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THE    HUTH    BEQUEST 


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CATALOGUE  OF  THE  FIFTY 

MANUSCRIPTS  &  PRINTED 

BOOKS  BEQUEATHED  TO 

THE  BRITISH  MUSEUM 

BY  ALFRED  H.  HUTH 


PRINTED   FOR  THE  TRUSTEES 

SOLD  AT  THE  BRITISH  MUSEUM  AND  BY  LONGMANS  &  CO.,  39  PATERNOSTER 

ROW;  BERNARD  QUARITCH,  u  GRAFTON  STREET,  NEW  BOND  STREET;  ASHER 

8c  CO.,  14  BEDFORD  STREET,  COVENT  GARDEN;  AND  HENRY  FROWDE,  OXFORD 

UNIVERSITY  PRESS,  AMEN  CORNER,  LONDON 

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[All  righu  rtsen'td] 


OXFORD 

PLATES   AND    LETTERPRESS 

PRINTED  AT   THE   UNIVERSITY   PRESS 

BY   HORACE   HART 


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PREFACE 

HE  late  Mr.  Alfred  Henry  Huth,  who  died  on  the  14th  October,  1910, 
by  his  will  dated  the  14th  January,  1903,  directed  that  if  at  any  time  his 
library  should  be  sold,  the  person  or  persons  so  selling  it 

'  shall  forthwith  deliver  to  the  Trustees  of  the  British  Museum  before  such  sale  shall  actually  take  place 
such  50  volumes  as  the  Trustees  of  the  British  Museum  shall  in  their  uncontrolled  discretion  select 
from  the  Huth  Library  provided  that  such  Trustees  shall  not  select  any  duplicate  or  more  perfect  copy 
of  any  volume  which  may  be  then  already  in  the  British  Museum  Library  except  by  way  of  exchange 
of  such  duplicate  with  the  Huth  Library  and  every  copy  so  exchanged  is  to  count  as  one  volume  out  of 
the  said  fifty '. 

Further  provisions  required  that  the  volumes  selected  should  be  marked  with 
the  words  'Huth  Bequest',  and  that  a  separate  catalogue  of  them  should  be 
printed  by  the  Trustees  of  the  British  Museum.  The  present  volume  is  issued 
in  fulfilment  of  the  last-mentioned  condition. 

The  bequest  so  made  was  both  wise  and  nobly  generous.  While  preserving 
for  the  testator's  family  the  great  bulk  of  the  library  (the  value  of  which,  in  the 
eyes  of  collectors,  has  already  been  demonstrated  by  the  test  of  the  sale-room), 
and  while  giving  to  the  nation  nothing  in  the  nature  of  a  duplicate,  it  nevertheless 
allowed  the  national  collection  to  acquire  exactly  those  books  which  to  it  were  of 
the  greatest  importance,  and  which  yet  it  could  not  hope  to  be  able  to  acquire  in 
competition  at  public  auction.  Under  the  conditions  of  the  present  day,  the 
British  Museum  can  seldom  hope  to  compete  successfully  in  the  open  market  for 
a  well-advertised  rarity  of  the  first  importance  in  any  department  of  literature  or 
archaeology ;  but  fortunately  there  are  still  many  friends  of  art  and  learning  who 
recognize  the  services  rendered  to  students  by  the  national  library,  and  who  are 
ready  to  forgo  pecuniary  profit  in  order  to  fill  some  of  the  gaps  which  remain  in 
its  collections,  or  to  make  available  to  millions  the  pleasures  which  their  own 
taste  has  acquired  and  enjoyed. 

The  history  of  the  Huth  Library  is  told  by  Mr.  A  W.  Pollard  in  the  Introduction 
prefixed  to  the  present  volume,  and  its  monument  remains  in  the  Catalogue,  in 
five  volumes,  prepared  under  Mr.  Henry  Huth's  direction  by  Messrs.  Ellis  and 
Hazlitt  It  only  needs  here  to  say  something  about  the  selection  exercised  by 
the  Trustees  of  the  British  Museum  under  the  terms  of  the  bequest.  Of  the  fifty 
volumes  chosen,  thirty-seven  are  printed  books  and  thirteen  are  manuscripts. 


These  figures  in  no  way  represent  the  proportions  of  these  two  categories  of 
books  in  the  Huth  Library.  The  Library  was  essentially  a  library  of  printed 
books ;  but  the  few  manuscripts  which  it  included  were  selected  with  taste  and 
discrimination,  and  were  worth  more  than  all  except  a  few  of  the  printed  books. 
In  their  case,  moreover,  the  question  of  duplication  could  not  arise. 

The  importance  of  the  printed  books  received  under  the  bequest  is  shown  in 
Mr.  Pollard's  Introduction  ;  but  it  will  be  convenient  to  say  a  word  here  about  the 
manuscripts.  One  of  them  (no.  X)  was  selected  on  account  of  the  coloured 
engravings  which  it  contains,  by  the  artist  known  as  the  Master  of  the  Berlin 
Passion.  The  others  all  represent  various  phases  in  the  art  of  miniature  ;  only  one, 
the  unique  copy  of  the  romance  of  Merlin,  could  have  been  included  on  the  ground 
of  its  text.  One  is  of  English  workmanship,  five  of  French,  one  German,  one 
Dutch,  two  Flemish,  and  two  Italian.  Since  the  British  Museum  already  possesses 
by  far  the  finest  collection  of  English  illuminated  manuscripts  in  existence,  this 
preponderance  of  foreign  examples  is  entirely  to  its  advantage. 

The  one  English  example  (no.  Ill)  is,  however,  one  of  the  most  valuable, 
though  not  the  most  generally  attractive,  in  the  collection.  It  is  a  Psalter,  of  the 
last  quarter  of  the  thirteenth  century,  decorated  in  the  calendar  with  representa- 
tions of  the  occupations  of  the  several  months,  and  in  the  body  of  the  manuscript 
with  full-page  miniatures,  historiated  initials,  and  decorative  borders.  The  whole 
belongs  to  that  fine  period  when  the  miniaturist  was  approaching  the  full  mastery 
of  his  art,  but  when  the  amount  of  decoration  allowed  to  the  page  was  still 
restrained  within  comparatively  narrow  limits. 

To  the  same  period  belongs  the  best  of  the  representatives  of  French  art, 
the  beautiful  Bible  in  two  volumes  which  heads  the  following  Catalogue  (nos.  I, 
1 1).  The  decoration  follows  the  well-known  method  of  the  Bibles  produced  on 
both  sides  of  the  Channel  in  the  thirteenth  and  fourteenth  centuries ;  but  the 
execution  is  of  the  first  order  of  excellence,  and  is  worthy  to  rank  with  those  two 
admirable  examples  of  English  work  of  the  same  class,  Burney  MS.  3  and  Royal 
MS.  1  D.  L  Of  the  other  French  MSS.,  no.  IV  is  important  as  containing  (along 
with  two  other  romances  of  the  Arthurian  cycle)  the  unique  copy  of  the '  Suite  de 
Merlin ',  which  is  the  original  of  the  greater  part  of  the  first  four  books  of  Malory. 
No.  VII  is  a  copy  of  the  work  of  Guillaume  de  Deguileville,  Les  trots  pdlerinages ; 
and  no.  V  is  an  example,  not  of  the  first  rank,  though  with  some  features  of 
interest,  of  the  illuminated  Apocalypses  which  were  so  popular  in  the  thirteenth 
and  early  fourteenth  centuries. 

Another  illuminated  Apocalypse,  of  later  date,  which  falls  into  one  of  the 
well  recognized  families  of  this  work,  is  (with  the  exception  of  no.  X,  referred  to 
above  as  having  been  chosen  for  the  sake  of  its  engravings)  the  sole  representative 
of  Dutch  art  in  the  present  selection  (no.  VIII) ;  and  the  work,  as  usual,  is  some- 
what coarse  in  character.  The  same  may  be  said  of  the  popular  'Speculum 
humanae  salvationis ',  executed  by  German  artists  in  the  latter  part  of  the 

vi 


fourteenth  century  (no.  VI) ;  but  this  is  of  importance  on  account  of  the  number 
of  illustrations  which  it  contains. 

Flemish  art,  on  the  other  hand,  is  represented  by  two  admirable  examples, 
one  of  which  (no.  XIII)  is,  no  doubt,  the  most  generally  attractive  volume  in  the 
Huth  Library.  This  is  a  Book  of  Hours,  executed  about  the  end  of  the  fifteenth 
century,  or  early  in  the  sixteenth,  by  artists  of  the  school  of  Bruges,  which  is 
characterized  by  extreme  delicacy  of  finish,  especially  in  the  representation  of 
flowers,  fruits,  and  insects,  generally  on  a  gold  background.  Some  of  the  full- 
page  miniatures,  however,  contain  finely  executed  landscapes ;  and  the  whole 
manuscript  is  a  charming  example  of  its  attractive  class.  The  other  Flemish  MS. 
(no.  IX)  is  a  Bible  History,  illustrated  by  delicate  pen-and-ink  drawings,  of  an 
uncommon  type. 

Finally,  there  are  two  manuscripts  (nos.  XI  and  XII)  of  Italian  workmanship, 
both  in  the  Milanese  style.  The  British  Museum  already  possesses  the  supreme 
masterpiece  of  this  school,  the  Sforza  Book  of  Hours ;  and  one  of  the  Huth  MSS. 
(no.  XII)  shows  strong  resemblances  to  that  beautiful  book. 

The  manuscripts  of  the  Huth  Library,  though  they  do  not  hold  so  high 
a  place  in  comparison  with  the  best  private  collections  as  the  printed  books 
unquestionably  do  in  their  class,  are  thus  nevertheless  a  fine  and  representative 
group,  and  their  acquisition  strengthens  the  national  collection  in  several 
directions.  Of  the  whole  benefaction,  it  must  be  sufficient  to  say  here  that  it  is 
beyond  doubt  the  most  important  gift  that  has  been  made  to  the  library  of  the 
British  Museum  since  the  bequest  of  the  Grenville  Library  in  1846.  When 
the  process  of  dispersal  of  Mr.  Huth's  collections,  now  in  progress  in  the  sale-room, 
is  complete,  this  group  of  fifty  selected  volumes  will  be  the  main  memorial  of  one 
of  the  choicest  private  libraries  of  the  nineteenth  century,  of  the  taste  of  its  founder, 
and  of  the  liberality  and  public  spirit  of  its  last  owner. 

In  the  following  Catalogue,  the  Introduction  and  most  of  the  descriptions  of 
the  printed  books  are  the  work  of  Mr.  A.  W.  Pollard,  Assistant-Keeper  of  Printed 
Books ;  the  Ballads  have  been  catalogued  by  Mr.  Arundell  Esdaile,  Assistant  in 
the  same  Department.  The  manuscripts  have  been  described  by  Mr.  J.  A.  Herbert, 
Assistant  in  the  Department  of  Manuscripts,  and  the  note  on  the  engravings 
contained  in  no.  X  has  been  supplied  by  Mr.  Campbell  Dodgson,  Assistant  in  the 
Department  of  Prints  and  Drawings. 

F.  G.  KENYON. 

British  Museum, 
15  January,  1912. 


Vll 


CONTENTS 

PAGE 

PREFACE    v 

INTRODUCTION xi 

PART  I.     MANUSCRIPTS i 

PART  II.     PRINTED  BOOKS 21 

PART  III.    ELIZABETHAN  BALLADS 83 

INDEXES: 

I.    General  Index  to  Manuscripts 117 

II.     Index  to  Subjects  of  Miniatures 119 

III.  Index  to  Printed  Books 124 

IV.  Index  to  Ballads 127 

V.     Index  to  First  Lines  of  Ballads 130 


IX 


LIST   OF    PLATES 

Frontispiece  :   Portrait  of  Alfred  Henry  Huth. 

i.   Bible,  XIII  cent.     Huth  Bequest,  Vols.  I,  II,  Add.  MSS.  38114,  38115. 

2,  3.    Psalter,  Late  XIII  cent.    Huth  Bequest,  Vol.  Ill,  Add.  MS.  381 16. 

4.  Romance  of  Merlin,  XIV  cent.     Huth  Bequest,  Vol.  IV,  Add.  MS.  381 17. 

5.  Apocalypse,  XIV  cent.     Huth  Bequest,  Vol.  V,  Add.  MS.  381 18. 

6.  Speculum  Humanae  Salvationis,  Late  XIV  cent.      Huth  Bequest,  Vol.  VI,  Add. 

MS.  38119- 

7.  a,  b.  Les  Trois  Pelerinages,  circa  1400.    c.  Apocalypse,  circa  1400.    Huth  Bequest, 

Vols.  VII,  VIII,  Add.  MSS.  38120,  38121. 

8.  9.   Bible  History,  in  Flemish,  XV  cent.     Huth  Bequest,  Vol.  IX,  Add.  MS.  38122. 

10.  Hours,  &c,  XV  cent.     Engravings  by  the  Master  of  the  Berlin  Passion.     Huth 

Bequest,  Vol.  X,  Add.  MS.  38123. 

11.  Hours,  &c,  XV  cent.     Huth  Bequest,  Vol.  XI,  Add.  MS.  38124. 

12.  Poems,  by  Petrarch,  XV  cent.     Huth  Bequest,  Vol.  XII,  Add.  MS.  38125. 
13-16.   Hours,  &c,  circa  1500.     Huth  Bequest,  Vol.  XIII,  Add.  MS.  38126. 

The  above  plates,  1-16,  follow  the  text  of  the  descriptions  of  the  manuscripts, 

ending  on  page  20. 

17  (to  face  p.  21).   Ars  Memorandi  per  figuras  Evangelistarum.    Leaf  4.   S.  John  vii-xii. 

18  (to  face  p.  83).   The  picture  of  Queen  Elizabeth.     Ballad  no.  11  (reduced). 


INTRODUCTION 


IN  the  memoir  of  his  father,  Henry  Huth,  which  he  contributed  to  the  ' Dictionary 
of  National  Biography'  Mr.  Alfred  Huth  gave  a  brief  account  of  the  formation  of 
the  great  collection  from  which,  by  his  generous  bequest,  the  books  here  described 
have  been  drawn.  The  collection  may  be  said  to  have  been  begun  while  his  father  was  still 
a  schoolboy.  His  spare  pocket-money,  we  are  told,  had  for  some  time  been  spent  on 
apparatus  connected  with  his  voluntary  study  of  physics  and  chemistry ;  but  on  a  teacher 
of  chemistry  being  given  him  these  'modest  private  funds  were  set  free  to  gratify  his 
lasting  taste  for  old  books ',  and  the  habit  of  book-buying  thus  formed  never  left  him.  For 
sixteen  years,  during  which  business  engagements  took  him  to  Germany,  New  York,  Mexico, 
South  America,  and  again  to  Germany,  he  was  able  to  buy  only  in  a  desultory  fashion. 
It  was  on  his  rejoining  his  father's  firm  in  1849,  when  he  was  thirty-four  years  of  age,  that 
he  became  a  real  collector.     In  the  '  Dictionary  of  National  Biography '  his  son  wrote  : 

'Thenceforward  he  lived  in  London  and  occupied  himself  in  forming  his  library.  His  youthful 
collection,  which  he  had  left  behind  him  during  his  wanderings,  was  examined  and  most  of  the  books 
rejected ;  but  a  few  still  remain  in  the  library.  In  Mexico  he  had  been  fortunate  in  finding  some  rare 
books,  and  he  had  bought  others  in  France  and  Germany.  Starting  with  this  nucleus,  he  began  to  call 
daily  at  all  the  principal  booksellers  on  his  way  back  from  the  City,  a  habit  which  he  continued  up  to 
the  day  of  his  death.  He  gave  commissions  at  most  of  the  important  sales,  such  as  the  Utterson, 
Hawtrey,  Gardner,  Smith,  Slade,  Perkins,  Tite,  and  made  especially  numerous  purchases  at  the  Daniel 
and  Corser  sales.  He  confined  himself  to  no  particular  subject,  but  bought  anything  of  real  interest, 
provided  that  the  book  was  perfect  and  in  good  condition.  Imperfect  books  he  called  "the  lepers  of 
a  library".  His  varied  collection  was  especially  rich  in  voyages,  Shakespearean  and  early  English 
literature,  and  in  early  Spanish  and  German  works.  The  Bibles,  without  being  very  numerous, 
included  nearly  every  edition  especially  prized  by  collectors,  and  the  manuscripts  and  prints  were 
among  the  most  beautiful  of  their  kind.  Every  book  he  carefully  collated  himself  before  it  was  suffered 
to  join  the  collection.' 

Henry  Huth  died  in  December,  1878.  He  had  been  collecting,  in  the  full  sense  of  the 
word,  for  just  thirty  years,  and  for  the  last  ten  of  these  had  interested  himself  in  the 
cataloguing  of  his  library.  He  began  this  himself,  '  but  finding  that  the  time  at  his  disposal 
was  inadequate  he  employed  Mr.  W.  C.  Hazlittand  Mr.  F.  S.  Ellis  to  do  most  of  the  work, 
only  revising  the  proofs  himself  (D.N.B.).  At  the  time  of  his  death  about  half  the  work 
was  printed,  and  the  task  of  seeing  the  rest  through  the  press  devolved,  together  with  the 
books  themselves,  on  his  second  son.  Alfred  Henry  Huth  was  then  in  his  twenty-eighth 
year.  His  childhood  had  been  marked  by  one  great  adventure,  the  eastern  tour  under  the 
charge  of  Henry  Thomas  Buckle,  begun  in  October,  1861,  when  he  was  a  boy  of  eleven, 
and  brought  to  a  premature  close  by  the  historian's  death  at  Damascus  in  May,  1862.  After 
this  episode  his  education,  which  had  been  begun  at  a  private  school  at  Carshalton, 
was  continued  at  Rugby  and  the  University  of  Berlin.  In  1875  he  commenced  author  with 
a  monograph  on  '  The  Marriage  of  Near  Kin ',  which  went  into  a  second  edition  in  1887. 
In  December,  1878,  he  was  engaged  on  a  life  of  Buckle,  in  writing  which  he  had  received 
constant  help  from  his  father,  and  when  the  book  appeared  in  1880  a  touching  sentence  at 

xi 


the  end  of  the  preface  alluded  to  the  latter's  death  as  having  robbed  the  book  of  the  benefit 
of  his  revision  and  the  author  of  all  pleasure  in  his  work.  In  the  same  year,  1880,  he 
brought  to  a  completion  the  five  volumes  of  the  Catalogue  of  the  Huth  Library,  which 
certainly  set  a  new  standard  in  private  catalogues  and  remain  as  a  permanent  record  of  the 
collection  as  its  founder  left  it. 

In  1888,  having  been  elected  to  the  Roxburghe  Club,  which  he  subsequently  served  as 
Treasurer  and  Vice-President,  Alfred  Huth  presented  to  his  fellow  members  an  edition  oi 
a  manuscript  in  his  own  possession,  The  Miroure  of  Mans  Salnacionne,  an  English  fifteenth- 
century  rendering  in  verse  of  the  Speculum  Humanae  Saluationis.  In  1889  he  published 
a  closely  literal  verse  translation  of  the  first  part  of  Goethe's  Faust.  Of  this  a  second 
edition,  embodying  the  results  of  an  extensive  revision,  has  been  printed  since  his  death. 
In  1892  he  took  part  in  founding  the  Bibliographical  Society,  which  he  materially  aided 
by  acting  as  its  first  Treasurer,  and  subsequently  as  a  Vice-President  and  President.  His 
last  recorded  literary  venture,  published  anonymously  in  1894,  was  a  romance,  'A  True 
Relation  of  the  Travels  and  Perilous  Adventures  of  Mathew  Dudgeon,  Gentleman,  wherein 
is  truly  set  down  the  Manner  of  his  Taking,  the  Long  Time  of  his  Slavery  in  Algiers,  and 
Means  of  his  Delivery.  Written  by  Himself  and  now  for  the  first  time  printed.'  This 
was  not  merely  laid  in  the  seventeenth  century,  but  written  and  also  printed  in  close 
imitation  of  seventeenth-century  models,  and  Mr.  Huth  was  sufficiently  pleased  with  its 
reception  to  acknowledge  its  authorship  at  a  later  date. 

During  all  this  time  the  care  of  the  splendid  library  which  had  passed  into  his 
possession  after  the  death  of  his  father  was  a  constant  occupation  to  him,  and  for  the  rest  of 
his  life  this  sufficed  him  without  further  literary  efforts.  Both  at  Bolney  House,  Ennismore 
Gardens,  where  he  lived  for  some  years,  and  subsequently  at  Fosbury  Manor  (on  the 
borders  of  three  counties,  Hampshire,  Wiltshire,  and  Berkshire),  to  which  he  removed, 
the  books  were  housed  in  a  single  fine  room  with  an  occasional  overflow  into  a  study,  and 
large  as  the  collection  was  its  owner  knew  every  book  in  it  and  the  points  which  constituted 
the  special  interest  of  each.  The  great  number  of  unique  books  in  the  collection  led  to  many 
requests  for  leave  to  copy  or  collate.  As  a  fellow  official  of  the  Bibliographical  Society  the 
present  writer  was  in  several  instances  used  as  an  intermediary  in  these  matters,  and  he  can 
remember  no  single  occasion  when  Mr.  Huth  made  the  slightest  difficulty  in  complying 
with  these  requests.  As  a  rule  he  would  bring  the  desired  volume  (unique  books  are 
mostly  small !)  in  his  pocket  to  the  British  Museum,  ask  for  'a  line'  to  be  sent  him  when  it 
was  done  with,  and  when  the  '  line '  was  received  come  himself  and  fetch  the  book  away 
again.  The  fetching  and  carrying,  he  would  explain,  was  prompted  by  solicitude  for  the 
book ;  none  the  less,  the  effect  to  the  borrower  was  one  of  exceptional  kindness. 

The  additions  which  Mr.  Alfred  Huth  made  to  his  father's  collection  were  fairly 
numerous.  Thus  to  the  rich  section  of  Elizabethan  plays  he  added  many  editions  of  those 
of  the  Restoration  dramatists,  while  the  books  illustrating  social  manners  and  customs 
were  reinforced  by  many  new  ones  relating  to  women,  and  no  fewer  than  twenty-six  editions 
of  the  Arbor  consanguinitalis  et  affinitatis  of  Joannes  Andreae  testified  to  their  purchaser's 
interest  in  the  question  of  marriages  within  the  forbidden  degrees.  Beyond  consulting 
personal  tastes  of  this  sort  there  was  not  very  much  left  to  do,  within  the  antiquarian  lines 
on  which  the  original  collection  was  formed.  When  Mr.  Henry  Huth  began  buying  books 
on  a  large  scale  in  1849  the  fame  of  the  Grenville  Library,  bequeathed  to  the  British 
Museum  three  years  earlier,  was  still  fresh,  and  it  may  well  be  that  his  own  ideals  in 
collecting  were  founded  on  a  deliberate  revision  of  those  of  his  predecessor.  Like 
Grenville  he  would  have  his  books  in  the  finest  possible  condition ;  they  should  be  mainly 
printed  books  with  only  a  few  choice  manuscripts,  but  they  should  start  from  the  very 
beginning  of  printing  and  should  include  the  most  famous  masterpieces  of  literature,  as  well 
as  the  best  early  books  of  travel,  chronicles,  and  other  informational  works.  If  a  general 
impression  may  be  trusted,  Mr.  Henry  Huth  was  more  interested  in  manuscripts,  block- 
books,  and  early  specimens  of  printing  as  such  than  Grenville ;  but  it  is  perhaps  in  their 

xii 


attitude  to  literature  that  the  two  collectors  differed  most  widely.  The  vogue  of  the  early 
editions  of  the  Greek  and  Latin  classics  by  which  Grenville  was  so  strongly  influenced  had 
no  attraction  for  Mr.  Huth,  nor  had  he  a  Panizzi  at  his  elbow  to  bid  him  specialize  in 
Italian  literature.  In  English  literature,  on  the  other  hand,  his  interest  took  a  wider  range 
than  Grenville's.  He  was  not  content  with  a  fine  set  of  Shakespeare  Folios,  but  bought  also 
the  quarto  editions  of  his  plays  and  of  those  of  his  fellow  dramatists  as  well.  In  the  same 
spirit  he  devoted  much  attention  to  early  editions  of  English  poetry,  extending  his  interest 
to  the  works  of  the  lesser  men  as  well  as  the  greater,  and  valuing  the  brushwood  and 
undergrowth  of  the  forest  in  addition  to  the  tall  trees.  Thus  his  collection  of  English 
poetry  and  imaginative  literature  was  probably  second  to  none  in  private  ownership  save 
that  at  Britwell  Court,  while  the  inclusion  of  the  Elizabethan  drama  made  it,  in  this  respect 
at  least,  more  representative.  As  we  have  seen,  his  son  carried  a  little  further  some  of  the 
lines  on  which  the  library  was  started,  but  its  general  character  he  left  unaltered. 

In  the  autumn  of  each  year  Mr.  Alfred  Huth  showed  himself  a  keen  sportsman,  and  it 
was  while  out  shooting  that  he  died  suddenly  from  heart  failure  on  14  October,  1910.  His 
collections  had  engaged  his  attention  up  to  the  last,  and  at  the  time  of  his  death  he  had  in 
preparation  A  Catalogue  of  Woodcuts  and  Engravings  in  the  Huth  Library,  which  was 
subsequently  issued  by  the  Chiswick  Press.  The  remarkable  number  of  books  either 
unique  or  known  only,  at  most,  by  two  or  three  other  copies,  has  already  been  noticed  as 
one  of  the  features  of  the  library,  and  when  his  will  was  opened  it  was  found  that  he  had 
thought  of  the  needs  of  the  British  Museum  in  this  connexion.  The  plan  which  he  devised 
for  his  benefaction  was  as  ingenious  as  it  was  generous,  the  Trustees  of  the  Museum,  in 
the  event  of  the  library  being  sold,  being  empowered  to  select  any  fifty  books  from  it,  with 
the  proviso  that  if  (in  order  to  secure  a  finer  or  more  perfect  copy)  a  duplicate  of 
a  book  already  in  the  Museum  should  be  claimed,  the  two  copies  should  be  exchanged. 
Of  course  in  a  collection  so  fine  and  so  extensive  as  the  Huth  the  number  of  desirable 
books  not  already  in  the  Museum  was  nearer  to  five  hundred  than  to  fifty.  Mr.  Huth, 
however,  rightly  assumed  that  the  institution  which  he  was  desirous  of  helping  would  also 
be  willing  and  able  to  some  extent  to  help  itself.  The  wealth  of  the  library  (manuscript 
and  printed)  of  the  British  Museum  is  sometimes  exaggerated,  as  if  it  already  possessed 
everything  it  needs,  which  is  far  from  being  the  case ;  but,  let  it  be  said  with  gratitude, 
thanks  to  a  long  line  of  earlier  benefactors,  the  library  is  indeed  very  rich  in  the  books 
which,  for  interest  and  rarity,  may  be  regarded  as  forming,  from  a  collector's  point  of  view, 
the  First  Class.  Owing  to  the  strictness  with  which  the  bibliographical  fashion  of  the  day 
was  followed  by  all  the  collectors  of  the  reign  of  George  III,  in  the  case  of  some  very  rare 
books  the  Museum  may  almost  be  said  to  be  overstocked.  Thus  of  the  Epistolae  Familiares 
of  1469,  the  first  book  printed  in  Venice,  it  possesses  no  fewer  than  four  copies,  all  of  them  in 
special  collections,  and  so,  according  to  the  accepted  canon  as  regards  gifts,  beyond  the  pos- 
sibility of  sale  or  exchange.  On  the  other  hand,  the  Georgian  collectors  were  very  much  less 
zealous  in  acquiring  the  books  which  in  those  days  were  considered  as  of  the  second  or  third 
rank,  and  the  number  of  these  being  great  the  large  majority  of  the  gaps  in  the  Museum 
collection  belong  to  this  class.  Thus  what  Mr.  Huth's  benefaction  did  for  the  Museum  was 
to  secure  for  it  all  the  first-class  books  which  it  really  needed  out  of  his  collection,  with 
a  considerable  number  of  those  on  the  borderland  of  the  class,  while  leaving  it  to  buy  from 
its  own  resources  such  of  the  less  valuable  books  as  it  desired.  It  is  pleasant  to  be  able  to 
record  that  at  the  first  section  of  the  Huth  Sale  some  twenty-eight  books  of  this  kind,  almost 
all  of  them  English,  were  acquired  for  the  Museum.  It  is  hoped  that  similar  purchases  may 
be  made  at  each  of  the  ensuing  sales,  but  such  acquisitions  have  only  been  made  possible 
by  Mr.  Huth's  generosity  in  filling  the  larger  gaps  without  any  cost  to  the  Museum. 

A  few  examples  may  be  given  to  show  how  real  these  gaps  were  and  how  satisfactorily 
they  have  now  been  filled. 

(1)  The  great  value  of  the  thirteen  manuscripts  received  under  the  bequest  has  already 
been  shown  in  the  Preface  to  this  Catalogue.    The  benefit  to  the  Department  of  Printed 

xiii 


Books  is  at  least  equally  striking.  Although  many  of  the  Museum  copies  of  books  from 
Caxton's  press  are  as  good  as  can  be  desired,  the  first  book  printed  by  him  in  England  to 
which  he  put  a  date,  and  therefore  the  one  popularly  regarded  as  the  first  book  printed  in 
England,  was  represented  in  the  British  Museum  by  two  badly  cropped  and  stained  copies 
entirely  unworthy  of  a  national  library.  One  of  these  has  now  been  exchanged  for  one  of 
the  largest  and  finest  copies  in  existence. 

(2)  Thanks  to  David  Garrick  and  King  George  III  the  Museum  was  already  splendidly 
rich  in  Shakespeare  Quartos.  By  Mr.  Huth's  benefaction  it  has  now  received  three  of  the 
very  rarest,  the  1597  King  Richard  II,  the  1597  King  Richard  III,  and  the  1602  Merry 
Wives  of  Windsor.  Thus  reinforced  the  Museum  now  possesses,  with  the  exception  of  the 
very  doubtfully  Shakespearian  Titus  Andronicus,  the  First  Edition  of  every  play  printed  in 
quarto  before  1623.  The  three  quartos  from  the  Huth  collection  cost  Mr.  Henry  Huth 
over  a  thousand  pounds  at  the  Daniel  Sale  in  1864.  Their  price  now  would  have  placed 
them  altogether  beyond  the  Museum's  resources,  even  if  the  zeal  of  Mr.  W.  A.  Cochrane, 
in  itself  altogether  admirable,  though  not  without  inconvenient  consequences  to  other 
buyers,  had  not  made  bidding  for  individual  quartos  impossible,  by  sweeping  off  all  the 
available  Huth  Shakcspeariana  en  bloc,  for  presentation  to  Yale  University. 

(3)  While  the  Museum's  Shakespeare  Quartos  have  thus  been  brought  within  an  ace 
of  completeness,  the  final  touch  has  been  put  on  the  collection  of  first  editions  of  the  works 
of  his  great  contemporary  Cervantes  by  the  acquisition  of  the  Galatea  of  1585.  Of  this  no 
copy  is  now  known  to  be  in  private  hands,  and  the  Museum  would  thus  presumably  have 
had  no  other  chance  of  acquiring  it. 

(4)  Certainly  of  less  importance  than  the  quarto  texts  of  the  three  plays,  but  still  of 
great  interest,  are  the  additions  now  made  to  the  Museum  collection  of  books  which 
Shakespeare  is  known  to  have  used  for  his  plots,  Arthur  Broke's  Romeus  and  Juliet  and 
The  Pattern  of  Painful  Adventures,  the  chief  source  for  Pericles.  With  these  may  be 
mentioned  the  fragment  of  the  Hundred  Merry  Tales  immortalized  by  the  reference  to  them 
in  Much  Ado  About  Nothing,  and  perhaps  also  the  amusing  verse  pamphlet  of  Rich  as  to 
the  colony  of  Virginia.  The  latter  is  so  much  less  well  known  than  Jourdan's  treatise  of  the 
same  year  on  'A  Discovery  of  the  Barmudas  otherwise  called  the  He  of  Divels'  that  its 
claim  to  have  suggested  the  reference  in  The  Tempest  to  the  '  still-vext  Bermoothes '  has 
been  somewhat  overlooked.  But  if  we  must  needs  suppose  Shakespeare  to  have  acquired 
his  knowledge  from  a  book,  he  is  as  likely  to  have  read  that  of  Rich  as  Jourdan's. 

(5)  Just  as  the  Museum  has  obtained  Shakespeariana  as  well  as  Shakespeare  texts,  so 
it  has  obtained  Caxtoniana  as  well  as  '  the  first  English  Caxton '.  The  Livre  des  Eneydes 
and  the  Fierabras  will  be  mentioned  again  below  in  their  own  right,  but  these  are  the 
originals,  and  probably  in  the  very  editions  used,  of  two  of  Caxton's  English  versions, 
the  Eneydos  for  which  he  was  so  savagely  taken  to  task  by  Bishop  Douglas  and  the  Lyfof 
Charles  the  Grete. 

(6)  The  Museum  was  already  rich  in  the  English  sonnet  books  of  the  last  decade  of  the 
sixteenth  century.  Its  collection  is  now  brought  sensibly  nearer  to  completeness  by  the 
addition  of  three  more,  Smith's  Chloris,  with  its  dedication  to  Spenser,  Griffin's  Fidessa,  an 
exceptionally  pretty  little  book,  and  Fletcher's  Licia,  made  more  interesting  by  the  remarks 
in  the  Address  to  the  Reader  which  have  to  be  reckoned  with  by  every  one  who  is  tempted 
to  take  these  sonnet-cycles  as  trustworthy  biography. 

