmitted to us ; since, even in 
 the time of the Emperor Aurelian, as Vopiscus relates, 
 i. e. in the year of grace 274, silk was valued at its 
 weight in gold. On this account, too, that most tem- 
 perate sovereign thought fit to refrain from the use of 
 robes all of silk, until, in the reign of Justinian, as we 
 learn from Procopius, this material also became gradually 
 more abundant, and consequently cheaper. The use 
 of robes, having arisen from such a commencement, 
 gradually advanced so far that personal adornment now 
 seems to be hampered by the elaboration of its means ; 
 since day by day some new thing is devised by those artists, 
 whose sole business is to pander to the passionate lovers 
 of dress, and especially to the more showy of women. 
 That sex is not only the more inclined by nature itself to 
 the pleasure and beauty of dress, but also, to confess the 
 truth, the want of moderation in men (for whom those 
 women had no charms who did not assist their own special 
 
DED1CA TION. 
 
 XXXV 
 
 excellence of beauty by some art and favour of dress) drove 
 the sex to descend so far as to take the very highest account 
 of personal ornament and decoration, in order to retain 
 their husbands, by this species of enticement, in love and 
 admiration for them. 
 
 This had not, indeed, been altogether amiss, although 
 excessively and over-nicely done, if here those arts of 
 allurement had stayed. But afterwards, some men, not 
 even by this means contented with their own, began to 
 fix their hearts on other men's wives ; making an ill 
 use of their eyes as waylayers of the innocence of 
 their neighbours' wives ; and women were actually found 
 who delighted less to charm with their beauty their own 
 husbands than their neighbours. Forthwith, by license in 
 dress,' good morals were cast out headlong, and eventually 
 for nothing more than dress was some rule required. For 
 although, as Cyprian justly says with reference to the 
 dress of maidens, the display of ornament and dress, and 
 the allurements of personal shapeliness, arc only in keeping 
 with prostitutes and immodest women ; and none arc more 
 expensive in their decoration than those whose honour is 
 cheap : even women, modest in other respects, have been 
 compelled, or rather have desired to seem compelled, to 
 imitate the way, or rather the wandering, of the unchaste 
 in this excess of apparel, as if with the like blandishments, 
 as I have said, to keep hold of their husbands. This their 
 aim, which at first sight seems not undeserving of excuse, 
 that most strict censor Tertullian most severely blames in 
 these words : — " Come now," he says, " if from the first 
 both the Milesians sheared sheep, and the Chinese spun 
 from the tree, and the Tyrians dye.d, and the Phrygians 
 embroidered, and the Babylonians inwove, and if pearls 
 shone and rubies flashed ; if gold itself, too, came up 
 from the earth with the desire for it ; and if now, too, no 
 lying but the mirror's were allowed, Eve, I suppose, would 
 have desired these things on her expulsion from Paradise, 
 and when spiritually dead. Therefore, she should now 
 neither desire nor know, if she desires to live again, what, 
 when she lived, she neither had nor knew. Accordingly, 
 
xxxvi 
 
 DEDICA riON. 
 
 all those things are equipments of a lost and dead woman, 
 prepared, so to speak, for the funeral procession." 
 And again : 
 
 " A woman's toilet comprehends two species, cultus and 
 ornatus. Cultus is the name we give to what is called her 
 toilet proper ; ornatus, to what should be called her toilet 
 improper. The latter consists in gold, silver, precious 
 stones, and raiment ; the former, in attention to the hair 
 and skin, and those parts of the body which attract the 
 eye. The one we charge with seeking admiration, the 
 other with prostitution ; so that hence you may see how 
 much of this is suitable to your training as a handmaid of 
 God, a training which you should consider to be formed of 
 the contrary qualities, namely, of humility and chastity." 
 
 And again, in another passage : — " Earth, forsooth, is far 
 more glorious, because, after being wailed over in pestiferous 
 mines of cursed metals by the labour of criminals, it has 
 abandoned the name of earth in fire, and then the fugitive 
 of the mine is changed from torment to ornament, from 
 punishment to delight, from shame to honour." In this 
 passage that most accomplished theologian can be seen to 
 imitate Pliny, who, although a heathen, and indeed an 
 atheist, says in indignation at this luxury : " We penetrate 
 into the bowels of the earth, digging veins of gold and 
 silver, and ores of brass and lead ; we seek also for gems 
 and certain little pebbles. Driving galleries into the depths, 
 we draw out the bowels of the earth, that the gems we seek 
 may be worn on the finger. How many hands are wasted 
 in order that a single joint may sparkle ! If any hell there 
 were, it had assuredly ere now been disclosed by the borings 
 of avarice and luxury!" Hence, as our author Tertullian 
 continues, " for a very little casket a great estate is 
 offered. In a single dress a million sesterces are em- 
 broidered. Parks and islands are carried on a slender 
 neck. Thin ear-lobes hang out for view a whole estate ; 
 and the left hand sports a bag of gold on every 
 finger. This is the strength of ambition — to carry the 
 capital of so great interests on one little body, and that 
 a woman's." Presently, deriding that kind of luxury 
 
DEDICA TION. 
 
 xxxvii 
 
 as the ground of its folly, inasmuch as gold and gems, 
 which ladies esteem so highly, are common and con- 
 temptible in the eyes of many, he says : " Among certain 
 barbarians, because gold is an abundant product of their 
 own soil, they keep their prisoners in golden fetters, and 
 load malefactors with wealth, the more lavish as they are 
 the more guilty. Sometimes, in fact, instances have been 
 found of the absence of even the love of gold. The noble- 
 ness of precious stones, too, we see at Rome, blushing at 
 the disdain of the Parthians and Medes and other kindred 
 tribes shown for gems in presence of our ladies, except, 
 indeed, such as are not worn for display. Hidden in their 
 girdles are emeralds, and the jewels of their scabbards 
 their swords alone know ; and in their boots, pearls long 
 to rise from the mud. In fine, they jewel just as much 
 as should not be jewelled if it is not visible, or only so 
 far visible as to display also the neglect of it. Accord- 
 ingly, with regard to the colour of clothing, their slaves 
 bear the palm ; nay, they even waste on their walls, 
 instead of paint, Tyrian and hyacinthine and royal 
 tapestries, which you with great pains unravel and meta- 
 morphose. Purple is of less price with them than ochre ; 
 for what rightful honour is done to clothes by adulterating 
 them with wrongful colours ? God is not pleased with 
 what he has not himself produced, unless you suppose 
 that he could not bid sheep be born purple and green. If 
 he could, he would not : what God would not may not 
 lawfully be contrived. Those things, therefore, are not 
 naturally the best which are not from God, the author of 
 nature. Thus they are understood to be from the devil, 
 the disturber of nature." 
 
 Finally, therefore, he bids Christian women to leave 
 such things to heathen and unbelieving women. " Let 
 them," he continues, " strive to please their husbands by 
 this luxury ; but go ye forth equipped with the cosmetics 
 and adornments of the Apostles, taking fairness from single- 
 ness of heart, colour from modesty, painting your eyes with 
 reverence and your lips with silence, wearing in your ears 
 the word of God, and encircling your neck with the yoke 
 
xxxviii 
 
 DEDICA TION. 
 
 of Christ. Submit your head to your husband and you will 
 be adorned enough. Keep your hands busy with spinning, 
 keep your feet at home, and they will give more pleasure 
 than if clad in gold. Clothe yourself with the silk of up- 
 rightness, the fine linen of holiness, the purple of chastity. 
 Arrayed in such colours, you will have God for a lover." 
 
 Though these observations may seem somewhat strict, 
 and pertaining solely to those who have devoted themselves 
 entirely to God, it cannot be doubted that they may be 
 applied generally to all, especially as Tertullian elsewhere 
 says that salvation consists especially in the display of 
 chastity ; because, though we are all the temple of God 
 (the Holy Spirit having been brought into us and con- 
 secrated in us), the sacristan and minister of his temple is 
 Chastity, who permits nothing unclean or profane to enter, 
 lest that God who dwells there should leave in wrath the 
 defiled abode; and he adds, further, that he judges of this 
 chastity not only from carnal innocence, but also from the 
 manner of adornment and decoration, and that accordingly 
 in heathen women there is not true chastity. Yet, what 
 (some one will ask) is the object of these long remarks ? 
 It is just this, to show that usage has long sanctioned 
 women in attending with great care to their personal 
 adornment, but with the limitation that those should 
 always be the most approved who considered that here, 
 as in all other matters, moderation should be preserved. 
 Herein, though I assail no nation or people, inasmuch as 
 it is ordained that different nations should have different 
 customs, and that another way of life for strong reasons 
 should not be so much in harmony, and such is the will of 
 God, the ruler of all things, that each people should have 
 its own special characteristics, — among them, I say, who 
 are distinguished for temperance and moderation, — that 
 the most commendable women of Germany hold the best 
 place, will, I hope, be established even by this little book. 
 When I had prepared at great expense an edition illus- 
 trated and embellished with most curious pictures, I felt 
 myself bound to seek for a pattern of chastity and all 
 virtues, to whom (as Sulpitia, daughter of Paterculus and 
 
DED1CA TION. 
 
 xxxix 
 
 wife of Fulvius Flaccus, was once singled out by a vote of 
 matrons as chastest of women, being chosen from a hun- 
 dred ladies of the first rank to dedicate the image of 
 Venus according to the Sibylline books) I should, without 
 offending her feelings by any unchaste symbol — at all 
 events, of a goddess unchaste — dedicate and consecrate 
 the female costumes of all Europe. And truly I found 
 without difficulty what I was seeking as soon as I turned 
 towards you, most serene Queen, my eyes and mind ; — 
 towards you, to whom the first place for modesty and 
 chastity "has long been gladly assigned with justice by 
 the ladies not merely of Rome but of the whole world, at 
 all events of Europe ; all of whom confess with one voice, 
 that Isabella of Austria is the very pattern by whose 
 character the good and modest women of this our time 
 ought rightly to mould their own. Unless I had desired 
 to consecrate this my Theatre to her, I might seem to 
 begrudge to the most commendable sex their exemplar, 
 by looking on whom their life may be well and excellently 
 conducted, since, though my native Germany has many 
 chaste daughters besides (for I wish not to detract from 
 the fame of any), yet somehow we are more moved by 
 virtues of this kind when they shine in a glorious and 
 princely personage ; according to the trite saying, that 
 subjects readily mould themselves, so to speak, after the 
 image of their sovereign. Hereto I add, since this work 
 treats of empresses, that you are at once daughter, grand- 
 daughter, and sister of an emperor — not the undis- 
 tinguished emperor of fickle Constantinople or feeble 
 Trcbizond, but the monarch of the Holy Roman Empire ; 
 — mother of an emperor too, perchance, you will be, 
 unless that sacred disposition which you have long 
 proved to all mankind, keep you henceforth from 
 marriage bonds, and claim you all for God, with all 
 your greatness. 
 
 Since it treats of queens, you are the one and most 
 praiseworthy queen, queen of no inglorious realm, but of 
 that which has no superior, — nay, nor equal,— Queen of 
 France, without an equal or a second. Speak we of maids, 
 
xl 
 
 DEDICA TION. 
 
 of maids betrothed, of wives, of widows, of women veiled, 
 or consecrated to God. You as maid, betrothed, widow, 
 and all but entirely given up to pious reading and medi- 
 tation, are the model by whom they of every age, rank, 
 and condition, should test themselves and conform their 
 character, — that is, if they long to run here the race of 
 life without offence ; and after its course is run, to enjoy 
 eternal bliss with God their Creator. Accept, therefore, 
 most potent and serene Queen, this small offering of my 
 no small affection and devotion to your Majesty. 
 
 And whereas other ladies are wont to receive a com- 
 pliment from books inscribed to them, do you, in accord- 
 ance with your happy genius, bestow on this little work 
 the reflection of your glory, and favoured by God and 
 men alike, long rejoice in the most abundant fruits of 
 your very many and great virtues. Farewell. 
 
 Your most Serene Majesty's 
 Most devoted, 
 
 SlGISMUND FEYERABENDT, 
 
 Citizen and Printer of Frankfort. 
 
 Fkankfort-on-the-Maine, 
 1st March, 1586. 
 
 Wyman & Sons, Printers, Great Queen Street, London, VV.C. 
 
Gynseceum, Siuzj 
 
 THEATRVM MVLIE 
 
 RVMJN Q^VO PRAECIPVARVM 
 
 OMNIVM PER EVROPAM IN PRIMIS, NA^ 
 
 TXONVM,GENTIVM, POP VLORVMQV E, CVIVSCVNQJ/E 
 
 dignitatis, ordinis,ftatus,condkjonis,profefsionis> 
 astatis,fcennneos habitus videre eft, 
 
 K^iRTlFICIOSISS IMIS NFNC PRJMFM 
 figuris.nefrvfquam ant ehac pari elegamia 
 edit is , expreffos a 
 
 Iodoco Amano. 
 ADDITIS AD SINGVLAS F f GVR AS SINGVLIS 
 
 o&oftichis Fa an CIS ci Modii Brvg. 
 