(7)  The  popularity  which  the  play  has  attained  of  late  years  entitles  the  Skot  edition 
of  The  Summoning  of  Everyman  to  the  first  place  among  the  few  English  books  which  can 
be  individually  mentioned.  Two  perfect  and  two  fragmentary  copies  of  this  play  have 
come  down  to  us,  each  belonging  to  a  different  edition.  Previously  possessed  only  of  one 
of  the  fragments,  the  Museum  has  now  acquired  also  one  of  the  two  perfect  copies.  Other 
individual  books  which  may  be  mentioned,  all,  as  far  as  is  known,  unique,  are  (i)  The  Castell 
of  Laboure,  Alexander  Barclay's  painstaking  version  of  the  Chasteau  de  Labour  of  the 
painstaking  Gringore,  charmingly  printed  by  Pynson,  though  the  cuts  are  copied  from 

xiv 


those  in  Verard's  edition ;  (ii)  Daphnis  and  Chloe  translated  by  Angell  Daye  from  the  French 
of  Bishop  Amyot's  version  of  Longus,  with  an  episode  in  honour  of  Queen  Elizabeth ; 
(iii)  Anthony  Munday's  Banquet  of  Dainty  Conceits.  To  these  may  be  added  two  scarcely 
less  rare  books,  Barnaby  Googe's  Eglogs  and  R.D.'s  abridged  translation  of  the  first  part 
of  the  Hypnerotomachia,  under  the  pretty  title  The  Strife  of  Loue  in  a  Dream,  with  a  few  cuts 
fairly  neatly  copied  from  the  famous  Venetian  originals. 

(8)  As  interesting  as  the  collective  contents  of  any  of  our  last  few  sections  is  the  single 
volume  of  Elizabethan  Ballads,  mixed  with  a  few  prose  pieces,  acquired  by  Mr.  Henry 
Huth  at  the  Daniel  Sale  in  1864  for  the  then  very  high  price  of  ^750.  Save  for  the 
companion  collection  at  Britwell  (see  the  preliminary  note  to  Part  III  of  the  present 
Catalogue),  for  a  few  examples  at  the  Society  of  Antiquaries,  and  a  few  others  already  in  the 
British  Museum,  extant  ballads  of  the  reign  of  Elizabeth  are  scarce  indeed,  and  for  their 
social  and  historical,  if  not  their  literary  value,  there  was  a  corresponding  desire  that  this 
volume  should  be  acquired  for  the  British  Museum.  To  this,  however,  there  was  a  serious 
obstacle  in  the  fact  that  each  ballad  being  separately  described  under  its  own  heading  in 
the  Huth  Catalogue  the  volume  containing  some  seventy  of  them  could  only  be  claimed  as 
a  single  '  book ',  if  it  could  be  shown  to  the  satisfaction  of  the  Court  of  Chancery  that  this 
would  be  to  the  advantage  of  the  estate.  This  was  effected  by  the  Museum  agreeing  to 
abandon  its  claims  to  two  volumes  of  very  high  pecuniary  value,  but  which  only  differed 
from  examples  already  in  its  possession  in  points  of  purely  bibliographical  interest,  viz. 
the  blockbook  Ars  Moriendi  differing  only  from  the  issue  in  the  Museum  by  being  printed 
on  one  side  of  each  leaf  instead  of  both,  and  the  1604  issue  of  Hamlet,  which  only  differs 
from  that  of  1605,  of  which  the  Museum  possesses  a  copy,  in  the  last  numeral  of  the  date. 
Points  of  this  sort  are  dear  to  bibliographers,  and  it  would  have  been  pleasant  to  have  had 
the  evidence  as  to  the  exact  extent  of  these  differences  permanently  available  at  the 
British  Museum,  but  the  rich  and  varied  interest  of  nearly  seventy  unique  Elizabethan 
ballads  carried  the  day. 

(9)  While  an  opportunity  of  adding  one  more  issue  of  the  Ars  Moriendi  blockbook  to  the 
series  already  in  the  Museum  was  thus  for  good  reasons  forgone,  another  issue  was  acquired 
of  the  Ars  Memorandi,  and  also  two  other  books,  one  Dutch,  the  Boeck  van  den  Cruys  printed 
at  Kuilenburg  in  1483,  the  other  Italian,  Meditatione  sopra  la  Passione  del  nostro  signore 
Iesu  Christo  printed  at  Venice  in  1487,  which,  although  printed  with  movable  types,  are 
closely  connected  with  the  vogue  of  the  blockbook.  That  the  woodcuts  used  in  the 
Meditatione  were  originally  intended  for  a  blockbook  there  is  indisputable  proof  in  the 
existence  of  a  fragment  of  this  blockbook  at  Berlin;  that  the  cuts  illustrating  the  history  of 
the  Cross  had  a  similar  history  has  been  satisfactorily  maintained  by  Sir  W.  M.  Conway. 

(10)  Of  the  incunabula  printed  with  movable  types  selected  under  Mr.  Huth's  will  no 
fewer  than  eight  are  French,  five  of  them  printed  at  Lyons  and  three  in  Paris.  Owing  to 
the  commendable  zeal  of  French  private  collectors  and  librarians  the  earlier  issues  of  the 
French  presses  have  always  been  much  harder  to  acquire  than  those  of  the  German  and 
Italian.  Rich  in  the  vellum  editions  of  Antoine  Vdrard,  thanks  to  the  purchases  of  King 
Henry  VII,  and  in  the  numerous  Paris  editions  of  the  Hours  of  the  Blessed  Virgin  by  the 
assiduity  of  William  Maskell,  in  other  French  incunabula  the  British  Museum  is  compara- 
tively weak,  and  in  those  printed  at  Lyons  even  weaker  than  in  the  issues  of  the  Paris 
presses.  Thus  some  large  gaps  have  been  at  least  partly  filled  up  by  the  acquisition  of 
these  eight  books,  some  of  them  interesting  for  their  typography,  others  for  their 
illustrations,  others  for  their  literary  contents,  and  several  for  all  three.  The  eight  books 
comprise: 

(i)  the  first  dated  French  book  printed  in  France,  the  Legende  dore'e  of  Lyons,  1476. 

(ii)  an  early  Lyons  epitome  of  the  Old  Testament. 

(iii,  iv)  the  two  illustrated  Lyons  romances,  Fierabras  and  Livre  des  Eneydes,   the 
connexion  of  which  with  Caxton  has  already  been  mentioned. 

xv 


(v)  the  Roman  de  la  Rose  printed  at  Paris  by  Jean  Du  Pre\  with  woodcuts  brought 
from  Lyons. 

(vi,  vii)  the  Danse  Macabre  des  Hommes,  Danse  des  Femmes  and  Complainte  de  VAme 
damnce,  Paris,  1492,  which  must  be  reckoned  among  the  finest  Paris  illustrated 
books  of  the  fifteenth  century. 

(viii)  the  Lyons  1499  edition  ot  the  same  three  works.  The  cuts  in  this  are  mainly 
copied  from  two  Paris  editions,  but  one  which  is  of  special  interest  as  giving  the 
earliest  known  representations  of  a  printing  office  and  a  bookseller's  shop  appears 
to  be  original. 

Much  fuller  information  as  to  the  individual  books  will  be  found  in  the  detailed  descrip- 
tions and  notes  in  this  Catalogue.  What  has  here  been  set  down  will  at  least  have  given 
some  general  idea  of  the  great  value  of  the  bequest  to  the  British  Museum.  It  has  already 
been  suggested  that  Mr.  Henry  Huth  took  the  Grenville  collection  in  some  respects  as  his 
model.  His  son  has  also  imitated  Grenville,  and  it  is  no  exaggeration  to  say  that  we  must 
go  back  more  than  sixty  years,  to  the  Grenville  bequest  of  1846,  to  find  a  benefactor  to 
whom  the  Library  of  the  British  Museum,  i.e.  the  combined  Departments  of  Manuscripts 
and  Printed  Books,  owes  so  deep  a  debt  of  gratitude  as  that  which  is  due  from  it  to  the 
memory  of  Alfred  Huth. 


XVI 


THE   HUTH   BEQUEST 


PART  I  — MANUSCRIPTS 


i,  ii 

BIBLE,  in  Latin;  Vulgate  version.  Preceded  by  the  Epistle  of  Jerome  to  Paulinus 
('  Frater  Ambrosius '),  and  by  his  preface  to  the  Pentateuch  ('  Desiderii  mei ').  The 
arrangement  of  books  is  regular,  except  that  Ezra  (i  Esdras)  and  Nehemiah  are  followed 
by  the  apocryphal  i  Esdras  (here  entitled  2  Esdras),  and  that  Acts  comes  between  the 
Pauline  and  Catholic  (' canoniales ')  Epistles.  In  two  volumes,  vol.  i  ending  with  the 
Psalms.  All  the  books  after  the  Pentateuch  have  prefaces,  except  Judges,  Ruth,  2-4  Kings, 
Nehemiah,  2  (i.  e.  the  apocryphal  1)  Esdras,  Psalms,  Song  of  Songs,  Lamentations, 
2  Maccabees,  and  the  Catholic  Epistles  (which  have  only  the  one  general  preface,  '  Non 
est  ita  ordo ',  prefixed  to  James).  Job,  Joel,  Jonah,  Micah,  Matthew,  and  John  have 
two  prefaces  each,  Amos  and  1  Maccabees  three ;  and  the  preface  to  Hosea  is  preceded 
by  the  '  Prologus  in  duodecim  prophetis ',  beg.  '  Non  idem  est  ordo '.  For  the  most 
part  these  prefaces  are  the  usual  ones  (cf.  S.  Berger  in  Mem.  pre~s.  a  tAcad.  des  Inscr., 
ser.  i,  vol.  xi,  pt.  ii,  1904,  pp.  1-70),  but  two  are  worth  noting,  viz.  the  first  of  the 
two  prefixed  to  John,  'Omnibus  diuine  pagine'  (printed  in  Migne,  Patrol.  Lat.,  xxxv. 
1377,  cxiv.  355),  and  that  prefixed  to  the  Apocalypse,  'Omnes  qui  pie  uolunt  uiuere' 
[by  Gilbert  de  la  Porrde].  At  the  end  (vol.  ii,  f.  361)  are  the  '  Interpretationes  hebraicorum 
nominum'  [by  Remy  of  Auxerre?],  as  printed  in  Bedae  Opera,  iii,  1688,  p.  371. 

Vellum;  ff.  ii  +  328,  422  (ff.  359,  360  blank).  290x205  mm.  Second  half  of  XIII  cent.  Gatherings 
of  16  leaves  (last  quire  of  vol.  i,  8  ;  in  vol.  ii,  last  quire  of  Bible,  8  leaves,  last  quire  of '  Interpretationes', 
14,  two  blank  leaves  at  the  end  having  been  cut  away) ;  quires  21  and  22  (ff.  337-352,  321-336)  of  vol.  ii 
have  been  transposed  in  binding.  Double  columns  of  42  lines,  the  '  Interpretationes '  in  triple  columns  of 
43  lines.  Sec.  fol.,  vol.  i,  '  meditatio  tribuere',  vol.  ii,  '-tur  ad  earn  '.  With  finely  illuminated  initials  to  the 
prefaces  and  books,  the  former  filled  with  conventional  foliage  or  other  decorative  designs,  the  latter  enclosing 
miniatures,  and  both  having  partial  borders  attached.  The  work,  especially  in  the  first  volume,  represents  the 
French  art  of  the  time  at  its  best :  the  initials,  whether  historiated  or  merely  decorative,  are  executed  with 
extraordinary  delicacy,  and  so  are  the  exquisite  little  figures  and  groups  (mainly  humorous  or  grotesque)  with 
which  many  of  the  pendent  borders  are  enriched.  The  chapter-initials  throughout  both  volumes,  in  blue 
and  red,  are  adorned  with  pen-flourishes  of  great  elaboration  and  delicacy.  The  following  are  the  subjects 
of  the  miniatures : — 


Vol.  L 

1  (Ep.  to  Paulinus).  Jerome  (as  a  bishop)  writing,    f.  I. 

2  (Gen.).  The  seven  days  of  Creation,  in  quatrefoils,  with 
the  Crucifixion  below,  on  diapered  backgrounds  ;  enclosed  in 
a  frame  running  down  the  length  of  the  page,  and  spreading  at 
top  and  bottom  into  partial  borders.  Hunting  scenes  in  medal- 
lions on  either  side  of  the  Crucifixion,  a  hawk  swooping  below. 
A  very  beautiful  page,  the  most  richly  adorned  in  the  two 
volumes  (see  pi.  i).    f.  5. 

3  (Exod.).  Sons  of  Israel  entering  a  city.    f.  31  b. 

4  (Levit.).  Moses  offers  a  lamb;  Cod  appears  above  the 
altar,    f.  53. 


5  (Num.).  Moses  and  two  Israelites,  seated,  listen  to  the 
voice  of  God.    f.  67  b. 

6  (Deut.).  Moses  addressing  the  Israelites,    f.  89. 

7  (Josh.).  Angel  with  sword  exhorts  Joshua,  who  is  in  full 
armour,  and  carries  a  shield  or(}),  a  bend  cotised  argent 
between  two  crescents  sable,    i.  108. 

8  (Judges).    Israelites,  seated,  listen  to  the   voice   of  God. 

f.  131. 

9  (Ruth).  Elimelech  and  Naomi,  each  leading  a  young  son: 
in  two  compartments,  arranged  vertically,    f.  134. 

10(1  Kings).  Elkanah  and  Hannah  praying  at  an  altar.  In 
the  border  a  man  on  horseback,  with  hawk  on  fist.    f.  137. 


1 1  (a  Kings).  Execution  of  the  slayer  of  SauL 

« (3  r 


fc 

Kings).  Abishag  brought  to  David,    f.  170. 

13  (4  Kings).  Elijah  at  Ahaziah's  deathbed,    f.  187  b. 

14  ( 1  Chron.).  Two  groups  of  patriarchs,    f.  204  b. 

15  (3  Chron.).  Solomon  offering  a  sacrifice,    f.  219  b. 

16(1  Esdras,  i.  e.  Ezra).   Cyrus  building  the  Temple,    f.  239  b. 

17  (Nehem.).  Ezra  sprinkling  the  altar,    f.  244  b. 

18  (3  Esdr.).  Josiah  feasting,    f.  35s. 

19  (Tob.).  Sparrow  blinding  Tobit.    f.  360  b. 
30  (Judith).  Judith  slaying  Holofernes.    f.  266. 

si    (Esther).    Ahasuerus    and    Esther   enthroned,    Haman 
hanged :  in  three  compartments,  arranged  vertically,    f.  273  b. 

33  (Job).  Job,  his  wife,  and  one  of  his  friends,    f.  381. 
23  (Ps.  i).  David  enthroned,  harping,    f.  294  b. 

34  (Ps.  xxvi).  Christ  crowning  David,    f.  299  b. 

25  (Ps.  xxxviii).  David  pointing  to  his  lips,  and  Devil,    f. 
303  b. 

26  (Ps.  lii).  David  enthroned,  fool  with  club  and  ball.    f.  306. 

27  (Ps.  lxviii).  David,  up  to  his  waist  in  water,  appealing  to 
God.    f.  309. 

28  (Ps.  lxxx).  David  playing  on  bells,    f.  313  b. 
39  (Ps.  xcvii).  Three  monks  chanting,    f.  317. 

30  (Ps.  cix).  God  the  Father  and  Son  enthroned ;  the  Dove 
hovering  between  them.    f.  321. 


Vol.  ii. 

I  (Prov.).  Solomon  admonishing  his  son.    f.  I. 

3  (Ecclesiastes).  Solomon  disputing  with  a  disciple,    f.  13. 

3  (Song  of  Songs).  The  Virgin  and  Child,    f.  17. 

4  (Wisdom).  Solomon  disputing  with  a  disciple,    f.  19. 

5  (Ecclesiasticus).  The  author  standing  between  two  trees. 
f.  37  b. 

6  (Isaiah).  Isaiah  being  sawn  in  two.    f.  51. 

7  (Jerem.).  Jeremiah  and  the  seething-pot ;   the  head  of  God 
above,    f.  77. 

8  (Lament).  Jeremiah  lamenting,    f.  108  b. 

9  (Baruch).  Baruch  writing  his  book.     f.  Ill  b. 

10  (Ezek.).  Ezekiel's  vision  of  the  tetramorph.    f.  115b. 

II  (Dan.).  Daniel  in  the  lions'  den.    f.  144. 

12  (Hos.).  Hosea  caressing  Gomer  ;  the  head  of  God  above, 
f.  156  b. 

13  (Joel).  Joel,  holding  a  scroll,  addresses  two  men.    f.  160  b. 

14  (Amos).  Amos  herding  sheep,  and  receiving  inspiration 
from  God.    f.  163. 

15  (Obad.).  Obadiah  talking  with  two  men.    f.  166. 

16  (Jonah).  Whale  disgorging  Jonah,    f.  167. 

17  (Micah).  Micah  standing  outside  city-gate,  book  in  hand, 
f.  168  b. 


18  (Nahum).  Nahum,  book  in  hand,  talking  with  two  men. 
f.  171. 

19  (Hab.).  Habakkuk  with  loaves  and  jug,  angel  above  his 
head  addressing  him.    f.  173. 

20  (Zeph.).  Zephaniah  seated,  listening  to  the  voice  of  God. 
f.  174  b. 

21  (Hagg.).  Haggai,  below  him  a  king,  both  seated  :   in  two 
compartments,    f.  176. 

22  (Zech.).    Zechariah  standing,  addressed  from  above  by 
angel  with  scroll,    f.  177  b. 

23  (Mai.).  Malachi  talking  with  two  men.     f.  182. 

24  (1   Mace).    Mattathias  beheads  a  Jew  who  is  offering 
a  swine's  head.    f.  184  b. 

25  (s  Mace.).  Seated  Jew  gives  letter  to  messenger,    f.  302. 

26  (Matth.).  Jesse-tree.     f.  215. 

27  (Mark).  Mark  writing,  his  emblem  below  him  in  a  separate 
compartment,    f.  233  b. 

28  (Luke).  Zacharias  and  the  angel,     f.  245  b. 

29  (John).  John  writing,  emblem  below,     f.  266. 

30  (Rom.).  Paul  seated,  sword  in  hand,  an  archiepiscopal 
cross  beside  him.    f.  281. 

31  (1  Cor.).  Paul  saying  mass.     f.  288. 

32  (2  Cor.).   Paul  in  bed,  angel  with  scroll  addressing  him. 
f.  295  b. 

33  (Gal.).  Paul  standing,  sword  in  hand.    f.  300  b. 

34  (Ephes.).  Paul  in  captivity,  speaking  over  the  battlements 
to  a  soldier,    f.  303. 

35  (Philipp.).  Paul  seated,  sword  in  hand,  blessing  a  martyr 
who  is  being  decapitated,     f.  305. 

36  (Coloss.).  Paul  preaching,  sword  in  hand.    f.  307. 

37  (1  Thess.).  Paul  baptizing  three  children,     f.  308  b. 

38  (2  Thess.).  Paul  seated,  sword  in  hand,  talks  with  a  man 
who  stands  holding  a  book.     f.  310. 

39  (1  Tim.).  Paul  seated,  sword  in  hand,  instructs  Timothy, 
f.  311. 

40  (2  Tim.).  Same  subject ;  Timothy  represented  as  an  armed 
knight,  with  shield  or,  a  bend  sable,    f.  313. 

41  (Tit.).  Paul  standing,  sword  in  hand.    f.  314  b. 

42  (Philem.).  Paul  speaks  over  the  battlements  of  his  prison 
to  Philemon,    f.  315. 

43  (Heb.).  Paul  exhorts  two  Hebrews,    f.  315  b. 

44  (Acts).  Ascension,    f.  337  b. 

45  (James).  Full-length  figure  of  James,    f.  325. 

46  (1  Pet.).  Peter  seated,  with  book  and  keys.    f.  326  b. 

47  (2  Pet).  Peter  standing,  with  book  and  keys.    f.  328  b. 

48  (1  Joh.).  John  seated,  book  in  hand.    f.  330. 

49  (2  Joh.).  Same  subject,    f.  332. 

50  (3  Joh.).  Youth  standing,    f.  332. 

51  (Jude).  Jude  standing,  book  in  hand.     f.  332  b. 

52  (Apoc).  John  writing,    f.  333  b. 


On  the  fly-leaf  (f.  ii)  of  vol.  i,  and  on  the  first  page  of  vol.  ii,  is  inscribed  '  Monasterii  Su  Michaelis  de 
S"  Michaele  Congregationis  SS.  Vitoni  et  Hydulphi '  (17th  cent),  showing  that  the  MS.  belonged  to 
the  Benedictine  abbey  of  St.  Mihiel,  in  the  diocese  of  Verdun,  which  was  affiliated  in  1606  to  the  Congregation 
of  SS.  Vitonus  and  Hydulphus  (Gallia  Christiana,  xiii,  col.  1272).  Huth  book-plate.  Briefly  described  in 
The  Huth  Library,  1880,  vol.  i,  p.  158.     [Additional  MSS.  381 14,  381 15.] 


Ill 

PSALTER,  &c,  in  Latin,  containing  (i)  Rules  for  finding  Easter,  partly  in  French. 
f.  1  b ; — (2)  Calendar,  f.  2 ; — (3)  Eleven  full-page  miniatures,  described  below,  f.  8b; — 
(4)  Psalter,  Gallican  version,  f.  14b;— (5)  Canticles,  &c,  viz.  'Confitebor'  (f.  150),  'Ego 
dixi'  (f.  150  b),  'Exultavit'  (f.  151b),  'Cantemus'  (f.  152  b),  'Domine,  audivi'  (f.  153  b), 
'Audite,  celi'  (f.  155),  'Te  Deum'  (f.  158  b),  'Benedicite'  (f.  159  b),  'Benedictus'  (f.  160  b), 
'Magnificat'  (f.  161),  'Nunc  dimittis '  (f.  161  b),  and  'Quicumque  vult'(f.  162).  f.  150;— 
(6)  Litany,    f.  164 ; — (7)  Vigils  of  the  Dead.     f.  169. 

The  Calendar  includes  many  English  saints,  viz.  Augustine  (May  26),  Botulph 
(June  17,  erased),  Swithun  (July  2),  Thomas  (Translation,  July  7,  and  Deposition,  Dec.  29, 
both  erased),  Hugh  (Translation,  Oct.  6,  and  Deposition,  Nov.  17),  and  Edmund  the 
King  (Nov.  20),  in  blue;  Cuthbert  (Mar.  20),  Dunstan  (May  19),  Etheldreda  (June  23), 
Kenelm  (July  17),  Oswald,  King  and  Martyr  (Aug.  5),  Wilfrid  (Oct.  12),  and  Edmund, 
Archbishop  of  Canterbury  (Nov.  16),  in  red;  and  Wulstan  (Jan.  19),  Guthlac  (Apr.  11, 
erased),  John  of  Beverley  (May  7,  erased),  Alban  (June  22),  Grimbald  (July  8,  erased), 


Swithun  (Translation,  July  15),  and  Frideswide  (Oct.  19,  '  non  Sarum '  added  by  a  later 
hand),  in  black.  The  Translation  and  Deposition  of  St.  Hugh  point  to  Lincoln  as  the 
place  of  origin,  and  the  former  fixes  the  date  at  1280  or  later.  The  above  are  all  in  the 
original  hand.  Many  erasures  and  insertions  by  a  later  hand  (arc.  1400)  have  been  made, 
apparently  in  order  to  make  the  Calendar  agree  with  that  of  Sarum,  e.  g.  the  feasts  of 
SS.  Lucian,  Sulpicius,  and  Batildis  have  been  inserted  in  January,  those  of  SS.  Richard 
and  Alphege  in  February,  and  the  Translations  of  SS.  Edmund,  Richard,  and  Edward  in 
June.  But  these  insertions  also  include  the  Deposition  of  St.  Oswald  the  Archbishop, 
Feb.  28,  and  the  Translation  of  St.  Wulstan,  June  7,  suggesting  some  connexion  with 
Worcester  at  the  later  date.  At  Aug.  2  is  the  entry  '  Obitus  Roberti  de  Vpton '  in  a 
charter-hand  of  about  1300,  perhaps  referring  to  the  Robert  de  Uptune  who  witnessed 
a  Kingswood  Abbey  (co.  Glouc.)  deed  in  1280  (W.  H.  Upton,  Upton  Family  Records, 
1893,  p.  86).  In  the  Litany  St.  Martial,  the  apostle  of  the  Limousin  and  first  Bishop 
of  Limoges,  is  included  among  the  Apostles.  The  English  saints  are  : — Martyrs,  Alban, 
Alphege,  Oswald,  Edmund,  Edward,  Thomas  (erased),  and  Kenelm;  Confessors,  Augustine 
and  his  companions,  Dunstan,  Cuthbert,  Swithun,  Guthlac,  John  [of  Beverley],  Wilfrid, 
Botulph,  Chad,  Hugh,  and  Edmund ;  Virgins,  Etheldreda,  Werburga,  Mildred,  Osith, 
Edith,  Frideswide,  and  Hilda. 

Vellum  ;  ff.  174.  237  x  163  mm.  Late  XIII  cent,  (not  earlier  than  1280,  see  above).  Probably  written 
in  the  diocese  of  Lincoln.  Gatherings  of  8  leaves  (i6,  ii4,  iii*,  xvii9,  xxiii').  Finely  illuminated  by  English 
artists,  the  decoration  consisting  of  (a)  Twenty-four  small  roundels  in  the  Calendar,  containing  representations 
of  the  zodiacal  signs  and  occupations  proper  to  the  several  months,  on  coloured  grounds ; — (b)  Eleven  full- 
page  miniatures,  mostly  in  compartments,  with  Biblical  and  hagiographical  scenes  on  grounds  either  diapered 
or  of  burnished  and  patterned  gold,  painted  on  thin  pieces  of  vellum  and  pasted  down ; — (c)  Full  pages  of 
illumination  at  Ps.  i,  cix,  historiated  initials  with  partial  borders  to  Ps.  xxvi,  xxxviii,  li,  Hi,  lxviii,  Ixxx,  xcvii, 
ci  (the  initials  to  Ps.  li  and  lxviii,  on  ff.  60,  73,  which  had  been  pasted  down  like  the  large  miniatures,  being 
lost),  and  partial  border  to  Ps.  ii  (f.  15) ;— (d)  Smaller  initials  in  gold  and  colours  to  the  other  Psalms,  &c,  and 
line-endings  and  verse-initials  (the  latter  elaborately  flourished)  in  gold,  red,  and  blue.  The  borders  are  of  the 
cusped-bar  type  prevalent  about  the  end  of  the  13th  century,  with  monsters,  hound  and  hare,  fox  and  cock,  &c. 
The  subjects  of  the  miniatures  are  as  follows : — 


I.  Calendar-roundels. 

I,  2.  Jan.  Three-faced  man  feasting ;  Aquarius. 
3,  4.  Feb.  Warming  hands  and  feet ;  Pisces,    f. 
5,  6.  Mar.  Digging ;  Aries,     f.  3. 

7,  8.  Apr.  Pruning  trees ;  Taurus,     f.  3  b. 
9,  10.  May.  Hawking ;  Gemini,    f.  4. 

II,  12.  June.  Weeding;  Cancer,    f.  4b. 


f.  2. 
2  b. 


13,  14.  July.  Hay  harvest ;  Leo.    f.  5. 
15,  16.  Aug.  Corn  harvest ;  Virgo,     f.  5  b. 
17,  18.  Sept.  Grape-gathering;  Libra,    f.  6. 
19,20.  Oct.  Threshing;  Scorpio,     f.  6b. 
21,22.  Nov.  Sowing;  Sagittarius,     f.  7. 
23,24.  Dec  Killing  pigs;  Capricornus.    f.  7b. 


II.  Full-page  miniatures  (for  nos.  3,  4,  6, 7  see  pi.  2).    All  except  nos.  1,7,  and  9  are  bisected  horizontally, 
and  each  of  the  two  sections  (whether  containing  one  subject  or  two)  is  divided  into  two  parts  by  a  trefoil  arcading. 

8.  (a)  Resurrection ;  (b)  Noli  me  tangere ;  (c)  Ascension ; 
(d)  Pentecost,    f.  12. 

9.  Martyrdoms  of  SS.  (a)  Peter;  (b)  Andrew;  (c)  Paul; 
(d)  Stephen,  f.  12  b.  Reproduced  in  the  Burlington  Fine  Arts 
Club's  Cat.  of  Ilium.  MSS.,  1908,  pi.  42. 

10.  Above,  (a)  Murder  of  St.  Thomas  of  Canterbury  ;  below, 
(b)  St.  Margaret  emerging  from  the  dragon's  back  and  scourg- 
ing a  devil ;  (c)  Martyrdom  of  St.  Catherine,  f.  13.  Repro- 
duced ib. 

11.  Last  Judgement.  In  three  divisions:  above,  Christ  en- 
throned, showing  His  wounds,  in  a  mandorla  supported  by 
angels  and  surrounded  by  angel-trumpeters,  an  angel  holding 
the  cross,  and  the  Virgin  adoring ;  below  this,  an  angel  leads 
a  group  of  the  saved,  while  the  damned  are  driven  in  the  oppo- 
site direction  by  an  angel  with  drawn  sword,  and  dragged 
by  a  devil ;   lower  still,  to  /.,  nude  figures  sitting  up  in  open 

raves,  and  to  r.,  devils  tormenting  the  damned  in  a  cauldron. 
13  b. 


1.  Christ  enthroned  within  a  mandorla,  His  right  hand  bless- 
ing, His  left  hand  holding  a  book ;  surrounded  by  six  roundels 
of  the  Days  of  Creation,     f.  8  b. 

2.  (a)  Fall  of  Man ;  (b)  Expulsion  from  Paradise ;  (c)  Adam 
delving,  Eve  spinning;  (d)  Death  of  Abel.     f.  9. 

3.  Above,  (a)  Annunciation,  (b)  Angel  and  Shepherds ;  below, 
(c)  Nativity,    f.  9  b. 

4.  (a)  Adoration  of  Magi ;  (b)  Massacre  of  Innocents  (devil 
prompting  Herod),     t  10. 

5.  (a)  Entry  into  Jerusalem  ;  (b)  Kiss  of  Judas,    f.  10  b. 

6.  Above,  (a)  Christ  before  Annas  and  Caiaphas,  who  sit  side 
by  side;  below,  (b)  Buffeting,  (c)  Scourging.     £  11. 

7.  Full-page  miniature  of  the  Crucifixion.  Christ's  hands  and 
feet  are  being  nailed  to  the  cross,  and  the  crown  of  thorns  is 
being  pressed  more  tightly  on  His  head,  by  diminutive  figures  ; 
and  at  the  same  time  Longinus  is  piercing  His  side,  and 
Stephaton  is  offering  the  sponge  ;  the  Virgin,  St.  John,  and  many 
other  figures,  one  holding  a  scroll  inscribed  '  Vere  films  Dei  erat 
i$U'.    7.  lib. 

III.  Historiated  initials  (for  no.  2  see  pi.  3). 

1  I's.  i.  The  opening  words,  Beatus  vir  qui  non  abiit,  fill  the 
page.  A  large  and  elaborate  B  of  intertwining  foliage-scrolls, 
Monstrous  bird-  and  beast-forms,  encloses  a  Jesse-tree 
(David,  Solomon,  Virgin  and  Child,  God  the  Father,  Dove), 
together  with  two  knights  tilting  and  the  fight  between  David 
and  Goliath.  The  other  letters  below,  in  gold,  on  coloured 
grounds,    f.  14  b. 


2.  Ps.  xxvi.  Dominus  illuminacio 
of  a  king.    f.  35 


Anointing  and  coronation 


3.  I's.  xxxviii.  Dixi  custodiam.  Youth  addressing  a  king.  f.  48. 

4.  Ps.  Iii.    Dixit   insipiens.     Fool,  in   rags,  admonished   by 
a  sage  who  points  upwards  to  the  Face  of  God.    f.  60  b. 

5.  Ps.  Ixxx.  Exultate  Deo.    King  David  playing  on  four  bells, 
fiddler  and  female  tumbler,     f.  89. 

B    2 


6.  Ps.  accvii.  Cantate  Domino.     Three  monies  chanting,     f.  two  roundels,  the  upper  representing  the  Trinity,  the  lower  the 
103  b.  coronation  of  the  Virgin  ;   to  /.  and  r.,  in  two  half-roundels, 

7.  Ps.  ci.  Domine  exaudi.    God  enthroned,  King  David  kneel-  female  figures  representing  the  Old  and  New  Dispensations, 
ing  before  Him.    f.  105  b.  f.  119  b. 

8.  Ps.  cix.  Dixit  Dominus.    Full-page.    The  large  D  encloses 

Huth  book-plate.     7"Af  Huth  Library,  iv,  p.  1191  ;   Burlington  Fine  Arts  Club,  Cat.  of  Ilium.  MSS., 
1908,  no.  45,  pi.  4a.     [Add.  MS.  381 16.] 


IV 

ROMANCE  OF  MERLIN,  &c,  in  French  prose.  The  MS.  has  no  marks  of 
division,  except  into  chapters  and  paragraphs;  but  it  contains  three  distinct  works,  all 
belonging  to  the  Arthurian  cycle,  and  more  particularly  to  the  group  associated  with 
the  name  of  Robert  de  Boron  (see  Romania,  xxiv,  p.  473).  The  first  two,  of  which  many 
other  copies  exist,  appear  to  be  at  any  rate  based  on  Robert's  actual  compositions; 
but  the  third,  although  it  introduces  his  name  repeatedly  as  author,  evidently  does  so 
merely  as  a  literary  device,  and  must  be  regarded  as  the  work  of  another  writer,  who 
wished  to  bridge  over  the  gap  in  the  '  Robertcyklus'.  It  is  only  extant  in  the  present  MS., 
and  is  of  special  interest  as  the  principal  source  of  Bks.  i-iv  of  Malory's  Morte  Darthur. 
The  whole  contents  of  the  volume  are  fully  discussed  by  Gaston  Paris  in  his  introduction 
to  Merlin,  edited  by  himself  and  J.  Ulrich  for  the  Soc.  des  anc.  textes  francais,  1886. 

1.  Joseph  of  Arimathaea :  the  prose  romance  corresponding  to  Robert  de  Boron's 
poem,  sometimes  called  the  Petit  Saint  Graal.  Printed  by  E.  Hucher,  Le  Saint-Graal, 
i,  1875,  p.  209,  with  collations  from  this  MS.  on  pp.  335-364;  also  by  G.  Weidner, 
Der  Prosaroman  von  Joseph  von  Arimathia,  1881.  The  passage  naming  '  Messires  Roberz 
de  Borron'  as  author  in  the  Cangd  MS.  (Hucher,  p.  275)  is  much  condensed  here 
(f.  18 b),  and  merely  says  'Ore  dist  apries  cis  contes',  &c,  without  mentioning  the 
author's  name.  Beg.  imperf.  (wanting  a  leaf)  '  fust  boins  desciples  Ihesucrist '.  Ends 
'  Et  se  ie  le  laissoie  atant  ester,  uns  ne  saueroit  que  ces  .iiij.  parties  seroient  deuenues, 
ne  por  quel  senefiance  je  les  auoie  departies'.    f.  1. 

a.  Merlin :  the  story  of  his  marvellous  birth,  and  of  his  life  down  to  the  coronation 
of  Arthur.  Answering  to  ff.  i  b-lxxvii  b  of  the  early  printed  Merlin  (Paris,  A.  VeYard, 
1498),  vol.  i,  and  attributed  in  some  MSS.  to  Robert  de  Boron,  but  generally  regarded 
as  a  prose  rendering  of  his  almost  entirely  lost  poem.  Printed  from  this  MS.  by  G.  Paris 
and  J.  Ulrich,  Merlin,  i,  pp.  1-146.  Other  copies  are  in  Add.  MSS.  10292  (printed  by 
H.  O.  Sommer,  Le  Roman  de  Merlin,  1894,  pp.  1-92)  and  32125,  and  Harley  MS.  6340  : 
see  H.  L.  D.  Ward,  Cat.  of  Romances,  i,  1883,  pp.  343-4.  Beg.  '  Chi  endroit  dist  li  contes 
que  moult  fu  iries  anemis '.  Ends  '  Ensi  fu  Artus  esleus  a  roi,  et  tint  la  terre  et  le  regne 
de  Logres  lone  tans  a  pais*,     f.  18 b. 

3.  Suite  de  Merlin  :  a  continuation  of  the  above,  narrating  various  adventures  of 
Arthur  and  his  court,  including  the  magical  imprisonment  of  Merlin  by  Niviene  in  the 
'forest  perilleuse'.  The  source  of  Sir  Thomas  Malory's  Morte  Darthur  for  almost 
the  whole  of  Bk.  i,  ch.  19— Bk.  iv,  ch.  29.  Printed  from  this,  the  unique,  MS.  by  G.  Paris 
and  J.  Ulrich,  Merlin,  i,  p.  147— ii,  p.  254;  and  analysed  by  H.  O.  Sommer  in  his 
studies  on  Malory's  sources  (Morte  Darthur,  iii,  1891,  pp.  58-148).  Such  expressions 
as  '  Me  sires  Robiers  de  Berron,  qui  cest  conte  mist  en  escrit '  (f.  91),  '  Si  comme 
meismes  (for  messires?)  Robiers  de  Borron  le  deuisera  apertement  en  son  liure' 
(f.  116b),  &c,  seem  to  indicate  Robert  de  Boron  as  the  author;  but  G.  Paris  has 
shown  (Merlin,  i,  pp.  xxv  sqq.)  that  the  work  is  a  compilation  made  by  a  somewhat  later 
writer  to  complete  the  cycle  by  linking  the  Merlin-romance  to  the  Quest  of  the  Saint 
Graal.  Beg.  '  Ore  dist  que  vns  rois  aprez  le  couronnement  le  roi  Artu  vint  a  vne 
grant  court'.  Wants  a  leaf  after  f.  101,  and  two  leaves  after  f.  133.  Ends  '  Et  deuisera 
dune  autre  matier[e]  qui  parlera  dou  graal,  pour  chou  que  cest  li  commenchemens  de 
cest  liure'.     f.  74. 

4 


Vellum  ;  ff.  ii  +  226.  295  x  215  mm.  Beg.  of  XIV  cent.  Gatherings  of  8  leaves  (xi6),  i  and  xiv  wanting 
a  leaf  each,  xviii  wanting  two  leaves.  Double  columns.  Sec.  fol.  (now  f.  1)  'fust  boins  desciples '.  Illu- 
minated by  French  artists  of  average  merit  with  7 1  miniatures,  mostly  enclosed  within  large  initials,  to  which 
partial  borders  of  foliated  bars,  with  birds,  grotesques,  and  monsters,  are  attached  ;  and  with  numerous  smaller 
initials  in  gold  and  colours,  chiefly  decorative,  but  occasionally  enclosing  figures.     The  subjects  are:— 


I.  Descent  from  the  Cross,    f.  2  b. 
2  (defaced),    f.  4  b. 

3.  Veronica,  led  by  the  Emperor  to  Vespasian's  tower,  dis- 
plays the  sacred  portrait,    f.  8  b. 

4.  Vespasian  and  Joseph  disputing  with  the  Jews.    f.  II  b. 

5.  Two  subjects  combined,  (1)  Joseph  preaching,  (2)  Joseph 
praying  before  the  Grail,  God  answering  him  from  above.    f.  12. 

6.  Joseph  and  his  disciples  (?) ;  birds  perched  in  trees,    f.  17  b. 

7.  Harrowing  of  Hell.    f.  18  b. 
8  (defaced),    f.  18  b. 

9.  Begetting  of  Merlin,     f.  23. 

10.  Merlin's  mother  and  her  confessor,     f.  23  b. 

II.  The  infant  Merlin  defends  his  mother,    f.  29. 

12.  Blaise  writes  at  Merlin's  dictation,     f.  30  b. 

13.  Two  scenes,  in  compartments,  (1)  Vertigiers  crowned; 
(2)  Execution  of  Moyne's  murderers,    f.  32. 

14.  The  child  Merlin  with  Vertigiers  and  the  sages  at  the 
falling  tower,    f.  38  b. 

15.  Pandragon  and  Uter  riding  to  Winchester  castle,     f.  42. 

16.  Two  compartments,  (1)  Merlin  and  Blaise  ;  (2)  Pandragon 
and  Uter.    f.  45  b. 

17.  Merlin  welcomed  at  court,    f.  48. 

18.  Merlin  and  Blaise  in  a  forest,     f.  50  b. 

19.  Battle  of  Salisbury,     f.  53. 

20.  Merlin  takes  leave  of  Uter.     f.  55  b. 

21.  Merlin  and  Uter  before  Tintagel  castle,  Ygeme  looking 
over  the  battlements,    f.  58  b. 

22.  Marriage  of  Uter  with  Ygeme,  and  of  Loth  with  Ygerne's 
daughter,    f.  63  b. 

23.  Birth  of  Arthur,    f.  66. 

24.  Funeral  of  Uter.    f.  68. 

25.  Arthur  blessed  by  the  Archbishop   before  pulling  the 
sword  out  of  the  anvil,    f.  73  b. 

26.  Arthur,  hunting,  meets  Merlin  in  the  form  of  a  child,  f.  76. 

27.  Merlin  discloses  his  identity,    f.  79b. 

28.  Arthur  and  his  court  at  table ;   wounded  knight  brought 
in  by  his  squire,    f.  84. 

29.  Gifflet  challenges  the  knight  of  the  forest,    f.  86  b. 

30.  They  fight,     f.  87. 

31.  Arthur  sends  the  newborn  children  adrift   on  the  sea. 
f.97b. 

32.  Damsel  kills  herself  over  the  corpse  of  the  Irish  knight. 
f.  102  b. 

33.  Merlin  meets  the  two  brothers  Balaan  and  Balaain.    f. 


105  b. 
34- 
35- 
36. 

37- 


The  two  brothers  ride  together,    f.  105  b. 
Arthur's  messengers  to  Loth  report  his  answer. 
Battle  between  Arthur  and  Nero.    f.  112. 
The  two  brothers  and  the  hermit,    f.  112. 


38.  King  Urien  at  Arthur's  court  (?).    f.  120  b. 

39.  Arthur's  dismay  at  the  death  of  the  unknown  knight, 
f.  123  b. 

4a  The  knight  of  the  two  swords  (Balaain)  meets  the  damsel 
who  is  to  direct  him  on  his  quest,     f.  123  b. 

41.  She  rides  along  with  him.    f.  124. 

42.  Merlin  meets  Balaain  and  another  knight,    f.  126. 

43.  Balaain  and   his    damsel-companion    entertained    by  a 
'vavasour',    f.  13 1. 

44.  Balaain  meets  in  a  forest  a  knight  lost  in  reverie,    f.  135. 

45.  Balaain  finds  an  inscribed  cross,  and  meets  an  old  '  vava- 
sour*,    f.  140. 

46.  He  fights  the  knight  of  the  island  tower  (his  brother 
Balaan).    f.  142. 

47.  Merlin's  embassy  to  King  Leodegan,  GenevTe's  father. 


f.  147 
48. 
Tor. 

49 
50 

5i 


Ares  the  cowherd  asks  Arthur  to  knight  his  supposed  son 
f.  150. 

Arthur  and  Pellinor  at  table,    f.  152  b. 
Gavain  and  Gahariet  find  two  brothers  fighting,    f.  155. 
Gavain  carries  the  stag's  head  and  the  headless  corpse  of 
the  damsel  whom  he  has  killed,     f.  160.    See  pi.  4. 

52.  Merlin  addresses  Arthur  and  Genevre.    f.  161  b. 

53.  Tor  jousts  with  a  knight.  J.  163  b. 

54  (in  two  compartments), 
carried  off  a  damsel,    f.  169. 

55  (in  two  compartments). 
Niviene.    f.  178. 

f.  179  b. 

f.  185. 


f. 
Tor  pursues  a  knight  who  has 

Arthur  with   Merlin,  and  with 


land. 


56.  Merlin  courts  Niviene. 

57.  Merlin  and  Niviene  find  two  enchanters  harping. 

58.  Merlin  bewitches  them.    f.  186. 

59.  Arthur  learns  that   five   kings   have  invaded  his 
f.  187. 

60.  Arthur  goes  hunting,    f.  193. 

61.  Dwarf  gives  Escalibor  to  Accalon.    f.  195  b. 

62.  Arthur  in  prison,    f.  197  b. 
63  (in  two  compartments).    Morgain  plots  against  Arthur's 

life.    f.  199. 

64.  Merlin  and  Niviene  feasting  in  the  'forest  perilleuse'. 
f.  200. 

65.  Merlin,  under  Niviene's  spell,  is  entombed,    f.  202  b. 

66.  Arthur  given  the  pseudo-Escalibor.    f.  203  b. 

67.  Arthur  and  Accalon  fight,    f.  205  b. 

68.  Yvain  prevents  Morgain  from  killing  Urien  in  his  sleep. 
f.  209. 

69. 

f.  nib.  7a 

71- 


Morgain  asks  Yvain's  pardon,    f.  209. 

Four  knights  riding  (Arthur  returning  toCamelot).   f.  216. 

Morgain's  gift  of  a  deadly  mantle  to  Arthur,    f.  224. 


Apparently  belonged  to  the  philologist  Charles  Du  Fresne,  Sieur  Du  Cange  (b.  1610,  d.  1688),  a  note  on 
f.  1  being  pronounced  by  a  subsequent  owner  '  de  la  main  du  fameux  Mr  Du  Cange  d'Amiens '.  On  the  same 
page  is  the  signature  of  [Jacques  Joseph  Guillaume  Pierre,  Comte  de]  Corbiere  (Minister  of  the  Interior,  &c, 
d.  l&53)'  Inside  the  cover,  'N°.  261'.  Huth  book-plate.  The  Huth  Library,  iii,  pp.  954-7.  [Add. 
MS.38117.] 


THE  APOCALYPSE,  with  prologue  and  commentary,  in  French.  The  'version 
glosde',  as  found  in  the  Paris  MS.,  Bibl.  Nat.,  fr.  403,  and  in  many  other  MSS.  (see 
L.  Delisle  and  P.  Meyer,  L 'Apocalypse  en  francais,  Soc.  des  anc.  textes  fr.,  1901,  pp.  cci- 
ccxxix,  cclvii  sqq.).  The  prologue  (wanting  in  fr.  403,  but  printed  by  Meyer,  p.  cclviii, 
from  fr.  9574)  is  in  two  paragraphs,  beginning  respectively  '  Saint  pol  lapostre  dit  que  tous 
iceus  qui  vuelent  debonairement  viure '  and  '  Et  saint  iehan  en  ceste  maniere  uit  ne  mie 
seulement  les  figures '.  ff.  1,  1  b.  It  is  a  somewhat  free  translation  from  the  Latin  of 
Gilbert  de  la  Porrte  (S.  Bergcr,  La  Bible  frangaise  au  moyen  age,  1884,  p.  88;  and 
see  above,  no.  II).  Text  beg.  '  Ie  iehan  uostre  frere  ct  parconniers  en  tribulations'; 
commentary,  '  Par  saint  iehan  sont  senefie  li  bon  prelat '.     f.  2.     Both  are  printed  by 

5 


Meyer,  pp.  1-131,  from  fr.  403  and  two  other  MSS.  At  the  end  (f.  44  b)  are  a  collect 
and  secrets  in  commemoration  of  St.  Leobonus  (who  is  specially  associated  with 
Salagnac  in  Limousin),  added  by  a  later  hand. 

Vellum  ;  ff.  i  +  44.  278  x  201  mm.  Early  XIV  cent,  probably  executed  in  the  north  of  France.  Double 
columns,  usually  of  30  lines.  Sec.  fol.  '  -te  eglise '.  Gatherings  of  8  leaves  (last  4).  With  70  miniatures  in 
rectangular  frames,  on  diapered  or  burnished  gold  grounds,  of  varying  height  but  always  of  the  same  width  as 
the  column  of  text ;  and  with  initials  in  gold  and  colours  throughout,  the  first  page  having  a  large  initial, 
filled  with  conventional  foliage,  and  a  partial  border  with  leafy  terminals  and  the  figures  of  a  hare  and  pursuing 
hound.  The  miniatures  are  only  mediocre  in  execution,  and  the  MS.  can  hardly  be  reckoned  as  belonging 
precisely  to  either  of  the  two  families  into  which  Delisle  (op.  cit.,  p.  ii)  divides  the  illuminated  copies  of  the 
Apocalypse,  though  its  affinities  are  with  the  second  rather  than  the  first ;  his  list  is  referred  to  as  D  in  the 
following  list  of  subjects : — 


I.  St.  Paul  (?)  writing,    f.  I. 

3.  Angel  appears  to  St.  John  (Apoc.  i.  10  ;  D  9).    f.  2. 

3.  Christ,  sword  in  mouth,  addresses  St.  John  (Apoc.  i.  12- 
16 ;  D  10).    f.  2  b. 

4.  The  seven  churches  with  their  angels  (Apoc.  i.  20).    f.  3. 

5.  St.  John  asleep,    f.  3  b. 

6-10.  God  enthroned,  with  the  sealed  book:  surrounded  by 
elders,  by  the  four  emblems,  adored  by  elders,  between  St.  John 
and  two  other  men,  and  giving  the  book  to  the  Lamb  (Apoc.  tv. 
2— v.  7).    ff.  6  b-8  b. 

II.  Adoration  of  the  Lamb  (Apoc  v.  8).    f.  9  b. 

12.  Opening  of  the  first  seal :  Lamb  with  book,  winged  lion, 
St  John  (Apoc  vi.  1).    f.  9  b. 

13-16.  The  four  horsemen  (Apoc.  vi.  2-8  ;  D  13-16).  ff.  10-1 1. 

17.  Fifth  seal  opened;  souls  under  altar,  receiving  white 
robes  (Apoc.  vi.  9-1 1 ;  D  17).    f.  11. 

18-20.  Angels  restraining  the  four  winds ;  adoration  of  the 
Lamb  ;  distribution  of  the  seven  trumpets  (Apoc.  vii.  1, 9,  viii.  2 ; 
D  19-21).    f.  12. 

21.  Angel  censes  altar  (Apoc.  viii.  3 ;  D  22).    f.  12  b. 

22.  Angel  casts  fire  from  censer  on  the  earth  (Apoc.  viii.  5  ; 
D23).    f.  13  b. 

23.  24.  First  and  second  trumpets  :  fiery  hailstorm  on  earth, 
burning  mountain  cast  into  the  sea  (Apoc.  viii.  7,  8  ;  D  23,  24). 
f.  14.    See  pi.  5  (a). 

25.  Third  trumpet,  waters  made  bitter  (Apoc.  viii.  10-11 ;  cf. 
D  24).    f.  14  b. 

26,  27.  Fourth  and  fifth  trumpets  :  woe  proclaimed,  locusts 
(Apoc.  viii.  12-13,  •*•  1-10;  D  25,  26).    f.  15. 

28.  Sixth  trumpet,  golden  altar  (Apoc.  ix.  13 ;  cf.  D  28). 
f.  15  b. 

29.  The  four  angels  loosed,  the  destroying  horsemen  (Apoc. 
ix.  14-19  ;  cf.  D  28,  29).    f.  16. 

30.  31.  Angel  standing  on  sea  and  earth  ;  giving  book  to 
St  John  (Apoc.  x.  1-2,  9;  D  30,  31).    f.  17. 

32,  33.  The  two  witnesses,  Enoch  and  Elias,  preaching ; 
their  death,  earthquake  (Apoc.  xi.  3,  7,  13 ;  D  32,  33).    f.  18. 

34.  Enoch  and  Elias  ascending  to  heaven  (Apoc  xi.  12 ;  cf. 
D36).    f.  19. 

35,  36.  God  adored  by  elders ;  Temple  opened  in  heaven 
(Apoc.  xi.  16,  19;  D  37,  38).    f.  19b. 

37.  Dragon  with  seven  heads  (Apoc.  xii.  3).    f.  20. 

38,  39.  Dragon,  woman,  child  carried  up  to  heaven  ;  Michael 
and  his  angels  fight  against  the  dragon  (Apoc.  xii.  4-5,  7  ;  D  39, 
40).    f.  20  b. 

40.  Dragon  tries  to  drown  the  woman  (Apoc.  xii.  15  ;  D  43). 
f.  21. 

41.  Dragon  makes  war  on  the  woman's  seed  (Apoc.  xii.  17  ; 
D  44).    f.  21  b. 


42.  Beast  rising  from  the  sea  (Apoc.  xiii.  1  ;  D  45).    f.  22. 

43.  Beast  with  two  horns  (Apoc.  xiii.  1 1  ;  D  49).     f.  22  b. 

44.  The  Lamb  on  Mount  Sion  (Apoc.  xiv.  1 ;  D  52).    f.  23  b. 

45.  Song  before  the  Throne  (Apoc.  xiv.  3  ;  D  52).    f.  24. 

46.  Fall  of  Babylon  (Apoc.  xiv.  8  ;  D  54).    f.  24  b. 

47.  48.  The  Son  of  Man  in  a  cloud,  torments  of  the  damned, 
reward  of  the  saints  ;  grapes  gathered  by  angel  (Apoc.  xiv.  9-14, 
17-19;  cf.  D  S5-58)-    f-25b. 

49.  Sea  of  glass  (Apoc.  xv.  2  ;  cf .  D  59).    f.  26. 

50.  First  vial  poured  out,  worshippers  of  the  beast  afflicted 
(Apoc.  xvi.  2  ;  D  61).    f.  26  b. 

51.  Second  vial  poured  out  on  the  sea  (Apoc.  xvi.  3  ;  D  62). 
f.  27  b. 

52.  Third  vial,  rivers  turned  to  blood  (Apoc.  xvi.  4 ;  D  62). 
f.  28  b. 

53.  Fourth  vial  poured  out  on  the  sun  (Apoc  xvi.  8 ;  D  64). 
f.  29. 

54.  Fifth  vial,  dismay  of  the  beast's  worshippers  (Apoc.  xvi. 
10  ;  D  64).    f.  29  b. 

55.  Sixth  vial,  kings  of  the  east,  unclean  spirits  like  frogs 
(Apoc.  xvi.  12-13).    f-  3°- 

56.  Massacre  of  saints,  by  kings  on  horseback  (Apoc.  xvi. 
14?).    f- 32. 

57.  Seventh  vial  poured  out  on  Babylon  (Apoc.  xvi.  17-19 ; 
cf.  D  66).    f.  33  b. 

58.  The  woman  seated  on  the  beast  (Apoc  xvii.  3 ;  D  68).  f.  34. 
See  pi.  5  (*). 

59.  The  woman  stripped  and  delivered  to  devils  for  torment 
(Apoc  xvii.  16?).    f.  35. 

60.  Angel  proclaims  the  fall  of  Babylon  (Apoc.  xviii.  1-3  ; 
D69).    f.35b. 

61.  62.  Angel  casts  millstone  into  the  sea,  Babylon  falls  in 
presence  of  the  Lamb;  thanksgiving  to  God  (Apoc.  xviii.  21, 
xix.  1-4  ;  D  70,  71).    f.  36. 

63.  The  King  of  kings  rides  to  war  (Apoc.  xix.  11-16  ;  D  74). 
f.36b. 

64.  The  beast  and  the  kings  of  the  earth  fight  against  Him 
(Apoc.  xix.  19 ;  D  76).  The  devil  is  carrying  a  Dominican  to 
hell.    f.  37  b. 

65.  66.  Angel  with  key  holds  dragon  bound,  judges  on  thrones  ; 
camp  of  saints  attacked  by  horsemen  and  devils  (Apoc.  xx.  1-4, 
9;  cf.  D  78-80).    f.  39. 

67.  Last  Judgement  (Apoc.  xx.  11-15  ;  D  82).    f.  39  b. 

68.  Christ  bids  St.  John  write,  angel  lifts  him  by  the  hands 
(Apoc.  xxi.  5,  9-10;  cf.  D  84).    f.  41. 

69.  Plan  of  the  new  Jerusalem  (Apoc.  xxi.  12-21).    f.  43. 

70.  The  Lamb  enthroned,  tree  of  life ;  St.  John  kneels  to 
angel  with  measuring-rod  (Apoc.  xxii.  1-2,  8) ;  angel  gives  scroll 
to  St  John,  attended  by  a  bishop  (Apoc.  xxii.  10).    f.  43  b. 


Belonged  to  the  Jesuits'  College  (College  de  Clermont)  at  Paris,  which  was  dispersed  in  1764  (see  f.  1, 
'  Colleg.  Parisien.  Societ  Jesu,  44 ',  and  '  Paraphe"  au  desir  de  l'arrest  du  5  juillet  1763.  Mesnil ').  Afterwards 
belonged  to  J.  F.  Vandevelde,  1796  (f.  ib),  and  to  the  Chevalier  de  Coninck,  1833,  1856  (f.  ib,  Bibl.  de  Vlicolc 
des  Chartes,  se>.  iv,  tome  ii,  1856,  p.  614).  Huth  book-plate.  The  Huth  Library,  i,  p.  40  ;  Burlington  Fine 
Arts  Club,  Cat.  of  Ilium.  MSS.,  1908,  no.  91  ;  Delisle,  op.  cit.,  p.  exxxv.     [Add.  MS.  38118.] 


VI 

SPECULUM  HUMANAE  SALVATIONIS,  &c,  viz.  :- 

1.  '  Breuissima  sententia  Psalterii  (so  colophon,  heading  has  '  Psalmorum  breuissima 
exposicio ')  ordinata  Auinione  anno  Domini  millesimo  trecentesimo  quinquagesimo  octauo 
per   fratrem   Robertum   Boysselli,  ordinis   fratrum  minorum   sanctissimi   domini   nostri 

6 


pape  capellanum   commensalem    de  prouincia    Turonefnsi].'     A  brief  commentary  on 
the  Psalms,  beg.  '  Beatus  vir  .  .  .  Vbi  aduertendum  quod  vbi  doctores '.     f.  2. 

a.  Two  short  expositions  of  the  Lord's  Prayer,  the  first  beg.  '  Pater  noster  septem 
partes  habet',  the  second  headed  'Sequitur  alia  prolixior  et  utilior,  maxime  ad  predi- 
candum',  and  beg.  '  Pater  noster.     Hec  est  oratio  commendabilis '.    f.  16  b. 

3.  '  Commonitorium  directiuum  simplicium  volentium  pure  et  integraliter  confiteri, 
compilatum  a  fratre  Henrico  de  Alemania,  ordinis  fratrum  sancti  Augustini';  dealing 
with  the  five  senses,  the  Ten  Commandments,  the  six  works  of  mercy,  the  Seven 
Sacraments,  and  the  seven  capital  vices.  Another  copy,  written  in  1349,  is  in  Arundel  MS. 
379,  f.  28.     Beg.  '  Cupiens  generaliter  a  pueritia  '.     f.  17  b. 

4.  '  Incipit  liber  humane  saluationis ' :  the  story  of  the  Fall  and  Redemption,  set 
forth  in  134  coloured  drawings,  with  explanatory  text  in  rhyming  Latin  prose.  The 
first  eight  pictures  illustrate  the  fall  of  Lucifer,  the  creation  and  fall  of  man,  and  the 
Flood.  The  remaining  126  are  in  groups  of  four  (the  last  imperfect),  the  first  in  each 
group  forming  a  series  illustrative  of  the  Life  of  the  Virgin  and  of  Christ,  the  other  three 
representing  Old  Testament  or  legendary  types.  The  complete  work,  which  was  com- 
posed in  or  about  1324,  perhaps  by  Ludolph  of  Saxony  (see  P.  Perdrizet,  £tude  sur  le 
Speculum  Humanae  Salvationis,  1908,  pp.  34-46),  contains  192  pictures  and  4924  lines 
of  text.  The  text  has  been  published,  with  the  whole  series  of  pictures  from  a  Munich  MS. 
and  many  other  illustrations,  together  with  an  elaborate  discussion  of  the  work  and 
list  of  extant  copies  (omitting  the  present  MS.,  but  including  16  others  in  the  British 
Museum),  by  J.  Lutz  and  P.  Perdrizet,  Speculum  Humanae  Salvationis,  1907-9.  The 
present  MS.  omits  chapters  14,  15  (8  drawings,  coming  after  no.  52  in  the  subjoined 
list),  35-38  (16  drawings,  after  no.  128),  and  wants  at  the  end  the  second  half  of  ch.  40 
(2  drawings)  and  the  whole  of  chapters  41-45  (32  drawings).  Prologue  beg.  'Qui  ad 
iustitiam  erudiunt  multos ' ;  text  (f.  21  b),  '  In  quo  patet  casus  hominis  et  modus 
reparationis '.     f.  20  b. 

5.  Innocent  III  [Lotario  de'  Conti  di  Segni],  De  Contemptu  Mundi.  Beg.  imperf. 
'et  iniquitatibus  propriis'  (lib.  i,  cap.  3,  see  Migne,  Patrol.  Lat.,  ccxvii.  703).  At  the  end 
is  a  short  additional  chapter,  'Quid  sit  proprium  Romanorum',  followed  by  the  date 
1358  (apparently  added  later,  and  referring  perhaps  to  the  date  of  composition  of  art.  1), 
and  the  colophon  '  Explicit  liber  Lotharii  leuite  Cardinalis  de  vilitate  condicionis 
humane',  &c.    f.  56. 


Vellum  ;  ff.  i  +  67  (f.  55  blank).  335  x  240  mm.  Late  XIV  cent.  Gatherings  of  10  or  1  a  leaves.  Sec. 
fol.  (f.  3)  '  Quo  viso '.  Artt.  4  and  5  in  double  columns.  Written  in  Germany.  On  f.  1  b  is  a  full-page 
coloured  drawing  of  David  and  Bathsheba,  very  coarsely  executed.  The  subjects  of  the  coloured  drawings  in 
Art.  4  are  1 — 


1-4.  Fall  of  Lucifer  ;  Birth  of  Eve ;  Marriage  of  Adam  and 
Eve ;  Eve  and  the  serpent  (erect  on  two  legs  with  claws,  and 
having  a  woman's  head),    ff.  21  b,  22. 

j-8.  The  Fall ;  Expulsion  from  Paradise ;  Adam  delves,  Eve 
spins  and  suckles  a  child  ;  Dove  returns  to  Noah,  raven  settles 
on  land.     ff.  22  b,  23. 

9-12.  Conception  of  Mary  announced  to  Joachim  by  an  angel ; 
Vision  of  Astyages  (P.  Comestor,  Hist.  Schol.,  Daniel,  cap.  16); 
The  sealed  fountain  in  an  enclosed  garden  (Cant.  iv.  12) ;  Balaam 
and  the  angel,    ff.  23  b,  24. 

13-16.  Birth  of  Mary;  Tree  of  Jesse;  The  shut  gate  (Ezekiel 
xliv.  1,3);  Temple  of  Solomon,     ff.  24  b,  25. 

17-20.  Presentation  of  Mary  ;  Table  of  gold,  found  by  fisher- 
men and  dedicated  to  Apollo  (Val.  Max.,  iv.  i.ext.  7);  Jephthah 
sacrifices  his  daughter ;  Queen  looks  out  from  hanging  garden 
(Hist.  Schol.,  Daniel,  cap.  5).    ff.  25  b,  26. 

21-24.  Marriage  of  Mary  and  Joseph ;  Marriage  of  Sara  and 
Tobias;  Barim.the  strong  tower  (Josephus,  Ant.  )ud.,xv.  11.4) ; 
Tower  of  David,    ff.  26  b,  27. 

25  28.  Annunciation  ;  Moses  and  the  burning  bush  ;  Gideon 
and  the  fleece ;  Kebckah  draws  water  for  Abraham's  servant. 
ft.  27  b,  28. 

29-32.  Nativity;  Dream  of  Pharaoh's  butler;  Aaron's  budding 
rod  ;  Octavian  and  the  Sibyl,    ff.  28  b,  29.    See  pi.  6. 

33-36.  Epiphany  ;  Magi  adore  the  star ;  Three  mighty  men 


bring  David  water  from  Bethlehem  ;  Queen  of  Sheba  offers  gifts 
to  Solomon,    ff.  29  b,  30. 

37-40.  Presentation ;  Ark  of  the  Covenant ;  Candlestick  of 
the  Temple  ;  Dedication  of  Samuel,    ff.  30  b,  31. 

41-44-  Flight  into  Egypt ;  Egyptian  image  of  Virgin  and  Child 
(Hist.  Schol.,  Tobit,  cap.  3) ;  Child  Moses  breaks  Pharaoh's 
crown  (Hist.  Schol.,  Exod.,  cap.  5) ;  Nebuchadnenar's  dream 
(Dan.ii).    ff.  310,32. 

45-48.  Baptism;  Molten  sea  (3  Reg.  vii.  33-26);  Naaman 
bathes  in  Jordan  ;  Israelites  cross  Jordan  dry-shod.    ff.  32  b,  33. 

49-52.  Temptation  ;  Bel  and  the  dragon  ;  David  and  Goliath ; 
David  slays  bear  and  lioa     ff.  33  b,  34. 

53-56.  Last  Supper;  Israelites  fed  with  manna;  Passover; 
Melchizedek  gives  bread  and  wine  to  Abraham,     ff.  34  b,  35. 

57-60.  Arrest  of  Christ,  soldiers  falling  back ;  Samson  slays 
Philistines  with  the  jawbone  of  an  ass ;  Shamgar  slays  Philistines 
with  a  ploughshare  ;  David  slays  800  at  once  (2  Reg.  xxiii.  8). 
ff.  35  b,  36. 

61-64.  Kiss  of  Judas  ;  Joab's  treachery  ;  Saul  casts  a  javelin 
at  David  ;  Cain  murders  Abel.    ff.  36  b,  37. 

65-68.  Christ  mocked  by  soldiers ;  Hur,  Miriam's  husband, 
strangled  by  the  Jews  (Hist  Schol.,  Exod.,  cap.  73);  Noah 
mocked  by  Ham  ;  Samson  mocked  by  his  enemies,    ff.  37  b,  38. 

69-72.  Christ  scourged;  Achior  bound  to  a  tree  (Judith  vi. 
13) ;  Lamech  beaten  by  his  wives  (Hist.  Schol.,  Gen.,  cap.  28)  ; 


Job  scourged   by  Satan,  and  by  his   wife  with    her   tongue.  Daniel  in   the   lions'  den   (Dan.  xiv.   32) ;    Ostrich   frees  her 

"  38b,  39.  imprisoned  chick  by  means  of  a  worm's  blood  (Hist.  Schol., 

73-76.  Christ  crowned  with  thorns ;   King  [Darius]  insulted  3  Reg.,  cap.  8).    ff.  46  b,  47. 

by  his  concubine  Apame  (1   Esdras  iv.  29) ;  David  cursed  by  105-108.  Christ  vanquishes  the  devil;  Benaiah  slays  a  lion; 

Shimei ;  David's  envoy  outraged  by  Hanun.    ff.  39  b,  40.  Samson  rends  a  lion  ;  Ehud  slays  Eglon.    ff.  47  b,  48. 

77-80.  Christ  bears  the  cross  ;  Isaac  carries  wood  for  his  own  109-112.  Mary,  holding    the    instruments    of   the    Passion, 

sacrifice;  Parable  of  the  vineyard  let  out  to  wicked  husbandmen;  tramples  on  the  devil;  Judith  beheads  Holofernes  ;  Jael  kills 

Caleb  and  Joshua  bring  grapes  from  the  land  of  promise,     ff.  Sisera ;  Tomyris  beheads  Cyrus,    ff.  48  b,  49. 

40b,  41.  113-116.  Christ   leads  the  patriarchs  out  of  limbo;    Moses 

81-84.  Christ    nailed  to  the  cross  ;    Tubal-cain  and  Jubal  leads  the  Israelites  out  of  Egypt ;  Abraham  drawn  by  God  '  de 

plying  their  respective  crafts ;   Isaiah  sawn  in  two ;   King  of  igne  Caldeorum  '  [from  Ur  of  the  Chaldees] ;  Lot's  escape  from 

Moab  sacrifices  his  son.    ff.  41  b,  42.  Sodom,    ff.  49  b,  50. 

85-88.  Crucifixion;  Nebuchadnezzar's  dream  (Dan.  iv) ;  Self-  1 17-120.  Resurrection;  Samson  breaks  open  the  city-gates; 

sacrifice  of  Codrus  (Val.  Max.,  v.  6,  ext.  1) ;  Eleazar  and  the  Jonah  disgorged  by  the  whale;  Rejected  stone  set  up  as  head 

elephant  (1  Mace.  vi.  43-6).    ff.  42  b,  43.  stone,    ff.  50  b,  51. 