 OVVS CVM AV FOEMINEI SEXVS COMMEND A- 
 tiovem , turn in illorutn maximegratiam ador-natum-qm a longmquit 
 fercgrinattonibus inftt:ut& vita ratione,autcertii alijs di 
 caufiis exclufiidom interim variorum populo- 
 rum habit u^qui eft morum indicium 
 tacit urn } delcci ant ur. 
 
 Francoforthjmpenfs Sigijmundi Feyrabendij*. 
 
SERENISSIMAM 
 
 ISABELL AM AV STRIA CAM 
 
 G-A L L I AE REGI- 
 
 nam. 
 
 ESTEM QV1 MORTALIVM HV I V S 
 attt Wilis generis, quo bodieque vtimur, primifibi 
 fecermt,ferenipma Regina, vt inter auttores non- 
 fat is videttir conftare y vnoquoqtieadfudgcntts 
 natiomfve homines laudem inuentionts huiuf- 
 modi trahente : ita illud extra controller ftam effe 
 opinor, primum parentem adeoin paradifiad- 
 buc cum comuge fua diuerfantem quidem, fed 
 poll data legtsiam tranfgrefioncm , tegminaex 
 arborum folijs fibi aptajfe, donee bortoiUo deli- 
 ciarum eieclas,firmiora aduerfusf rigor is inclementiam pr&fidui [circumjpicere co- 
 atiiisjbenonibus , bocefl > rudibitsferarum, pecorumue pellibus vti cccpit y quod 
 hauddubie veftimentorum in pofhi urn exemplar ex flitit. Nam quod Eufebius 
 ait, in de pr&paratione Euangelica, qua parte de Plmnicum rebus fcrtbit, Vfonem 
 tiefcio quern Siculum primum corporibus tegmina ex pellibus jerinis confecijje , id 
 yero ego ad Phznices dumtaxat perttnere ftatuo,peUiceis } vt dixi, tunicis iam mul- 
 toanteab ipfo protoplafio repertis , aut verius vt loquar>& facrofanttis volumi* 
 nibiis congruentius >protoplaflo ab ipfo omnii'.m bonorum auclore Deo Opt . Max* 
 ad vfum liber aliter attributis, Similifque adcoesllini ratiOyCuius inuentionem 
 cum libro VU.PlinimArachnes LycTu pueUt. benefeium traderctjgnorabat n'x* 
 wirum eiufdem vfum Hebr&is multo tanto ante Aracbnem natamfuiffe, vt ctte- 
 rarumquoque rerum,quarum tamen munusab eodemPlinio altjfque fcriptoribus 
 propbanis modo buicjnodo illi attribuitur. Vt lanifietj peritia>& texendi ars ah 
 Ouidw Palladi,aut quod fere perinde eft, a Trogofeu luftinopotius Athenienfibus 
 Talladis cultoribus , a Plinio A Egypt ijs. Sic Eullonia qua veftimenta curantur & 
 poiiunturcuidamNic'u lie gar en fx y SutoriaBoethio nefcio cut, acu pitta vefies 
 Phrygibns y vnde Pbrygiones ear urn artifices y diuerficolores Babylonijs ,vndulata> 
 Cat* Q&cilu qua & Tanaquil, Da Im at tea pretiofifima D aim at is populis , vt 
 contra ciliciumvU'tfima vejtis Cilicibus a Vurrone, Trogo,Diodoro,eodetrique P/«- 
 
 A 2 nio 
 
EPISTOLA 
 
 m MfcrthiwtnnfUa fm fert 
 
 Ad nos dm par dm tranfinijfa : xmnvel Aureliani Imperatoris tempore, Vopijlo 
 auficre, hoc e$l, anno a generis bumanifalute C C L X X I V.jericumauro ex pen * 
 deretur. Vntie & modeftiftimm ille Princeps boloferica veftefibi abftinendum pu~ 
 tduit : donee luftiniano Principe, vtexProcopio difdmus, b<ec quoque pauUa- 
 timviilgarior^acperbocviliorejfecoepit. Abhisinitijsvfus veftium ortus pavla- 
 timebpsrueniU vt iam cult mfiii operofotnftrumento labor are videatur squotidie 
 poui aliquidexcogitandbm ijs artificibm y quorumiopera omn'u bar urn return cup\- 
 dis , & in ijs pr&cipue elcgantioribusfceminis lenocinatur. Qui fexus aim natura 
 ipfa ad bocftudium > & mundiciem pronior Jit,etiam virorum /ft verumfateri vo~ 
 luwit% quibus for deb ant UU > qua forma proprium & peculiar e bonum non arte 
 dtiqua, & veftti gratia adiuuarent, inmodeftiaadaclttsetf eb defcendere, vtorna- 
 tus comptuffcfui vel primam rationem hnberet> viros bocquafi iUicio in fui amore, 
 Cr admiratione retenturm. Non omnino pefiime hoc quidem,etfi fuperftue, acfu- 
 ferftitiose:fih\citlecebr<tilU conftitijfenti fedpoftquam ne fit quidem contend pro* 
 frijs coniugibus quidam, ad vidnorum vxores, alien* pudidtia fubfejforibus oculis 
 male vtentes , animum adijeere cosperunt , inuentaque adeb fint >quastuuaret 
 mn tarn viris fuis,quam vicinisformam fuam prolan : llkst , in praceps veftium 
 Ucentiabom mores acli funt,euenit% 9 vt nulli rei magis quambuic difdplina qua- 
 dam opus ejfet, nam etft, vt recle ait Cyprianm de babitu virginum, ornament orutrt 
 at veftium infignia, & lenociniaformarum non nifi proftuutis, & impudkisfcemi - 
 nis co;igruant,& null 'arum fere pretioftor cultus efl\quam quarumpudor vilis eff> 
 €o aci^funtt amen, velpotiusco all dt. viderivaluerunt etiam pudic* alwqui, impu- 
 dicarum in hoc veftium lUxu mar em feuerrorempotiusimitarutanquam fimtlib. 
 vti did am esl/illecebris maritos retenturm: quarum faneftudium prima ftonte ve~ 
 nia non ind'fgnum, grauiftime Increpat feueriftimvj cenfor Tertullianus , bis fere 
 verbis: Age nuncjnquit>(iab initio reruns & Mile ft) ones tondcrent , & Seres ar- 
 bor tnerent, & Tyrij tmgerent, & Plrrygesinfuerent > &Babjlomjintexercnt,& 
 ma.garha canderent> & ceraunia corufcarent \ ft ipfum quoque aurumlamde 
 terra cum cupiditateprodijfet , ft iam & fteculotantummentiri hceret > hxcEua 
 concupkiffet de paradifo expnlfa , iam mtua opinor? Ergo nee nunc appetere 
 debet, aut nojfe , ftcupit reuiu'tfeere , qiu nee babuerat, nec nouerat,quando viue- 
 bat. idea omnia ifta damnata & mortUA mulieris impedimenta fknt , quafi ad 
 pompamfuneris conftituta. &rurfum:ltabitus fecmina duplicem Jpeeiem drcum- 
 fert,eultum, (pomatum. Cultum dtdmiis 3 quern mundumuliebrem vocant,Oma- 
 $Hm,quem immundum muliebreconuemtdid.lllein auro>& argento,& ge'mit,& 
 
 yeftibm 
 
NVNCVPATORIA* 
 
 Vtfithis SeputatHY: 1ft e in cur a capilli, tfcutis 9 & earupartium corporis, qua cat* 
 tos trahunt. Alteri ambitionis crimen intendimm, alteri pro/tit uti on is: vt iam bint 
 projpicias del anciUa quid ex his difciplina tua conueniat, qua de diuerfts m fin uta 
 €efearU,fcilicct hum Hit at is, ac caftitatisAtemj^ alibi : Terra fitlicetgloriofi orpin - 
 m,quoniam mmaledilborum metallorum ferahbus offcinis pcemli opere dcplora- 
 ta, nomen terra in igni reliquit,atque exindede torment is in ornamenta , defup- 
 plicijs in deliciasje ignominp in honor es metallirefuga mutatUr. quodimitatm 
 ridcri poteft eriiditiftimus tbeologusexPlinio , quiquamuis ethnicus. atque adco 
 Athens, Inxni hmciratus:Penetramus,a\t^n vifceraterra,auri argentique venas, 
 & arts acplumbi met alia fodientes,gemm as etiam, & quo/dam paruulos qutri- 
 mus lapides,fcrobibusin profandum aclis,vifcera terra extrahimus,vt digit ogcfte- 
 tur gemma y quam petimns. quot manus atteruntur vt vnus ren'iteat articnlns ?St 
 ylli effent inferi,iam profefto illos auaritia atqtte luxuria cunkuli refodiJfent.Bre - 
 nifitmis ergo, vtpergttidem Tert:illianns,loculis patrimonium grande profertur, 
 Vno lino decies jeftertiuminferitur. Saltus & injuias tenera ceruixfert. Gra- XXV.mW'm 
 iiles aurinm cutes Calendarium expendunt , & in ftniftra per fingttlos digitos font core* 
 de facets fingnlis ludit. Ha funt vires ambitionis, tantarum vfurarum fub- nat ° Il *M# 
 ftantiam vno& muliebri corpufculo bainlare. quern eundemluxum mo x vtine- 
 ptumridens , vtpote cum aurum & gemma , qua tanti amatrenufiant ,vilia& 
 contemnendafint multis. Apud Barbaras, inquit, quofdam quia vernactilum 
 eit aurum & copiefum , auro vinclosin ergaftulis habent : & dinitijs malos one- 
 rant tanto locupletiores,quanto nocen'tiores.Aliquando re verainuentum esl,qno - 
 thodo & aurum non ametur. Gemmarum quoc^ nobilitatem vidimusRoma deft- 
 Jiidio Parthorum & Medorum, caterorumque gentiiium fuorum coram matronis 
 erubefcentem,nifi quod nee ad oftenfionem fere habentur. latent in cingulis (ma- 
 ragdi , & cjlindros vagina fua folm gladius fubfinunouit:&inperon\biu vniones 
 mergerede Into cupiunt. Denife tantum gemmatum habent, quod gemmd* 
 turn effe non debet, ft non comparct,aut ideocomparet vt negleclum quoqne $>• 
 Jtendatur. Proinde & veftium de coloribus honor em ferui etiam corum ferunt. 
 Sed & parietes Tyrijs& hjacinthinis & iUisregijs velti, qua vos operofe rcfoluta 
 transfiguratis , pro piclura abutuntur. Vilior eft apud illos purpura quam ru- 
 brica. Qui* enim est veftium honor iuft its 9 de adult erio colorum iniuftorum f Non 
 placet deo quod non ipfeproduxit: nifi ft non potuit purpurea* & carinas ones nafei 
 Mere. Sipotuit.ergoiam noluit: quodDeus noluit,vtique non licet fingi. Non 
 trgo natur a optima funtifla } quaadeo non Cunt, auftorenatura. Sicadiabolo 
 tffeintelliguntur.interpolatoreriatura.Poftremoigitur 
 