89-92.  Christ's  side  pierced;   David  scorned  by  Michal  for  121-124.  Ascension;  Jacob's  ladder;  Christ  carries  the  lost 

dancing ;  Death  of  Absalom  ;  Evilmerodach  hacks  his  father's  sheep  home  ;  Translation  of  Elijah,    ff.  51b,  52. 

corpse  in  pieces  (Hist.  Schol.,  Dan.,  cap.  5).    ff.  43  b,  44.  125-128.  Pentecost ;  Tower  of  Babel ;  God  gives  the  Law  to 

93-96.  Descent  from  the  cross  ;  Jacob  mourns  over  Joseph's  the  Israelites  on  Mount  Sinai ;  Widow  of  Zarephath  gives  oil  to 

coat ;  Adam  and  Eve  mourn  for  Abel ;  Naomi  mourns  for  her  her  neighbours,    ff.  52  b,  53. 

two  sons.    ff.  44  b,  45.  129-132.    Christ   intercedes  with   the   Father,   showing   His 

97-100.  Entombment ;  Burial  of  Abner ;  Joseph  cast  into  the  wounds  ;  Antipater  shows  his  wounds  to  Caesar  (Josephus,  Bell. 

pit ;  Jonah  thrown  into  the  sea.    ff.  45  b,  46.  Jud.,  i.  10) ;  Mary  intercedes  with  her  Son,  showing  her  breasts ; 

101-104.  Christ  comforts  the  patriarchs  in  limbo  ;  The  three  Esther  pleads  for  the  Jews.    ff.  53  b,  54. 

children  in  the  furnace,  cooled  by  an  angel;  Habakkuk  feeds  133, 134-  Last  Judgement;  Parable  of  the  ten  pounds,  f.  54  b. 

On  an  inserted  leaf  at  the  beginning  (f.  i)  are  the  arms  of  Dietrich  von  Moers,  Archbishop  of  Cologne 
1414-1463.  On  f.  1,  'Reinerus  Eltman  me  iusto  titulo  possidet :  Anno  1562'.  Huth  book-plate.  The  Hutk 
Library,  iv,  p.  138a.     [Add.  MS.  381 19.] 

VII 

LES  TROIS  PELERINAGES  :  three  poems,  viz.  Pelerinage  de  Vie  Humaine 
and  Pelerinage  de  1'Ame,  two  allegories  on  the  pilgrimage  of  the  soul  in  this  world 
and  the  next,  and  Pelerinage  de  Jdsus  Christ,  a  version  of  the  Gospel-narrative,  intro- 
ducing some  allegories.  Composed  in  1330-1358  by  Guillaume  de  Deguileville,  a  monk 
of  Chaalis  in  Valois.  Another  copy  of  all  three  poems  is  in  Add.  MS.  22937 ;  the  first 
two  are  also  in  Add.  MS.  25594,  and  the  first  alone  is  in  Harley  MS.  4399.  For  descrip- 
tions of  these,  and  of  MSS.  of  the  English  translations,  together  with  a  brief  analysis 
of  the  work,  see  H.  L.  D.  Ward,  Cat.  of  Romances,  ii,  1893,  pp.  558-585.  All  three  poems 
have  since  been  edited,  from  these  and  many  other  MSS.  (including  the  present),  by  J.  J. 
Sturzinger  for  the  Roxburghe  Club,  viz.  Le  Pelerinage  de  Vie  Humaine,  1893,  Le 
Pelerinage  de  1'Ame,  1895,  and  Le  Pelerinage  Jhesucrist,  1897. 

1.  Pelerinage  de  Vie  Humaine.  The  first  recension,  composed  in  1330-1332.  In  four 
books.  Prologue  beg.  '  A  ceulx  de  ceste  region  ' ;  Bk.  i,  '  Auis  mestoit  si  com  dormoye  ' 
(f.  1  b) ;  Bk.  ii,  '  Apres  ce  que  jay  dit  deuant '  (f.  42  b) ;  Bk.  iii,  '  Or  escoutez  tres  doulce 
gent '  (f.  74) ;  Bk.  iv,  '  Or  vous  diray,  seigneurs,  comment '  (f.  92  b).  Ends  (f.  109  b) 
'  Que  Dieux  doint  aux  mors  et  aux  vifs.  Amen.  Finito  libro  sit  laus  et  gloria  Christo. 
Cy  finist  le  iiije  liure  de  vie  humaine.     Explicit  le  pelerinaige  de  vie  humaine'.     f.  1. 

2.  'Cy  commence  le  pelerinage  de  lame.'  Composed,  as  Sturzinger  has  shown 
(see  his  edition,  p.  vii),  between  1355  (date  of  the  second  recension  of  the  Pelerinage  de 
Vie  Humaine)  and  1358  (date  of  the  Pelerinage  de  J6sus  Christ),  and  not,  as  was  formerly 
supposed,  immediately  after  the  first  recension  of  the  Vie  Humaine.  Beg.  '  Apres  que 
je  fus  esueilliez'.  Ends  (f.  197),  like  many  of  the  other  MSS.,  at  1.  11029,  omitting  the 
last  132  lines,  ' Le  pri  et  a  ceulx  qui  lorront.     Explicit  le  pelerinaige  de  lame',     f.  111. 

3.  Pelerinage  de  Jdsus  Christ,  composed  in  1358.  Beg.  '  Entre  les  belles  paraboles '. 
Ends  'Et  que  prient  pour  moy  leur  pry.  Explicit  le  pelerinage  de  Jhesucrist.  Deo  gracias'. 
The  author's  prayer  follows  (f.  277  b),  headed  '  Cy  sensuit  loroison  du  pelerin  contenant 
en  brief  tout  le  pelerinage  que  Jhesucrist  fist  en  ce  monde'.  It  begins  '  Doulz  Jhesus  fil 
de  Dieu  le  pere ',  and  ends  '  Ou  nous  puissons  auoir  nostre  estre.    Amen '.    f.  199. 

Vellum;  ff.  1  +  279  (f-  !9^  blank).  330x245  mm.  Circ.  1400.  Gatherings  of  8  leaves  (xxv*,  last"). 
Double  columns  of  32  to  38  lines.  Illuminated  initials  in  gold  and  colours  throughout,  a  large  one,  filled  with 
conventional  foliage  and  having  a  partial  border  attached,  at  the  beginning  of  each  of  the  three  poems  ;  and 
146   illustrative  drawings,  slightly  touched   with  colour,  of  French  work,  fairly  executed.      The  drawings 

8 


prefixed  to  artt.  i  and  3  fill  half  the  page,  the  rest  are  much  smaller.  Many  of  them  have  been  reproduced  in 
Stiirzinger's  editions  of  the  three  poems.  These  are  indicated  in  the  following  list,  Le  Pelerinage  de  Vie 
Humaine,  Le  Pelerinage  de  I'Atne,  and  Le  Pelerinage  Jhesucrist  being  denoted  by  V,  A,  and  J  respectively : — 


1  ( V,  opposite  p.  1).  The  author,  in  a  pulpit  outside  a  walled 
city,  narrating  his  vision,    f.  I. 

2  ( V,  opp.  p.  2).  The  author,  asleep  in  bed,  sees  the  heavenly 
Jerusalem  as  in  a  mirror,    f.  I  b. 

3.  Angel  with  drawn  sword,  guarding  the  entrance,    f.  I  b. 

4.  St.  Augustine  and  other  Doctors  helping  winged  pilgrims 
to  enter,    f.  2. 

5.  SS.  Benedict  and  Francis,  helping  pilgrims  of  their  re- 
spective orders  with  ladder  and  cord.    f.  3  b. 

6.  Grace-Dieu  appears  to  the  author,    f.  3. 

7.  She  leads  him  to  her  house,    f.  4  b. 
8  (V,  opp.  p.  13).  He  is  baptized,    f.  5. 

9.  Grace-Dieu  presents  him  to  a  bishop,    f.  5  b. 

10.  The  bishop  gives  three  ointments  to  an  official,     f.  5  b. 

11.  Marriage,    f.  8. 
IX  Tonsure,    f.  8. 

13.  A  procession,    f.  9. 

14.  Reason  discourses  to  pilgrims,    f.  10. 

15.  Moses,  vested  as  a  bishop,  gives  the  Pilgrim  a  sword  and 
keys.    f.  lib. 

16.  The  miracle  of  Transubstantiation.    f.  13. 

17.  Pilgrim  asks  Reason  to  explain  it.    f.  13  b. 

18  (V,  opp.  p.  48).  Nature  scolds  Grace-Dieu.    f.  14. 

19.  Nature  begs  Grace-Dieu's  pardon,     f.  17  b. 

20.  Charity  with  her  charter,  Penance  with  her  hammer,  rod, 
and  besom,     f.  18. 

21.  Pilgrim  and  Grace-Dieu.    f.  23. 

22.  Grace-Dieu  takes  Pilgrim's  staff  and  scrip  out  of  a  chest, 
f.  38. 

33,  24.  She  gives  them  to  him.    ff.  30  b,  31  b. 

35  (V,  opp.  p.  118).  She  shows  him  his  armour,    f.  33. 

36-39.  She  gives  him  gambeson,  habergeon,  and  sword  with 
its  sheath  Humility,     ff.  33,  33,  34,  36. 

30,  31  (V,  opp.  p.  146),  32.  He  finds  his  armour  cumbrous, 
and  takes  it  off.    ft.  37  b,  39  b. 

33.  Grace-Dieu  gives  him  Memory,  a  woman  whose  eyes  are 
at  the  back  of  her  head,  as  his  servant,    f.  40. 

34.  Moses  gives  him  bread  to  put  in  his  scrip,     f.  41  b. 

35.  He  sets  out  on  his  pilgrimage,  Memory  carrying  his 
armour,    f.  43  b. 

36.  He  encounters  Rude  Entendement    f.  43  b. 

37.  Reason  comes  to  his  aid.    f.  43. 

38  (V,  opp.  p.  158).  She  shows  her  commission,    f.  43b. 

39.  He  asks  Reason  why  he  cannot  carry  his  own  armour. 
f.47b. 

40.  His  soul  is  ravished  out  of  his  body.    f.  51b. 

41.  Reason  admonishes  him.     f.  53. 

43.  The  parting  of  the  ways  :  Occupation  and  Idleness,  f.  53  b. 

43.  Grace-Dieu  calls  him  across  the  hedge  of  Penitence,   f.  57. 

44.  Idleness  holds  him  captive,    f.  58. 

45.  She  fells  him  with  her  axe.    f.  59  b. 

46.  He  tries  vainly  to  escape,    f.  60. 

47.  He  meets  Pride  and  Flattery,    f.  60  b. 

48.  He  meets  Envy,  carrying  Treason  and  Detraction  on  her 
back.    f.  67. 

49.  They  assail  him.    f.  71  b. 

50.  He  meets  Wrath,    f.  71  b. 

51.  Memory  offers  him  his  armour,    f.  73. 
53.  He  meets  Avarice,     f.  74. 

53.  She  displays  her  wares,     f.  75. 

54.  He  is  assailed  by  Gluttony  and  Venus,    f.  83. 

55.  Final  assault  of  the  Seven  Deadly  Sins.    f.  86b. 

56.  Grace-Dieu  restores  his  staff,    f.  87. 

57.  He  kneels  before  the  Virgin  and  Child,     f.  88. 

58.  Grace-Dieu  bids  him  bathe  in  tears  of  penitence,    f.  91. 

59.  He  obeys,    f.  91  b. 

60.  The  sea  full  of  drowned  men  and  women,    f.  92  b. 

61.  Satan  and  his  nets.    f.  93. 

63.  Pilgrim  puts  Heresy  to  flight,    f.  93  b. 
63.  He  is  rejoined  by  Grace-Dieu.    f.  94. 
64  ( y,  opp.  p.  368).  He  meets  Youth,     f.  95  b. 
6$.  Youth  flies  with  him  to  Tribulation,    f.  97. 

66.  Tribulation  beats  him.    f.  99  b. 

67.  Grace-Dieu  shows  him  the  ship  of  Religion,    f.  100 b. 

68  (V,  opp.  p.  393).  The  porter,  Fear  of  God,  admits  them. 
f.  101  b. 

69.  Charity  serves  the  Pilgrim  at  table,    f.  102  b. 

70.  Sobriety,  Obedience,  and  other  virtues,    f.  102  b. 

71  f  V,  opp.  p.  396).  Latria,  with  her  horn,  organ, and  psaltery. 
f.  103. 


72.  Chastity  makes  the  Pilgrim's  bed.    f.  103. 

73.  Pilgrim  lets  Obedience  bind  him  hand  and  foot.    f.  105  b. 

74.  Pilgrim  meets  Old  Age  and  Infirmity,    f.  106. 

75.  They  lay  him  on  his  bed,  to  await  Death,     f.  107  b. 

76.  Mercy  visits  him.    f.  107  b. 

77  ( V,  opp.  p.  420).  Death  comes  for  him,  with  scythe  and 
coffin,     f.  109. 

78.  Pilgrim's  Soul  leaves  his  Body.    f.  III. 

79  (A,  opp.  p.  8).  Angel  and  devil  convey  the  Soul  to  the 
judgement-seat.     f.  mb. 

80.  Souls  summoned  by  trumpet  to  the  judgement,    f.  113  b. 

81.  The  Soul  before  the  judgement-seat;  Justice  speaks, 
f.  119. 

82  (A,  opp.  p.  44),  83.  Synderesis,  the  worm  of  conscience, 
denounces  the  Soul.    ff.  120,  121  b. 

84.  Weighing  of  the  Soul ;  St.  Benedict  puts  his  writing  in 
the  scale,    f.  128  b. 

85  (A,  opp.  p.  90).  Souls  mounting  from  purgatory  to  heaven. 
f.  131b.    See  pi.  7  a. 

86.  False  pilgrims  in  helL    f.  133  b. 

87.  The  Pilgrim's  Soul  in  purgatory,    f.  135. 

88.  Angels  bring  relief  to  souls  in  purgatory,    f.  137  b. 

89.  The  Pilgrim's  angel  shows  him  Abraham's  bosom,    f.  139. 

90.  He  sees  his  own  dead  body.    f.  143. 

91-96.  Torments  of  the  damned,  including  (no.  92,  A,  opp. 
p.  162)  a  wheel  set  with  spikes,    ff.  147-154. 

97.  The  green  tree  and  the  dry.    f.  155. 

98  (A,  opp.  p.  220).  Tombs  engraved  with  asses'  figures. 
f.  163  b. 

99.  Doctrine  licking  a  soul  into  shape,    f.  164  b. 

100.  The  two  statues,    f.  167  b. 

101.  Angels  and  devils  taking  possession  of  souls,    f.  179  b. 
102  (/,  opp.  p.  4).   The  author's  allegorical  vision  of  the  Fall 

of  Adam.    f.  199. 

103.  Mercy's  plaint,    f.  202  b. 

104.  Truth  addresses  the  Trinity,    f.  303  b. 

105.  Gabriel  makes  his  report  to  the  Trinity,     f.  3o6. 
106  (/,  opp.  p.  38).  The  Annunciation,    f.  206  b. 

107.  Gabriel  returns  to  heaven,     f.  208. 

108.  The  Visitation,    f.  210  b. 

109  (/,  opp.  p.  58).  Mary  and  Joseph,    f.  211. 

1 10.  Nature  complains  to  Joseph,    f.  313. 

ill.  The  Nativity,    f.  214b. 

113.  Annunciation  to  shepherds,    f.  315  b. 

113.  Presentation,    f.  siob. 

114  (J,  opp.  p.  82).  Adoration  of  the  Magi.    f.  317. 

115.  Flight  into  Egypt;  Old  Law  tries  to  stop  the  Holy 
Family,    f.  318  b.    See  pi.  7  b. 

116.  Mary  offers  the  Child-Christ  to  God  the  Father,  f.  330  b. 

117.  Ignorance  embraces  Joseph,    f.  333. 

1 18  (/,  opp.  p.  108).  The  Child  derides  Ignorance,    f.  223  b. 
119.  Flight  into  Egypt,    f.  225. 
130.  Idols  fall  as  the  Holy  Family  passes,    f.  335  b. 
isi.  Mary  remonstrates  with   Christ    for   His   three   days' 
absence,    f.  329. 

122.  John  the  Baptist  preaches,    f.  229  b. 

123.  The  Cana  marriage-feast,     f.  230. 

124.  Christ  dismisses  the  Old  Law  and  promotes  the  New. 

135.  The  New  Law  despoils  the  Old.    f.  233  b. 

136.  Baptism  of  Christ,    f.  334  b. 
137-129.  The  Temptation,     ff.  235  b,  236. 

130.  Christ  addresses  the  Apostles,    f.  237. 

131.  Feeding  the  Five  Thousand,     f.  249. 
133.  Raising  of  Lazarus,    f.  351. 

133.  Entry  into  Jerusalem,    f.  252. 

134.  Last  Supper,    f.  253. 

135.  Washing  the  Disciples'  feet.    f.  254  b. 

136.  Agony  in  the  garden,    f.  255  b. 

'37  (/•  °PP-  P-  266)-  Kiss  of  Judas,    f  256  b. 

138  (/,  opp.  p.  274).  Judas  returns  the  thirty  pieces,    f.  358  b. 

139.  Scourging  of  Christ,     f.  259. 

140.  Christ  bears  His  cross,    f.  260  b. 

141.  Crucifixion,    f.  261  b. 

143.  Descent  from  the  cross,    f.  266  b. 

143.  Entombment,    f.  367. 

144.  Christ  appears  to  the  Three  Maries,    f.  367  b. 

145.  Ascension,    f.  271. 

146.  Pentecost,    f.  275. 


Formerly  belonged  to  Richard  Heber  (Sale-cat.,  pt  xi,  1836,  lot.  1491)  and  Thomas  Corscr  (Sale-cat,  pt. 
iv,  1870,  lot  306).     Huth  book-plate.     The  Huth  Library,  ii,  p.  635.     [Add.  MS.  38130.] 

9  C 


VIII 


THE  APOCALYPSE,  in  Latin;  with  the  usual  preface,  headed  '  Incipit  prefatio 
sancti  Iheronimi  presbitri  in  apocalipsi  sancti  Iohannis ',  and  beg.  '  Iohannes  apostolus  et 
euangelista '.  No  commentary.  The  text  ends  on  f.  22,  and  the  remaining  leaves  have  the 
recto  page  blank,  the  verso  filled  with  miniatures. 

Vellum;  ff.  i  +  47.  322x220  mm.  Circ.  1400.  Gatherings  of  8  leaves  (v9,  vi9).  A  large  ornamental 
initial  in  red  and  blue  at  the  beginning  of  the  text  (f.  4).  Four  full-page  and  90  half-page  miniatures,  the  first 
eight  and  the  last  five  representing  scenes  in  the  life  of  St.  John,  the  remainder  illustrating  the  Apocalypse. 
The  whole  series  corresponds  in  subject  to  nos.  1-54,  57~95  (omitting  65  bis,  68  bis,  and  69  bis)  in  Delisle's  list 
(L.  Delisle  and  P.  Meyer,  L 'Apocalypse  en  francais  au  xiii"  siecle,  Soc.  des  anc.  textes  fr.,  1901,  p.  xii). 
According  to  his  classification  therefore  the  MS.  falls  into  the  first  family ;  and  the  designs  are  nearly  identical 
with  those  in  the  Oxford  MS.  Bodl.  D.  4.  17  {The  Apocalypse  of  S.  John  the  Divine,  ed.  H.  O.  C[oxe], 
Roxburghe  Club,  1876)  and  the  Paris  MS.  fr.  403  (ed.  Delisle  and  Meyer,  as  above),  both  of  which  belong  to 
that  family.  For  descriptions  of  these  and  other  MSS.,  together  with  a  full  discussion  of  the  whole  subject  of 
illustrations  of  the  Apocalypse,  see  Delisle,  as  above,  pp.  i-cc  ;  supplemented  by  M.  R.  James,  The  Trinity 
College  Apocalypse,  Roxburghe  Club,  1909.  The  miniatures  in  the  present  MS.  are  somewhat  coarsely 
executed,  probably  by  Dutch  illuminators  ;  the  backgrounds  are  sometimes  of  highly  burnished  gold,  more 
often  a  large  coarse  diaper.  As  in  the  Oxford  MS.,  descriptive  extracts  from  the  Latin  text  are  written 
as  titles  across  the  field  of  the  pictures,  on  a  white  ground.  In  the  following  list  of  subjects  Delisle's  list  is 
referred  to  as  D  : — 


I,  2.  St.  John  talking  with  converted  idolaters  ('  contemptores 
ydolorum ')  and  Drusiana ;  St.  John  baptizing  Drusiana, '  cul- 
tores  ydolorum  '  peeping  through  the  church-door  (D  I,  2). 
For  the  probable  sources  of  these  and  the  other  scenes  from  the 
life  of  St  John,  see  James,  Trin.  Coll.  Apoc,  pp.  14-20. 
£l. 

3,  4.  St  John  before  the  Prefect ;  being  dragged  into  a  boat 
to  go  to  Rome  (D  3,  4).    f.  1  b. 

5,  6.  St.  John  before  Domitian  ;  in  a  vat  of  boiling  oil 
(D5,6).    f.2. 

7,  8.  St.  John  sentenced  to  be  banished  to  Patmos ;  being 
conveyed  thither  in  a  boat  (D  7,  8).  Three  shields  of  arms  on 
the  sails,  as  in  Fr.  403  and  Bodl.  D.4.  17.    f.  2  b. 

9  (full-page  miniature).  Boatmen  returning  from  Patmos 
across  the  '  Bosforum  mare ',  angel  bidding  St.  John  write 
(Apoc.  i.  10-11 :  D  9).    f.  3  b. 

10  (full-page).  Above,  the  seven  churches ;  below,  Christ 
with  a  sword  in  His  mouth,  seven  candlesticks  beside  Him, 
St  John  prostrate  at  His  feet  (Apoc.  i.  12-17  ;  D  10).    f.  4  b. 

1 1  (full-page).  God  enthroned  in  a  mandorla,  surrounded  by 
the  four  emblems  and  twenty-two  [for  twenty-four]  elders  (Apoc. 
iv;  D  u).    f.  5  b. 

12  (full-page).  Delivery  of  the  Book  to  the  Lamb  (Apoc.  v  ; 
Dia).    f.  6  b. 

13,  14.  Archer  on  white  horse;  sword-bearer  on  red  horse 
(Apoc.  vi.  1-4;  D  13,  14).     f.  7  b. 

15,  16.  Balance-bearer  on  black  horse  ;  Death  on  a  pale  horse 
(Apoc.  vi.  5-8 ;  D  15,  16).    f.  8  b. 

17,  18.  Souls  of  martyrs  crying  for  vengeance  and  receiving 
white  robes  ;  earthquake,  men  seeking  for  hiding-places  (Apoc. 
vi.  9-1 1,  12-17;  D  17,  18).    f.gb. 

19,  20.  Winds  restrained  by  angels ;  adoration  of  God  and 
the  Lamb  (Apoc.  vii.  1-3,  9-17  ;  D  19,  20).    f.  10b. 

21,  22.  Distribution  of  trumpets  to  the  seven  angels ;  altar 
censed  by  an  angel  (Apoc.  viii.  2,  3-4 ;  D  21,  22).    f.  1 1  b. 

23,  24.  Angel  casts  fire  from  his  censer  on  the  earth,  and  the 
first  trumpet  sounds ;  second  and  third  trumpets  sound,  sea 
turns  to  blood,  and  star  falls  (Apoc.  viii.  5-7,  8-1 1 ;  D  23,  24). 
f.  12  b. 

25,  26.  Fourth  trumpet,  darkness ;  fifth  trumpet,  falling  star, 
locusts  (Apoc.  viii.  12,  ix.  1-3 ;  D  25,  26).    f.  13Tb. 

27,  28.  Locusts  led  by  Abaddon  ;  sixth  trumpet,  four  angels 
(as  men-at-arms),  altar  in  heaven  (Apoc.ix.  7-11,  13-15  ;  D  27, 
28).    f.  14  b. 

29,  30.  Third  part  of  mankind  slain  by  horsemen ;  seven 
thunders  (Apoc.  ix.  16-19,  *•  I_4  ;  D  29,  30).    f.  15  b. 

31,  32.  Angel  gives  St.  John  a  book  to  eat,  and  bids  him 
measure  the  Temple ;  the  two  witnesses,  Enoch  and  Elias  (Apoc. 
x.  5—  xi.  2,  xi.  3-6;  D  31,  32).    f.  16  b. 

33,  34.  Enoch  and  Elias  slain ;  miracles  of  Antichrist  (Apoc. 
xi.  7;  033,34).    f.  17  b. 

35,  36.  Antichrist  enthroned  in  the  Temple ;  slain  by  fire  from 
heaven  (D  35,  36).    f.  18  b. 

37,  38.  Seventh  trumpet,  adoration  of  God  ;  two  angels  cense 
the  Ark  (Apoc  xi  15-17,  19).    f.  19  b. 


39,  40.  Woman  clothed  with  the  sun,  dragon  watching  her, 
her  child  caught  up  to  God  ;  Michael  fighting  with  the  dragon 
(Apoc.  xii.  1-5,  7-8;  D  39,  40).  f.  20b.  For  the  lower  minia- 
ture see  pi.  7  c. 

41,  42.  Two  angels  proclaim  the  kingdom  of  Christ;  defeat 
of  the  dragon  (Apoc.  xii.  10,  9  ;  D  41).    f.  21  b. 

43,  44.  Woman  given  wings,  and  flying  into  the  wilderness ; 
persecuted  by  dragon  (Apoc.  xii.  14, 13  ;  D  42,  43).    f.  22  b. 

45 ,  46.  Fight  between  dragon  and  remnant  of  the  woman's 
seed  ;  beast  rising  from  the  sea  (Apoc.  xii.  17,  xiii.  I ;  D  44,  451). 
f.  23  b. 

47,  48.  Dragon  gives  sceptre  to  beast  from  the  sea ;  adoration 
of  dragon  (Apoc.  xiii.  2,  4  ;  D  45',  46).    f.  24  b. 

49,  50.  Adoration  of  beast  ;  dragon  tramples  on  saints  and 
blasphemes  God  (Apoc.  xiii.  4,  5-7  ;  D  47,  48).     f.  25  b. 

51,  52.  Two-horned  beast  coming  up  out  of  the  earth  ;  making 
men  adore  the  image  of  the  first  beast  (Apoc  xiii.  11,15;  D  49, 
50).    f.  26  b. 

53,  54.  Two-horned  beast  marking  his  devotees  ;  the  Lamb 
standing  on  Mount  Sion,  the  faithful  singing  to  God  (Apoc.  xiii. 
16,  xiv.  1-3  ;  D  51,  52).    f.  27  b. 

55,  56.  Angel  proclaiming  the  Gospel ;  fall  of  Babylon  (Apoc. 
xiv.  6-7,  8  ;  D  53,  54).     f.  28  b. 

57,  58.  Son  of  Man  reaping ;  angel  gathering  grapes,  wine- 
press of  the  wrath  of  God  (Apoc.  xiv.  14-16,  17-20;  D  57,  58). 
f.  29  b. 

59,  60.  Seven  angels  with  golden  vials  ;  sea  of  glass  (Apoc. 
xv  ;  D  59).    f.  30  b. 

61,  62.  Distribution  of  the  seven  vials;  first  vial  poured  out 
(Apoc.  xv.  7,  xvi.  2  ;  D  60,  61).    f.  31  b. 

63,  64.  Second  and  third  vials  poured  out  ;  fourth  angel,  and 
angel  at  altar  (Apoc.  xvi.  3-4,  5-7  ;  D  62,  63).    f.  32  b. 

65,  66.  Fourth  and  fifth  vials  poured  out  (Apoc.  xvi.  8-9,  10- 
11;  D64).    f-33b. 

67,  68.  Sixth  and  seventh  vials  poured  out  (Apoc.  xvi.  12-14, 
17-21  ;  D  65,  66).    f.  34  b. 

69,  70.  Angel  shows  St.  John  the  great  harlot,  sitting  by  the 
source  of  many  streams  ;  woman  seated  on  seven-headed  beast 
(Apoc.  xvii.  1,3-4;  D  67,  68).    f.  35  b. 

71,  72.  Angel  proclaims  the  fall  of  Babylon  ;  angel  casts  stone 
into  the  sea  (Apoc.  xviii.  1-18,  21  ;  D  69,  70).    f.  36  b. 

73,  74.  Chorus  of  praise  to  God  for  the  judgement  of  the  great 
harlot;  marriage  of  the  Lamb  (Apoc.  xix.  1-5,  7-8;  D  71,  72). 
f.37b. 

75,  76.  Angel  forbids  St.  John  to  adore  him;  the  King  of 
kings  on  a  white  horse,  and  in  the  wine-press  (Apoc.  xix.  9-10, 
11-16;  D73,  74).    f.  38  b. 

77,  78.  Fowls  called  to  the  great  slaughter ;  battle  between 
the  King  of  kings  and  the  beast  (Apoc.  xix.  17-18,  19;  D  75, 
76).    f.  39  b. 

79,  80.  Beast  and  false  prophet  cast  into  hell ;  Satan  chained 
and  cast  into  the  bottomless  pit  (Apoc.  xix.  20-21,  xx.  1-3  ; 
D77,78).    f.4ob. 

81,  82.  Resurrection  of  martyrs ;  release  of  Satan,  and  siege 
of  the  beloved  city  (Apoc.  xx.  4,  7-9  ;  D  79,  80).     f.  41  b. 


IO 


83,  84.  Devil  cast  into  the  lake  of  fire  ;  Last  Judgement  (Apoc. 
xx.  10,  1 1— 15  ;  D81,  82).    f.  42  b. 

85,  86.  New  Jerusalem,  descending  from  heaven ;  shown  to 
St.  John  by  angel  (Apoc.  xxi.  2,  9-10  ;  D  83,  84).    f.  43  b. 

87,  88.  Water  of  life,  proceeding  from  the  throne  of  God  and 
the  Lamb ;  angel  bids  St.  John  worship  not  him,  but  God 
(Apoc.  xxii.  1-5,  8-9 ;  D  85,  86).    f.  44  b. 

89,  90.   Christ's  discourse  to   §t.  John  (Apoc.  xxii.  10-21 ; 

Bound  in  mottled  calf,  18th  cent.,  with  arms  stamped  on  the  back:  or,  three  chevronels  gules,  the  shield 
surmounted  by  a  mitre;  motto, '  Veritas  vincit.'  Huth  book-plate.  The  Huth  Library,  i,  p.  39  ;  Burlington 
Fine  Arts  Club,  Cat.  of  Ilium.  MSS.,  1908,  no.  163.     [Add.  MS.  38131.] 


D  87) ;  St.  John  welcomed  by  the  people,  and  reviving  Drusiana 
(D  88,  89).    f.  45  b. 

91,  92.  St.  John  denounces  ill-founded  contempt  of  the  world, 
and  turns  sticks  and  pebbles  into  gems ;  at  his  prayer  the 
temple  and  image  of  Diana  fall  to  pieces  (D  91-93).    f.  46b. 

93,  94.  St.  John  drinks  poison  without  hurt ;  his  last  prayer, 
and  the  assumption  of  his  soul  to  heaven  (D  94,  95).    f.  47  b. 


IX 

BIBLE  HISTORY,  in  Flemish  :  Viz.  the  Octateuch,  1-4  Kings,  Ezra,  and  Tobit, 
with  a  Prologue,  and  with  a  commentary  mainly  derived  from  the  Historia  Scholastica 
of  Petrus  Comestor.  The  Prologue  begins  '  Onse  here  god  voirsiende  die  grote  droecheyt 
van  deuocien '.  f.  1.  It  contains  (f.  1  b)  a  reference  to  '  dat  passionael  [other  copies 
add  the  words  '  ofte  aurea  legenda ']  dat  wi  hiervoirtijts  te  duytsche  vten  latijn  maecten ', 
and  further  on  (f.  2  b)  the  author's  explanation  that  he  has  glossed  difficult  passages  in  the 
text  'wt  scolastica  hystoria'.  Printed  from  a  MS.  of  arc.  1400  by  I.  Le  Long,  Boek-zaal 
der  Nederduytsche  Bybels,  1732,  p.  235,  and  from  several  MSS.  by  C.  H.  Ebbinge  Wubben, 
Over  Middelnederl.  Vertalingen  van  het  O.  Testament,  1903,  p.  66 ;  also  prefixed,  in  an 
abridged  and  otherwise  modified  form,  to  the  early  printed  edition  (Delft,  1477)  of  the 
Dutch  Old  Testament.  The  last-named  edition  contains  the  same  Biblical  text  as  the 
present  MS.,  but  omits  the  commentary.  Prologue,  text,  and  commentary  are  all  contained 
in  Additional  MSS.  10043,  I53IO-II>  I54io,  and  16951,  described  by  K.  de  Flou  and 
E.  Gailliard,  Beschrijving  van  Middelned.  Hss.  in  Engeland,  nos.  1-5  {Verslagen  en  Mede- 
deelingen  der  K.  Vlaamsche  Acad.,  Ghent,  1895,  pp.  39-54),  and  by  R.  Priebsch,  Deutsche 
Hss.  in  England,  ii,  1901,  pp.  100,  133,  162.  These  and  many  other  MSS.  of  what  he 
calls  '  De  Bijbel  van  1360'  are  also  described  by  Wubben,  op.  cit.,  pp.  7-41. 

At  the  end  (ff.  379-381)  are  entries  of  deaths  and  burials  chiefly  in  the  family  of  Van  Zu[y]len  van  Nyvelt, 
in  and  about  Utrecht,  1517-1558  ;  also  a  note  of  the  Rhine  or  Leek  having  overflowed  as  far  as  Schalkwijk  on 
2  Dec.  1536. 

Vellum  ;  ff.  iii  +  381  (ff.  206,  249,  250  blank,  but  for  some  scribbled  memoranda  on  f.  250  b).  282  X  194  mm. 
About  the  middle  of  the  XV  cent  Double  columns  of  42  lines.  Gatherings  of  12  or  8  leaves  (i-viii,  x-xx", 
xxi-xxxvii",  ixia  besides  an  inserted  pair,  ff.  108,  109,  xxxviii3,  a  blank  leaf  having  been  cut  away  at  the  end). 
Headings  in  red,  initials  in  red  and  blue,  with  large  flourished  initials  at  the  beginnings  of  books.  The  text  is 
illustrated,  as  far  as  the  end  of  Ruth,  with  pen-and-ink  drawings,  touched  here  and  there  with  gold,  enclosed 
in  rectangular  frames  set  in  the  column  of  text,  of  the  same  width,  approximately,  as  the  text,  viz.  67  mm., 
but  varying  in  height  from  50  to  72  mm.  These  are  very  finely  executed  by  Flemish  artists,  the  drawing 
being  exquisitely  delicate.  In  the  remaining  books  are  blank  spaces  for  a  continuation  of  the  series.  The 
following  are  the  subjects  (for  nos.  16,  22,  35,  46,  56,  65,  92,  108,  in,  1x2,  113,  114,  see  pi.  8,  9)  :— 

1 -4 1.  Genesis. 

1-3.  Third,  fourth,  and  fifth  days  of  Creation.    In  the  margins 
are  some  preliminary  sketches  for  nos.  2  and  3.    ff.  5  b,  6,  7  b. 
4  Birth  of  Eve  ;  sketches  in  margin,    f.  9  b. 

5.  God  enthroned,     f.  1 1  b. 

6.  Adam,  with  Eve  standing  beside  him,  names  the  animals. 
f.  12. 

7.  The  Fail:  serpent  (or  rather  dragon)  with  human  face, 
in  a  tree  laden  with  golden  apples,  gives  one  to  Eve  ;  Adam  has 
one  already,    f.  13  b. 

8.  Expulsion  from  Paradise,    f.  15  b. 

9.  Sacrifices  of  Cain  and  Abel.    {.  17 
lily 
>  thi 

12.  Shame  of  Noah.     f.  25. 

13.  Building  the  tower  of  Babel,     f.  26  b. 

14.  Melchizedek,  standing  in  priestly  vestments  at  an  altar, 
gives  bread  and  wine  to  Abraham,  who  kneels  before  him. 
One  of  Abraham's  followers  holds  a  banner  with  the  arms  or,  a 
saltire  engrailed  tablt  (Van  Lockhorst,  of  Utrecht :  see  C.  de 
Erancquen,  Rtcueil  nobiliaire  dtt  Pays-Bat,  1826).     f .  29  b. 

15.  God  appears  to  Abraham,  and  fire  from  heaven  consumes 
his  sacrifice,    f.  31. 

16.  Abraham  welcomes  the  three  angels,    f.  33  b. 

17.  Destruction  of  Sodom,     f.  35  b. 


10.  Noah  and  his  family  entering  the  ark.    f.  21. 

1 1.  Dove  returning  to  the  ark. 


ag  the 
f.  23. 


18.  Birth  of  Isaac:  Sarah  sits  up  in  bed,  holding  the  swad- 
dled infant,  while  the  nurse  holds  a  saucepan  over  the  fire, 
f.  38.  ^ 

19.  Abraham  and  Abimelech  at  Beer-sheba.    f.  39. 

20.  Sacrifice  of  Isaac :  he  kneels,  and  Abraham  brandishes 
a  sword,  whose  blade  an  angel  seizes ;  God  appears  above  the 
altar,  on  which  wood  is  burning  ;  ram  stands  in  thicket,    f.  39  b. 

21.  Burial  of  Sarah,    f.  40  b. 

22.  Rebekah  gives  water  to  Eliezer  and  his  camels,    f.  42  b. 

23.  Rebekah  sends  Jacob  away  from  home.  Esau  returns 
from  hunting,    f.  46  b. 

34  Jacob  s  dream,    f.  48. 

25.  Laban  gives  Jacob  Rachel  for  his  second  wife.    f.  48  b. 

26.  Jacob  and  Laban  with  their  flocks  at  a  drinking-trough. 
f.  50  b. 

27.  Jacob's  sacrifice  at  Galeed.    f.  52. 

28.  Jacob  wrestles  with  the  angel,    f.  53. 
39.  Jacob  pours  out  a  libation  to  God  on  the  altar  at  Bethel. 

f.  S4b. 

30.  Burial  of  Rachel;  an  unintelligible  inscription  on  the 
tomb.    f.  55  b. 

31.  Joseph  cast  into  the  pit.    f.  57  b. 

32.  Judah  and  Tamar.     f.  59. 

33.  Joseph  and  I'otiphar's  wife.     f.  6a 

II  C    2 


34.  Pharaoh'*  chief  butler  reinstated,    f.  60  b. 

35.  Joseph  in  Pharaoh's  chariot ;  Asenath  looking  out  of  a 
window,     f.  61  b. 

36.  Jacob  refuses  to  let  Benjamin  go  with  his  brethren. 
f.63b. 

37.  Joseph  feasting  with  his  brethren,    f.  64  b. 

43-70.  Exodus. 

42.  Birth  of  Moses  :  similar  design  to  no.  18.  Van  Lockhorst 
arms  (cf.  no.  14)  on  a  cushion,    f.  73  b. 

43.  Infant  Moses  found  by  Pharaoh's  daughter,    f.  74  b. 

44.  Young  Moses  breaks  Pharaoh's  crown,  and  bums  his  own 
tongue  with  a  live  coal  (from  Historia  Scholastica,  Exod.,  cap.  5). 

t  75- 

45.  Moses  and  the  burning  bush.    f.  76. 

46.  Moses  returning  to  Egypt,  with  his  wife  and  infant  sons. 
f.  77  b. 

47.  Israelites  making  bricks,    f.  78  b. 

48.  Moses  and  Aaron  before  Pharaoh ;  first  plague,  rivers 
turned  to  blood,    f.  80  b. 

49.  Second  plague,  frogs,    f.  81. 

50.  Aaron  stands  at  an  altar,  three  Israelites  bring  him  each 
a  lamb ;  Moses  stands  in  the  background  (murrain  ?).    f.  82. 

51.  Moses  and  Aaron  stand,  the  former  with  hands  joined  in 
prayer,  the  latter  with  rod  uplifted  (plague  of  hail  ?).    f.  83. 

52.  Plague  of  locusts,    f.  84. 

53.  Israelites  eating  the  Passover,    f.  85  b. 

54.  Exhumation  of  Joseph's  bones  (Hist.  Schol.,  Exod.,  cap. 
27).    f.  86. 

55.  Pharaoh  and  his  host  in  the  Red  Sea.    f.  89. 

71-75.  Leviticus. 

71.  A  sacrifice  :  God  appears  above  the  altar,  which  Aaron 
is  censing  ;  Moses  holds  a  dish  or  bason,    f.  127. 

72.  A  sacrifice :  fire  on  the  altar ;  Aaron  holds  slaughtered 
victim  in  dish,  Moses  and  others  offer  living  victims,    f.  128. 

76-95.  Numbers. 

76.  Rite  of  reconciling  wife  and  jealous  husband,    f.  149  b. 

77.  The  princes  of  Israel  making  their  offerings  at  the  dedica- 
tion of  the  altar,     f.  1 52. 

78.  God,  appearing  above  the  altar,  speaks  to  Moses  and  the 
elders,    f.  1 54  b. 

79.  Israelites  catching  quails,    f.  155  b. 

80.  God  rebukes  Aaron  and  Miriam  at  the  door  of  the 
tabernacle.  Van  Lockhorst  arms  (above,  no.  14)  on  one  of  the 
tents,  inscribed  '  twapen  van  Lokhorst '  in  the  margin  by  a 
later  hand.    f.  1 56. 

81.  Spies  return 'from  the  land  of  Canaan,  bearing  a  cluster 
of  grapes,     f.  156  b. 

82.  Battle-scene :  Israelites  defeated  by  Amalekites  and 
Canaanites.    Van  Lockhorst  arms  on  banner,     f.  158. 

83.  Sabbath-breaker  stoned,    f.  159. 

96-98.  Deuteronomy. 

96.  Moses  sits  between  two  groups  of  elders,  an  open  book  on 
a  desk  before  him.    f.  202  b. 

97.  Moses  in  a  pulpit,  scroll  in  hand,  singing  his  song  before 

99-103.  Joshua. 

99.  Rahab  letting  down  one  of  Joshua's  spies  with  a  cord 
from  her  window.    I.  208. 

100.  Two  priests  carrying  the  Ark.    f.  209. 

101.  Israelites  storming  Jericho.  Banner  with  arms  or,  three 
bars  wavy  sable  (Van  den  Hattert,  of  Gelderland  ?).    f.  211. 

104- 1 1 2.  Judges. 

104.  Jael  kills  Sisera.    f.  229. 

105.  Gideon  and  the  fleece,    f.  230  b. 

106.  Gideon's  stratagem  of  trumpets  and  pitehers.    f.  232. 

107.  Death  of  Abimelech.    f.  235. 

108.  Birth  of  Samson  :  his  mother  sits  up  in  bed  and  rocks 
his  cradle  with  a  cord,  while  the  nurse  stirs  a  saucepan  which 
she  holds  on  the  fire.  Van  Lockhorst  arms  on  a  cushion,  f.  238. 


38.  Joseph's  cup  found  in  Benjamin's  sack.    f.  65. 

39.  Jacob  and  his  family  on  the  way  to  Egypt  in  wagons. 
f.  66  b. 

40.  Jacob  introduced  to  Pharaoh,    f.  68. 

41.  Battle-scene  (Simeon  and  Levi  slaying  Shechem  ?).    f.  69b. 


Moses  lifts  up  his 
f.  94  b. 


36.  Israelites'  song  of  thanksgiving ;  musicians  playing  harp, 
violin,  guitar,  and  other  instruments,    f.  90. 

57.  Shower  of  manna,    f.  91  b. 

58.  Battle  between  Israel  and  Amalek  ; 
hands,  resting  his  arms  on  a  stone,    f.  92  b. 

59.  Moses  receives  the  tables  of  the  law. 
60-62.  Animals  brought  to  Aaron  for  sacrifice,    ff.  99,  108, 

109. 

63.  Moses  receives  the  tables  of  the  law.    f.  m. 

64.  Israelites  bring  animals  to  Aaron  for  sacrifice  at  the  altar 
of  the  golden  calf ;  harpist     f.  m. 

65.  Israelites  dance  in  a  ring  round  the  golden  calf.    f.  112. 

66.  Moses  makes  the  Israelites  drink  the  water  into  which  he 
has  powdered  the  golden  calf.  Van  Lockhorst  arms  (see  no.  14 
above)  on  the  drinking- vessel,    f.  112  b. 

67.  68.  Offerings  for  the  sanctuary  given  to  Aaron  at  the 
altar,    ff.  116,  117. 

69.  Bezaleel  and  his  assistant  gilding  staves  for  the  table. 
f.  117  b. 

70.  Aaron  washes  his  hands  at  the  laver  before  the  altar. 
A  shield  of  arms  or,  a  chevron  sable  (Van  der  Heuvel  ?).  f.  1 19  b. 


73.  Two  priests  censing  an  altar,    f.  128  b. 

74.  Victim  offered  to  Aaron  at  the  altar,    f.  131  b. 

75.  Blasphemer  stoned,    f.  141  b. 


84.  Korah,  Dathan,  and  Abiram  swallowed  by  the  earth. 
f.  160. 

85.  Their  followers  consumed  by  fire  from  heaven,    f.  160  b. 

86.  Burning  of  heifer  for  purification,    f.  162  b. 

87.  Moses  striking  the  rock.    f.  163. 

88.  Aaron's  tomb  on  the  top  of  a  hill ;  Moses,  Eleazar,  and 
Israelites  below,    f.  164. 

89.  The  brazen  serpent,    f.  164. 

90.  Battle-scene:  death  of  Og,  King  of  Bashan.    f.  165. 
Balaam  and  the  angel,    f.  166. 

Balaam  received  by  Balak  and  his  counsellors,    f.  167  b. 
Phinehas  slays  Zimri  and  Coibi.    f.  169. 
Moses  on  Mount  Abarim,  Land  of  Promise  in  the  distance. 


Van  Lockhorst  arms 


91. 
92. 

93- 

94- 
f.  171. 

95.  Battle  between  Israel  and  Midian. 
on  banner,    f.  174  b. 

the  congregation,    f.  204. 
98.  Burial  of  Moses,    f.  205. 


102.  Stoning  of  Achan.     f.  212. 

103.  Battle  between  Israelites  and  Amorites ;  the  sun  stands 
still  at  Joshua's  bidding.  Van  Lockhorst  arms  on  banner,  in  a 
slightly  modified  form.     f.  214  b. 


109.  Samson  slays  Philistines  with  an  ass's  jawbone,  f. 
239  b. 

no.  Death  of  Samson,    f.  240  b. 

HI.  Levite  claiming  his  concubine  from  her  father's  house. 
f.  243. 

1 12.  Battle  between  Benjamin  and  the  rest  of  Israel,    f.  244  b. 


113, 114.  Ruth. 

1 1 3.  Ruth  gleaning,    f.  247.  kneels  before  him  and  draws  off  his  shoe,  the  witnesses  stand 

114.  Boaz    redeeming    the   kinsman's  claim  to   Ruth:    she      round,    f.  248. 

Apparently  executed  for  a  member  of  the  Van  Lockhorst  family,  of  the  province  of  Utrecht :  see  fore- 
going list,  nos.  14,  4a,  66,  79,-81,  94,  10a,  107.  Afterwards  probably  in  the  possession  of  the  family  of  Van 
Zuylen  van  Nyvelt:  see  death  entries  at  end,  noted  above.  Huth  book-plate.  The  Huth  Library,  i,  p.  165. 
[Add.  MS.  381 33.] 

12 


HOURS,  &c,  in  Dutch.  Contents: — (i)  Calendar.  In  red,  Pontian  (Jan.  14), 
Servatius  (May  13),  Boniface  (June  5),  Lebuin  (June  25  and  Nov.  12),  Lambert  (Sept.  17), 
Remy  (Oct.  1),  Victor  and  Gereon  (Oct.  10),  Willibrord  (Nov.  7) ;  pointing  clearly  to  the 
diocese  of  Utrecht,  f.  1  b ; — (2)  Notes  on  the  ecclesiastical  divisions  of  the  year.  f.  13  b ; — 
(3)  '  Die  seuen  getide  van  der  glorioser  ioncfrouwen  Marien ' :  Hours  of  the  Virgin. 
f.  16  b ; — (4)  '  Die  seuen  getide  van  der  ewigher  wijsheit ' :  Hours  of  the  Eternal  Wisdom, 
f.  67 ;— (5)  '  Die  seuen  lange  getide  van  den  heiligen  cruce ' :  Hours  of  the  Cross. 
Slightly  imperfect,  wanting  a  leaf  after  f.  116.  f.  94; — (6)  'Die  seuen  getide  van  den 
heiligen  geeste' :  Hours  of  the  Holy  Ghost,  f.  127; — (7)  Penitential  Psalms  and  Litany. 
ff.  155,  166 ; — (8)  Memorials  of  SS.  Peter  and  Catherine,  ff.  181,  182 ; — (9)  '  Die  lange 
vigilie  voer  die  gheloeuighe  sielen ' :  Vigils  of  the  Dead.     f.  183. 

Vellum  ;  ff.  1  +  232.  117X  86  mm.  Second  half  of  XV  cent.  Gatherings  of  10  leaves  (P,  with  4  single 
leaves,  iii8,  with  i  single  leaf,  xiii  wants  a  leaf  after  f.  116,  xvi12,  with  a  blank  leaf  cut  off,  xxiv4,  with  3  single 
leaves).  At  the  principal  divisions  (ff.  18,  68,  95, 128,  155,  184)  are  large  decorative  initials  in  blue,  red,  white, 
and  green,  with  gilt  studs,  and  full  borders  of  gilt  bars  and  disks,  with  flowers  and  foliage  in  gold  and  colours 
(for  f.  155  see  pi.  10  d).  Minor  border-decorations  in  the  same  style  fill  the  margins  of  the  pages  which  contain 
coloured  engravings  (see  below).  Apparently  belonged  to  the  artist  Maximiliaan  Anne  's  Gravesande  Guicherit 
(d.  1831,  at  Delft,  see  A.  J.  van  der  Aa,  Biogr.  Woordenboek,  vii,  1862,  p.  546) :  see  printed  label  on  f.  i, 
"s  Gravesande  Guicherit'.     Huth  book-plate.     The  Huth  Library,  ii,  p.  731.     [Add.  MS.  38123.] 

The  MS.  contains  twenty-one  engravings,  seventeen  of  which  are  by  the  artist  known  as  the  '  Master  of 
the  Berlin  Passion ',  after  a  Passion  series  inserted  in  a  MS.  prayer-book  of  1482  in  the  Berlin  Cabinet  of 
Engravings,  while  the  remaining  four  are  by  much  less  important  and  original  engravers. 


ENGRAVINGS  BY  THE   MASTER  OF  THE  BERLIN   PASSION. 

The  Master  of  the  Berlin  Passion,  who  ranks,  after  the  Master  E  S,  among  the  best  engravers  of  his  time, 
appears  to  have  worked  about  1 450-60.  The  earliest  terminus  ante  quern  hitherto  known  for  his  engravings 
is  1463,  the  date  of  a  MS.  at  Paris  which  contains  two  original  works  by  the  master,  as  well  as  copies  from 
his  engravings  by  the  Master  of  St.  Erasmus.  A  slightly  earlier  date  is  afforded,  however,  by  a  Dutch  MS. 
Bible  in  the  British  Museum,  Add.  MS.  15310-11,  the  first  volume  of  which,  written  before  24  Dec.  1462  for 
the  nuns  of  the  convent  of  St.  Katharinendael  at  Hasselt,1  contains  (f.  9)  an  undescribed  engraving  of  the 
Creation  of  Eve  by  the  Master  of  the  Berlin  Passion.  The  engraver,  according  to  the  researches  of  Dr.  Max 
Geisbcrg,  appears  to  have  worked  in  the  East  of  Holland,  various  indications  derived  from  the  dialect  of 
engraved  inscriptions  and  the  provenance  of  MSS.  containing  his  engravings  pointing  to  Arnheim  or 
Nymwegen  as  the  probable  locality.  There  is  reason  to  think,  however,  that  he  crossed  the  frontier  and 
settled  in  Westphalia,  for  an  extremely  plausible  hypothesis  of  Dr.  Geisberg's  identifies  him  with  the  father  of  the 
well-known  engraver  Israhel  van  Meckenem,  a  goldsmith  of  the  same  name,  who,  according  to  local  tradition, 
settled  late  in  life  at  Bocholt.  Local  archives  mention  a  goldsmith  residing  in  the  town  from  14.57  to  r459>  hut 
his  name  is  nowhere  recorded ;  from  1465  onwards  commissions  were  given  to  goldsmiths  residing  elsewhere. 
The  arguments  for  identifying  the  Master  of  the  Berlin  Passion  with  the  elder  Israhel  van  Meckenem  are,  first, 
the  presence  on  works  by  both  engravers  of  a  certain  '  house-mark ',  which  according  to  the  custom  of  the  time 
would  only  be  used  by  members  of  the  same  family  ;  secondly,  the  fact  that  Israhel  van  Meckenem  possessed 
and  retouched  a  number  of  plates  by  the  elder  engraver ;  and  thirdly,  the  resemblance  in  style  and  technique 
between  the  two  artists.  The  engravings  of  the  Master  of  the  Berlin  Passion  must  have  been  extensively 
circulated  along  the  Lower  Rhine,  on  the  German  side  of  the  frontier.  Many  copies  of  them  exist  from  the 
hands  of  the  Master  of  the  Banderoles,  the  Master  of  the  St.  Erasmus,  and  Israhel  van  Meckenem  ;  others 
are  to  be  found  among  the  '  Schrotblatter ',  produced  chiefly  at  Cologne. 

The  principal  authorities  on  this  engraver  are  Max  Lehrs,  '  Der  Meister  der  Berliner  Passion '  (Jaltrbuch 
der  Koniglich-Preussiscken  K  unstsammlungcn,  1900,  xxi.  135),  with  a  catalogue  of  his  works,  115  in  number, 
and  Max  Geisberg,  Der  Meister  der  Berliner  Passion  und  Israhel  van  Meckenem,  Strassburg,  1903.  See  also 
Geisberg's  Die  Anfdngc  des  deutschen  Kupferstiches  (Meister  der  Graphik,  Nr.  II),  pp.  115-118. 

The  engravings  inserted  in  the  Horae  arc  derived  from  three  sets,  a  Life  of  the  Virgin  (Lehrs  2-9),  a  Life 
of  Christ  (Lehrs  14-23).  and  a  Passion  series  (Lehrs  24-32) ;  they  also  include  two  single  saints  and 
a  representation  of  the  Blessed  Trinity.  All  are  coloured,  and  in  many  cases  the  entire  background  has 
disappeared  beneath  a  thick  layer  of  gold.     The  subjects  are : — 


1.  The  Presentation  of  the  Virgin  Mary  in  the  Temple. 
Lehrs  {Jahrbuth)  2  i.  70  x  46  mm.  (the  complete  subject  should 
measure  73  *  50  mm.).    First  state.     The  only  other  impression 


known,  in  the  second  state,  is  at  Brunswick.  Lehrs  doubts 
whether  this  subject  belongs  to  the  same  series  as  the  following 
(L.  3-9).    Geisberg  (Cat.  of  I.  v.  M.,  no.  u)  attributes  it  to 


1  Hasselt  in  Belgium  (province  of  Limbourg),  where  a  convent  of  Franciscan  tertiaries  was  founded  in  1430,  with  the  name 
Val  S"  Catherine:  see  Comptt-rendu  del  stances  d*  la  Commission  Royal*  d'Histoirt,  ix,  1845,  p.  75. 

'3 


Israhel  van    Meckenem,  and  regards  it  as  a  copy  of  a  lost  Museum,  attributed  by  Willshire  (ii,  p.   177,  H.  39)  to  the 

engraving  by  the  Master  of  the  Berlin  Passion,    f.  17  b.  Master  of  1466  (Master  E  S) ;  an  impression  of  the  second  state, 

2.  The  Marriage  of  the  Virgin.  Lehrs  3.  80x50  mm.  after  the  plate  had  been  retouched  by  Israhel  van  Meckenem 
The  background  is  gilt.   No  other  impression  is  known,  f.  27  b.  (Geisberg),  is  in  the  Albertina  at  Vienna,    f.  67  b. 

3.  The  Annunciation.    P.  ii.  212,  4;  Lehrs  4.    76  x54  mm.  10.  The  Mocking  of  Christ.    Lehrs  16.    68x50  mm.    The 
The  background  is  gilt    The  only  other  impression  known  is  in  background  is  gilt.    No  other  impression  is  known,    f.  103  b. 
the  liritish  Museum  (Willshire,  ii.  363,  17);   it  has  only  faint  II.  Christ  before  Pilate.     Lehrs  17.    68  x48mm.    The  back- 
traces of  colouring,    f.  37  b.  ground  is  gilt    No  other  impression  is  known,    f.  107  b. 

4.  The  Visitation.  Lehrs  5.  77  x52  mm.  The  background  12.  Christ  being  nailed  to  the  Cross.  Lehrs  18.  69  x51mm. 
is  gilt.  Another  impression,  more  perfectly  preserved  and  free  The  background  is  covered  with  opaque  blue.  No  other  im- 
from  colouring,  was  acquired  by  the  British  Museum  in  1911  pression  is  known,    f.  114  b. 

from  the  A.  Champemowne  collection.    The  complete  subject,  13.  The  Lamentation  for  Christ.     P.  ii.  203,  5;  Lehrs  30  ii. 

cut  slightly  within   the  plate-mark   except  on  the  left  side,  82  x  61  mm.    The  background  is  gilt.    Second  state,  probably 

measures  82  x  67  mm.    There  is  an  architectural  background  retouched  by  Israhel  van  Meckenem  (Geisberg).    An  impression 

with  a  vaulted  roof  resting  on  a  round  column,  two  windows  of  the  first  state,  before  the  retouch,  is  at  Berlin ;   no  other 

and  two  doors,  through  which  a  distant  landscape  is  seen,  impression  of  the  second  state  is  known,    f.  119  b.    See  pi.  10  b. 

f.  42  b.  14.  The  Descent  of  the  Holy  Ghost.    Lehrs  23.    68  x  49  mm. 

5.  The  Nativity.  Lehrs  6.  79  x  59  mm.  The  sky  is  gilt.  The  background  is  gilt.  One  other  impression  is  known,  at 
No  other  impression  is  known,    f.  46  b.  Paris,    f.  127  b. 

6.  The  Adoration  of  the  Magi.  Lehrs  7.  83x63  mm.  15.  St.  Peter.  Lehrs  54.  69x43  mm.  The  background  is 
The  sky  is  gilt    No  other  impression  is  known,    f.  50  b.  gilt.    No  other  impression  is  known,    f.  180 b. 

7.  The  Presentation  of  Christ  in  the  Temple.  Lehrs  8.  16.  St.  Catherine  of  Alexandria.  Lehrs  67.  73x46  mm. 
80  x  61  mm.  The  upper  part  of  the  background  is  gilt  No  The  background  is  gilt.  No  other  impression  is  known, 
other  impression  is  known,    f.  54  b.    See  pi.  10  a.  f.  181  b. 

8.  The  Coronation  of  the  Virgin.  Lehrs  9.  75><55  mm.  17.  Christ  descending  into  Hell.  P.  ii.  203,7;  Lehrs  31  ii. 
The  sky  is  gilt.    No  other  impression  is  known,    f.  61  b.  82  x  59  mm.    The  sky  is  gilt.    Two  impressions  of  the  first  state 

9.  The  Trinity.  B.  x.  35,  68 ;  P.  ii.  87,  33 ;  Lehrs  35  i.  are  known,  at  Berlin  and  Hamburg ;  this  is  the  only  known 
80  x61mm.  The  background  is  gilt.  This  impression  is  also  impression  of  the  second  state,  retouched  by  Israhel  van 
coloured,  but  the  background  is  white.    Two  other  impressions  Meckenem  (Geisberg).    f.  183  b.    See  pi.  io<r. 

of   the    first  state  are  known,  at   Liege  and  in  the  British 

ENGRAVINGS  BY  OTHER  HANDS. 

The  remaining  four  engravings  are  attributed  to  two  of  the  many  insignificant  and  nameless  craftsmen  of 
the  period,  whose  works  have  been  grouped  together  on  the  ground  of  some  technical  or  stylistic  peculiarities. 
The  first  three  are  by  the  engraver  named  by  Professor  Max  Lehrs  '  Der  Meister  mit  den  Blumenrahmen ',  the 
fourth  by  the  '  Master  of  the  Dutuit  Agony  in  the  Garden '.  These  prints  are  not  at  present  described  except 
in  the  Catalogue  of  the  Huth  Library.  Like  the  engravings  described  above,  they  are  coloured ;  the  back- 
grounds of  nos.  18  and  ai  are  gilt,  those  of  nos.  19  and  20  are  covered  with  opaque  blue. 

18.  The  Betrayal  of  Christ.  Huth  Cat.  ii.  731, 14.  73  x51mm.  20.  The  Entombment.  Huth  Cat.  ii.  731,  19.  76  x55  mm. 
f.  94  b.  f.  123. 

19.  Christ  bearing  His  Cross.  Huth  Cat.  ii.  731,  17.  21.  The  Last  Judgement.  Huth  Cat.  ii.  731,  21.  74  x53  mm. 
64  x42  mm.    f.  no.  f.  154  b. 


XI 

HOURS,  &c,  in  Latin  (with  a  few  prayers  and  rubrics  in  Italian),  according  to 
the  use  of  the  Humiliate  nuns.  Contents: — (i)  'Officium  beate  Marie  uirginis  secundum 
ordinem  Humiliatorum ' ;  the  'Capitulum'  in  Compline  (f.  74  b)  beg.  'Sorores,  sobrie 
estote'.  f.  1  b; — (2)  'Septem  psalmipenitentiales'.  f.  81; — (3)  'Letanie',  including  Bassianus 
[Bishop  of  Lodi],  Geminianus  [Bishop  of  Modena],  '  Miserilianus ',  and  Liberata.  f.  103  ;— 
(4)  '  Officium  sancte  crucis ',  including  (f.  129)  a  prayer  with  the  petition  '  Exaudi  me  .  .  . 
peccatricem  '.  f.  121 ; — (5)  '  Officium  sancti  Spiritus '.  f.  130 ; — (6)  Vigils  of  the  Dead. 
f.  138 ;— (7)  '  Letanie  beate  virginis  Marie '.  f.  205 ; — (8)  Prayers,  partly  in  Italian. 
f.  214  b.  Including  (a)  Eight  prayers,  each  beg.  'O  Domine  Iesu  Christe',  said  in  the 
rubric  to  have  been  indulgenced  by  St.  Gregory  the  Pope  in  consequence  of  his  vision  of 
the  Image  of  Pity  (cf.  H.  Thurston  in  The  Month,  Sept.  1908,  p.  312).  f.  234  b;— (b)  'O 
anima  Christi ',  an  expanded  version  of  the  '  Anima  Christi '.  f.  239 ; — (c)  Prayer  to  be 
said  before  the  '  Sudario ',  beg.  '  Dio  te  salua  sancta  faza '.  f.  243  b ;— (d)  '  Obsecro  te ', 
&c,  headed  '  Oratio  sancti  Augustini '.  f.  247  ;— (e)  '  Versi  miraculosi  da  dire  souenzo  ', 
beg.  'Illumina  oculos  meos'.  f.  249b;— (f)  Prayer  on  the  Seven  Words,  beg.  'Domine 
Iesu  Christe,  qui  septem  uerba'  [by  Bedaf?),  cf.  Migne,  Patrol  Lat.,  xciv.  561].  f.  251  b; — 
(g)  Fifteen  Oes  [not  the  same  as  those  found  in  English  devotional  books],  beg.  '  O  suauitas 
et  requies'.  With  rubric  at  the  end,  in  Italian,  setting  forth  the  spiritual  profits  to  be 
gained  by  their  use  before  a  crucifix,  f.  255 ; — (h)  Prayers  to,  and  in  commemoration  of, 
St.  Jerome,  f.  272b; — (k)  'Oratio  sancti  Augustini  comprehendens  horas  canonicas 
passionis  Christi,  confirmata  a  sancto  Gregorio  papa  cum   indulgentia  .ccc*.   dierum ', 

14 


beg.  '  Domine  Yesu  Christe,  tu  in  nocte  uinctus '.     f.  282 
Baptist,  beg.   '  Beatissime  Iohannis  (sic)  baptista '.     f.  284 
beg.  '  Ave  sanctissima  ' ;   with  rubric  '  Sistus  papa  quartus 
scriptam   orationem    duodecim   milia  annorum   de  uera 
Datum  Rome  anno  sui  pontificatus.  90.  m  cccc0  lxxx  '.    f. 
infelicem  famulam  tuam ',  '  mihi  peccatrici ',  &c,  occur  in 
230  b,  &c).    At  the  end  (ff.  286b-287b)  another  prayer, 
added  by  a  later  hand. 


b ;— (1)  Prayer  to  St.  John  the 
b ; — (m)  Prayer  to  the  Virgin, 
concessit  deuote  dicenti  supra- 
indulgentia  pro  qualibet  uice. 
285  b.  Such  phrases  as  '  me 
many  of  the  prayers  (ff.  224  b, 
beg.  '[P]ietate  tua',  has  been 


Vellum;  ff.  388.  122x91  mm.  End  of  XV  cent,  (after  1480,  see  above).  Gatherings  of  8  leaves 
(xxvi4,  xxxia,  last8).  Sec  fol.  '  Deus  in '.  Finely  illuminated  by  artists  of  the  Milanese  school,  with  fourteen 
full-page  and  two  smaller  miniatures  and  fifteen  historiated  initials.  Smaller  initials  in  gold,  on  blue  and 
crimson  grounds  decorated  with  white  tracery,  throughout.  The  miniatures  are  all  in  the  characteristic 
Italian  Renaissance  manner,  and  so  are  many  of  the  borders  which  surround  them.  Some  of  the  latter, 
however,  and  most  of  the  partial  borders  attached  to  the  historiated  initials,  show  signs  of  Franco-Flemish 
influence,  consisting  mainly  of  scroll-work  designs  of  foliage,  flowers  and  fruit  painted  on  the  plain  vellum 
surface.  The  border  on  f.  205  is  in  a  different  style,  but  still  suggests  Flemish  influence ;  it  is  composed  of 
pansies  on  a  gold  ground.     The  subjects  of  the  full-page  miniatures  are  as  follows  : — 


I  (Hours  of  the  Virgin.  Matins).  Annunciation ;  border- 
frame  of  Renaissance  ornaments  on  a  black  ground,    f.  I. 

3  (Prime).  Nativity :  the  Virgin,  St.  Joseph,  and  three 
child-angels  adoring  the  Infant  Christ.  Renaissance  border, 
black  ground,     f.  36  b. 

3  (Tierce).  Adoration  of  the  Magi.  Renaissance  border  in 
panels  of  blue,  crimson,  or  dark  green,     f.  43  b. 

4  (Sext).  Presentation.  Border  of  foliage-scrolls  on  plain 
ground,  with  a  roundel  in  the  centre  of  the  lowest  part,  con- 
taining a  pheasant  in  the  foreground  of  a  landscape,    f.  49  b. 

5  (None).  Flight  into  Egypt,  an  angel  leading  the  ass. 
Border  of  same  type  as  in  4.     f.  55  b. 

6  (Vespers).  Child-Christ  on  a  high  throne,  four  Doctors 
below,  two  on  each  side  of  the  steps  of  the  throne.  Border  as 
in  4,  with  ape  for  pheasant  in  roundel,    f.  61  b. 

7  (Compline).  Kiss  of  ludas.  Border  as  in  4,  but  the 
roundel  contains  the  face  of  Christ  on  a  white  cloth,  with  black 
background,    f.  75  b. 

8  (Penitential  Psalms).  Baptism  of  Christ.  Border  as  in  4, 
with  cock  in  roundel  at  foot  of  page ;  a  smaller  roundel  at  the 
top  contains  the  head  of  Christ,  with  black  background,    f.  81  b. 

9  (Litany).    Agony  in  the  garden.     Border    as    in    4,  but 


roundel  at  foot  of  page  contains  the  sacred  monogram  in  a 
rayed  circle,    f.  103  b. 

10  (Hours  of  the  Cross).  Christ  bearing  the  cross.  Renais- 
sance border,  of  same  type  as  in  3.    f.  121  b. 

11  (Hours  of  the  Holy  Ghost).  Crucifixion,  with  Mary  and 
John.     Border  as  in  4,  skull  in  roundel,    f.  130  b. 

12  (Vespers  of  the  Dead).  The  dead  Christ,  supported  by 
the  Virgin  and  St.  John,  partly  in  a  tomb  at  the  foot  of  the 
cross.  Border  as  in  3,  the  lowest  panel  containing  two  fawns  in 
the  foreground  of  a  landscape,     f.  137  b. 

13  (Matins  of  the  Dead).  Death  of  the  Virgin.  Top  panel 
of  border  crimson,  with  Renaissance  ornaments ;  in  the  other 
three  panels  a  landscape,  with  ape  at  foot  of  page  and  peacock 
in  a  tree  on  left-hand  side.  f.  149  b.  See  pi.  1 1  a,  and  Burlington 
Fine  Arts  Club,  Catalogue,  1 908,  pi.  157. 