 A s b*c 
 
EPIST OL A 
 
 bdctafta ethnicis & infidelibm relhiquere, & tlU pergit, hocluxn vir'u fu'upUu- 
 reftudeant , vos prodhc medicaments & ornamentis exftrucla apoftolorum, fn~ 
 mentes de /implicit ate catidorcm,de pudicitia ruborem,depicla oculos verecundia, 
 & jpirittu tacitumitate jnferentesin aures fermoncm dei> adneclentes ceruicibus 
 iugum Chrifti. Caput maritls fubijcite,& fat is ornata eritts Mantis lanis occupa- 
 tc>pedcsdomifigite,&plus quam in auroplacebunt. Veftite vos fericoprobitatis r 
 bjfitno fanctitatisypurpura pudicitia. Tahter pigment at a deum habebitts amato- 
 rem. Qua tamen cum rigidiorafortajfe , ■& ad illas folds penmen videri pofitnti 
 qua fe Deo deuoaerunt, quin ad omnes in genere refer antur, dubitari nonpo- 
 teft, maxinic cum alibi quoque dicat } falutem in exhibitione pracipue pudici- 
 tia, confiftere , quod cum omnes templum Deifimus, illato in nos & confecrat* 
 Spirit uS an flo, eius templi adituus & antiftes pudicitia fit , qua nihil immun- 
 dum ncc prophanuminferri finat , ne Deus ille, quiinhabitat , inquinatam fe- 
 dem offenfiis relinquat,fubiu?igensporro,pudicitiam funcnonex carnu tantum in 
 tegntate/ed cult us & ornatus etiam ratione exiftimari } ideoque in ethnicis f ami - 
 nis veram pudicitiam non effe.Quorfum tamen bac tarn mult a inquietfortajfeali- 
 quis ? mmirum eo s vt ojtcndam iam ohm vfu receptum , vtfcemina Cultui cor- 
 ports fid indulgcrent impenfius : (ic tamen , vt bodiequemaxtme ilia proben- 
 tur , qua vt in alijs omnibus y bic quoque modum fibi tenendum exiftimarunt 
 In quibus etfinullam nationem,gentemve infec2or,fcitum esl enim alios alus regio* 
 nibus mores, aham certade caufa tantum non vitam conuenire,ita moderate- 
 re omnium rerum deo iubente, vt peculiaria quadamgens qualibet habeat,in qui* 
 businquam temper atioribus & modeftiorik familiam ducere laudatifitmas Ger- 
 maniafceminas , velex hoc Jpero exiguo libello fat is fuperque eonfiiterit, cuius ego 
 magnis fumptibus editionem artificiofifimisfigurtsilluftratam,& exornatam 
 cum ador naff cm: exemplar quoddam pudicitia, & omnium virtutum quarendum 
 niihiexiftimaui f cui,vt olim caftifiim&fccmina femel matron arum fententia 111- 
 dicata eft Sulpitia , Paterculifilia, vxor Fuluij Tlacci,elecla ex centumpnmarijs s 
 qua fimulachrum Veneris exStbyUtnis libris dedicaretjpfe quoque jtoumconucni- 
 ens moribus eius'mcaftum aliquod,certe dea incafta,(ignum,fed tot'uis Europafoz- 
 mineas habitus donarcm,conjhrarem.Et repperifane non dtjjiatlter, quod quare- 
 bam:fimuladte ferenifiima regina, oculos animumque conuertiicui lubens merit o 
 iamprtdem non dicotam a Uomanis,fed a totius orbis 3 Europa arte ncfir& fceminis 
 pttdvit'u & caftitatisprincipatusitadefertur,vtvnooufateantur omnes.lfabeU 
 lam Au/ir/ai «m ram ejfedc?num,ad cunts fe mores bona & ptidkd huiusnojln &ui> 
 wiformare ml debeant. Qualifcxmina nift bocibeatrum mcum facrum ejfe veLr 
 
 km 
 
NVNCVPATORIA. 
 
 KyUifSaitjilmo fexui exemplum,in quod intuens, bene & praclare rttatn tnfiitu* 
 ureque.ityinuidijfe videripoffem:ct(m y quamuis caftas plurimaj , nuiliustmm Uu - 
 dibus detraftttm volo>praterea noftra babeat German*, nefcio auomodo tamen 
 magis nosmoueant vtrtute; buiufmodt in iUuftn & Principe perfonarelucentts, 
 Veltnxratritttmillud,quofefabditi fane quam lubenter ad regum fuorum quaft 
 imagincmtffingcre diclitantuu Addo ad hac quod cum hie de Imperatruibiis a- 
 gitur,tu imperatoris.neque aut UmumConftantmopolitanxtrum^ut impatentiu 
 TrapeZsHntiorum vtnbratiln Imp er at or u, fed facri Romani imperij nwnanba ac- 
 tum* Jilia,nepttSyforor:mater ettam fortaftu futura,mfi tediuina ilia tua ratio* 
 ms , quas iamdudum vniuerfo humanogenen approbafti,a matrimony vinculis in 
 pofterum abftinerent ,& deo tota quanta y quanta es, aj[ererent:cum agaturde re- 
 ginis, tu csvntia tUa & laudatipma non ignobtlu alicuius regni,fedfuj)Taquod 
 nullum eft, imo cut nullum aquari poteft , Gallia regina , cut nulla alia quoque 
 regina par nuttaaliafecundaeir.lam devirginibus loquimur,de Jponfts t de nuptis, 
 de viduis.de veUtis mulieribus feu deadkatuhu vtrgo,jponfa,vidua &tantum non 
 mica, facra Icilioni, & meditatiom addicla exemplum es cuiuu at at'nordini , ft a - 
 tuu ad quod je componant,& mores fuos exigantidamtaxaUqua & vita curfum 
 moffenfumtenerchicy & poft eius decurfumfladium,aternacum deo creatore fuo 
 beatitudinedefrui opUut t Accipeigitur } poteiitifima,&ferenifimare^ina , alacri 
 <tnimo hoc paruum tw parui erga ma'uftate tuam ftudtj tuei , & deuot \orw munus: 
 /tecum alia a libris fibunjcriptisformani accipereJoleant,tu contra, qua Gentj tut 
 i -elicit a* eft, huic libello de ufamam largitvr,cjr deo pariter bomimbu (que fatten - 
 tihm dm vimttum tuaruplurtmarum & maximarum fruclib.amplifwns latare 9 
 4icvdle,Francofortiad Motnum iffitKalendis Marttjsanni M. D. XXC VI. 
 
 Sereoifsima; Maieftari tua: 
 
 deuotifsimus 
 
 SigirmundusFeyrabendiascuus& 
 Typographic Funcofurcenfis. 
 
Impcratiis:. 
 
 J^Pgu/ios habitus r veneror 3 t vultufc^ ferena 
 
 Qmsm'aieftatis tarn bene complet honos . 
 Augur or fiquid credendum r vattbpis 3 oris 
 Haudaltter caelum luce hilar 'are Jut, 
 
 $u* magni incedit germana,^ nupta ton ant is r 
 Vnahommum regnumcfu&tenet, vna Deurru. 
 
 Regnumhommumdixitfatior.prtmaitta deam eft. 
 Dimfo imperio hxc regnatin or be fuo. 
 
 e?tn<t 
 
Regina Galliarum 
 
 JL| Vmanam fortem fades tambella timebtft 
 Z)ere ha crude les in fua dona Deos. 
 
 Debuerant or a h&c communis nefcia legis y 
 Qua patmurfatitempora quifcfe jut: 
 
 T)ebuerant vultus hac maieftate ferenl 
 ALternum humanos exhdarare Joue*. 
 
 StaminaParcaru ntmis improba,($ inmdajn ipfas 
 'Rfffinas Tjobis tas quit habere dedit? 
 
 2 Regma 
 
Retina Germanica 
 
 ^JEgia progenies 9 regi nupm marito, 
 Stcpofltisprodit fujptciendacomis. 
 
 J\Qec male conueniunt tali fajligtaforma 
 Regia.regalis lucet inore viror. 
 
 'Tor qui qui cingit collum fudauit Hjdajpis 
 
 oAccolatfW (tfNilta flummafontebtbit. 
 HmctorquiCjangesmifltJuammera^ Jndus* 
 Hmc qm (ub fero fole fluent a rigentJ* 
 
ReginaHifpanica, 
 
 T£<*Afcua Geryonu nontraxereHerculis arma: 
 Nec tamen in vanum h&c fabula fiffa iocurn eH. 
 Fcemina Geryonu talijpettubilisore^ 
 
 Momt amatorem *vt furner&tMa "Deunu, 
 
 St dignaifia fmt memdicejudtce Mo, eft 
 
 Cuius tint Ma in pettore mica falis. 
 Tresamma* propter quam rex effiarct Iberu*, 
 Herculis indueret qiu ter in arma manm. 
 
 2 z Trin- 
 
Princeps foemma Germanica 
 
 5 1 ford in cunttis hue cultw cur a mctkfti, 
 §l%a<feayat 6om^ua^arat Hefytr'uis: 
 
 Fosmma non cenjmporturet ccrporeauorurru, 
 Quorum Jul titulis obrutn regna iacent->« 
 
 Dtfce hmc exigua qm mutat pafma gemma 
 MiRe bouesherbizpafcerejuefajm: 
 
 Dlfcepudk'rtiam cunffiispr&pomregemmu, 
 Qua qm comm (at eff,gemmea fgtUafat eB. 
 
 Hifyanica 
 
Hifpajiica princeps foemina. 
 
 ^s^Onabs relato defendtrnus oragalero 
 (tA radijsnobiSy Thcebemolefle, tuts. 
 
 (^idtamenmnoflrismmiumdumperfuris oris 
 Jmf)robw,auerfo car dine lent m abes? 
 
 JUicte <votis pofcunt iuuenefy fenefy 
 Hie execrandus dum mihijemper ades. 
 
 <sAn tibi tucundum ettinuitM <vrere terras? 
 Sipudor eHfiopidostranfiadHyperboreos. 
 
 2 3 Matrons 
 
Matrona primaria Italica. 
 
 J ITalicish&c eftnotiftma 'vefiisin oris, 
 
 Cuius legitime eft fubdita vita iugo. 
 Ter fora,perplateas,taliprocedit amittu 7 
 Talifeftmosnupta aditura choros: 
 
 Eft^ quidetlle , neget quit enimhoc? dtgnifitmuso* 
 ¥ arte >maritali quern ger at autki toro. ( mm 
 
 JSlilm eo tamen vt^memdicejure probari 
 Debeat hoc comptn libertoremagi*. 
 
 Virgo 
 
Virgo ex illuftri Fuggcrorum familia. 
 
 y l^nata njifa eft comptn hocFuggera Diones, 
 Con flit it adrofeas obftupcfattagenas. ■ 
 
 Conftitit adcrinemdonatum lambere vcnto 
 Zelotypo, ^ fluxas colla per alba comas. 
 
 Inter £$h&c tilt mambm cecidere rernifiis 
 Cmgi4,la,qius ipfiim efl; <vrere fueta Jouem. 
 
 Qua fimulinuafit <virgo Fuggerajam ab illo 
 Vrit amata hommes, r vntamataDeos. 
 
FcxminaRomana primaria. 
 
 Omangs hahttuscernis quieting (lolatos, 
 J^emtrereflola hdc * quoadmoneamur habct 
 Jnjlimlonga pedes fruftranec tendttad tmos y 
 Matronam h&c talis > vitta^ flrttki deed. 
 
 ^dfpicevtecoUocarhunculmardeat vtc^hic 
 Splende at Armenius tuncto adamant e lapis: 
 
 Sic dominat dominafas effincedere m njrh^: 
 Jnduuu exumas pectoris orbishabe?v&* 
 
Priticeps Foemina Ger manica. 
 
 ^Rincipe dtgna <vtro coniunx, ^ Principe quonda 
 
 2slatapdtre>ac Ductbm qm celebratur auis: 
 Trinceps c I*eutonicis ficjcemma prodit in oris* 
 Mores vultuipfi teftificatajuos. 
 
 Jn quo dum comisgrauitas flc ludit, vt illam, & 
 Quam deamesdigna?n y f$ qua <venerere,pute$: 
 
 Vtilemijcendo dulci ilia temper at arte, 
 
 Tetr/ca vttneque (it ,Jit neque blanda nimis. 
 
 C Comes 
 
Comes Germanica. 
 
 ^Almata eH "veftis^eterum geflamma regime 
 PrincipibuJ^pare me quoque turba colit. 
 EHautem titulm co?nitis,quta nempe mdritm 
 fre comes magnis regtbm <vfque Jo let. 
 
 r B s egtbm At ate hac etiam 3 nam tempore prifco, 
 Hie foil eft habit m C&fari£$ tpjus honos. 
 
 Sedfeu C&faribw,Jeuregtproximm itte^> 
 EHmem 9 hmc roftif vnieo comptagenis. 
 
 C 2 Saxonica 
 
Saxonica foemina nobilis. 
 
 ^^Obilitatemeinonignorandaparentis, 
 
 CUriorat clarinobilitate'Viri, 
 Inter Saxonicasfronte hacmatronapuettat- 
 Saxomcoincedo confociatatoro. 
 
 &£on triftisnimium, nimium Hon blanda marito, 
 lies fcaiet h&c <vittjs,nec caret Ma fuis. 
 
 Inter <vtrumque nit ens comi atgrauttate/ereno, 
 Nkbem con tract a inngo pudicitU. 
 
 c S 
 
 Mi/niaca 
 
Mifniaca matrona nobilis.- 
 
 ^/jJpiiAca e si pollens opibnsdegente mar it us ^ 
 
 Qmque vifo, !uc eadepatria origo mihi est 
 Jlle forts tract at t rattan da negot{a,noftra 
 Jpfa me a fum pro parte o per of a domi. 
 
 Felices th alarm \felix concordia letti, 
 Offices his quern rnntuusornatamor. 
 
 Tali bus aujpicijs qui conuemflis in ^vmtTTUy 
 y nut e ter fauftofamina) vir^toro. 
 
 Franconica 
 
Franconica foemina nobilis. 
 
 ]\^Vpta inter Francos >fcdnondc plebe^marito, 
 Hac fe njefle tlli pojfe placer e put at. 
 