14  (Litany  of  the  Virgin).  St.  Onuphrius,  with  white  hair  and 
beard,  clad  in  a  sleeveless  tunic  of  hair,  with  a  girdle  of  leaves, 
kneels  on  stony  ground  before  an  altar  in  his  hermitage ;  a 
white  dove  brings  him  bread.  Border  as  in  3,  in  lowest  panel 
a  landscape,  with  putto  sitting  on  sea-monster's  back  (half-griffin, 
half-fish)  and  playing  on  pipes  in  foreground,  f.  204  b.  See 
pi.  1 1  b. 


One  of  the  two  smaller  miniatures  is  at  the  foot  of  f.  17 :  a  charming  picture  of  a  putto  sitting  on  the 
ground  and  playing  with  teasels  and  a  caged  bird  (see  pi.  1 1  c).  The  other  is  on  f.  37,  at  the  beginning 
of  Prime  of  the  Virgin  ;  it  represents  the  martyrdom  of  St.  Erasmus,  two  men  turning  a  windlass  which  draws 
out  his  entrails. 

The  historiated  initials  contain  half-length  figures  representing  the  Virgin  and  Child  (f.  1  b),  St  John  the 
Baptist  (f.  44),  St.  Jerome  (f.  56),  David  (f.  82),  Pentecost  (f.  131),  a  child  holding  a  skull  (f.  138),  the  Virgin 
(f.  205,  see  pi.  \id),  Gethsemane  (f.  255),  and  various  unidentified  saints  (ff.  17,  50,  62,  76,  104,  12a,  150,  the 
last  reproduced  in  the  Burlington  Fine  Arts  Club  Catalogue,  pi.  157). 

The  illumination,  as  observed  above,  is  mainly  Milanese  in  style ;  and  the  Humiliate  Order  flourished 
chiefly  in  northern  Italy,  and  particularly  in  and  about  Milan.  It  is  to  be  noted,  however,  that  the  miniatures 
include  representations  of  SS.  Onuphrius  and  Erasmus,  who  were  the  objects  of  special  devotion  in 
Benevento,  Gaeta,  and  Naples. 

Apparently  belonged  in  1801  to  the  Cistercian  monastery  of  Salem,  or  Salmansweiler,  in  the  diocese  of 
Constance  (dissolved  in  1803,  see  A.  Krieger,  Topogr.  Worterb.  des  Grosskcrzogtums  Baden,  ii,  1905,  coll. 
722-732) :  see  f.  i  b, '  B  :  M  :  V  :  in  Salem ' ;  f.  288  b,  '  Reverendissimus  DD.  Robertus  [Schlecht]  Abbas  in 
Salem.  Andreas  Prior  in  Salem,  anno  1801.'  Huth  book-plate.  The  Huth  Library,  iii,  p.  1056  ;  Burlington 
Fine  Arts  Club,  Cat.  of  Ilium.  MSS.,  no.  261,  pi.  157.     [Add.  MS.  38124.] 


XII 

POEMS,  in  Italian,  by  Petrarch,  viz.  :— 

1.  Sonetti  1-42  and  Canzoni  1-12,  agreeing  with  pp.  1-85  of  Le  Rime  di  Francesco 
Petrarca,  ed.  G.  Mestica,  1896,  except  that  Sonetti  2  and  3  are  transposed,  as  in  the 
Laurentian  MS.  pi.  xli,  n.  17.  The  first  four  lines  of  Son.  1  are  omitted,  except  for 
the  illuminated  initial  (doubtless  intended  to  have  been  written  in  gold,  cf.  art.  2);  and 
so  are  the  initials  of  all  the  other  poems,     f.  3. 

'5 


a.  Trionfi,  viz.  Trionfo  d'  Amore,  f.  34 ;  della  Pudicizia,  f.  50  b ;  della  Morte,  f.  56 ; 
della  Fama,  f.  63  b  ;  del  Tempo,  f.  77  b  ;  dell'  Eternita,  f.  81  b.  Agreeing  with  Mestica's 
edition,  as  above,  pp.  522-660,  with  the  following  exceptions : — In  the  Trionfo  d'  Amore 
the  last  sixteen  lines  of  Canto  3  (f.  45  b)  are  as  in  the  footnote  on  p.  559.  In  the  Trionfo 
della  Morte  the  last  line  is  omitted.  In  the  Trionfo  della  Fama  Canto  1  (ff.  63  b-67)  agrees 
with  the  version  printed  by  Mestica  in  an  appendix  (pp.  670-674) ;  Canto  2  (ff.  68-70  b) 
agrees  with  Mestica's  Canto  1  (pp.  605-614),  except  the  opening  24  lines  (printed  by 
Mestica,  pp.  604-605,  footnote);  Canto  3  (ff.  700-74)=  Mestica's  Canto  2  (pp.  614-623); 
Canto  4  (ff.  74-76  b)  =  Mestica's  Canto  3  (pp.  625-632).  The  first  three  lines  of  Trionfo 
d'Amore  in  gold  capitals;  the  first  three  lines  of  the  other  Trionfi,  and  canto-initials 
throughout,  are  omitted  (cf.  art.  1).  Ff.  44  b  and  54  b  have  been  left  blank,  but  the  text 
runs  on  in  each  case  without  a  lacuna.  Ff.  85  and  86  have  been  misplaced  in  binding ; 
they  should  follow  f.  57. 

Vellum  ;  ff.  88  (ff.  2,  87,  88  blank).  197  X  130  mm.  Late  XV  cent.  Gatherings  of  10  leaves  (quire  i  has 
2  leaves,  quire  v  has  II,  and  quire  x  has  5  besides  the  two  which  belong  to  quire  vii).  Neatly  written  in 
minuscules  of  the  Italian  Renaissance  type  known  as  '  scrittura  umanistica  ',  and  decorated  by  illuminators  of 
the  Milanese  school  with  three  full-page  miniatures,  one  nearly  full-page,  and  one  small  one,  and  with  initials 
and  full  borders  on  seven  pages  (ff.  3,  34,  50  b,  56,  63  b,  77  b,  81  b).  The  borders  especially,  filled  with  putti, 
cornucopiae,  and  other  Renaissance  ornaments  on  blue,  dark  green,  and  crimson  grounds,  recall  the  decorations 
of  the  Sforza  Book  of  Hours  (Add.  MS.  34294,  executed  for  the  Duchess  Bona  about  1490),  and  clearly 
emanate  from  the  same  school.     The  miniatures  are  as  follows  : — 

I  (full-page).   Triumph  of  Love.    f.  33  b.     See  pi.  i2<j:  also  aureole  shoots  at  a  nymph  protected  by  a  shield  ;   below,  in 

in  Burlington  Fine  Arts  Club,  Cat.,  1908,  pi.  127.  foreground,  nymphs  bind  Cupid  and  break  his  bow.    f.  50. 

3  (small,   in   rectangular  frame).    Landscape,  with   classical  4   (nearly    full-page).    Petrarch   conversing  with    the    dead 

portico  and  other  buildings  on  an  island,     f.  44.  Laura,     f.  58. 

3  (full-page).   Triumph    of   Chastity :    above,   Cupid  in  an  5  (full-page).  Triumph  of  Fame.    f.  67  b. 

Apparently  executed  for  a  member  of  the  Romei  family  of  Ferrara  (created  Counts  of  Bergantino  in  1 46a, 
see  L.  Ughi,  Dizion.  degli  uomini  illustri  Ferraresi,  ii,  1804,  p.  137),  one  of  the  borders  (f.  34,  see  pi.  12  b  and 
B.  F.  A.  C,  Cat.,  pi.  127)  having  a  shield  of  arms,  per  fess,  azure  and  argent,  a  greyhound  salient  counterchanged 
collared  gules ;  but  the  collar  is  omitted  in  the  Romei  arms  as  given  by  A.  Libanori,  Ferrara  d"Oro,  iii,  1674, 
pp.  34,  274.  In  Italian  binding,  1 7-1 8th  cent.,  of  red  morocco  elaborately  tooled  in  gilt,  with  a  fan-pattern 
centre  and  corner-pieces.  Huth  book-plate.  The  Huth  Library,  iv,  p.  1132  ;  Burlington  Fine  Arts  Club,  Cat. 
of  Ilium.  MSS.,  no.  193,  pi.  127.     [Add.  MS.  38125.] 


XIII 

HOURS,  &c,  in  Latin.  Contents  : — (1)  Calendar,  including  Boniface  (June  5), 
Remy  (Oct.  1),  and  Martin  (Nov.  11)  in  gold,  Servais  (May  13)  and  Eloy  (Dec.  1)  in  blue, 
Arnulph,  Bishop  [of  Metz]  (July  18),  Bertin  (Sept.  5),  and  Gereon  (Oct.  10)  in  black;  also 
Bernardino  of  Siena  (May  20)  in  blue.  f.  1  b; — (2)  'Officium  (i.  e.  Horae)  passionis  Domini 
nostri  Ihesu  Christi '.  f.  15 ; — (3)  Hymn  on  the  Passion,  beg.  '  Omnibus  consideratis '. 
Nearly  identical  with  F.  W.  E.  Roth,  Lai.  Hymnen,  1887,  no.  81,  but  divided  into 
eight  sections  of  two  stanzas  each,  and  having  two  additional  sections  at  the  end,  addressed 
to  the  Virgin  and  St.  John  ('  O  Maria  plasma  nati '  =  Chevalier,  Repert.  Hymn.,  no.  30648, 
and  'O  Iohannes  euangelista ').  Followed  by  versicles  and  a  prayer,  f.  32;— (4)  'Salu- 
taciones  ad  sacrosanctum  sacramentum ',  with  a  prayer  to  the  users  of  which,  'inter 
eleuationem  corporis  Christi  et  tercium  Agnus  Dei',  Boniface  'sextus'  (for  VIII,  1294- 
1303)  granted  2000  years'  indulgence  '  ad  supplicationem  regis  Francie  Philippi '  (IV,  1285- 
1314).  f.  35  b ; — (5)  '  Hore  sancte  Crucis '.  f.  40 ;— (6)  '  Hore  de  Sancto  Spiritu '.  f.  46  ;— 
(7)  '  Missa  beate  Marie  virginis '.  f.  50 ;— (8)  '  Hore  beate  Marie  uirginis  secundum  con- 
suetudinem  Romane  curie',  f.  54;— (9)  'Officium  [B.M.V.]  quod  dicitur  per  totum 
aduentum'.  f.  103; — (10)  'Septem  psalmi  penitenciales '  and  Litany,  ff.  no,  117;— (n) 
Memoriae  sanctorum,  viz.  '  De  S.  Veronica '  ('  Salue  sancta  facies '  =  Chevalier,  no.  18189), 
f.  123;  'De  Trinitate',  f.  124;  '  De  S.  Sacramento',  f.  124b;  'Oratio  S.  Gregorii  ad 
Christum  redemptorem  nostrum',  f.  126;  'De  S.  Iohanne  baptista',  f.  127;  '  De  S. 
Sebastiano  martire  '  ('  O  sancte  Sebastiane '  =  Chev.  13708),  f.  128 ;  '  Oracio  B.  Thome  de 

16 


Aquino',  beg.  'Concede  michi  misericors  Deus',  f.  130;  '  De  S.  Iohanne  euangelista ', 
f.  132;  'De  S.  Anthonio  confessore',  f.  134;  '  De  S.  Iacobo',  f.  136;  '  De  S.  Christo- 
foro',  f.  138;  'De  S.  Georgio'  ('Georgi  martir  indite,  te  decet  laus  et  gloria',  not  in 
Chev.),  f.  140;  'De  S.  Nicolao  confessore',  f.  141;  'De  S.  Laurentio',  f.  142;  '  De  S. 
Katherina'  ('Gaude  uirgo  Katherina '  =  Chev.  6991,  f.  144),  f.  142b;  'De  S.  Barbara', 
f.  146;  'De  S.  Appollonia',  i.  147;  'De  S.  Maria  Magdalena',  f.  149;— (12)  'Vigilie 
mortuorum'.  f.  151;— (13)  '  Missa  pro  mortuis'.  f.  179;— (14)  '  Missa  omnium  angelorum'. 
f.  182;— (15)  'Missa  in  die  omnium  sanctorum',  f.  185;— (16)  'In  die  Natiuitatis  ad 
missam'.  f.  188;— (17)  'Officium  (i.e.  Missa)  sancte  crucis'.  f.  191; — (18)  'Officium  in 
die  ueneris  sancte  {sic) ' :  Adoration  of  the  Cross,  and  Passion  according  to  St.  John. 
C  J93 ; — (!9)  '  Septem  uerba  Domini  nostri  Ihesu  Christi  in  cruce  pendentis ' :  a  prayer 
(see  above,  no.  xi,  f.  251  b).  f.  202 ;— (20)  '  Deuota  salutacio  ad  beatam  uirginem  Mariam ' : 
the  '  Stabat  mater '.  f.  203  b ;— (21)  '  In  die  Pasche  ad  missam '.  f.  206 ;— (22)  Memoria 
'in  ascensione  Domini',  f.  210; — (23)  'Missa  de  Trinitate'.  f.  211 ; — (24)  'Psalterium  de 
passione  Domini '.  f.  215 ;— (25)  '  Psalterium  sancti  Ieronimi '.  f.  228 ;— (26) '  Obsecro  te ' 
and  '  O  intemerata '.   ff.  241,  243 ; — (27) '  Orationes  dominicales '  throughout  the  year.   f.  245. 

At  the  beginning  (ff.  i— it b,  i)  are  an  '  Oraison  a  son  bon  angle'  and  '  Oraison  (i. e.  Memoria)  de  sainct 
Louys '  in  Latin,  and  prayers  to  Christ  and  the  Virgin  and  '  Meditations  sainct  Augustin '  in  French,  in  various 
hands  of  the  16th  and  17th  centt.  At  the  end  (ff.  252  b,  iii-v)  are  prayers  in  French,  16th  cent.,  by  a  lady 
('pecheresse  je  suy'),  including  an  invocation  of  St.  Anne;  described  in  a  slightly  more  recent  hand  as 
'  Orazioni  di  una  deuota,  la  quale  possede  il  presente  libro '.  The  posterior  cover  is  lined  with  a  fragment  of 
a  I4th-i5th  cent.  Latin  theological  MS.,  containing  part  of  an  exposition  of  Matth.  xxvi.  41. 

Vellum  ;  ff.  viii  +  252  (ff.  38,  214  blank).  148  x  116  mm.  Circ.  1500.  With  24  full-page  miniatures  and 
74  smaller  ones,  including  two  occupation-pictures  in  small  roundels  for  each  month  in  the  Calendar.  Full 
borders  to  the  twelve  Calendar-pages  and  to  all  the  pages  with  small  miniatures,  as  well  as  to  some  of  those  with 
large  miniatures;  partial  borders  to  all  the  text-pages.  For  eight  of  the  full-page  miniatures  and  eight 
other  pages  see  pi.  13-16.  The  whole  decoration  is  not  only  profuse  but  exquisitely  finished,  and  the  volume 
is  one  of  the  most  perfect  examples  of  Flemish  illumination  of  the  period.  It  belongs,  in  fact,  to  that 
remarkable  group  of  MSS.  whose  best-known  representative  is  the  Grimani  Breviary  at  Venice  ;  for  others  see 
Burlington  Magazine,  x,  1906-7,  p.  400,  and  for  a  fuller  list  G.  Coggiola,  Le  Breviaire  Grimani,  1908  (introd. 
to  the  Reproduction  complete,  ed.  S.  de  Vries  and  S.  Morpurgo,  1904,  &c),  p.  147.  It  is  most  closely  allied,  perhaps, 
to  Mr.W.  A.White's  MS.,  a  Prayer-book  said  to  have  been  made  for  Joan  of  Castile  (see  below,  nos.  16, 23  of  the 
large  miniatures  and  no.  41  of  the  small).  Probably  executed  by  Bruges  artists,  it  shows  the  influence  of  Memlinc 
and  David  in  many  of  the  miniatures.  The  borders  are  mostly  of  the  characteristic  late- Flemish  style,  flowers, 
strawberries,  birds,  butterflies,  and  other  insects,  painted  with  the  most  minute  naturalism,  together  with  sprays 
or  scrolls  of  more  or  less  conventional  foliage,  on  grounds  of  pale  straw-colour,  dead-gold,  grey,  light  green,  or 
pink  ;  but  the  border-frame  on  one  page  (f.  67)  is  filled  with  cameos,  pearls,  and  other  Renaissance  ornaments, 
on  another  (f.  92)  with  lattice-work,  each  lozenge  containing  an  escallop.  The  miniatures  vary  in  style,  and 
are  doubtless  by  more  than  one  hand  ;  but  in  them,  as  in  the  borders,  an  exceptionally  high  level  of  excellence 
is  maintained.  Six  of  the  large  miniatures  (nos.  3,  10,  11,  15,  20,  24)  are  strikingly  different  from  the  rest  in 
style,  having  figures  on  a  much  larger  scale,  with  backgrounds  of  dead-gold  instead  of  sky  and  landscape ;  and 
two  of  these  (nos.  15,  20)  are  not  improbably  by  a  different  artist  from  the  other  four.  Landscape  is  treated 
in  most  of  the  miniatures  (small  as  well  as  large)  with  the  skill  which  characterized  the  school ;  particularly  in 
nos.  4,6, 16,  17  of  the  large  miniatures,  and  in  the  Calendar-medallions.  The  colouring  is  soft  and  harmonious 
throughout.     The  following  are  the  subjects : — 


I.  Full-page  miniatures. 

1  (Hours  of  the  Passion).  Abraham's  sacrifice :  hovering 
angel  grasps  his  uplifted  sword  by  the  blade,  and  points  to  ram 
in  thicket,    f.  14  b. 

a  (Hours  of  the  Cross).  Crucifixion,  with  the  two  thieves : 
several  figures,  three  on  horseback  ;  St.  John  stands,  the  Virgin 
and  Three  Maries  sit,  at  the  foot  of  the  cross  ;  view  of  Jerusalem. 
f.39b. 

3  (Hours  of  the  Holy  Spirit).  Pentecost :  half-length  figures 
of  Mary  and  the  Apostles,  the  Dove  hovering  above  their  heads. 
In  a  different  manner  from  most  of  the  other  miniatures :  figures 
on  a  larger  scale,  background  dead-gold  (cf.  nos.  10,  11, 1$,  20, 
34  below;,     f.  45  b.     See  pi.  14  f. 

The  leaf  before  f.  54  (Hours  of  the  Virgin)  has  been  cut  out, 
no  doubt  for  the  sake  of  the  miniature  ;  and  there  has  perhaps 
been  a  similar  mutilation  before  f.  50  (Mass  of  the  Virgin). 

4  (Lauds  of  the  Virgin).  Visitation:  Mary  and  Elizabeth 
meet  in  the  garden  of  a  country  house.  One  of  the  most  beauti- 
ful pictures  in  the  volume,  figures,  buildings,  and  landscape 
alike  admirable,    f.  66  b.     See  pi.  130. 

5  (Prime).  Nativity:  Mary  adores  the  Infant  Christ,  Joseph 
stands  by  with  lantern,  in  a  shed  with  thatched  roof;  ox  and 
ass  ;  landscape,    f.  75  b. 


6  (Tierce).  Angel  and  shepherds  (one  shepherdess) :  fine 
landscape,  with  river,  city,  and  bridge,  and  distant  hills,    f.  79  b. 

7  (Sext).  Adoration  of  the  Magi :  grey-haired  Mage  kneels 
before  the  Virgin  and  Child  in  a  thatched  lean-to ;  the  two 
others  (one  black)  stand  outside ;  their  retinue  approaching. 
Framed  in  a  border  of  butterflies,  pansies,  carnations,  and  gilt 
scroll-foliage  on  a  dark  grey  ground,     f.  83  b.     See  pi.  14  a. 

8  (None).  Presentation :  the  Virgin,  attended  by  St.  Joseph 
and  four  women,  presents  the  Infant  Christ  to  the  High  Priest, 
who  stands  under  a  canopy  behind  an  altar  ;  in  the  foreground 
stands  a  maid  carrying  a  candle  in  one  hand,  two  doves  in 
a  basket  in  the  other,    f.  87  b.    See  pi.  13  4. 

9  (Vespers).  Massacre  of  the  Innocents,    f.  91  b. 

10  (Compline).  Coronation  of  the  Virgin  :  half-length  figures 
of  Christ  and  the  Virgin,  both  wearing  crowns.  Large  scale, 
dead-gold  ground,  as  in  no.  3  above.    £97  b. 

11  (Advent  Office).  Virgin  and  Child,  playing  with  a  bead 
necklace.  Large  scale,  dead-gold  ground,  as  in  nos.  3  and  10 
above,    f.  1  oa  6. 

13  (Penitential  Psalms).  Last  Judgement:  Christ,  showing 
His  wounds  and  wearing  the  crown  of  thorns,  sits  on  a  rainbow, 
His  feet  on  an  orb,  within  a  rnandorla  ;  groups  of  saints  to  left 


'7 


and  right,  headed  by  the  Virgin  and  St.  John  the  Baptist  ; 
below,  an  angel  sounds  a  trumpet,  three  angels  help  souls  to 
rise,  other  souls  are  dragged  down  to  hell  by  devils.  Border- 
frame  of  butterflies,  flowers,  and  strawberries  on  dead-gold 
ground,     f.  109  b. 

13.  Mass  of  St.  Gregory  :  he  kneels  at  the  consecration,  his 
mitre  laid  on  the  altar,  his  chasuble  held  up  by  a  deacon,  who 
also  holds  a  tail  candle  ;  and  he  gazes  in  ecstasy  at  an  appari- 
tion of  Christ  standing  on  the  altar,  clad  in  a  loin-cloth  and 
showing  His  wounds ;  on  the  wall  to  the  right  of  the  altar  are 
the  instruments  of  the  Passion,    f.  125  b.    See  pi.  13  c. 

14.  Temptation  of  St.  Antony :  he  sits  outside  his  thatched 
hut  in  a  forest  glade,  an  open  book  on  his  knees ;  and  is  offered 
a  wine-cup  by  the  devil  disguised  as  a  fashionably  dressed 
woman,  with  tall  conical  hat,  long  veil,  and  low-necked  gown, 
but  showing  claws  beneath  a  brocaded  petticoat,    f.  133  b. 

15.  St.  James,  with  pilgrim's  staff  and  scrip,  addresses  three 
men  ;  above,  an  angel  holds  two  devils  bound  with  a  fiery  chain 
(Legenda  A  urea,  ed.  Graesse,  1846,  cap.  99,  p.  423).  On  dead- 
gold  ground,  and  otherwise  resembling  nos.  3,  10,  and  11  in 
manner,  though  the  figures  are  not  on  so  large  a  scale.  Frame- 
border  of  butterflies,  flowers,  and  gilt  foliage-scrolls  on  dark 
grey  ground,    f.  135  b. 

16.  St.  Christopher  wading  across  a  creek  between  precipitous 
cliffs,  staff  in  hand,  the  Child-Christ  on  his  shoulder ;  half-way 
up  the  right-hand  cliff,  which  he  is  approaching,  a  monk  holds 
a  lantern ;  sailing-boat  in  the  offing.  This  treatment  of  the 
subject  is  almost  identical  with  that  in  the  MS.  Prayer-book 
said  to  have  been  made  about  1496  for  Joan  of  Castile,  and  now 
in  the  possession  of  Mr.  W.  A.  White  of  New  York  (see  Brit. 
Mus.,  MS.  Facs.  108,  f.  14).    f.  137  b.    See  pi.  13  d. 

17.  St.  George  stands  in  the  foreground,  with  the  dragon, 
leading  it  by  a  cord  fastened  round  its  neck ;  behind  him  stands 
his  white  horse,  and  the  princess  kneels  a  little  way  off,  a  white 
goat  standing  beside  her ;  fine  landscape,  with  fortified  city  and 
bridge  at  the  mouth  of  a  river,    f.  139  b. 


18.  St.  Catherine  kneels  in  prayer,  richly  dressed  and  wearing 
a  crown ;  flames  from  the  darkened  sky  and  fragments  of  the 
shivered  wheels  fall  on  a  panic-stricken  crowd  of  executioners 
and  spectators.  Frame-border  of  detached  white  flowers  (sweet- 
pea,  daisy,  &c.)  on  dead-gold  ground,     f.  143  b. 

19.  St.  Barbara  stands  in  the  courtyard  of  a  castle,  disputing 
with  her  father ;  greyhound  and  spaniel  before  them,  peacock 
and  peahen  behind  them.    f.  145  b. 

20.  Noli  me  tangere:  half-length  figures  of  Christ  showing 
His  wounds  and  holding  a  spade,  and  St.  Mary  Magdalene 
holding  a  spice-pot ;  dead-gold  ground  (cf.  no.  15  above). 
Frame-border  of  detached  flowers  on  dead-gold  ground,  f.  148  b. 
See  pL  \$d. 

21  (Vigils  of  the  Dead).  Raising  of  Lazarus  :  in  the  foreground 
Lazarus  stands  in  an  open  grave,  and  lifts  his  hands  in  prayer 
to  Christ,  who  stands  facing  him  at  the  foot  of  the  grave  ;  beside 
Lazarus  stoops  a  man  who  has  set  the  tombstone  transversely, 
and  several  persons  look  on  amazed  ;  the  end  of  a  church  in  the 
background.  Frame-border  of  detached  flowers  on  dead-gold 
ground,    f.  150  b.     See  pi.  14  b. 

22.  Ascension  :  above,  Christ  in  a  rayed  mandorla,  showing 
the  wounds  in  His  hands,  surrounded  by  angels,  and  outside 
them  two  groups  of  nude  half-length  figures  of  patriarchs; 
below,  the  Virgin  and  eleven  apostles  kneel  looking  upwards. 
Frame-border  of  flowers,  birds,  and  gilt  foliage-scrolls  on  a 
greyish-green  background,    f.  209  b. 

23  (Psalterium  S.  Hieronymi).  St.  Jerome,  tonsured  and  wear- 
ing only  a  sleeveless  shirt,  boots,  and  stockings,  kneels  before  a 
crucifix  in  a  wood,  and  beats  his  breast  with  a  stone  ;  his  purple 
hat  and  cloak  are  on  a  tree  behind  him,  his  thatched  nut  is 
a  little  way  off.  This  closely  resembles  the  St.  Jerome  picture 
in  Mr.  White's  MS.  (see  above,  no.  16).     f.  227  b. 

24  (Obsecro  te).  The  Virgin  mourning  over  the  dead  Christ : 
half-length  figures,  on  dead-gold  ground  (cf.  no.  3  above,  which 
is  plainly  by  the  same  hand),    f.  240  b. 


II.  Calendar-medallions  and  other  small  miniatures. 


I,  2  (Jan.).  Warming  hands  and  feasting;  walking  through 
the  snow  (Aquarius).    fT.  I  b,  2. 

3,  4  (Feb.).  Lopping  trees  (see  pi.  15  a) ;  carrying  the  loppings 
home  (Pisces),    ff.  2  b,  3. 

S,  6  (Mar.).  Pruning  vines  ;  manuring  land  (Aries),    ff.  3  b,  4. 

7,  8  (Apr.).  Lovers  taking  a  country  walk ;  shepherd  piping, 
his  dog  dancing  (Taurus),    ff.  4  b,  5. 

9,  10  (May).  Gallant,  hawk  on  fist,  rides  on  a  white  horse, 
with  a  lady  seated  behind  him ;  girl  sits  in  meadow  weaving 
garlands  (Gemini),    ff.  5  b,  6. 

II,  12  (June).  Hay  harvest,  with  windmill  and  city-gate  in  the 
distance  ;  children  bathing  at  a  ford  (Cancer),    ff.  6  b,  7. 

*3>  14  (July)-  Corn  harvest ;  shepherd  with  dog  tending  sheep 
(Leo),    ff.  7  b,  8. 

15,16  (Aug.).  Threshing  (see  pi.  15  ^) ;  winnowing  (Virgo). 
ff.  8  b,  9. 

17,  18  (Sept.).  Vineyard  outside  a  city,  man  and  three  women 
gathering  grapes;  treading  the  wine-vat  (Libra,  a  woman  hold- 
ing a  balance),    ff.  9  b,  10. 

19,  20  (Oct).  Sowing ;  man  carrying  a  heavy  load  in  a  sack 
on  his  shoulders  (Scorpio),    ff.  10  b,  11. 

21,  22  (Nov.).  Man  beating  a  tree  with  a  long  staff,  pigs 
feeding  below;  man  driving  pigs  (Sagittarius),  ff.  lib,  12. 
The  text  on  f.  12  is  set  between  two  pillars,  round  which  is 
entwined  a  scroll  inscribed  MY  YM. 

23,  24  (Dec.).  One  man  adjusts  the  cords  holding  an  ox, 
another  prepares  to  fell  it  with  a  hammer ;  man  cutting  up  a 
pig  (Capricornus).    ff.  12  b,  13. 

25  (Matins  of  the  Passion).  The  agony  in  the  garden,    f.  15. 

26  (Lauds).  Christ  blindfold,  buffeted,    f.  20  b. 

27  (Prime).  Christ  before  Pilate,    f.  22  b. 

28  (Tierce).  Christ  bound  to  a  pillar  and  scourged,    f.  23  b. 

29  (Sext).  Christ  bearing  the  cross,    f.  25. 

30  (None).  Crucifixion,  the  piercing  of  Christ's  side.    f.  26  b. 

31  (Vespers).  Nicodemus  and  Joseph  bearing  the  dead  Christ, 
the  Virgin  and  St.  John  following,    i.  28. 

32  (Compline).  Entombment,    f.  29  b.    See  pi.  15  c. 

33.  Half-length  figure  of  Christ,  wounded,  in  a  glory,    f.  32. 

34.  The  Cross,    f.  32. 

3$.  Head  of  Christ,  crowned  with  thoms  and  rayed,    f.  32  b. 

36-40.  The  Five  Wounds,    ff.  33-34. 

41  (Hours  of  the  Holy  Spirit).  The  Dove,  in  a  glory.  The 
text  on  this  page  is  placed  in  an  architectural  setting,  consisting 
of  the  facade  and  porch  of  a  Gothic  church,  with  two  children 
whipping  tops  in  the  street.  A  similar  framing  is  used  on  one  of 
the  pages  in  the  White  MS.  (MS.  Facs.  108,  f.  22,  cf.  no.  16  in 
the  list  of  full-page  miniatures  above),    f.  46. 


42  (Mass  of  the  Virgin).  Virgin  and  Child  enthroned,  in  a 
glory,    f.  50. 

43  (Matins  of  the  Virgin).  The  Virgin  sits  reading;  an  angel 
on  her  right  plays  a  harp,  another  on  her  left  a  lute  or  guitar, 
f.  54. 

44  (Lauds).  Mary  and  Elizabeth  sit  in  a  room,  an  open  book 
on  a  desk  beside  Mary,  and  the  words  '  Magnificat  anima  mea 
Dominum '  in  gold  above  her  head.  The  border  is  filled  with 
Renaissance  ornaments,  including  a  cameo  of  David  harping 
and  another  of  Balaam  and  the  angel,    f.  67. 

45  (Prime).  Peasants  dancing  to  the  music  of  a  bagpipe, 
f.  76. 

46  (Tierce).  Augustus  and  the  Sibyl,    f.  80. 

47  (Sext).  Queen  of  Sheba  brings  offerings  to  Solomon,   f.  84. 

48  (None).  Priests  adoring  the  Ark.    f.  88. 

49  (Advent  Office  of  the  Virgin).  Isaiah  enthroned,  pointing 
to  the  words  '  Ecce  uirgo  concipiet  et  pariet  filium '  written  in 
gold.     f.  103. 

50  (Penitential  Psalms).  David  kneels  in  prayer,  crowned, 
his  harp  on  the  ground  beside  him ;  the  Death  Angel  flies 
towards  Jerusalem  with  uplifted  sword.  In  the  border  a  woman 
pushes  a  wheelbarrow,  in  which  is  a  gigantic  carnation  growing 
out  of  a  pot.    f.  no.     See  pi.  16  a. 

51.  St.  Veronica  stands  displaying  the  handkerchief.  L  123. 
See  pi.  16*. 

52.  The  Trinity,  represented  as  three  suns  conjoined,    f.  124. 

53.  Last  Supper,    f.  124  b. 

54.  St.  John  the  Baptist  seated,  with  Agnus  Dei.    f.  127. 

55.  Martyrdom  of  St.  Sebastian,    f.  128. 

56.  St  Thomas  Aquinas  stands  holding  an  open  book,  on 
which  stands  a  chalice  with  the  Host ;  a  mitre  on  the  ground  at 
his  feet.    f.  130. 

57.  St.  John  the  Evangelist  sits  writing  in  the  isle  of  Patmos  ; 
eagle  stands  beside  him.    f.  132. 

58.  St  James  sits  by  roadside,  reading;  staff  in  hand,  scrip 
with  escallop  slung  from  his  shoulder,    f.  136. 

59.  St  Nicholas  blesses  three  nude  boys  who  stand  in  a  tub. 
f.  141. 

60.  Martyrdom  of  St.  Laurence ;  apparition  of  God  in  the 
sky.    f.  142. 

61.  St.  Catherine  stands  beside  broken  wheel,  crowned  and 
richly  dressed,  with  sword  in  right  hand  and  open  book  in  left, 
trampling  on  Emperor  ;  landscape  with  distant  city.    f.  142  b. 

62.  St.  Barbara  sits  on  grassy  slope,  reading ;  tower  behind 
her.  The  text  is  set  in  the  middle  of  a  large  picture  of  her 
martyrdom,  with  God  sending  angels  for  her  soul,  while  devils 
carry  off  her  executioner,    f.  146. 


18 


63.  St  Apollonia  bound  to  a  pillar,  having  her  teeth  extracted. 

£  147- 

64.  St.  Mary  Magdalene  stands  with  ointment-pot  in  hand  ; 
landscape  with  distant  hills  and  city.    f.  149. 

65  (Vigils  of  the  Dead).  Skeleton  stands  in  graveyard, 
holding  a  scroll  inscribed  '  Credo  quod  redemptor  meus  viuit '. 
At  foot  of  page,  a  death's  head,  with  scroll  inscribed  '  Cr[edo 
quod  redemptor  meus  vi]uit  et  in  nouissimo  die  de  terra  surre- 
ctufrus  s]um  et  in  came  mea  videbo  Deum  saluatorem  m[eumj '. 
f.  151. 

66  (Mass  for  the  Dead).  A  catafalque,    f.  179. 

67  (Mass  of  All  Angels).  Guardian  angel  leads  soul  by  the 
hand.    f.  182.     See  pi.  15</. 

68  (Mass  for  All  Saints'  Day).  A  group  of  saints,    f.  185. 


69  (Mass  for  Christmas  Day).  Angels  adoring  the  Infant 
Christ,    f.  188. 

70  (Mass  of  the  Cross).  Soldiers  nailing  Christ  to  the  cross, 
f.  191. 

71  (Good  Friday  Office).   Devotees  adoring  the  empty  cross. 

I-  193- 

72  (Stabat  mater).  Calvary,  the  Virgin  and  St.  John  standing, 
St.  Mary  Magdalene  (?)  sitting ;  only  the  lower  part  of  the  cross 
visible,    f.  203  b. 

73  (Mass  for  Easter  Day).  Angel  and  Three  Maries  at  the 
empty  tomb.    f.  206. 

74  (Mass  of  the  Trinity).  Father  and  Son  sit  side  by  side, 
wrapped  in  one  cloak  ;  Dove  between  them  with  outstretched 
wings,    f.  211. 


Flemish  (Bruges  ?)  binding,  circ.  1500,  of  wooden  boards  covered  with  leather,  stamped  on  each  cover  with 
two  impressions  of  a  rectangular  panel  consisting  of  a  border  with  the  legend  '  Ora  pro  nobis  sancta  dei  genitrix 
vt  digni  efficiamur  promissione  xpristi',  surrounding  an  inner  panel  in  two  compartments,  each  of  which 
contains  a  branch  of  foliage  enclosing  within  its  curves  five  figures  facing  those  in  the  other  compartment :  two 
pelicans,  two  stags,  a  pheasant  (?)  and  a  peacock  (?),  a  hare  and  a  greyhound,  two  eagles  with  outstretched 
wings.  The  space  between  the  two  impressions  is  filled  with  a  rectangular  stamp  of  four  lozenges,  containing 
alternately  a  quatrefoil  and  a  fleur-de-lis,  the  spaces  outside  the  lozenges  being  filled  alternately  with  four 
fleurs-de-lis  and  four  trefoils.  Somewhat  similar  bindings  are  described  [by  W.  H.  J.  Weale]  in  the  South 
Kensington  Catalogue  of  Bookbindings,  1894,  nos.  305,  314.  Huth  book-plate.  The  Huth  Library,  ii, 
p.  723.     [Add.  MS.  38126.] 


19 


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fmmflmr  fmiionnn . 

ftpcinnpiormiuir 

miSfrmnwrrmim. 

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criMnui:cftnicb:f  c 

mirr  fnpv  fiinc  »ibvf 

CtnfipQ  diii  fcnrtmtir 

mfrrrtqiu&Oitmp 

Tnis.fiatlnr.ffrftii 

riblur.Crrindrrwio 

l  inwiq' err  torn?  •  rr 

dimfirltimndtmc 

b:i&.r!ttrJldnmplii 

ton  di  cm  :o  trn  rbnv 

ncttf.fhmiqtctiff^c 

cr  mnnc:  dice  mm9. 

<5irtt-qnctp-09.fuTr 

firmmnmtil  i  medio 

«lqiimv.*crdiiimn  »i 

qtM9iibjqms.lFr 

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nnrr  ftip  miiuim  m 

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cfbudivonMnc.-dio? 

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icnitn  mni:rr.ijf\irr 

ar.intnfmimcO 

itn.(FrtircMiiirrni9 

nnniiiirintircngrc 


I 


BIBLE,  XIII  CENT. 
Hutu  Bequest,  Vols.  I,  II,  Aim.    MSS   38114,  38115 


to 


PSALTER,  LATE  XIII  CENT. 

ih  in  B  Va    III.  Ann.  MS.  38116 


Plate  3 

2f> 


^m«:ifiiUifi«MoitctiiTitneI>o.--  — - 
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tun  djpjopiaitrftipcr  iiienoatndV  tir 
cbrtntcdrncfincaf.  / 

iitnlmlfhir  nicummmtieiMpfi  tttftr 

mitnftttmocctlntitm r— f— 

lcmtfiftmrr  dfttterftmnticafha.*  noim 

mcbtrooMnctitii./; £c 

fSmitijpira&ttnftitn  tnr  ptrtittm:  in  hoc 
cgofpcrato. 

%dm  pent  a  CDimtto  l)dttc  mutuant : 
ttrtnljdbuxin  tntotno  tomtit*  otmttb: 

dtdmf  tmc  nicer— ~<> 

tnttant  uolitinattiu  tDtntm:  *tnfnf 


I 'SALTER,  LATE  XIII  CENT. 
Hutu  Bequest,  Vol.  Ill,  Aon.  MS.  381 16 


2/0 


fl>0 


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touc*  c\  \\m&  m&tcft'&tr  fair 
^  Ceit  wloiej&uititu  mef 


ROMANCE  OF  MERLIN,  XIV  CENT. 
Hutu   Bequest,  Vol.   IV,  Add.  MS.  381 17 


Plate  5 


UP 


Hiioirlcftrfeututtftifttttiit  qm  ciMc 
nctic  ptrlaimY.  Cc  q  tattcnrptic  totem 
fcuinr  ftmcfcnttir  q  imc  pw  fcuufe 
fflnvminirni  ytflnc  fcmcntftimfr.  ft 


que  Utimrjjtir  frfatAtuttt  en  H5n 
Hip2tir.(hifficQ\'fri6f|Hifontnmiin 

feme  cimrr.  putcfncvfairfcmlif 
It  plat  enrcfrmenfc  aw  townirlcf 


ittmr  *  ta  noiicu^aritf  uowdlcs 

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plto  CiriltfMlctMl  *  lef  nfrrnnc 


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cgff  rrpicftfcupminr.?  mwcli 
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trtuXi?ioir  ?  pfhnfir  ^rhtttf  ?  tcf 


-*f» 


ii  picm  fencne  q  ifuirr  ifhv 
iHnlni  en  en  An*  ou  uigeincraaio 
il  aucieVen  ceihr  uic  liVaicre  p 
ur*  p  mimia'  fMvoTeivnremu 
ivn  <£mc  mole  |v>ur  <n*v  av  re 
paacvdvO».«fViviir  rciincnnr; 
Can;  fin  pom*  mien?  pecnie;  qui 
ftnicmc;  f  «n*ev  qui  enfiem.lji 
uou  relfllvirpc  (Vi  icft  1*  leuehr 
quelnnitopii  en  murtmic.p 
laiT  <?  le*  nieu<itreii*;cfl-  rendu* 
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qim  a  font  your  l<mtct~n  pm* 
Caanene.pUVKurzeCeitcni 


eft  fen  eft  e;  one  \ee  im&  (t  cci 
rvptt;  pariAttMimaiftcfld 
pie  re*  nntxxe.Cc  que  \c  Cone 
AiWlKtxen  ton  Gun*  f  eft- 
nvime;  fencfk  Ineninmiw 
R»'uMv»iiuv  rvivmcfttvq 


THE  APOCALYPSE,  XIV  CENT. 
Hlth  Bequest,  Vol.  V,  Add.  MS.  38118 


*> 


*^ 


uv»caC\ \ |St  \kUco6 


YjtuCcnut  |»fttt\um»0  |n»ia  fM&w<\ 


; 

<      J 

^ 

.* 


SPECULUM  HUMANAE  SALVATIONIS,  LATE  XIV  CENT. 


ot     Vm       VI      Ann      Hm     iHnn 


Plate  7 


%fi 


sy*~ 


1   ?*-    KtvrvMfcvmi  nr^  i«ju 


'  JVfluktowl;  *******  irtfn^V 


"H  e  pre-  m  ykW  <***  \\  1J1  tet 
>ttew»p/5  pom  ft*  fawt-  ofpW 


rt,  /;.     LESTfOIS  I'KI.KKINAGKS.     <  "■    '400 
ft    THE  APOCALYPSE    <  »•    1400 

Hi  n.  B  VII,  VIII,  Add.  MSS.  38120,  3812c 


Plate  8 

20 


Sett  ^Ttttmt  ft*  hAf&g  sung 


*^ll 
^•<'-.  -.-.,*  ?.■•->»-*♦ 


mAdiMr jm™<  )&  «ustesfe* 


i.* 


: 


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■^  . 


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rT        — ^~~ . ,i     ....  .       ;jr» 


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/ 


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tide  ttidt^^mr()ft 


<t7  vUHini&r  «  pudicr  ^ir 


ir^ 


1 


(ptvmtdc  \\v  mvr  twiter 


BIBLE  HISTORY,  IN  FLEMISH,  XV  CENT. 
Hi  in  Bequest,  Vol.  IX,  Add.  MS.  3812a 


Plate  9 


mc  ccc  tncfr  op  dkctrguracrc 


Cei-f'CSfJ 


<ndc  a(h%Uo\ 


Mi 


iUMfc;*J>cd*«Mt  w* 


mcti  tiiir  defer tMcrtocit  OU 


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die  vcrt*mu\:ii  ir 


'.  fl 


■■■-:■ 


tc u wit  <Fapm 


Si 


-**< 


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/ 
r<tl  vrt  defer  loiicfnwweti 


*§ 


tfUejiliud  6fOfrtfhm 


'1 


BIBLE  HISTORY,  IN  FLEMISH,  XV  CENT. 
Hutu  Beqi  kst,  Vol.  IX,  Ado.  MS.  3812a 


Plate  io 


* 


-  ■•-  £ 


i 

3- 


1        ■>     v£*    $'   # 


ft  im  mcfmfc  mDmtn  tocr 
juj0    frrmr  di  mtjnw  lint  nmurtr  ^ 

O     lUMitfltknnnifPbcttttertmV^i 

mffc  a^c(tenttr3(nft  mil  fid  '  -  T^%" 


*o 


HOIKS,  IN  DUTCH,  XV  CKNT. 
Engravings  hv  thi    Masts*  <>i    mi    Mini  in  Pji 
Hutu  Bf.quf.st,  Vol.  X,  Add.  Ms.  38123 


Plate  ii 


idmro. 


*  ^  ^- ' 


,in.  o 

.ulimr.ilrk .  p?.Tti\ 
rOmmnetcgp* 


_4?» 


JPfihiciywmr  Ictamc  be 
-    *r  .itt  \  irgimo.Ojrtc . 


pr.iudmcs. 
yc  auudi  nee. 
^JXitcr  or  celiac 


HOURS,  ETC.,  XV  CENT. 
Hutu  Bequest,  Vol.  XI,  Add.  MS.  38124 


N 


a- 


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Plate  13 


4 


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HOURS,  ETC.,  On.  1500 

II,    ,,,    Uc^itrcT     Vni      VIM      Ar.r.     MS     iRfsfi 


Plate  14 


„   ^ 


* 


/ 


* 


AJ 


A 


HOURS,  ETC.,  Circ.  1500 
ti D^.,reT    Vr.i     VIII    At.i>    MS.  18196 


Plate  15 


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tenon  uuatte 

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fTSfCS&l.)  iticvcciroao 


<uecjin  minxntlinc  Jugtt 
ram  miHrrutomuuimqtdii'ptfja 

coiHTvXjyinuc.ur.iquilMicnln » 
luiiuln-.iiuibiioma-lok-iupcr.illif 
um.v.ibhntMutcnUiiir.iiii.tmiini 
ttU.pdrrm. 


•it. 


V 


\  m 


HOURS,  ETC.,  Ore.  1500 
Hutu  Bequest,  Vol.  XIII,  Ann.  MS.  38126 


Plate  16 

2x> 


inimlpn  mini 

•  ■t'u.yicn-mnufcm^oomiiu 

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:iuju.i;>nicncq: 

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3»)11C.T*?3l1C 

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V  ,  kB&iom.imnonci"hnmo:ttciut 

f  memo:  ftttmmmfcmojuc qui* 
couth,  bum  nbtgg.Uvv.uit  m 
gtimcumcoiaiutv^vrfincjiju* 
luxrce-lcaum  maiml.icnmten 


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Oiairmur.i  elect  JoroicmcuUrti 

nuuttao!>r.nut3mgnnmr 

ffSRpurrriujmn. 

iE>$0  m  u  u  cfr  cm  :i  1  y  lem  tu  a? ! 


coram  OUOmamtpfimtfcnaxdi 

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cmoc.diiontatn  ip  arum  moduir 
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c.iluinni;.cf4ncjiiuvii'cainoiic; 
internum:  rytruulncuni  cpu  ip 
aim  cit  lajnum  cdor.&ja  cihe- 
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cvulr.itr  ■qucrnum  mOdBtUdtnCD 
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mnumictiiimrrnoiitmigcriUor 
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nuuocmc  rpoammn-  ni>tgi:i 


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HOURS,  ETC,  Cm.  1500 
Huth  Bequest,  Vol.  XIII,  Add.  MS.  38126 


ATE   17 


ARS  MEMORANDI    PER  FIGURAS  EVANGPILISTARUM 
Leaf  4.     S.  John  vii-xii 


PART    II-PRINTED    BOOKS 


c.  1470. 


XIV 

ARS  MEMORANDI  PER  FIGURAS  EVANGELISTARUM.  1*.  Arsmemorandi  Biockbook: 
notabilis  p  figuras  ewangeliftaru  hie  ex  port  defeptam  quam  diligens  lector  diligenter  ^f^0** 
legat  et  practicet  perfigna  localia  at  inpractica  experietur.  EwangeliQ  Iohannis  habet 
vigintiunum  capitula.  Primum.  Inprincipio  erat  verba  de  eternito  iibi  t  thitate.  Scd' 
capitFum  Nupcie  facte  funt  in  chana  galilee.  Et  qualiter  xps  fubuertit  menfas  nomulariorQ. 
TerciQ  capitulQ  Erat  autem  homo  ex  pharifeis  nicodemus  nomle  .  .  .  29b.  1.  14 :  .  .  . 
Vicefimumtercium  capittulum.  De  iudicio  pylati  cotra  ihefum  de  cofilio  iudeoi;.  Vice- 
fimQquartum.  Vna  autem  fabbati  De  refurrecOe  xpi  «  ei9  maifeftacOe  p'  ffurrc03  1  appico3 
1  emaus  .p.    30*.  quarta  luce. 

Folio,  acbd-p*.  30  leaves  arranged  in  single  sheets  of  two  leaves  each,  printed 
in  brown  ink,  on  one  side  only,  on  the  verso  and  recto  alternately,  so  that  the  first 
page  is  blank,  and  thereafter  every  two  pages  of  printed  matter  are  followed  by  two 
blank  pages,  until  the  blank  page  at  the  end.  Of  each  pair  of  printed  pages  one  is 
occupied  by  text,  the  other  by  an  illustration.  The  Gospels  are  arranged  in  the  sequence 
John,  Matthew,  Mark,  Luke.  The  numerous  mistakes  in  the  passages  quoted  occur  in  the 
original. 

The  design  of  the  book  is  to  provide  helps  to  remembering  the  order  and  chief  topics  of  the  successive 
chapters  of  the  Four  Evangelists.  The  centre  of  each  picture  is  occupied  by  the  emblem  of  the  Evangelist, 
and  on  or  about  this  are  placed  the  symbols  of  the  chapters. 

The  text  explaining  the  picture  here  reproduced  (Plate  17)  is  as  follows,  after  a  preliminary  capital  D  which 
seems  superfluous :  '  Septimum  Capittulum.  De  cenopheya  few  festa  tabernaculorum  in  iherufale  vbi  dixit 
ihefus  afcendite  vos  ad  diem  feftum.  Siquis  fitit  tc.  Octauum  Capittulum.  De  muliere  deprehenfa  in  adulterio 
Ego  fum  lux  mundi  tc  Nonum  Capittulum.  De  ccco  a  natiuitate  quern  criftus  illuminauit  et  cetera. 
Decimum  Capittulum.  De  paftore  bono  pertotum  tc.  Vndecimum  Capittulum.  De  fufcitaccone  lazari 
a  monumento  Duodecimo  Capittulum.  De  maria  magdalea  que  vnxit  pedes  ihu  c'  Thus  the  Feast  of 
Tabernacles  is  suggested  by  a  trumpet,  the  woman  taken  in  adultery  by  a  man  and  woman  kissing,  and  the 
rest  of  Chapter  VIII,  the  discourse  on  the  Lux  Mundi,  by  a  lighted  taper  incongruously  held  in  the  woman's 
hand.  Lower  down  the  eye  typifies  the  man  born  blind,  and  the  club  the  discourse  on  the  Good  Shepherd. 
A  skull  resting  on  the  eagle's  right  wing  stands  for  the  tomb  of  Lazarus  and  the  vessel  on  the  left  wing  for  the 
oil  with  which  S.  Mary  Magdalene  anointed  Christ's  feet.  The  c  with  which  the  text  ends  is  the  signature  of 
the  sheet. 

The  Ars  Memorandi  can  hardly  be  given  a  high  place  among  examples  of  artificial  aids  to  memory,  but 
it  seems  to  have  had  a  fairly  good  sale.  Dr.  Schreiber  distinguishes  three  different  editions,  and  three  different 
issues  of  the  first  of  them.  According  to  Dr.  Schreiber  in  Edition  I*  the  initial  V  on  leaf  15  is  omitted  ;  in  1' 
it  is  omitted  and  its  place  taken  by  a  square  of  black  ;  in  Ic  the  initial  occurs,  and  in  the  hollow  of  the  letter 
there  is  a  fruit  or  tassel  and  below  this  an  engraver's  mark.  In  Edition  II  the  V  is  open  at  the  top,  in 
Edition  III  it  is  closed,  the  fruit  or  tassel  being  in  each  case  omitted.  On  this  classification  the  present  copy 
belongs  to  the  third  edition.  On  the  other  hand  Sothcby  in  his  Principia  Typographies  treated  it  as  the  first, 
but  without  good  reason. 

On  1*  is  written  1  Ars  memoratiua  fup  totu  corpus  cwanc*  ac  pconcordancias  corund.  The  pictures  and 
capitals  are  coloured. 

265  x  188  mm.  (wood  blocks,  about  230  x  170). 


21 


XV 

uim:Joh.  BOCCACCIO,   Giovanni.     Decamerone.     [A   German   translation.}— 2*  (preface): 

Zainer,  j^je  nebt  ficn  an  jas  ptich  vo  feinem  meifter  In  greckifch  genant  decameron  /  da3  ift 

c"  "***  cento  nouelle  in  welfch  Vn  hundert  hiftori  oder  neue  fabel  in  teutfche  /  Die  der  hoch 

gelerte  poete  Iohannes  boccacio  ze  liebe  vnd  fruntfchafft  fchreibet  dem  furften  vnd 
principe  galeotto.  Die  in  zechen  tagen  von  fyben  edeln  frawen  vn  dreyen  iugen  manen 
zu  einer  t6tliche  peftilenczifchen  zeiten  gefaget  worden  /  [E]S  ift  menfchlich  /  vn 
naturliche  recht  das  geben  die  zeclagen  /  vnd  den  leyte  helffen  tragen  /  die  mit 
fchmerczen  pein  vnd  triibfal  vmgeben  fein  .  .  .  12*.  col.  i,  1.  7 :  .  .  .  vnd  da  mit  die 
befchwerten  vnd  betrubtenn  freulein  '  auch  ir  ein  teyle  irer  verporgen  traurikeit  mugen  ein 
klein  fride  geben  /  vn  die  mit  zucht  in  freude  kern  /  han  ich  Arigo  in  das  wercke 
machen  vnd  in  teutfche  zungenn  fehreiben  wollen  /  Als  ir  mit  zucht  lefent  vernemen 
wert  .  .  .  i2a.  col.  2,  par.  2  (beginning  of  text):  Die  erfte  tagreyfe.  Von  erfte  vnter 
de  gewalt  vnd  reigiment  der  kunigin  pampinea  .  .  .  398*.  col.  2,  End  of  text  and 
colophon  :  ...  da  pey  auch  mein  gedencket  wo  ir  lefet  das  euch  freude  vnd  nucze 
pringet.    Geendet  feliglichen  zu  Vim. 

Folio,  [a-z  A-T0-8  V  X10.]  398  leaves,  the  first  blank,  leaves  13-398  numbered 
Plat  I-Plat  CCCLxxxx.  2  columns.  Gothic  type  (no.  3  of  Proctor's  numeration).  Some 
copies  omit  the  concluding  statement  that  the  book  was  completed  at  Ulm. 

It  was  long  taken  for  granted  that '  Arigo  '  (i.e.  Heinrich),  the  author  of  this  translation  of  the  Decamerone, 
was  Heinrich  Steinhowel  of  Weil,  town  physician  of  Ulm,  several  of  whose  works,  including  a  rendering  of 
Boccaccio's  De  Claris  Mulieribus  as  well  as  of  his  Griseldis  in  Petrarch's  version,  were  printed  by  Johann 
Zainer  at  Ulm  in  the  year  1473.  As  definite  proof  of  this  ascription  was  cited  a  sentence  from  Jacob  Kobel's 
prefatory  letter  to  the  1531  edition  of  Steinhbwel's  Chronica  von  Anfang  der  Welt,  where  he  enumerates  some 
of  the  latter's  works  as  follows:  'neben  etlichen  mehr/als  der  Fabeln  Esopi / Boccacij  /  v5  den  Erleuchten 
Frawen  der  Chronica  /  von  Hertzog  Gotfrids  h&rfart  zu  dem  heylige  lande  .  . .'  But  if  the  obvious  errors  in 
the  punctuation  of  this  sentence  are  corrected,  thus,  * .  .  .  der  Fabeln  Esopi  /  Boccacij  v5  den  Erleuchten 
Frawen /der  Chronica  von  Hertzog  Gotfrids  h&rfart  . .  .,'  the  reference  to  the  '  Fables  of  Boccaccio  '  disappears, 
and  only  the  De  Claris  Mulieribus,  already  known  to  be  Steinhbwel's,  remains.  As  a  matter  of  fact,  the  present 
translation  has  been  examined  from  a  syntactical  point  of  view  by  H.  Wunderlich  (Steinhowel  und  das 
Dekameron,  &c,  1890),  and  the  differences  of  style,  vocabulary,  &c,  between  it  and  Steinhbwel's  acknowledged 
work  are  shown  to  be  so  great  as  to  preclude  its  ascription  to  him  or  to  any  one  using  the  dialect  of  Ulm.  The 
question  of  the  authorship  has  been  carried  a  step  further  by  Karl  Drescher  (Arigo,  Der  Ubersetzer  des 
Decamerone,  &c,  1900),  who  has  collected  a  quantity  of  internal  evidence  for  supposing  (1)  that  the  author 
was  a  native  of  the  eastern  part  of  Central  Germany,  (2)  that  he  was  well  acquainted  with  Nuremberg  at  the 
time  of  writing,  (3)  that  he  was  himself  an  ecclesiastic  but  belonged  to  none  of  the  monastic  orders.  All  these 
characteristics  Drescher  finds  united  in  the  person  of  a  certain  Heinrich  Leubing.  Leubing,  a  native  of 
Nordhausen,  not  far  from  Halberstadt,  first  appears  on  the  matriculation  lists  of  Leipzig  University  in 
14*0,  entered  the  chancellery  of  the  Saxon  princes  about  1430,  and  graduated  as  doctor  in  legibus  at  Bologna 
in  1437.  After  having  filled  several  ecclesiastical  and  legal  posts,  he  became  priest  of  S.  Sebald  at  Nuremberg 
in  1444  and  continued  to  do  diplomatic  work  for  the  city  for  a  number  of  years,  both  at  home  and  in  Italy. 
Disputes  with  other  clerics  appear  to  have  resulted  in  his  departure  from  Nuremberg  in  1463,  and  the 
remaining  years  of  his  life  were  spent  at  Meissen,  where  he  held  a  deanery.  It  is  noteworthy  that  Leubing's 
humanistic  studies  receive  honourable  mention  by  Aeneas  Sylvius  (Pope  Pius  II)  in  a  letter  of  the  year  1449 
or  1450  to  Gregor  Heimburg:  '  Accepi  apud  Nurembergam  plebanum  S.  Sebaldi  virum  gravem  tua  permotum 
suasione  multis  lucubrationibus  hystoriam  atque  rhetoricam  persequi.  Diligo  ego  vos  ambos,  qui  patriam 
moribus  ornantes  etiam  litteris  munire  studetis.'  Leubing  died  on  8  August,  1473,  and  as  the  printing  of  the 
Decamerone  was  pretty  certainly  taken  in  hand  shortly  afterwards,  it  might  be  conjectured  that  he  was 
unwilling  during  his  life  to  be  known  as  the  translator  of  so  worldly  a  book,  but  that  arrangements  were 
made  for  its  publication  after  his  death.  Quite  probably,  too,  Steinhowel  became  acquainted  with  the  book  in 
Zainer's  printing  office,  and  by  it  was  inspired  to  try  his  hand  on  another  work  of  Boccaccio  immediately  after. 

The  type  with  which  this  book  is  printed  figures  as  type  3  in  Proctor's  list  of  Zainer's  types  ;  but  the 
absence  of  printed  capitals,  slight  unevenness  in  the  line  endings,  and  massive  appearance  of  the  type-page  all 
suggest  a  very  early  date  for  it.  It  is  quite  possible  that  the  Decamerone  was  the  earliest  book  which  he  put 
in  hand,  although  on  account  of  its  size  it  was  probably  completed  after  some  of  the  smaller  books  which 
Zainer  dated  in  the  early  part  of  1473. 

333  x  324  mm. 

22 


Die 
nocb  je  tbon  ju  ftet  ale  fpa 
citen  gen/iagen  fogeln  teite 
haufefcbaq  ban  fceln  Dj  fein 
alles  Dm g  me  man  gac  oDet 
ein  teyle  feine  kbzvexe  geDa 
nche  tingetn  vnnD  minDetn 
mugen  /vnD  Da  mit  Die  befcb 
zpetten  vnD  bcttubcenn  fteu 
icin-aucb  ic  ein  teyle  iter  vet 
p2gen  ttaunheit  mugen  ein 
hlein  ftiDe  geben  /  vii  Die  mit 
jucbt  in  fceuDe  hern  /ban  icb 
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en  vnD  in  teutfefce  jungenn 
febreiben  a?5Uen/Gl8  irmit 
jucbt  lefent  vecnemen  zvett 
Qucb  to  pep  euediebe/tate/ 
ttofte  vnD  fcilffe  on  jtseiffel 
fmDen  wett/vno  Dasgetim 
babe  Da  mit  icb  $e  liebe  a>etD 
Den  Die  eine  folicben  ju  mit 
begett  baben.'fo  ift  mein  mei 
nung  wo  icb  folicben  etbem 
manne  vnD  febonen  frawen 
mocbee  je  liebe  vn  tt>ille  a?ec 
Den  Das  ein  f cliches  u>ol  ge 
tbon  u>erc-  Datumb  icb  mit 
in  meinem  gemute  vnD  hlei 
nen  vecmugen  fu2  gen  omen 
ban  in  Dem  namen  gotj'  De 
Dea  an  micb  begett  ift  ,  nacb 
?e  horn  en -ban  villeccbtaucb 
mi2  ton  sen  efceln  juebtigen 
frawen  lobe  /ere  vnnD  ftucbt 
behome  m6cbte«De8  mit  nit 
c$a?eife  It  Dan  fie  alle  Diemfis 
tig  ton  gtoflem  Diemutigen 
berqen  vnD  milce  fein» 


vccieD 
JRun  feptmal  xvxt  aup  d'  tot* 
lichen  pdlilenC)  homen  fein/ 
Cfcte  Dec  poete  gefpzocbenn 
bat  vnD  Das  bocbe  gtaufam 
gepitge  ubetumnDen  baben 
vn  in  Die  febonen  eben  home 
fein  vii  eucb  behome  a  Is  icb 
vetfpzocben  ban/  £?o  «?6lle 
xv  k  in  &em  namen  got?  an 
beben/vnD  ton  ecfte  fagenn 
vn  febreiben  ton  Dem  p&ften 
man  uiDao  auf gvn ome  Dot 
auf  ctDcn  j>e>gerx>ren  watoc 
vnD  nacb  feinem  toD  fur  hey 
ligetDann  fantfrancifco  ge  - 
baleen  u>as  vii  an  gepett  wz 


Dieedtetagrepfe. 
Von  etfte  vntet  De  gezpalt 
vnD  reigiment  Dec  hunigin 
pampinea  IDxe  tpitDig  gefel 
febaft  fage  toitt  ton  abenteu 
etlicben  etgangen  gefebeftii 
vnD  ton  Dec  hunigin  gepoce 
iglicbe2  pecfon  auf  Difen  erfte 
tage  frep  ift  $e  fagen  waz  im 
liebe  vnD  fein  gefollen  ift. 


Wie  ein  notari  oDet  often  fc 
breibetgenant  Det  ciapelleto 
mit  einec  feinec  peicbt  einen 
beiligen  bocbgelercenn  man 
bectoge  vnD  nacb  feinem  to 
De  fur  beilig  an  gepett  watD* 


Ulm:  Joh. 
Zainer, 

c  1473- 


BOCCACCIO  :    DECAMERONE  (GERMAN).       ULM  :   J.  ZAINER,  C.  1473.      (LEAF  12,  RECTO.) 


23 


XVI 

LyomG.Le  JACOBUS  DE  VORAGINE.     La  Legende  donte.—  2».  (translator's  note)  [M]On 

Roy,  for         feigneur  faint  iherome  dit  cefte  auctorite  Fais  toufiours   aucune   chofe   de    bien   que 

JSjSf'        le  dyable  ne  te  treuue  oifeux  Et  mO  feigneur  faint  auguftl  dit  au  liure  des  moynes  »  de 

1476.  leurs  oeuures  Que  nul  home  puiflant  de  labourer  ne  doit  eftre  oyfeux  Pour  laquelle 

chofe  quat  ie  frere  iehan  du  vignay  eu  fait  et  acompli  le  miroer  des  hiftoires  du  monde 

et  tranflate  de  latl  en  fracois  a  la  requefte  de  trefpuiflant  et  noble  dame  ma  dame 

iehanne  de  bourgoigne  par  la  grace  de  dieu  royne  de  france  Ie  fur  tout  efbahy  a  quelle 

oeuure  ie  me  mectroye   apres   fi  trefhaulte   et   logue  oeuure  come    iauoye  faicte  par 

deuat  .  .  .    ibid.  col.  2,  par.  2 :    PROLOGVE  [T]Out  le  temps  de  cefte  prefente  vie  eft 

deuife  en  quatre  temps  ceft  affauoir  au  temps  de  defuoyement  de  renouuellement  ou 

de  rappellement  de  reconfiliacion  %  en  temps  de  pelerinage  ...    3*.  col.  1,  1.  4:    Cy 

apres  commece  la  table  de  cefte  legende  des  faints  Et  pmieremet  De  laduent  noftre 

feigneur  au  fo  i  .  .  .    5*.  Ci  commence  la  legende  doree  Et  traicte  premierement  de 

laduent  noftre  feigneur  .  .  .     352b.  col.  2,  Colophon  :  Cy  finift  la  legede  doree  dicte 

HCpftntft  to  kgefc  twee  forte  ia  uie 
trg  faints  en  franroie  ucue  et  tnligc 
ment  rottigeeau  pzeebu  latin  et  fe 
gonblewapfensfrlalertre  Come 
il  nairraafpareiftre  par  reulx  qui  bi 
Itgemment  mearont  ia  #ine  a  la  It 
re  *  bien  entenbaflpir  notable  \  re 
ueren  0  botteur  maiftre  ieban  batallt 
er  fDfteur  en  la  taintte  tfcolojjie  a  pa 
ris  religieul*  fr  toto?  m  ptc^ura 
fr  la  utile  te  Ipon  fur  le  rotne  C t  im 
pjimee  en  la birte  utile  fr  Ipon  p  bar 
t  b?lemp  buper  ritopen  bu  bit  Ipon  le 
bix  t  l}uitief  me  iour  bapnrilmilQua 
tre  rend  feptanteet  fix 

JAC  DE  VORAGINE  :  LEGENDE  DOREE.   LYON  :  G.  LE  ROV,  I476.   (COLOPHON.) 

la  vie  des  faints  en  francois  veue  et  diligement  corrigee  au  pres  du  latin  et  fegond  le  vray 
fens  de  la  lectre  Come  il  pourra  appareiftre  par  ceulx  qui  diligemment  mectront  la 
peine  a  la  lire  *  bien  entendre  Par  notable  *  reuerend  docteur  maiftre  iehan  batallier 
docteur  en  la  faincte  theologie  a  paris  religieulx  de  lordre  des  pfcheurs  de  la  ville 
de  lyon  fur  le  rofne  Et  imprimee  en  la  dicte  ville  de  lyon  p  barthelemy  buyer  citoyen 
du  dit  lyon  le  dix  *  huitiefme  iour  dapuril  mil  quatre  cens  feptante  et  fix.  353*  (prologue 
to  table):  Cy  prefentement  commence  vne  table  felon  lordre  de  la  b  c  pour  trouuer 
plus  facilement  les  legendes  des  faints  et  auat  toutes  chofes  eft  mis  le  prologue  qui 
demoftre  la  maniere  de  trouuer  les  matieres  cotenues  en  diuers  lieux  de  ce  volume. 
ibid.  col.  2,  par.  2 :  Ce  prologue  finift  Cy  commence  la  table  .  .  .  368*.  col.  2  (colophon 
of  table):  Cy  finift  cefte  prefente  table  faicte  *  compofee  felon  lordre  de  la  b  c  pour 
trouuer  les  matieres  auctorites  et  miracles  fur  la  legende  douree  dicte  vie  des  faints. 

Folio.    [**;   a-zA'BC;    D-X»;   YZV]    368  leaves,  the  first  blank.     2  columns. 
Gothic  type  (no.  1  in  Proctor). 