 J^c,nifliudictjfallor P matrona pudica 
 Front is cultu alto contytcienda juit. 
 
 O^am njelut alterniluduntin <ve fie colore? 
 
 jn<fc oculis grauita$,c&teroinore lepos: 
 Sic or nam animum virtutesplunma,^ inter 
 
 Prma has legit imi cur a pudica tori. 
 
 D Talatm 
 
Palatina matrona nobilis* 
 
 Via Palatini fur git qua celja koni$-> 
 6i famuli* c B^emnobtlitaturaquis: 
 Sic equitis corimnx* equite ^prognata parents, 
 Jpjaq^nunc equitnm.aut deinde futuraparem 
 
 Sic patriot exculta s mquam,[f?aiiaturad < vndas y 
 Aurea fic fefto tempore temp la (ubit. 
 
 TKjpene* quid exult as^glaucaq^ emergis ab <vlua? 
 Faff or 9 an hac vija cor tibijubfdijt? 
 
 D 2 Hafiaca 
 
Haffiaca matrona nobilis- 
 
 g Irtflufacie tncedofifrontepudorerru 
 Sicteflor,fit vt h&cferniadoperta mihi, 
 GlmdmimmJOctoto tegitur Vefialeprofeffa 
 Caftum.matronam libera <vela decent^. 
 
 Uela pudicinam non exclujura, venuftas 
 Nulli <vt claufa nimis fit mea^aperta nimis. 
 
 Sumite ab Haft acts £xemplum nobile njmphts 
 Matrons : hac (iter at ^efte tegenda Venus. 
 
 D 3 Mijhenfis 
 
Mifiienfis virgo nobilis. 
 
 \[Irgmco$ comtm agnofio^ Mijhmn or& 
 Jndictt quotient •gaudiafeftus Hymen. 
 
 Reticulo crmale decptscohibetur in orbersu, 
 Quod decor ant <violis floreafertafitis. 
 
 ^uprumfimemor es^trgojoaudoblimtm^ 
 CumtficproperM perbreueforma bonu?ru, 
 
 Vterk facie 5 q}u mm cito dejictt^ianu 
 
 J^m^onjm.tibinmcqutprocminpat, erit. 
 
Saxonica virgo nobilis 
 
 JSJ On ego fucata cuptam contendere form a, 
 Etcommercatu irefuperba comis: 
 
 JMollibm Italtcahac factem vultum^puella 
 oAdiuuetarte fuurn complacilura prom: 
 
 Jpfamemor qu&fm, quisin regwmbm orta, 
 Sat duco ingenuum hoc comer e more caput. 
 
 JS/LaJcula cor da internimirum nata <virago, 
 Prodi bo tnfeclis prodtgiojagenis? 
 
 6 Franco- 
 
Franconica Virgo nobilis 
 
 p ^anconicam eccetihi at de nobilitute puellamj, 
 (tAnni cm plena <vtrginitatetument->. 
 
 o L Annosaiohllud e volmflc nempe, papilla 
 Cut plena dudum virginitatetuments. 
 
 §lm ficuiftmilis Jit qmm s protmm edanu: est 
 
 ITalisDifiynnis notaDtanaiugis. 
 ^alisjedpofitis^efliscum fluxeritilli 
 
 Jmos <vj f que pedes Anftattonecomis* 
 
 8 2 Patricia 
 
Patritia Auguftana. 
 
 yj* In die am, an fkti* eH pro nomine figna referred 
 H&cadeo qu& fit fcitula^ <vnde domo? 
 
 Sed feu figna fatistibi fit?itj>ex vrbefaperbaeft 
 Alter cm C&Jar nomen habere dedtt. 
 
 Seu magis omifiis rem vis ambagibus edij 
 Attguflan&habitum ciuis, or a vides. 
 
 Qutrere parce <vltra: e vtiltutacitufytacentisy 
 Et rofeo tacit} c&tera in ore lege^j. 
 
 E j Fcemina 
 
Foeminaplcbeia Auguftana* 
 
 *y ' Sftitu tenuihoc oAuguftam vrbis alumna 
 Cjaudeo,plebeiam in nupta locatadomurru* 
 
 J\Qonqmanon pofitmjtbeat fi^cultibm <vti 
 Commendent for?n/i qui??? age donamau 
 
 Sed quia ft mealijs comam exhaurtre maritunt* 
 Cogar^mfamt baud fim carituranota: 
 
 Sifiltfatagocuidebeo velle placers, 
 SkiUi videor comptawenuflajatif. 
 
 Auguflatia 
 
Auguftana virgo. 
 
 ^Ngenuo sAuguftana ferox hoc ore puella eB* 
 
 Comttbm his,flexis hac rat tone comis. 
 Tatricmmfy e vfiuraprocurn fic due ere euros 
 
 Vrere fed quidte iuuat improba, quo potes vti? 
 
 Alore ttbt hie alto conctlmndm erat. 
 §Abnuis,t$ dignam reriste^,quamroge4;?ergo 7 
 
 Vtrginita* tua eiconctlianda fuit. 
 
 F AnctUa 
 
Ancilla Auguftana. 
 
 Qlcbiscin&zi forum peto pro(j>e£turaculin&> 
 
 Skfyforo re dec rurfum oner at a domuiru. 
 AuguftaAugufl&qua furgunt templa,puellis 
 Grains <vbihic noflra conditionis honos: 
 
 TeUito tnnodum tort as cohiberegalero 
 J\Qm flexu err antes liber tore coma*. 
 
 St tunica extrema$ Itmbis bicoloribus oras 
 Signare,ac cupidumhac *Orere <vefte procurru. 
 
 F z 
 
SueuicavirgOi 
 
 (2 %inibus tntortit Sueuis eft curapmllii 
 Prodtre>& nudum anger e florc caput . 
 
 Afyice quam (Implex ^oeflttm^cum tamen oris 
 Gratia fit nullt forte pudenda mtnm. 
 
 Cult us conueniens Mis operofwr&quo eft, 
 Qua nuda metuunfj front e p lac ere parunu. 
 
 P 3 Auguftan* 
 
Auguftanatemplum adiens. 
 
 pj/c habitm templum eft Augufl<zadeuntis,abe{to 
 
 Qjt l ftk f oucs vot ^ votaalienameis. 
 At tu cuifiudium cum pietatis^ ardor 
 Jn JanHum Jan£t& relligionu opm 9 
 
 Lined in articulis erret^rebro^ recurrat, 
 Jmpleat ^ dextrampaginajacra?nanunu. 
 
 Omnia <vti facia* nunquam pit digna merendo 
 Ter film domino votaprecefy Deo. 
 
 Tatrkia 
 
Francofurtenfis ad Moenum patricia. 
 
 5 Vmmo vrbs car a Deo^uitetotdotibusauxitt 
 %Jrbs> qu&,qtu opfanturfwgulajunttutenes: 
 Felix nominibm cumfis 3 memdtct^;multis: 
 Cum /is vie ink muidio(atitis: 
 
 UeUtnmm in reltqtus eFtquo te,vrbs inclytn, iactes y 
 Tr&cipuunu&is tantisfcemina naia bonis. 
 
 Morum *vbt mate (id* form a dum cert at, ab riia h&c> 
 S :t licet jlla Qfab hac cur mage amentur habent. 
 
 Cj Sponja 
 
Sponla patriciaFrancofurtenfis. 
 
 J^AZccine, Mcene pater , natarum eft <vna tuaru\ 
 
 <tAh non: J\Qaiades vejlis honor e carewL>. 
 ^Undedomo eH igitur, velquigefwere parent es 
 Hanc talem^an nobis ccelitus ilia njenit? 
 
 JMcenu* adh&c writs e ft noftras qua maxima advn- 
 Et meo^Atlantiaci ^tanta fauoreDei. ( da$> 
 
 Hacce <vel tpfietiam ccelo fef e &quat alumna: 
 oAdJj?maf^ Mopettoradignaputes. 
 
 Cj 2 Spcnfi 
 
Sponfa plcbeia Francofurtenfis. 
 
 p Lebeioimgenda virofic templafrequentOi 
 J\(on omncs eademres ^ e vbiq t decet. 
 
 Ufa tu& fortis.fapies qu&cumcfe memento, 
 Hocte Francfurttfcemina natamon&t* 
 
 aAddit^ <vt pudibundaforis,operofa domifis: 
 Exemplo ^ facias.quodfacis omne,fiio. 
 
 Dignaquidepatria hac, f$tam clar& vrbis honor e, 
 ^jure y qtiodJancit e voce>manncfeprobct. 
 
 j Francofur- 
 
Francofurtana mulier* 
 
 Francfurtam eH laudata modeflia nupt&. 
 erf or a "velatum, templaq^ habere caput. 
 <*Adfj?ke [implicit as quant a eH in vefle > pudoru 
 *Ut multum> GaM nillemtatis habet. 
 
 Nempe animi matte has, quam cult us laude placer e y 
 Oman comptuqm pot lore negarvtj. 
 
 %Jt tamen haudcaptent,anlmi>non laude placebunt 
 c Tantunu 1 form& etiam cur cupiantur ineH. 
 
 Francofur* 
 
Francofurtenfis ancilla* 
 
 § lc me mandate tu uat infer uire culina 
 
 Francofurtenfes natam habit are Lares. 
 Sic redeoalanionedomum } fic pifcibus emtif> 
 Sic opusad'variosqms mihi cumquc cibos. 
 
 Qups fmul impofut patinis thrum in odor cms 
 
 Ccenat c&liipjb cumjoue turbajuo. 
 Mentiri cenfestquin ficotlum irerecufo, 
 
 Jncce nam eademcum Joue turbajuo eft* 
 
 Ji oAnctlla 
 
Ancilla Francofurtenfis tcmplum 
 adiens. 
 
 J~3[AZc eB ancilla templum accedent is imago: 
 Francofurtenfes Mcernts <vhiauget opes. 
 
 ttAdfyicenjt eff <vultw trijli grauitate mode/lus^ 
 Heft'erm reliquum <vt nillmitatis habet. 
 
 Ter Venerem iurcs eadem nonte ora ttieri? 
 
 c Blandit$efy njbifitilla ferena roges: 
 J^mirumjludijsherierawtj apt at a prophanis? 
 
 Congrua fu?vL> 'votk nunc eadcm ilia fuis. 
 
 H 2 Fcemina 
 
Foemina plcbcia Francofurtenfi^ 
 
 'Y\^cFrancfurtuna eft fermeiUis^veflism vrtf, 
 Quas iunxit mjlis ignis vnda *viris. 
 
 Ilia quidem cenjurn non exhauflura ?nariti, 
 J\£ec tamen ex omni non bene parte placem. 
 
 Adde qubdesihabdis, qubdidonea, ^ apt a opera jt 
 'jR.es oblata pet at quanttdacunc^ domi. 
 
 ^Turpe eft matron*, pr<e cultu diuite & auro 
 Non operiinterdnm poffeadhiberemanus. 
 
 H j Virgo 
 
Virgo patriclaFrancofurtana. 
 
 T fmddas ftrophioquid amascohiberepapiUas? 
 
 Tambona res cunftis ins~piciendajutt. 
 Jnmdamateries qm tefortmakauit, 
 
 Multorum votaheu, hntea vejiishabes. 
 
 "Tit tamen 6 fait em carx tua pettora main 
 
 3^uda>& clamaht protinm ipfefinm: 
 
 Jammea <vtrgmit asplenia eHnubilis amis, 
 
 Ogenetrix,genm cur a ncc vlla t $bi es~i? 
 
 Noribergen- 
 
Norimbergenfis matrona. 
 
 J^fOc habitu incedo fefiis ornata diebm^ 
 *Vrbe hacpatrictjjilia^nupta.nurm: 
 
 Quam trepidis fubmiffus aquis Pegnefjus adorat r 
 Noriaistf circum cuifamulaturager. 
 
 Dic,Mome,anne aliquidde fummo wrtice fummcs 
 
 Jn mtquod car pas cern is ad'vfq^ pedes ? 
 Nempealiquid: necfc enim poteris non carper e, quod 
 
 Carper e quodpofiti Iwdfts muenias. 
 
 J Patricia 
 
Patricia Norimbergenfis pervrtxm 
 
 itura. 
 
 *~Y Emppts^resjocns^ ratio diner (a monentnos 
 Longa h&c nunc te ft is pallia fcrre togis: 
 
 Sjrm ate nunc folo,neglefto palltj honor c^jj 
 
 Verrcre humum , f$ Utosducerein orbecboros. 
 
 3\£on mentis domina ilia fu<z eFt>qu& in eye lade fejt^ 
 ^Projhtuitlimisper <viam itura viris: 
 
 € B s urjum non pipit buic cor not os inter a?nicos 
 Siquadomtchlamjde^ veloadopertajedet. 
 
 J z Norim- 
 
Norimbergenfis Cponfo Patricia. 
 
 ^jzAudanda antiqui cernoveftigiamoris, 
 Confdto> Vrbsjantum hoc ma£ie,beatzi,tuo~ 
 
 JVLortbm anttquis (iabat c B Sk omana,nouis mox 
 Qu& ruit> peffUm res eadem omnis ijt* 
 
 Matte ergo:& tu, Jponfa,nouodiicendamarito> 
 Si$,quodes, ant iqm {implicit at is amans. 
 
 Felix Patricio qm natu e ftemmatenatos 
 "Tat rich JirniUs nupta datura viro es. 
 
 J 3 J^orim- 
 
Norimbergcnfis Virgo Patricia nuptlis 
 oinata. 
 
 Jj Ic fe patricijsfoUemne ornare puettis, 
 
 Gemmifcyinduffum anger c fore caput, 
 oAdfeftosquotiemgaudent mccdcre coetM, 
 Cum focto indtxit quosgregepadus Hymen 
 
 ZN^orimbergenfis qua fe rejpublica c&lo 
 Tollit^ 'ettpopulitota in honorefai. 
 
 Per^fidem,quicunq i> tuam, num cultior vjquanu, 
 ^Xumvifihacoculispulchrior <vllatuis? 
 
 Virgo 
 
Virgo plebeia Norimbergenfis. 
 
 g I corpus folidumtfuccofy f$ptnguine plenum*? 
 
 Jnpretto eft.pretijnonmediocris ero. 
 £xilesgracilej partus fibi jingat <t/Lthenis 
 
 Nata^elin populis, (tdujfonis orajuis. 
 
 Teutonic or a fugit captau iuncea form* 
 ¥ettora,fiibdufl;is ipjo ab ore cibis. 
 
 EtlSlorimberga has qm me produxit in auras. 
 Forma content am me iubet ire me a. 
 
 K AnctUa 
 
Ancilla Norinibergenfis. 
 
 ]Mperiof&iftam credos feruire Sabtn&, 
 Tantumipfo in vuitu feueritatishabct. 
 
 UrachiatL a cubit o clamant^ nudatn culin& 
 Gander e omntjugum perpetuam inter opus. 
 
 Et tamen h&c eftam <vin£to inter pettore, ^ ipjis 
 
 Prodit,fiaduertas 3 non inhoncragenis: 
 Tales 
 
 Dummerwt ulo < toilers %oma caput. 
 
 It 2 L-pfi 
 
Llpfenfis matrona. 
 
 T* ?rg» Mat is iam tempora verna re liquid 
 Corde ex hocnimU cedtte mnnditi^ 
 
 St natas pit ago finger e voce meat. 
 Officiumtfejnihigenetrix quodpr&ftitit , Hits 
 JmputQieafifeeadem curaaliquandomanet. 
 
 K 3 Lip{eK> 
 
Llpfcnfis virgo. 
 
 L fyf ta CjwMdfti* non v It main vrbibus vrbsefl, 
 
 ~ Virgo I'bific licit osgaudet mire choros. 
 J\Qon oblita fai ilia qui dem, ant oblita parent unu> 
 Velpatria,in nullaparte not an da tamm. 
 
 ZN^am cp gemma coma* ftringit,cp bracbia quaffant 
 
 oArmillas auro demeliortduas: 
 JMLore fit, tfcenfh pofiente hum diutte cultunt^> 
 
 •Metirifa4 eH fepede qmnque fuo. 
 
 Famine 
 
Fceffiina Argentoratenfls 
 
 J^R ogntinenfem fic ferturnupta per vrbenu 
 Ferre gradum s cajlum findoneteCki caput. 
 
 Scce vt prona folum ft>cctet- ) r vultuq t feuero 
 ^Qullumnondtgnumjemmiteturopm. 
 
 Sic dec &t in commune fuum adiutura mar'tt unu 
 Qmquoduispro fehaudferre recufat onm . 
 
 Et qu&gnaua domi natis operant a creandis , 
 Hos facienda eadem,hosqu&fugten<U docet. 
 
 L HeM 
 
Heidelbergenfis matrons. 
 
 ^Llapotens Thee b 6 Heidelberga.potentloraula, 
 
 Sceptra Palatini cut verier anda Ducts: 
 Ciwli cultu content a hoc, ambus hie fit 
 Vjque meis fexm deterioris, ait. 
 
 jS/Lit vi fides > fed enimcertaiex quo hoc t empore dixit* 
 (sEtates ^ tarn forte abler e deceiru ) 
 
 H.zcilla durat gratifiima veflistn *vrbcj, 
 Curd vim quis eft pojfe placer efuis. 
 
 L z Spiren- 
 
SpircnfisI.C.vxor. 
 
 Onjultiiuris conmnx, vbi Utigat ift/Lj 
 Cafarirvbi hoc quantum eft litigat imperiwTu: 
 SpirenJis,dico,confultinupta per'vrbenu 
 
 Sic ferofednumquam non comitata^radunL^ 
 
 Jn cuius cultu ft qutdmirarejnaritt 
 Debetur mentis htcquoq^ ve/lis honos. 
 
 Deft is honos, onm hoc nobis quiimponitj vt Mo 
 Et facer memores dicer e digna fimw. 
 
 L j Mulier 
 
Mulier Colonieniis- 
 
 J^Occe indutn habit u Jacra^ hocce prophana fre- 
 Agrippmenfifcemina nau folo. (quento, 
 
 Stcmetempla <vide?vtj ornatum,fic forage ad 
 Cognau viforn Urn inagentis eo. 
 
 Dentjhona mulmilli dhqm , dum hacrepperit <vth 
 
 Confuluitnoflr& veftepudtcitm. 
 $^*dumnudapatanimmmj>,nulloabdita veto, 
 
 Dum totidcmpatitur.vulmramille facit. 
 
 aAncilla 
 
AncillaColonienfis. 
 
 Y Jrginibmmos eH aAgrippinenpbustpfo 
 ^efiariinuChmcrinepudicitiaTru. 
 
 Vert ice nudato tfquouis procedere,feupwL> 
 Plebek,Jeu de nobiliore domo. 
 
 TrA reliqmfamulas tamen hocferuare <videreefl> 
 Qua nexis gaudentficforaadire comis . 
 
 Tarn bene demirare habitant, tamcorporefuca 
 Tleno \ habef arbitrit quodcooiuit omnefai- 
 
 M Virgo 
 
Virgo T-Igurina. 
 
 J-^dzcvere formaeB >qm vxoria dicitur.olinu 
 Jam laudata mo, c R y omule die, tuo. 
 
 decor ingenui vultusi 'qua gratia frontis? 
 Tallada te tor to crine videre putes. 
 Macle bonis generofituis,macJeore ) r virago 3 hoc 
 Fignora moxpatriomulta datura folo. 
 
 M 2 'Bafdienfis 
 
Bafilicnfis matrona. 
 
 J Tala terra dabit cult as fine more pucRas, 
 
 c PlurcffJatisculta$ Gallia terra dabit. 
 Germanis placet hoc, inter nimiumc^ parumqut^ 
 Qj4pdmedium y certotemperatijla mo do. 
 
 Et bencj : nam femper medium tenuere beat h 
 Simp licit as nobis gratior luc tamen efl. 
 
 £tpe minufyadeo curanutrita probantur, 
 Quam proculin folis arbuta nata locis. 
 
 M j Halenfis 
 
Halenfis Sueuica foemina, 
 
 QOmbergtQocharu 'promts qua maxima ador at 
 ^(umquamnon ammo temp la futura meo, 
 
 Vic mis habit u hoc incedit nupta Salinis, 
 Halenji Halenfis conficiam <viro. 
 
 Jnqua ceruffasfi qwsfucofcfcrequirit, 
 FaUtturjngenua fuctalia forma fugit. 
 
 Sed caflum corpus caflafimentz^reqmrit, 
 Ecce iftanij in prima exempla pudicitk. 
 
 Franconka 
 
Franconica VVirzeburgenfisfoemina. 
 
 Q V&cuncfe es,midter,qUA credit ad otia natunu 
 
 Fcemineum fexu debilwre genus, 
 Difcc quid Herbtpoli prognatn hoc fcemina cor be y 
 Confulti con mux fit licet ilia, <velit. 
 
 J\(jmpe opere afiduofaciendo, quod iubcf vfhs , 
 
 Sine for is cpttseft,fue labor e domt, 
 
 (jnaius exercendaetiam fua membra puellis y 
 
 Otianevetitis pabuladenL) r vitijs. 
 
 jV Franco- 
 
Franconica mulierplebeia. 
 
 J^Onte pert&fw Flor&>demittetimorc?itj, 
 <*Ad Veneris Zephyrm foUtcitabtt optts, 
 
 Sulcis from fctjfa s £tf fades excotki dtitrnis 
 S oil b tit, ac jfurcis pes httulentm aqms. 
 
 J^onfaciunt Zephyr v, riectute parte placer e hac 
 
 jllhfedgnauo pojfe lab ore velis. 
 Trifca tibt hortorum duret rnodo cura>placebis 
 
 Hacjolito vberw ^ nbifurget olus. 
 
 N z Fcemina 
 
Foemina Mifhenfis nobilis inlu&tr. 
 
 *Y\^ C fan* Mifnenfis nupt& lu,gubria,feu vtr* 
 Seu pater eft tilt, carafe fleridaparcm. 
 
 Sednon cuiufuis nupta lugubria, verimu 
 J\Qob/ltor quarum jlemmatnfignat honos. 
 
 UulgMsnempe deceJqm fuwL> vulgar ia> nobis 
 Hac non eximium nilquoq^ parte placet. 
 
 Sed cultm talis quarum eft lugentiurru^amabo 
 Qualem hunc nubentunu>qmfapit, ejjeputet ? 
 
 N j Thurm- 
 
Tliuringiaca virgo. 
 
 Q %atia qm forms* h&c> tenerisquffveindtdit an- 
 Hoc htlari mi (I urn mmgrauitntc decus? ( nis? 
 
 Dine Thurmgiacis hocconcejfere puellify 
 aAn Genktsfaufti dona dot ijlaloa? 
 
 Sedjeu Dl^quibus eH or bis nojiric^ potejidJj 
 
 Seu Genius faufli dona dat ifia loci-: 
 ^Quncegt 
 
Silcilaca matrona. 
 
 O ^namenta meo non inficianda marito 
 H&cfiintjjne quotient menfk aliena r uocat ) 
 
 Temp or a pelitt us muritt demoregalerus, 
 Talliafunt longis mollia ipja ptlis. 
 
 Vndedomo,^ cuius qmrisfimnam ordinis?oris, 
 
 Sinefcis 3 ortnm me aw Stlefiacis. 
 yiebeijfy virinon pcenitct ,aut pudetthic fit 
 
 Sic mihidunu, hand magnis regtbus inmdco. 
 
 Sponja 
 
SponfaSilefiaca, 
 
 § Tonfa Stlefiacis ornatu hoc dicitur oris 
 jre, Silefiacinupta futura njirt. 
 
 Tell i turn cuius qmddemtraris amitturru , 
 Etfparfas fluxu liberiore comas) 
 
 Quid dtadema duplex, feu ptir&infigne corona efl, 
 Qua purs, csi merccs pur a pudtcttta ? 
 
 Qua tibifunt <viju noua,qu&<^ incognitnjerra 
 Snnttpfis pueris not a Sileflaca. 
 
 2 (*AuJlria- 
 
 i 
 
Auftriacamatrona. 
 
 ' Jrmeiuipfe fit a mihi *viftum induftriu*artt^» 
 Utrmihi <veflitum eft quern ^Jidere^arat. 
 Cuimeus *vt merit o de me refyondeat ardor > 
 Sum perraraforis^officiofadomL 
 
 nAttL afjixa colo , donify operofa Miner iu> 
 Jn commune ilium quodpotetf ipja iuuo. 
 
 Vulgus ait^dextram fi Uua,& dexter a Luarru 
 Eluat^tramuis forde car ere manunu. 
 
 J Matron* 
 
Matrona Sueca nobilis. 
 
 *y$genm <vt <vultttf,fic eft matrona pudoris 
 Jngenui, f$ quondam h&c (implicit at is amam, 
 
 Utfy puto Latt&Jic inceffere puellx, 
 Sed reftidoneccura eoin or be fuit* 
 
 J^jlfuper in cultu eft quod mirerejuperfit 
 Ctomnil,nildecori>f$pa((adee((e Juo eft. 
 
 ZN^ata atiauis claris>claro coniunffizi marito, 
 Suecia vhiincerto tundituritfa marL 
 
 Lukcenff 
 
Lubecenfis matrona, 
 
 Y^Vbecum p atria efl: ibific ornata per ^vrberru 
 
 Jncedo rettisnupta Jupercilijs. 
 Matronam dec hoc nullius con (eta probri 
 
 Qu& focijferuat iura <verenda tori. 
 
 Qii&j* abfente <viro eft eadem>pr&fente <viro<fc: 
 3\£ec/cit quid nut u fit digit ij^ loqui. 
 
 Felicem nimium tali hac vxore marituntj^ 
 J\Qon onerteSltttth&cfcdrnage pr&fidio. 
 
 T Damijc* 
 
Dantlfcanafponfo* 
 
 QVu,cui corJapiat 3 Dantifcinefciat vrberru 
 
 Vicmolate redder e tura mart? 
 J\Qotii eHtUa opibw ,celebrinotiftimafamaeB> 
 §lua damns h&c Thcebhqua dornws ilia patet* 
 
 Hkcergo in talijuU, deduciturvrbe^j, 
 
 Qiltujegitimiiura initura fork 
 sAugendz pro partejua cm dumfludet vnih&c: 
 
 Credt^iUirohocnon eft mberc_j,Jedpatrh. 
 
 T 2 sAnciJU 
 
AncillaDantifcana, 
 
 (~) Vtdmirumancillis ft, *qui incaluijfeferuntur> 
 S&peeftam ancitta cur cuptantur habentJ. 
 'Pes nudus tuniciscontetto plusmouct^ pltts 
 Cereanonfalfisbrachiaaptrta bonis. 
 
 Deinde an nbn *vidtus quocfe habet quo iure putefiir 
 Talis non rigido pojfe pUcereviro? 
 
 Miahabet,att pernos operetur pur a culinx h&c, 
 ^dida famulus pe flora vexztamor. 
 
 P 3 Dhch 
 
DucisVenctivxor. 
 
 Q fdlo.at magis apmfolo, Venm aurea talis 
 itAnchif&incefitt concubitura (ho* 
 
 Jrnmo adeo Anchtfes, hbeat ft vera fateri, 
 Quam Veneruhuic mallet compojhijfe latus* 
 
 Zeuxis, Apellef^ ha numero cur mortuiabiftis 
 oAdplures) veftro h&c digna colore fuit. 
 
 Dux %)eneteomifiisproperaadtuagaudiacuris 
 Semideum h&cpotueFtte facere vna Deurru. 
 
Veneta Patricia. 
 
 ^ Dpcepatricia eximiam defiirpepuelUnu, 
 VJurpajfc tuo f$ lumtne crede Dearru. 
 Dico patricia nuptum deftirpepuehnu, 
 Hadriacis Venetiqua dominanturaqtm. 
 
 oAdftice vtincedatjouedtgna per omnia con'tunx, 
 oAdftcevt incedat <vel Jouedigiaferor. 
 
 Saturno nate.hoc defiendere tempore oljmpo 
 Fas eratJiActanti debuiteftetibt. 
 
 Venete 
 
VenetafponfaPatricia. 
 
 Vadne baudaliter "vultum deieBn modejlurru 
 Dcduttu effmagmnuptafutura <viri. 
 jfll/t fcdaitjjpicijsjata vt docuere>finijtris, 
 H&cquod ff?erare eH per rata <vota,bonis* 
 
 Die mthidic.orte inperegrinis gent thus hojf?es y 
 Cm fint vifa folo plurima,plurafolo, 
 
 Vidiftmealiquid, mage quod iuuet <vfcfe ^vidert^j? 
 ZN^onwt vijaoculis fit Venus ipja tms. 
 
 2 Virgo 
 
Virgo Patricia Vcnetx. 
 
 jS^J On ego mutandis ad earn temercibns vmqua?n 
 T^egina Hadriacis qru domtnarisaquis: 
 
 Mutandis adeat tejnerabus alter Jn oflro 
 Quern iuuetc gemma duccrcvtnajua: 
 
 Dam fic fit,valeant cum gemma £ff mercibm oflrtty 
 ^Altera cur te adea,<vrbs inclyta.caufa mihi eft. 
 
 Caujfa probanda quidcm,ftd quamjifctre labor as, 
 Hac facte infrefkz ex tempore 'fare potes. 
 
 3 Tatrh 
 
Patricia Venetahabitu aeftiualL 
 
 St us <vbi inualuit, Thoebufc flagrant ia terras 
 Sxcoquit, f$ c alt do ell poJJ'e nature mart: 
 Turn Venetu hocgaudet veflitu foemina,perquen, 
 sAuram deficient [peret habere finut* 
 
 Et quia fikpe opweftfaffo calido aere vento: 
 Apta operi huic fumit plumea texta manm. 
 
 Jt e mt w comit&s cmgammtempora (ertis: 
 c P&Jlanas halenL> pettoraaperm rojas. 
 
 Veneta 
 
Veneta matrons. 
 
 Xf%b$felixjres quam dlnondeplebetuentnr, 
 GluamVenm^TethjsMercuriuf(jJbue?^u 
 
 Equtbm hie lucro adprat,gnauofylabori, 
 Succejfm defit ne funs whs agit : 
 
 Jftavltrofcetas externa merce carinas 
 oAdteMnon cupiant, carper ecogtt iter: 
 
 JUadat hac multas forma prrfantepuellas: 
 
 Qmdplura\QmneoptatquodreliqM<vnaten!s. 
 r 2^ Veneta 
 
Veneta plebeia. 
 
 ^ <lAU veto <vt oritur gent cs mi da pa pill as 
 c Plebeiain Uenetosnuptapuella lares. 
 
 Fufca tegant alia fua peBora.candtda qu& (uivLy> 
 Speflnrt *vt no fir a hacjibcra vefiis amantJ. 
 
 T>e rcltquoin morem Afrorum tuuat ire for at is 
 A uribm in c olio pkmma bacca miet. 
 
 J nunc patritijs qui cultm qu&re puellis, 
 Tiebeio ornaturfic vhiiunttzi viro. 
 
 R 2 %pmar* 
 
Romananouanupta. 
 
 ^Xpllcat <vt cunfins r uolucrisJunomn pernios, 
 
 Mitte sArgiauratis turgidalumimbus: 
 Cum cup it inter auesauium regtna vocari. 
 
 Talis ego incedo nuperfbciata iugali: 
 
 J^QtptzttoroJ thalamo progredior^ mec: 
 
 %)erum vlri lent us abe$l y cuitam bona peel or a com 
 Sijapit his proper ot bafa ferre qtnis. ( pfi hxc> 
 
 % 3 Virgo 
 
Virgo Romana. ■ 
 
 JL/a talis craf, cum marginc T ybridis olirru 
 
 ISettorum v'trgo eft cor pore pafja Deurru, 
 l^pmanam agnojco faciemgrauilnte fercna 
 Comcm } qualis £f m "Jtrgme vultus era/, 
 
 Fortior ipja juo [exu qu& rnde amne natuto 
 Hetrufa abfoluitprdia lentn Dhcu. 
 
 Fattor an ingnium talis tibt Joel e Troperti, 
 jngenmm^tibhculte TibuR^dabat? 
 
 t B s omana 
 
Romana foemina proftrat*pudicmar. 
 
 Qdfta habit u hocpotera,cumnofim cafla><videru 
 3\Q/ notumtmpingat confcia T^owa not am. 
 
 Lingua proterua petit >men-s pofcit lubrica>corpiis 
 Cuiuis no etc patent, lucepat&t^ meunu. 
 
 ISafia con fer t is apt e infert are labellis y 
 Jlltcibufy <viros fr anger e lurninibus, 
 
 Tojfe meu eft,ignem hunc horrens accende , calefies 
 Plus{atis;hoc nulli ianua nojlra negat. 
 
 S J^Qeapoli- 
 
Neapolitans matr ona. 
 
 (cki 
 
 JsjO# male (jjraia iflis <vrbs prima ab originegau- 
 Cultibm^ hos fiquidem nunc etiam Hellas amat. 
 
 J\Qam quod <velatur fades per fir at a viarunu* 
 J\Quda domi domino qmpatef vj^fiio: 
 
 Judicium foli eFtme deferuiremarito, 
 <*Arbttrium cums cur alienus agat? 
 
 Utdit te proles phucretta cafla, Super bi, 
 Te%fimulviditperdidit> & perijt. 
 
 S 2 
 
 Vino 
 
Virgo Neapolitans nobilis. 
 
 ^Arthenope quonda,nouanunc *vrb$ dittnQamix 
 §lua non 'Parnafiijunt iuga grata magis: ( nis 
 Virginea rvrbsjnquamfiudtjs nottfiima Thcebi, 
 Vera Helkoniadunu.dtgna Mar one domm: 
 
 Me qualem cernisdias has virgmern in aura* 
 £dtdit>f$ comptu hocpojfeplacerepntat. 
 
 jNefcio qaam placeam externis, nec (are lab or o , 
 Hoc fcio me am pojfe placer e meo. 
 
 S 3 Vlorentina 
 
Flprentlnamatrona. 
 
 Tlorentmus fc^^oniuge mre beatimu 
 Cenfefjjabent mores.ojuoddecot ornnc wet. 
 Forma (latit eH^qualcmq^ <vocant 'vxorianhtn ore 
 AHftns habtt grata cu m granimte lepos . 
 
 Te&ora nuda patents, foil at tnngendamarito* 
 Exefioalterim dextraprotema procul. 
 
 'Talis credenda eft Lucretiajcilket olirru 
 Jn CoUatini bafiaijjfejui. 
 
 Virgo 
 
Virgo Florentina 
 
 J-J Os florem flores Florentia,flos etiam ipfit 
 Et <verus quot funti> vrbium ocellus, habet. 
 
 J^on ego wlC&farwelluppttereJfe labor cnu, 
 
 lura licet populisille def,tftepolis. 
 Seddicam regum mate flat cede,Deumqu^ 3 
 
 H&c regemfacerejo&c efipotis <vna Deunu. 
 
 T Medwla- 
 
Mcdiolanenfis nobilis matrona. 
 
 J^Xvultu mores ft fas eft colligerc-j, hxc eft 
 Os oculos^animumjoemina dtgna Deo. 
 
 Front mate (I at is fic torm vt tetrtc anon fit, 
 Qur metuatur habet$cttr & ametur habct. 
 
 C *eft W non altudquam frtram grandia/mentis 
 Dat teflem, vt qua ml quod tr tut ale pet at. 
 
 Sedqualesrearhac vultus in gent e viroruni-j, 
 Foemina vbi bos ani?nos, hos habttufq gertt? 
 
 T z Virgo 
 
Virgo nobilis Mediolancnfis. 
 
 y squibtu externa* volupe efl gratufy per vrbcs 
 
 Errare^vitnm voter e in exfdio, 
 Uos, terras alio mut antes fole calent es 
 
 Totarunt J^Qliquos orientis aqm: 
 
 Dicite, idem vt cunttis ego die am mtUtbus , or be hoc 
 
 Quot fimtjyorbe immo cjuotfy alio, at alio. 
 Vidiftifnealiquam quamcunc^ in gent e puettarru, 
 
 H&ccuinonipfacerteftf effiwcJ} 
 
 T* j Ferra- 
 
Ferrarienfis nobilis matr ona* 
 
 ^ ^Ttrahit *vt ferrummagnes, Ferrar'ta flc quairu 
 ~Dat>dwrd emoUtt cor da adamant e magis. 
 
 Crine vires aur ante ligat^turumpercvincla 
 J\Q?n pot is eft qmjquanu.non pot is ipje <veltt. 
 
 E mi cat ex oculisfulgor.ceu fulmine tuft%> 
 Qupiuuenum attontta itnefciaturba juu 
 
 V^ecfatis his poller e bonis, quo gratia mawr 
 Sit form a Jounc cult us talis honor eiuuat. 
 
 Mantuana 
 
Mantuana nobilis foemina. 
 
 Q yidprimum,quid poflremum fas dicers? talis 
 
 Jncefit,JaluoatLaodamiaviro. 
 Qmdmmenhis opiueFt,qua$gefla4,beU* catenis? 
 Crede } almdconimx quo tematur hab&f . 
 
 Certantesaurotfpofitimulmartecaptlli, 
 Nodat&tftenduntretiamilkcom*. 
 
 §uis Lupus noniUe <vclit,non pop? abipfo 
 ExolmjoUtoSolmncunttuDeo^ 
 
Veronenfisfoemina, 
 
 *\f Ttaccam clamant capitis ge (lamina fim>& 
 Vnde domojn <vultu c&tera & orelegc^. 
 
 Ore, if ft quo fimnonadfyernandatonantiy 
 Si confueto homines nunc quocj t more pet at. 
 
 Adjpeculum talis prodibat comta capillos, 
 C omta genas^nmeos femiadaperta finus 
 
 Julia non tunc cum patri placitura <vmiret: 
 Irct atAgrippa cum placiturafuo, 
 
 V z "Tatauina 
 
Patauina nobilis matrons, 
 
 Qlmodo faspetereefljinon eB,diua,moleJlu7yu> • 
 
 Qua nobis cceh ex parte bentgna venis) 
 Trarmte quo ad terra* magnodefcendis olympo? 
 <*An quo & ad zAnchifen Qprtajuetnfuurr&? 
 
 Sic >o,fic cert e eH, T^atauljedmcenia curnanu* 
 Curplacitaante alias funt tibt,Diua,domos* 
 
 Hdcego: cum motis leuiter "vijaifla labellis 
 Dicer e, Juno meum hie qmro relittnjouenu. 
 
 V j Tlacentina 
 
Placentinafoemina. 
 
 \JngM In melle fit a funt harunuduke "venenunu, 
 Etfitauemjapiens effuge amaritierru. 
 
 oAh quotiens dices, hie ft te ceperit ham us, 
 Hei mihilibertas vita^prifiina vbi es? 
 
 Necjitaquam at dices, c apt us mage & impenetrabis 
 Ultro te in pofitas retia rara plagas* 
 
 Orabis mult is onerari f$ colla catenis, 
 ^Itira^cumtuUris ' plnriwa,ferre velis* 
 
 Vicentma 
 
Vicentina nobilis matrons. 
 
 QJrce aliqua^JEetaaut prognata potentib. herbis 
 oAttineanttepidos infaiamore viros: 
 
 Grammavirtutes mihifunt, mthi gramma mores, 
 Laufy MibatA pur a pudicitia. 
 
 Quit ego non metuam ne non ret mere maritunu 
 £ualeam,fiillum Iuno velipfa pet at. 
 
 For s dices, (lulta eUnimta hAcfiducia.Jancjm? 
 ^Qulla probata viri de probmte timet > 
 
 X Sewn 
 
Senenfis matrons. 
 
 (^\Vidte nymph a co lis) quid comptos pecline cr tries 
 
 Fingis acuiin cert a quid (I at tone locos? 
 Deniq f quid tunica veftitam incedere Co a 
 
 Te *iuuat,f$ longa cyclade verrere humiwul 
 
 Crede mihiquammspelluceat Ma>nec objlet 
 
 Mult urn ^quin <veris conjpiciare bonis. 
 U^Quda tamen pofitaq^ potes plus <vefte placer c^j: 
 
 ^l^idpformo^rubes) non mihhdico viro. 
 
 X 2 Virgo 
 
Virgo Bononienfis, 
 
 Qltibimandata eftpingenda cur a puellx, 
 
 Qjt&form&ante alms fit bonitate (u&. 
 J m tic am hancNympham Jj?irantemcrcdefiguram> 
 £xemplum% tibi htnc^non aliunde petcj. 
 
 Jn primi(cfeoculo$>pifl;or,dejixi4<! adora, 
 
 Dulciaamara ex quis fpicula torqu&t amor. 
 
 ^Pojfe negas contra h&c defigere lumina lumen ? 
 ^N^empecttamafi^o hoc vrier/gne times. 
 
 X 3 Matro* 
 
Matfona Bononienfis. 
 
 ]SjO/2 cadem Mati minis fimi congrua : ver^em 
 Jnjenmm hunc habttum connenientcr habet. 
 Bella* venufla.prQcaxjame'utmcmor e vfq f pu'4oru 
 Gaudebam a papula prMereunte cam. 
 
 Et digit o oftendi,attonitM cum dtccretJo&ceB 
 Qua factt tn duro me moriamore proem. 
 
 L aude placet e ifta iuuenes nuncjlla fuere^j. • 
 Eheu quam rarum, quam br cue form a bonum esP 
 
 Hijpanica 
 
Hi(panica matrons 
 
 Js^y/^z ubitergeminilaudanturpa(cua regis 
 U^upta comurnatosgaudct habere pedes . 
 
 Gdudcf & hoc habitu 3 Gallaat qui ludicenonft 
 Contendi dtgnm gallic a pallatibi. 
 
 Dtcet idem oAufink quacum^ ex irbe , % it anno 
 Dtcctidemjtf noflronatnpuella folo. 
 
 Deni cfc die et idem Cjermana,& qmdquid vbieptc^r 
 Njmpharum ettjpfific tnmen ille placet. 
 
 T Formula 
 
Foemina nobilis Angtlcana Hue Bri~ 
 tannica. 
 
 p Rax t 'teles Venere* <vtnata efl \cum pingere veUet* 
 
 Mtfit eipulchras Gr&cia tot a fuas. 
 De quibuseximiaspofita JedveftepueMas 
 
 £xemplaadclarum flare coegtt opus. 
 
 3\(jc male, ve flit am Venereat nunc ft quit amabit 
 
 Traxitelesreffia ducerepoffemanu: 
 Matrons artifia jludio exprimat or a ISritanm, 
 
 Cernere quit, eH 9 voti & credit e <vi£tor erit. 
 
 7 2 jfrlatrona 
 
Matrona AnglicaLondincnGs. 
 
 V Stvrbisnoftrodiuifhsqui mariab orbcs 
 TradadiuTicltisSaxonibuffyfuit: 
 
 ^Qmine nunc vno atdittigens torn t Brttanm» 
 Hacvbipatrtcu it f Gemma wftedomw. 
 
 aAd Tamefim culm hoc Londmenfem^per e vrb\ 
 aAmbulat,hoci[>fisgaudc4kjmrecboros. 
 
 Etnon immeritb: quid enim non diuitc dignum est 
 Cenjuin eo>& rofeis.qukmicat i!la,genis? 
 
GalEcamatronanoHlis* 
 
 %edite Trot ana, Gallic <vo$flirpe creatos* 
 Jbat ad Thrygum fic Strnoenta Venus. 
 Qjtijquis es in facili, nanc qmduxtfti&re jigurairu<> 
 Cult a vbmam eH o cults Cypria vijatiusl 
 
 operoJafmt,fateor y ni4dam edit am ah vndis 
 Tmgere.negletfis collaper <v dace mis: 
 ^es operoja mage at comtam fic ptnger squalls 
 Vel patremexipfodeMcefiUapolo. 
 
 Gallica 
 
Gallica virgo nobilis. 
 
 ^Elix quern virgo dtgnabor Gallica amorce* 
 
 Sednonplebeia virgo ormndadomo. 
 Ille, inquam.felix^ terq^quaterc^ beatus*> 
 Complexum cums nofterarnabitamor. 
 
 atAritetorumpatruiHenmis in ^valltbm ibat 
 
 Ftlta fic carp turn pre a firta Jouis. 
 Tama loquorjalis cum folafiroriafratri 
 
 1* anger et ofcula adhuc.puraq^ luno fuit. 
 
 Z Matr o 
 
Matrona nobilis Parifienfis. 
 
 O Vidrne defixis o culls, quid mente Uteris 
 
 Commota^ fuauem ducis awariciemf 
 /Eqitales inter tali Jpetkibilis ore^j 
 Jncedosfeftis fie (km operofd choris* 
 
 Arnbrofmmq^ fpirant qua qua rriebra incljta odore> 
 T)ulcimeUe etiam dulcius or a (onarvtj . 
 
 Fattor apis fieri an <veUes->rofeis(felabellis 
 Hi* mi/cere tuos qui legisifiafauos? 
 
 Z 2 Matron* 
 
Matrona nobilis Lugdunenfis. 
 
 JiV fexu meliore velut turpifima quondanu 
 c R s es habit a eB>mitris firedimicla forewL><> 
 
 Si tunicis mank^fic matronalis habetur 
 B contra hie habit us > f$ mihtiure placet - 
 
 U^amquodmoUe viris eneruatum^ vacatur, 
 Omne decern nojlro idducitur arbitrio. 
 
 QmdquidideB-, totammea vert ice cerne vel ipfos 
 VJ^pedes^aliqHam & dixeris ejje Dearru. 
 
 Z j Lotha- 
 
Lotharlngica matrons nobilis. 
 
 ^v[0» ego plm -vefe-m.quam far ft urn <veftu amare 
 S ueui, longe ammo fit furor itte meo. 
 
 Sedtamen vtfarffo vefHsjic vefte moueri 
 Tojfe puto hac Curij frigida cor da fenis. 
 
 Vt decet en auro keens gemmtfy capilius, 
 Vi cintlm? rugiscyclas vtiffifeis? 
 
 ids es hac tuli fr Herts cj mcum^ pu zlld; 
 Qrcde mihi inrndu non alimm eris. 
 
 Virgo 
 
Virgo Burgunck 
 
 ^ S'dibfts atheras gemma deueCkt columba 
 Spettutum terras verier at alma VenM: 
 
 Jamtfeoculisgemmi partes luftrauerat or bis. 
 Oppida tarn Cyprijam nemora Idaltj : 
 
 J\£os quotfe cum vultu non indignata ferena 
 %ejpicttjn reltquts cernit f$ effigiem banc, 
 
 ^protintfjacrejianstdutto perfmgula <vifuj 
 Ve/litamadJJ?exitme hie vbifculptor ait. 
 
 a Matrona 
 
Matrona Belgica primaria. 
 
 ^Eftiscuifyfaa eBj nosnobis quoddecet omnehoc 
 Carptmus^x tpfts <vfy <vel dArmenijs. 
 
 JSfec placitum cultum Jem el njf^tenemm^at anno 
 Gluigratm fuerat mox odtojus ertt. 
 
 Quem morem fi cjius miratur, cogitet orbis 
 
 Quod placet hie variashoc facer e omne vices* 
 
 Cernere femperidem, vtfitresgratipma>tande?ru 
 EH fenio^lternU ilia *vel tllaplacewt>. 
 
 a 2 Belgi 
 
Belgica virgo. 
 
 §Itibi flandrenfem volupe eft ftetktre pueHam^i 
 
 St nimius patriam eft eius adire labor: 
 Sn tibipr&fenti pr&fenterru: at chart ea di ces 
 H&C efl fiimirum hanc -fj?em dat habere liber. 
 
 Chart ea tot a quidem efl->fedforma qm ore profejpt 
 J^Qudo&aperto , haudnilquo capiaris habet. 
 
 (urcapiare trnnen? fat is eftpotuijfe v/derc^: 
 Qnjfy Japudulcemhancepigeamaricienu. 
 
 a j jBraban- 
 
Brabantinafoemina. 
 
 J7 cSV Brabant im.quam demiraris, alumna 
 Terra* *vbi habes pelagt cernere in amne "vices. 
 
 Quam patrm quotient frattantem margine ripx 
 Seuformoja Tethisijeu Cjalateavidef: 
 
 Trotlmif &qnormredduntur fluttibus 3 f$fLj 
 Humano vincipojfe nitoredolentj. 
 
 VUdfy poH quams certet degente puella huic y 
 Cuicenfu cedunt de potior e Deri 
 
 HoUndica 
 
HollandlcareuBatauicafoemina. 
 
 j^Vro^rgento , tre, aut mutzintismerctbush&c eft 
 Mercern alijs.focwfcemina iuntkitoro : 
 
 %henum <vbtpurpurei dulcemcontriftatamaror 
 jEquoris,& <verfis cur r ere cogit aqm. 
 
AncillaBelgica. 
 
 p T^odeo fic leuiter pofitis am ilia capillis, 
 
 'jBelgica vicino quaiacet Oceano. 
 J\Qeue morer dominam.genm irritabile na?nJurpL> 
 Hie domin&>culta hacfitm r attorn Jatis. 
 
 Qutdveadeo profit fumofiz addiEkt, culina 
 Si for mam cert em velle iuuare meanut 
 
 JMercata faciem qu&rant fibifraude puell& 
 ^atrici^tpfa ego velficfum operofa nimis. 
 
 b 2 Fcemina 
 
Foemina AquHgranenfis 
 
 J^Nte alias ha hit car am quam farolm vrhenuj 
 Dux quot funiL>,quot erunL>, Carolm ille ducu: 
 
 c B^mani imperij vrbs non ultima; qm diadema 
 Jn regnaturum eft ponere fuetn caput : 
 
 H&cpatriaeB:hkfuntvir,nati,&vtrinfyparetes, 
 Qms veflis ratio h&c omnibus una placet. 
 
 St curenu y an } qm tot caris culturaprobat ur, 
 Nefcio quo banc veniens hojbesab orbeprobct? 
 
 b j Sponja 
 
SponfaColonienfis. 
 
 5 Cilicet>anticjw ^Agrtpptna Colonia, moris 
 jT ? (eruantem etiam hac parte,beatM?doces* 
 
 bettor a aperta tllam ficte monftr are mark o 
 Velle reorjufto <vt confocianda v/ro, 
 
 Hoc fiiat exemploynil ilium c dam fibt> habendum* 
 %g$femper plena h&cfufyicionu erit. 
 
 Fcemina 
 
FoeminaBelgica Flandra. 
 
 ^Ormofa vt Tallasjuno &formofioriUa 
 
 Z)incuntur,pr&finffi(iet alma Venm: 
 'Belgica fic alias pulchras formofior exit, 
 Cum 'venia quod fit <tAufonis orajua: 
 
 T ace tua quod fit, (jermania^aUia^qm^ 
 Diuideris paruo t err aBrit anna man. 
 
 Cedttis,an dicenda mihifub iudicecaujfa ett? 
 S/t/ane } m no fro dummodo & hocce foro. 
 
 c Matron* 
 
Matrona nobilis Hungarica. 
 
 ^Venturo cupio nam dum me ornare mar it 
 UixmundaeH oculismunditia ipfa meis: 
 
 Digrmstf tUe fori* fexcenta incommoda dam fert, 
 In plactt l o quife rear est ore domi* 
 
 c 2 'Rohe- 
 
Bohemlca Pragenfis foemlnau 
 
 W^ctn regalt Traga noitfiimtit vrbcj 
 
 EH habit m % >quwus eft iam modo nota Venus, 
 Simplex confit eor , pro re y cenfu(^domoc^ y 
 jlletumen>focij & pro rat tone viri. 
 
 T?lebeioquicumnatM£ fit fanguine.plebs^ 
 Ipfequofoac pitngens redderecuify fuurru: 
 
 Volcapitalfacianufiin cultum vertert tentenu> 
 Qupdjudorejuo comparatUlejneunu* 
 
 c j Hohe- 
 
Bohemicamatrona, 
 
 J>Erpetm cingunt quaregnalSohemica jylu&» 
 Clauduntur muris & <vetuti ilia fuis: 
 
 Vergent is matranamiiam exofa choreas, 
 oAuerJansgratum quidquid^ 'antefuit, 
 
 Sic ornatafatisprodit 3 fmeiUa petit unu 
 De <uet eriegreditur <vina meracacado, 
 
 SimfamemfidentquAempturaobfonia,mores 
 Nempe he fierna alios at% hodiernapetuwL,. 
 
 Tolo- 
 
Polonkamatrona 
 
 g Iue domi eft, flue eH peregrina per aquora veffus 
 
 L'tgneo equo impofitum, vt namm mut ct onw> 
 Clm mthi gent ill datm eH de pie be marttus^ 
 ^egia quaprtncepsfceptra Tolonmhabet: 
 
 Hoc cultu incedo> <v ale ant dmerja fequentes: 
 Qui modus in reliquk, hac quoc^ parte muat. 
 
 Nempeipfaabfumamrem,rem dum qu&rere quaius 
 Virfatagitfyforitwir fatagitq^ dew?? 
 
 d Liuonioa 
 
Liuonicafoemlna* 
 
 O < 7{riatuhoc no fir is fiquain regwmhmiret, 
 Glupsrifes populo pr &ter eunte daret? 
 
 J\Qon quia dedeceatf mmiurru,cum regiares fit> 
 ludtceme.augufid hoc vejiis honor e tegh 
 
 Sedquiararajolentftupidiper fingula <vulgi 
 
 ^rimore errant es ore ciere tocos. 
 %^rajnqua?ru>nam fllonginqua adieceroJniUis 
 
 ^N^nJ^unt^^longtnquo haudpalliatrttalocohAC* 
 
 d 2 Liuo- 
 
Liuonica foemmaprlmana. 
 
 Hocfy viro fociata habit u demore parentis 
 ZJ tor, forte etiam deinde futura parens. 
 
 V^Cjc mihi turrit o capite eft pro dire pudori y 
 Siiurearbitrium eHinfua cmc^fuunu. 
 
 d j Lino- 
 
Liuonlca matrona ex nobilkatc. 
 
 O Virijurn tenuitahulam dum infyeBo prioreji/tc 
 G[uamcreduntalij baud ridiculamejfemiruis* 
 Hicmodtco fateor diduxt labracachinno. 
 Is } e latum cernemhac rat tone caput: 
 
 §lm modus extremm ornatus ft effect in Jndu'* 
 CauJJa admirandi tarn peregrmaforet, 
 
 Or be fed in noflro tali cum fcemina cultn 
 Caudeat s inuitinJminora <venit. 
 
 Mofcouicd 
 
Mofcouicafoemina primaria- 
 
 \/[Ofiomcis mos cH <ve(iem banc geftartL^puellis, 
 Qitarum tarn pup pas dexter -a Cjpnshab&t 
 
 Teliitd in qua quodjunt pleraq^ftc rigor orbis 
 I Urns y $ c £ore&fubditareg?iaiHberit->» 
 
 Cat era > coll/gere eHqttod de prafente figura, 
 Cjratafatis merito commoditate (ua eft . 
 
 Commoditate, aio ? imo f$ mate fiat e decora eft, 
 Qualem vixJimiUm (jaUiacultadabit. 
 
 e CamiU 
 
Camilla Turcici Imperatoris filia. 
 
 ^Atreferox^ patrepotem hocdicitur orc^j 
 
 Inter foemineos ire Camilla choros. 
 ZN^on ea Ama^onio qu& prdia more Qimilla 
 Dttm act, & Turno pro dace bellagent, 
 
 Majculam ah ore animamt mites efflauh w auras . 
 
 Turcarum fummoatnata Camilla duc^?. 
 £cce feros animosfexu ^vtnon occulatipjo: 
 
 Di bene : j)ro puero h&cnatapuellafuit. 
 
 c z Scor 
 
ScortumTufcicum, 
 
 JSj Smtrare rneo fl cultu [uptruenio aura* 
 
 St reliqntsmundus qm muliebrisamat, 
 Qttamuis de no fir a externa welgente puellanu^ 
 Sic it amatoriqm placitura Juo efl. 
 
 Vtrgo omits ft compta fuis, tffordida noti eft 
 St qua mar it ale eHferre fketa iugunu: 
 
 L audanturfidmefat eft curatius <vti 
 Formajncertus *vt bacdetineaturamor. 
 
 e j fcemina 
 
FoeminaPemuhna. 
 
 Y^CJ'OS dum medijs qmrit Pellaus tn Jndis* 
 
 C B^€ popnli infehajeditione (uu 
 Nequiquam lauderru banc mo ccrtauttauoriinu 
 
 Trtir/pere> <vt t ant as orbi apertret opes* 
 
 KPeruu quanta* noftriin regtombm \aurunu 
 Gemmarumz$ vulgo qua genus omne feruntjy 
 
 J\£unc hominum nuper reclufere <vjibus, <vna hoc 
 Qum vejlisfexuin deterwremodo. 
 
 S. Ca- 
 
S.Catharina»moniafis. 
 
 "gllia regis erat ,forma%& moribus ejj<u> 
 
 Di^na ante &qualesflia regis erat . 
 JntaOa nobis qm njirgjnitatepr&iuit 
 effocij <voluit fternerc iura t or'u 
 
 Non quia damnarisiufticonmbiaUch 
 Error qui multos perniciofm habet: 
 
 Sedquia coniugij cenfebat legefolutas 
 Liberius fummopojfe vacare Deo. 
 
 f V ' 
 
D'Brigittaeorda 
 
 \^lnea me decet, gr* drier i con for wis ami Bus: 
 Qua fapk>exemplo viuere difce meo. 
 
 Dijce njacare hjmnis, verbify precanttbm *vti 
 Jnmagnilaudesjemper ire Dei. 
 
 SBaltquidpedibu* terereh&c? qu& mundus adorah 
 Qii&cfe opt at <votis c &t era turba fuis. 
 
 Brigtdanojlrt auttor gaude ordtnis^ faueolympo* 
 ZN^unc quotfe veftitu qu&teimitentur habes^ 
 
 f 2 Ordo 
 
Ordo momalium albatarum vehs 
 atratis. 
 
 Q^Jndidatota m'thieU <veJlis,niueo(fccolor<Lj 
 T* ?/lor &tpfa me& dona pudicitu. 
 
 Solum atro tegttur veto caput -.immemoir <vi n(u> 
 Sim fortts.cu'msmembet ejfe Dens. 
 
 Be reUauo apduA^preces,hymm^chorn ]s , 
 etpfalminojirumfuntjerefemperopm: 
 
 T>a 'DeusMqu* te celebramwfuppltce cantu, 
 Scandamus call tempi* beat a tut. 
 
 f 3 &i r °- 
 
sEorotls mercedc feruicntium ordo 
 foemineiis. 
 
 J^Trataeft <veftis>colorefl hie apt us amanti 
 u£oroto ?yiedicasarte par arc da pes. 
 
 T)uraq t res fatecrjemper moerenttbm ejfe^j 
 
 'Pr&fto eft Jed Chrifti h&c omnia *vmcit amor. 
 
 JEtherio tile dabitmercedem debit am oljmpo: 
 
 Jungct f$ a fanttis funere <virgintbus. 
 Felices qMbweflftuimmortaliaapifci, 
 Illa 9 quA extguo tcmporejudat op<u* 
 
 Beguina' 
 
Beguina- 
 
 y£/}ales olim fieri* per luflmperattis 
 'Bis triage poterant confociare viris. 
 
 Namfydecemprimosdfcebant rite per annos, 
 Qmfacerent armisficra quofyinde decemj. 
 
 Qua reflant perlufkraduoftatafefladocebawLs 
 
 Et tarn legittmifas era tejfe t on. 
 Nuberenos quouis momento 3 qualibe4 hora 
 
 < ToJ[umm ) ^legumltberaturbafamus. 
 
 i 
 
 Laica 
 
Laicaordinis S.Catliarinas, 
 
 \f Jrginitas HLzfa mihi eft ,funt virgine mor&s 
 Dignkconuememmo rtbm ejl% pudor. 
 
 1)!pdeatcfc adeo ne <veflis morthw alba eft 
 JpfciqitocfeiZS "niueafimplicitate placet, 
 
 J\(jmirum inmBisaptm c olor ille puellu: 
 Quis vacuo volupe eH vfy tacere toro. 
 
 JDumtefyonfo oltmpotiamnr, Chriflejpetito, 
 Qn'm nonmerito efl 3 wre<fe uilisamor. 
 
 Ordo 
 
Ordo mulierum poenitentium. 
 
 p OSnitet o (i quid mtferis modo crediturjpfum vt 
 
 Ve latum hoc clamat qua Itcct vftfe caput. 
 ^Tcenitei anteatt&quocunc^ tn crimine viu % 
 Vitntamq^ iimat nosmeliorefruu 
 
 IhQec quia 'veftittts quauis efl candidw, f$ nos 
 
 Integra pur a virgmitate fumtis: 
 Sed not at hie habit m mundata* crimine ab omni 
 
 Qltm wm merttis nos fore Chrtfte tms. 
 
 g 2 Clars 
 
Clara virginis oxdo* 
 
 j^Larafm exemplum* Yranafco edoCktma^firo 
 §lui Francifianis iura facrata dedit: 
 
 }IochabituincedmdiiRis>qmcm% perofi 
 M.ecurn>qu& in precio caraq^ rnundus habet* 
 
 <tArderent<vmfemper feruire tonanti 
 Hmc cup ere nt noBu hutc pojfe vacaredie. 
 
 Ha mifer&, qm non exemplo [pernere no fir o 
 A udetis njana* quas ha bet or bis opes* 
 
 Cano< 
 
Canonica&cerdos* 
 
 £ Acris hoc habit u incedit deuota facer 'dot, 
 
 Vtrgmem tcnero cut nitet ore pudor: 
 Compofitam mentem nimirum exornat amictut 
 Compofitus ypojite & nonfmc lege coma. 
 
 Longa puellares nee dedecefinttitagreffus, 
 ^juniueo cur fit seller e text a rogas? 
 
 Simplicitatem animi demon ft rat labe carentti, 
 Et catf* pandit dona pudicith. 
 
 I 3 
 
CORRIGENDA, 
 
 C 4, Verfas* noftr&pronoftra. 
 T.f. verfuuf. Sueuka pro Suettis. 
 
 verfu^. fedulitatisprofeueritatis. 
 M^.lnfcviptio Bafileenfis proBafilienJts. 
 Q.2 . verfiLt. vifafaio phtrima pro vifa folo plurima. 
 T.f. verfu?. quacum^proquamcun^,. 
 V.4. verfuS, ferre voles pro ferre velis. 
 Z>2. verjuf. Ambrofium pro Ambrofiumj^ 
 S.t. verfu?. accede pro accende. 
 
 d, ^. verfuf. extremis pro extremm. 
 
 e. f. verfui* ft cult a pro fi culm. 
 
FRANCOFORTI 
 
 AD MOENVM, IMPENSIS 
 
 SIGISMVMDI FEYRA* 
 bcndij. 
 
 M. D. L X X X V I 
 
# I 
 
«