24 


The  author  of  this  translation  names  himself  in  the  preliminary  note  as  Jean  de  Vignay.     He  appears    Lyon :  G.  Le 
to  have  been  a  hospitaller,  and  refers  to  having  previously  completed  a  translation  of  the  Speculum  Historiale    Roy,  for 
of  Vincent  of  Beauvais  at  the  request  of  Jeanne  of  Burgundy,  who  was  Queen  of  France  from  1316  to  132a    B.  Buyer, 
and  died  in  1330.     De  Vignay  based  his  version  on  that  produced  a  short  time  previously  by  Jean  Belet,  and    18  April, 
his  work  was  in  turn  revised  with  the  help  of  the  Latin  original,  as  the  colophon  states,  by  the  Dominican    1476. 
Jean  Batallier,  before  being  printed.     De  Vignay 's  version  continued  to  be  the  basis  of  printed  editions  as  long 
as  the  Golden  Legend  remained  popular,  but  sometimes  his  name  is  omitted  altogether,  and  at  least  once  it 
occurs  only  at  the  end  of  the  Legend  of  S.  Dominic,  where  he  remarks :  '  ie  frere  iehan  de  vignay  translateur 
de  ce  liure  ne  veul  cy  plus  mettre  ceste  vision  car  elle  est  deuant  en  ce  meisme  chappitre  .  .  .' 

The  present  edition,  of  which  this  appears  to  be  the  only  perfect  copy  known,  is  one  of  the  earlier 
products  of  the  press  of  Guillaume  Le  Roy,  at  this  time  still  working  for  his  patron  BartheMemy  Buyer. 
It  has  the  distinction  of  being  the  earliest  dated  book  printed  in  the  French  language  in  France,  though  an 
undated  edition  of  the  Merveilles  du  Monde  may  perhaps  have  preceded  it.  There  exists,  also,  an  apparently 
earlier  date  in  the  colophon  of  the  Chroniques  de  France  dites  de  Saint-Denis,  printed  at  Paris  by  Pasquier 
Bonhomme :  '  Fait  le  .  xvi"  iour  de  ianuier  Ian  mil.  CCCC.  Ixxvi.'  At  this  time,  however,  the  New  Year  in 
France  began  at  Easter,  so  that  the  date  of  the  Chroniques  is  really  16  January,  1477,  according  to  modern 
reckoning;  whereas,  since  Easter  in  1476  fell  on  14  April,  the  date  18  April,  1476,  of  the  Legende  Doree 
must  refer  to  1476  itself. 

400  x  285  mm.    Without  the  blank  leaf. 


XVII 

fommebieulut  enfetgoeroit^bonrlui  bitlerop  law  Lyon:  c.Le 

fion  tout  ainfi  fomtm  etle  eQott  la  premiere  et  (a  feton  oy' c  I477" 

te  Ct  (ui  rarompta  le  rop  tout  atufi  romme  it  auoif  ra 

rompte  aux  plus  faints  rlerset  trumeure  cr  fa  terreet 

nut  ne  (ui  frxuCr  exporter  (St  abonf  lut  oi  ft  iofc pb  £?ire 

no?  beux  fonges  ne  font  que  on  ft  rar  nothe  fnrtneur  q 

eft  leplus  granbbieu  ou  ricl  et  fire  be  tout  (e  mote  no2 

neuft  monftrcn  reucler  auainesflpfes  Quit  peufe  a  far 

te  ou  tempe  abuentr  Oont  lee  fept  bcuf  ?  g?as  et  Ire  on 

epi?beblequi e&oienf  plains rtgntffient  que  fept  ans 

nienfroicnt  n  plains  etti  babonbans  betousbiensque 

rbafrun  enleroit  rempli  fTlaie  Its  feptbeuf?  maifgres 

ct  trfr barney  etlesfeplept?bmUe8  et  are  figmffient 

fept  aultres  annees  be  cbicr  temps  et  be  n  trefgrant  tr f 

fault  tr  tous  biens  quit  ne  Cera  memoire  nefouuename 

trs  bonnes  annees  pafiees  (St  f  i  trefgrant  fa  mine  f  era 

par  f  out  c  egipte  que  oncques  f  i  graobe  ne  fut  C  t  far  In 

que  (a  ferontr  m'f ion  ncft  que  confirmation  be  (a  pyemic 

re  Difion  et  fonge  Car  noftrefeigueur  aromplira  rcOtc 

rfpfe  bebans  brief  temps  bont  fire  ienous  coofeiUerap 

bien  <3E?e  nous  trope?  mon  ronfetlnous  fere?  que  raige 

Quere?  t-nuouOfrcterre  ungp?cuborume  quifoittaige 

et  bien  abuife  Ct  le  fames  gouuerneut  be  toute  egipte 

C5f  par  tout  lespatsfj  noftrf  ropaulme  o?bonnes  au( 

r usr err ptieurs  q  f affet  grem'ers  platureut  et  p  les  mi 

bones  ante?  pm?  lariarq'efmt  partie be  todies ble? qui 

nenteont .  <£t  les  beber  acres  etanlx  greniers  rjeffufto? 

LE  VIEL  TESTAMENT  DE  LA  BIBLE.       LYON  !   G.  LE  ROY,  C.   1 47 7.      (LEAF  38,  RECTO.) 

25  * 


LyomG.Le  LE  VIEL  TESTAMENT  DE  LA  BIBLE.     2*.   Cy  commencent  les  rubriches 

Roy,  c.  1477.  ^g  ce  prefent  liure.  Et  premierement  Comment  noflre  feigneur  priua  et  debouta  adam 
et  eue  hors  de  paradis  terrefle ...  6b.  Cy  finiffent  les  rubriches  de  ce  prefent  liure. 
7».  [AJV  commencement  crea  dieu  le  ciel  et  la  terre:  La  terre  eftoit  vaine  et  vuide  et 
grans  tenebres  eftoient  au  pardeffus  la  labifme  Et  fit  dieu  lumiere  Et  ce  fut  fait  le 
premier  iour.  Au  fecot  iour  dieu  fit  la  rondeffe  du  firmament.  Au  tiers  iour  leaue  et  la 
mer  et  les  herbes  fur  terre  et  arbres  qui  portent  fruit  et  to9  les  aultres  .  .  .  286b.  Colophon: 
Cy  finit  ce  prefent  liure  qui  eft  dit  le  viel  teftament  de  la  bible. 

Folio.  [**]  a-z  t  9*  A10  B-I  L8.  288  leaves,  the  first  and  two  last  blank.  Type  : 
Gothic  (G.  Le  Roy's  type  1).  Numerous  outline  capitals,  but  blank  spaces  left  for  capitals 
from  sig.  x,  to  *,  and  in  a  few  other  places. 

Printed  by  Guillaume  Le  Roy  in  his  first  type,  probably  about  1477. 

Although  called  in  the  colophon  '  le  viel  teftament  de  la  bible '  this  is  really  an  Old  Testament  history 
which  sometimes  uses  the  words  of  the  Bible,  but  with  extensive  omissions  and  abridgements  and  the 
introduction,  from  the  Bible  Historiale  of  Petrus  Comestor  and  other  sources,  of  several  non-Biblical  additions. 
Thus  in  the  section  which  answers  to  the  book  of  Genesis,  stories  are  told  of  Adam  and  Eve  bringing  home  the 
body  of  Abel  and  burying  it,  of  Lamech  killing  Cain,  of  Tubal  and  Jubal  inscribing  their  methods  of  making 
divers  instruments  on  two  pillars,  one  of  stone,  the  other  of  clay,  so  that  whether  the  earth  were  visited  with 
floods  or  fire  one  of  them  should  survive,  &c.  So  in  the  book  of  Exodus  there  is  introduced  a  version  of  the 
story  of  Moses,  when  a  child,  destroying  Pharaoh's  crown  and  the  reason  why  his  life  was  spared,  &c.  In  the 
rubrics  no  book  of  the  Bible  is  named  until  the  note,  on  leaf  '  cxiiii ',  '  Cy  commence  listoire  des  roys '.  The 
beginnings  of  the  second,  third,  and  fourth  books  of  Kings  (i.e.  a  Samuel  and  i  and  2  Kings)  are  noted 
respectively  on  the  leaves  indexed  as  cxliiii,  clxx,  and  clxxxxvii.  Later  entries  in  the  table  of  rubrics  are :  '  Cy 
commence  liftoire  de  ionas  au  fo  ccxxx ', '  Cy  commence  liftoire  de  thobie  au  fo  ccxxxv ',  '  Cy  commence  liftoire 
de  daniel  au  fo  ccxlvi ', '  Cy  commence  liftoire  de  la  belle  hefter  au  fo  cclx ',  '  Cy  commece  liftoire  de  iob  t  de  fa 
pacience  au  fo  cclxvi ', '  Cy  apres  fenfuiuent  les  aages  Et  premierement  comment  ada  et  eue  furet  mis  hors  de 
paradis  terreftre  au  fo  cclxxiii'.  Thus  this  Bible  history  or  abridgement  of  the  historical  books  of  the  Old 
Testament  corresponds  in  its  scope  to  the  Old  Testament  section  of  the  Bibles  historiales  moyennes  made  in 
the  14th  century  on  the  basis  of  the  Historia  Scholastica  of  Petrus  Comestor  with  the  Biblical  additions  of 
Guyart  Desmoulins.     But  it  is  not  abridged  directly  from  these,  as  it  shows  the  influence  of  other  sources. 

483  x  204  mm.  (type-page  157  x  1 13).    Brown  morocco,  gilt,  by  F.  Bedford. 


XVIII 

West.  DICTS  OR  SAYINGS   OF  THE  PHILOSOPHERS.    2*  (preface):   wHere  it 

WCtacfeM     's  ^°  tnat  euery  humayn  Creature  by  the  fuffrance  of  our  lord  god  is  born  t  ordeigned 
1477.  to  be  fubgette  and  thral  vnto  the  ftormes  of  fortune  ...    3a  (text) :    fEdechias  was  the 

first  Philofophir  by  whoom  through  the  wil  and  pleafer  of  oure  lorde  god  Sapience  was 
vnderftande  and  lawes  refceyued  .  .  .  74*  (epilogue) :  hEre  endeth  the  book  named 
the  dictes  or  fayengis  of  the  philofophhres  enprynted  /  by  me  william  Caxton  at  weftmeftre 
the  yere  of  our  lord  .M.  CCCC.  Lxxvij.  Whiche  book  is  late  tranflated  out  of  Frenfhe  into 
englyffh.  by  the  Noble  and  puiffant  lord  Lord  Antone  Erie  of  Ryuyers  lord  of  Scales 
t  of  the  He  of  wyght  /  Defendour  and  directour  of  the  fiege  apoftolique,  for  our  holy 
Fader  the  Pope  in  this  Royame  of  Englond  and  Gouernour  of  my  lord  Prynce  of 
wales  .  .  .  76b.  End  :  .  .  .  And  after  thys  lyf  to  lyue  euerlaftyngly  in  heuen  Amen. 
Et  fie  eft  finis.  :• 

Folio,    [a-i*  k*.]     78  leaves,   the  first  and  the  last  two  blank.      Black-letter  type 
(Caxton's  type  2).     Spaces  with  guide-letters  for  capitals. 

1,  blank;  2-3*,  prologue  of  Earl  Rivers,  the  translator;  4-73,  text;  74-76,  Caxton's  epilogue;  77,  78, 
blank. 

The  '  Diets  of  the  Philosophers'  was  translated  from  the  French  of  Guillaume  de  Tignonville,  chamberlain 
of  Charles  VI,  who  in  1408  was  prevdt  of  Paris  and  died  in  1414.  His  book,  which  was  printed  by  Colard 
Mansion  at  Bruges  and  in  several  other  fifteenth-century  editions,  was  itself  a  translation  from  an  anonymous 
Latin  compilation.    An  English  version  had  already  been  made  in  1450  for  the  use  of  Sir  John  Falstaff  by  his 

26 


son-in-law,  Steven  Scrope.     Earl  Rivers,  as  he  tells  his  readers  in  the  prologue,  had  made  the  acquaintance  of  West* 

Tignonville's  book  in  July,  1473,  while  on  a  pilgrimage  to  S.  James  of  Compostella,  when  he  had  come  into  the  minster: 

Spanish  sea:  'there  lackyng  fyght  of  alle  londes/  the  wynde  beyng  good  and  the  weder  fayr/Thenne  for  W.  Caxton, 

a  recreacon  t  a  paffyng  of  tyme  I  had  delyte  t  axed  to  rede  fome  good  hiftorye  And  am5g  other  ther  was  that  1477. 
feafon  in  my  copanye  a  worfhipful  gentylman  callid  lowys  de  Bretaylles/ whiche  gretly  delited  hym  in  alle 

-Jffitit  ts  fS  (fy&  mtp  fyimfyt)  C«afot*  8g  ^ 
fufftmu*  of  out  fatty  50b?  k  fat?  8  ogfctgnety  to 
&  fuGcjefte  an*  ifycal^nto  *fr  pozmes  of  fb*ume 
Qtotty  fo  m)  fcutetfe  1  manp  fottotg  tBgfes  mat)  te  ytx$b$', 
ity  tBi^  JBarWg  3&uetpfces/6f  *  $#*  J  (£ntome 
%*Htfo  <£tfc  ¥guge«s/fatty  £?<afcs  gc  faue  fogtfrg 
*h  mang  *tfft«n*  manors  friue  fofc  mp  pitft  Qtn*  of  fctn 
afcuety  0£  t^jntfptpfe  gwca  ft  cjoofcnes  of  out  fatty  fatty 
*5uts?  V  mant  of  *f)s  (Htefciaftic*  of  (tttetcg/t&(Hd)e  §cc 
ttrittntf  g  &  me  (InofBen  g  Sn&tponfc  fa*§  comity  m* 
fc  fefte  a  ptfc  aflEe  ma^xtitttta/Qftnfc  fctoof  me  Bg  txfot)  g 
eonfacna  as  fat  as  mg  t5ttc$*nes  $of  ty  faff  gfe  fo  cjgue 
flfctfbw  fgn^ufct  Pougn$es  I  dfanBes/Qtnfc  cpojfc*  me  to 
fctfpofc  mg  wcouetfc  Cpf  to  §is  fetug<t/tt)  fbfotBta;  §is  &iBes 
an*  coman&m&s/Qtn*  mj  fafcff  a«on  g  t*coj*nce  of  mg$ 
Jtapgftti  g  ^fl&fcs  fcfbt*  fc0/»  fcScAc^cu^e  p  ffie*Ges 
ffa*  m£S§*  &  mop  accepfoGfc  &  §gm/$n*  as  fe*  as  mgtj 
ffcagfnes  S&oC*  fttffi*  me  J  wptty  nj  $6  tBg#  g  putpfe 
®u*gn<#  fyxt  NMM  J  Smfctpofc  $  JuBgfce  g  pittotj  6 
&  a*  *fc  £ty  Qtfpopfe  frpd  James  tij  ^f»gne  tBfltdJe 
Bas  tfy  get*  of  jwio?  a  *ffcufan*XCCC^i*;*ifc^ne 
J  fcft  tnumety  me  to  feGe  #**  &ga$e  g  #tfl>ety  ftom  fou; 
*fampfctj  *h  *fc  mone$  of  Jugil  d)e  fatty  gett/Qtnty  fo 
fag&to  ftom  tf)ms  <iC  J  come  nj  to  tfy  £?|»gng|f9  fee  $« 
Bxcfywg  fg$t^  of  of  e  8mfcS/*fr  TBgnfc  fegwp  goofc  an* 
<^  u>e&t  ^t/^^mte  fb*  a  tenxaco^  g  a  MfgJS  of  ^m« 
^  ($**  *Cgee  g  a^e^  to  uefc  fame  300^  ^p  o*ge  Q^n^  amoa^ 
o^r*  (?t*  $as  (fat  feafon  n^  mg  coping  a  vBojrf^ipfwf  jen? 
<gf  m*5  cattity  K>%  »  ^K(ft^/S$i<9e  opetfg  »K6?ty 

THE  DICTS  OR  SAYINGS  OF  THE  PHILOSOPHERS.      WESTMINSTER  \   W.  CAXTON,   I477. 

FIRST  PRINTED  PAGE. 

vertuoufe  and  honeft  thynges  that  fayd  to  me  /he  hath  there  a  book  that  he  trufted  I  fhuld  lykc  it  right 
wele  /  and  brought  it  to  me  /  whyche  book  I  had  neuer  feen  before  .  and  is  called  the  faynges  or  dictis  of  the 
Philofophers.  And  as  I  vnderftandc  it  was  tranflatcd  out  of  latyn  in  to  frenfhc  by  a  worfhipful  man  callid 
meiTirc  Iehan  de  Teonuille  prouoft  of  parys  Whan  I  had  heeded  and  loked  vpon  it  as  I  had  tyme  and  fpacc 
I  gaaf  therto  a  veray  affection.  And  in  efpecial  by  caufe  of  the  holfom  and  fwetc  faynges  of  the  paynems  / 
whyche  is  a  glorious  fayr  myrrour  to  alle  good  criftcn  people  to  beholdc  and  vnderftonde.     Oucr  that  a  grcte 

27  F    2 


West-  comforte  to  euery  wel  difpofed  faule/  It  fpeketh  also  vniuerfally  to  thexample  .  weel  and  doctryne  of  alle 

minster:  kynges  prynces  and  to  people  of  euery  eftate/It  lawdes  vertu  and  fcience/lt  blames  vices  and  ignorance. 

W.  Caxton,      And  al  be  it  I  coude  not  at  that  feafon  ner  in  al  that  pilgremage  tyme  haue  leyzer  to  ouerfee  it  wele  at  my 
1477.  pleafure  .  what  for  the  difpoficions  that  belongeth  to  a  taker  of  a  Iubylee  and  pardon.     And  alfo  for  the  grete 

acqueyntaunce  that  I  fonde  there  of  worfhipful  folkes/with  whom  it  was  fittyng  I  fhold  kepe  good  and 
hooneft  companye/yet  neuertheles  it  refted  ftyl  in  the  defyrous  fauour  of  my  mynde  /  entendyng  vtterly  to 
take  therwith  gretter  acqueyntaunce  at  fom  other  conuenyent  tyme.  And  fo  remaynyng  in  that  oppynyon 
after  fuche  feafon  as  it  lyfted  the  kynges  grace  comaunde  me  to  gyue  myn  attendaunce  vppon  my  lord  the 
Prince  .  and  that  I  was  in  his  ferny fe/ whan  I  had  leyfer  I  loked  vpon  the  sayd  booke.  And  at  the  lalt 
concluded  in  my  felf  to  traflate  it  in  to  thenglyffh  tonge  /  wiche  in  my  Iugement  was  not  before.  Thynkyng 
alfo  ful  neceffary  to  my  faid  lord  the  vnderftadyng  therof.  And  leeft  I  coude  not  at  al  tymes  be  fo  wele 
ocupied  or  fholde  falle  in  ydlenes/  whan  I  myght/  now  and  thenne  I  felle  in  hande  with  all  And  drewe  bothe 
the  fentece  and  the  wordes  as  nygh  as  I  coude/  Neuertheles  I  haue  feyn  t  herde  of  other  of  the  fame  bookes 
whiche  difference  and  be  of  other  inportaunce/ And  therfore  I  drede  that  fuche  as  fhold  lifte  to  rede  the 
tranfiacon  *  haue  veray  intelligence  of  ony  of  thoos  bookes  /  eyther  in  latyne  or  in  frenfhe  /  fholde  fynde 
errours  in  my  werke/ whiche  I  wold  not  afferme  caufe  of  the  contrary /But  allegge  the  deffaulte  to  myn 
vnconnyng,  with  the  dyuerfytees  of  the  bookes  /  humbly  defyryng  the  reformacon  therof  with  myn  excufe  / 
and  the  rather  fyn  after  my  rudenes  not  expert/  I  in  my  maner  folowed  my  copye  and  the  ground  I  had  to 
fpeke  vpon  /  as  here  after  enfiewis.' 

Caxton's  epilogue  is  mainly  occupied  in  complying  with  Lord  Rivers'  request  that  he  would  '  oversee '  his 
translation,  by  supplying  '  certayn  and  dyuerce  conclufions  towchyng  women '  which  the  Earl  had  omitted. 
He  writes  with  much  pleasant  humour  both  on  the  possible  reasons  for  which  Lord  Rivers  omitted  these 
remarks  and  also  on  their  inapplicability  to  English  women,  remarking  '  For  I  wote  wel  of  what  fomeuer 
condicion  women  ben  in  Grece  .  the  women  of  this  contre  ben  right  good  /  wyfe  /  playfant  /  humble  /  difcrete  / 
fobre/  chaft  /  obedient  to  their  hufbondis  /  trewe/  fecrete  /  ftedfaft  /  euer  befy  / 1  neuer  ydle  /  Attemperat  in 
fpeking/and  vertuous  in  alle  their  werkis  .  or  atte  lefte  fholde  be  foo.'  The  epilogue  ends:  '  Humbly 
requyryng  and  befechyng  my  fayd  lord  to  take  no  difplayfir  on  me  fo  prefumyng  but  to  pardone  where  as  he 
fhal  fynde  faulte/and  that  it  plefe  hym  to  take  the  labour  of  thenpryntyng  in  gre  t  thanke/  whiche  gladly 
haue  don  my  dyligence  in  thaccomplyffhyng  of  his  defire  and  commandement/  In  whyche  I  am  bounden 
fo  to  do  for  the  good  reward  that  I  haue  reffeyued  of  his  fayd  lordfhip  /  Whom  I  befeche  Almyghty  god 
tencrece  and  to  contynue  in  his  vertuous  difpoficion  in  this  world  /  And  after  thys  lyf  to  lyue  euerlaftyngly 
in  heucn  Amen     Et  fie  eft  finis.' 

Caxton  rented  his  shop  in  the  Almonry  at  Westminster  from  Michaelmas,  1476,  and  (according  to  the 
imprint  on  the  copy  in  the  John  Rylands  Library)  it  was  not  until  as  late  as  18  November  in  the  year  1477 
that  the  '  Diets  or  Sayings '  was  completed.  Moreover  the  mention  of '  the  good  reward  '  given  to  Caxton  by 
Earl  Rivers  suggests  that  the  book  was  more  or  less  a  commission,  and  therefore  not  included  in  the  original 
programme  of  work  with  which  he  returned  from  Bruges.  It  is  thus  probable  that  it  was  preceded  by 
the  English  'Jason'  and  some  small  quartos  in  the  same  type,  and  that  possibly  the  'Canterbury  Tales' 
was  taken  in  hand,  though  not  completed,  earlier.  But  in  any  case  it  is  the  '  Diets  or  Sayings '  which 
is  the  first  dated  book  printed  in  England,  and  as  such  the  replacement  of  one  of  two  cropped  and  soiled 
copies  of  it  already  in  the  Museum  by  this  handsomely  margined  one  is  a  great  satisfaction. 

283x206  mm.  (type-page  19.5x125).  Formerly  David  Laing's  copy.  Wants  leaf  74  (supplied  in 
facsimile),  which  the  second  Museum  copy  possesses,  and  the  blanks,  and  with  leaves  8  and  65  supplied 
from  the  copy  once  owned  by  Count  MacCarthy. 


XIX 

Augsburg:  SPIEGEL   MENSCHLICHER   BEHALTNIS.     2*.    Hie   vahet   an    ein    fpiegel 

Anton  Sorg.   menfchlicher    behaltnup,  jn    dem    geoffnet  wirt  fc  val  des    mefchen    vn  die    map  des 
c'  **7  wifcpringes.      In  dife  fpiegel  mag  b  mefch  erkennen  vmb  wa3  fache  der  fchopffer  aller 

der  ding  zu  rat  ward  den  menfehen  zebefchaffen.  Vnd  wie  der  menfeh  von  des  tewfels 
betrugnup  fey  verdamnet.  vnd  wie  er  mit  der  erbarmd  gottes  fey  widerpracht.  |[  Das 
erft  capitel.  von  lucifers  val.  113*.  par.  2,  1.  13 :  |[  Hie  vahent  an  die  fyben  zeyt 
von  dem  leyden  vnfers  herren  Ihefu  cristi.  IN  dem  vordern  capitel  h6rtten  wir  von  den 
vnleydenlichen  penen  der  verdampten.  vn  von  den  vnfaglichen  frewden  vnd  lone  der 
faligen.  Nun  follen  wir  h6ren  wie  wir  der  pene  der  verdampten  enpflichen  mtlgen  .  .  . 
ii9b.  par.  2,  1.  13:  |[  Von  den  fyben  betrubtnuffen  unfer  frawen.  IN  dem  vordern 
capitel  haben  wir  gehoredt  von  den  fybenfalltigen  danckfagen.  die  wir  vnferm  herren 
taglichen  fprechen  f611e  vm  fein  leyden.  Nun  f&llen  wir  h6ren  fyben  h6nigflieffende 
gebet  vnd  griif  die  wir  fprechen  f&llen  fc  faligen  junckfrawen  Marie  durch  jr  fyben 
betrubtnuf  .  .  .     i25b.  1.  18:    C  Hie  vahend  an  die  fiben  frewd  vnfer  lieben  frawen. 

28 


(i26»)   IN    dem  vordern  capitel  haben  wir   gehoret  von    den  fiben  traurigkeyte  oder  Augsburg: 
betrubtnup  vnfer  frawen.      Nun  fdllen  wir  horen  vO  jre  fiben  freflden  .  .  .     I3ib.  End  :   Anton  Sorg, 
.  .  .  der  mit  dem  vatter  vnnd  mit  dem  heyligen  geyft  id  ewigklichen  gefegnot.    Amen. 

Folio,  [a-m10  n1*.]  132  leaves,  the  first  and  last  blank.  Gothic  type  (no.  2  of  Proctor's 
numeration).  Numerous  heavy  Lombardic  capitals,  mostly  about  18-20  mm.  in  height. 
With  192  woodcuts,  some  of  which  are  repeats,  measuring  about  85  x  in  mm.  or  more. 


SPIEGEL  MENSCHLICHER  BEHALTNIS.      AUGSBURG  :   A.  SORG,  C   1478.      WOODCUT  OF  THE 
DOMINICAN  WHOSE  HEART  WAS  PIERCED  BY  A  SWORD. 


This  is  a  German  version  of  the  work  known  in  Latin  as  Speculum  Humanae  Saluationis,  one  of  the  most 
popular  books  of  devotion  of  the  fourteenth  and  fifteenth  centuries ;  English  and  French  translations  of  it  are 
also  extant  The  object  of  the  Speculum  is  to  show  how  all  the  principal  events  in  the  lives  of  the  Saviour 
and  of  the  Virgin  Mary  were  prefigured  by  events  assumed  to  be  analogous  in  Jewish  or  profane  history  at  an 
earlier  date.  Thus,  for  instance,  the  Entombment  is  declared  to  have  as  its  prototypes  the  burial  of  Abner, 
the  casting  of  Joseph  into  the  pit  by  his  brethren,  and  the  swallowing  of  Jonah  by  the  whale.  Again,  the 
annunciation  of  the  birth  of  the  Virgin  to  her  father  Joachim  (an  incident  related  in  the  Legenda  Aurea) 
was  prefigured  (1)  by  the  vine  which  King  Astyages  dreamt  that  he  saw  growing  out  of  his  daughter's 
bosom  (this  is  taken  from  Comestor's  Historia  Scholastica) ;  (2)  by  Solomon's  words  in  the  Song  of  Songs 
(iv.  1 2) '  a  garden  enclosed  is  my  sister,  my  spouse ;  a  spring  shut  up,  a  fountain  sealed ' ;  (3)  by  the  phrase 
'  there  shall  come  a  star  out  of  Jacob '  which  forms  part  of  Balaam's  prophecy.  Three  prototypes  are  in  every 
instance  adduced  in  explanation  of  each  episode  of  the  New  Testament,  the  four  parts  together  forming 
a  chapter.  The  whole  is  written  in  a  peculiarly  rhymed  prose,  consisting  of  lines  of  indefinite  length  connected 
into  couplets  by  the  rhymes,  the  sense  of  each  couplet  being  complete  in  itself.  Forty-two  chapters,  each 
containing  one  hundred  of  these  rhymed  lines,  form  the  body  of  the  work.  Three  additional  chapters  of 
308  lines  each  are  not  typological,  but  consist  of  mystical  reflections  on  the  Seven  Stations  of  the  Passion, 
the  Seven  Sorrows  of  Mary,  and  the  Seven  Joys  of  Mary  respectively ;  these  chapters  arc  omitted  in  some 
of  the  manuscripts  and  may  be  a  later  addition.  The  chief  sources  of  the  Speculum,  apart  from  the  Bible,  are 
the  Historia  Scholastica  and  the  Legenda  Aurea,  as  well  as  the  Summa  theologica  of  S.  Thomas  Aquinas. 

Two  manuscripts  of  the  Speculum,  in  the  Bibliotheque  Nationale,  begin  with  the  heading :  Incipit  prooc- 
mium  cuiusdam  nouac  compilationis  (editae  sub  anno  Domini  millesimo  CCCXXIV ;  nomen  nostri  auctoris 
humilitate  siletur)  .  . .  The  earliest  dated  manuscript  known  was  written  in  the  year  1356,  and  the  attribution 
to  the  year  1324  may  very  well  be  correct  Of  the  author,  it  may  be  said  with  certainty  that  he  was  a  religious, 
the  whole  work  being  written  from  a  monastic  point  of  view  ;  very  probably,  too,  he  was  a  Dominican, 
as  there  are  several  references  to  S.  Dominic  and  the  Preaching  Order  which  suggest  a  close  connexion 
with  this  order.  In  the  fifteenth  century  Vincent  of  Beauvais,  author  of  the  encyclopaedic  Speculum  Maius, 
was  believed  to  be  the  author  of  the  Speculum  humanae  saluationis  also ;  this  attribution,  however,  cannot  be 
reconciled  with  the  date  quoted  above  from  the  Paris  manuscript,  as  Vincent  died  about  1260.  Latterly, 
M.  Paul  Perdrizet,  in  hit  Etude  sur  le  Speculum  humanae  saluationis,  1908,  has  given  reasons  in  favour 
of  Ludolphus  de  Saxonia,  a  mystic  of  Strassburg,  who  became  a  Dominican  about  1314  and  a  Carthusian  in 
1340,  dying  in  1378.     The  principal  argument  is  drawn  from  Ludolphus's  well-known  work,  the  Vita  Christi, 

29 


Augsburg :  a  prose  treatise,  in  which,  however,  numerous  lengthy  extracts  from  the  Speculum  humanae  saluationis  are 
Anton  Sorg,  inserted ;  as  Ludolphus  never  gives  the  source  of  these,  though  generally  most  careful  to  acknowledge  his 
c.  1478.  authorities,  it  is  argued  that  he  was  himself  the  author,  and  that  his  vow  of  anonymity  (nomen  humilitate 

siletur)  prevented  him  from  stating  the  fact. 

All  but  a  few  of  the  manuscripts  of  the  Speculum  have  illustrations,  generally  19a  in  number,  in  pursuance 

of  the  author's  own  suggestion  as  detailed  in  the  proem  : 

In  praesenti  vita  nihil  aestimo  homini  utilius  esse 

Quam  Deum  creatorem  suum  et  propriam  conditionem  nosse. 

Hanc  cognitionem  possunt  litterati  habere  ex  Scripturis, 

Rudes  autem  erudiri  debent  in  libris  laicorum,  id  est  in  picturis. 

Quapropter  ad  gloriam  Dei  et  pro  eruditione  indoctorum 

Cum  Dei  adiutorio,  decreui  compilare  librum  laicorum. 

So  too  all  the  printed  editions  of  the  German  translation,  eleven  of  which  were  published  in  the  fifteenth 
century,  contain  woodcuts.  The  first  of  these,  containing  the  original  Latin  as  well  as  the  translation,  was 
printed  by  Giinther  Zainer  at  the  monastery  of  SS.  Ulrich  and  Afra  at  Augsburg  in  1473.  It  contains  192 
woodcuts.  This  was  followed  by  the  first  edition  printed  by  Sorg  in  the  same  city,  with  the  date  9  August,  1476. 
This  also  has  192  woodcuts  of  somewhat  crude  character,  copied  in  reverse  from  those  of  Zainer's  edition. 
The  book  contains  a  supplement  entitled  '  ein  loblicher  Passio ',  illustrated  by  17  additional  cuts.  The  present 
edition  is  a  reprint  of  the  1476  edition,  and  most  of  the  cuts  are  the  same,  though  worn,  a  few  new  ones  being 
added  and  the  supplement  omitted.  The  date  cannot  be  exactly  determined,  but  lies  somewhere  between 
1478,  the  year  in  which  type  2  was  first  introduced,  and  1481,  when  a  heading  type  was  first  used  with  it. 
Other  notable  editions  are  that  printed  by  Bernhard  Richel  at  Basel,  31  August,  1476,  which  is  of  a  different 
version  and  contains  the  New  Testament  Lessons  '  nach  der  zyt  des  iars '  distributed  after  the  chapters  of  the 
Speculum,  and  that  printed  by  Peter  Drach  at  Speier  about  1478,  containing  the  same  text  as  the  preceding 
and  extremely  vigorous  and  well  executed  copies  of  the  illustrations. 

The  Augsburg  woodcut  here  reproduced  illustrates  the  section  '  Ein  geficht  von  einem  bruder  prediger 
ordens  dem  gieng  ein  fchwert  durch  fein  hertz  nach  dem  geficht ',  this  being  an  answer  to  his  prayer  to  the 
Blessed  Virgin  that  he  might  be  permitted  to  participate  in  some  of  her  sorrow. 

287  x  204  mm.  (type-page  206  x  122).     Without  the  blank  leaves. 


Kuilenburg: 
J.  Veldener, 
6  March, 
1483. 


XX 

GESCHIEDENIS  VAN  HET  HEYLIGHE  CRUYS. 
ib  (beneath  woodcut): 

Seth  lieue  fone  wilt  my  wel  verftaen 
Totten  paradife  foe  fult  ghi  gaen 
Ende  daer  fult  ghi  den  enghel  vraghen 
Wanneer  dat  eynden  fellen  mijn  claghen. 
33*  (beneath  woodcut):    Hier  doen  die  coepluden  openbaer 

Haer  offerhande  ten  cruce  claer 
Ick  bidde  god  den  hemelfchen  vaer 
Dat  hi  ons  voer  den  duuel  bewaer. 

33b.  Colophon  :  Dit  is  ghemaect  in  die  goede  ftede  van  culenborch  Int  iaer  ons 
heren  M.  CCCC.  en  lxxxiij.  opten  feften  dach  van  maerte  by  my  ian  veldener. 

G.  L. 

Quarto,  a10  b-d'.  34  leaves,  the  last  blank.  Gothic  type  (No.  5  of  Proctor's  numera- 
tion).   64  woodcuts,  measuring  95  (-100)  x  97  mm. 

Many  of  the  cuts  are  much  worn  and  the  original  lines  round  them  have  been  replaced  or  supplemented  with 
brass  rules.  As  noted  above,  the  height  of  the  cuts  varies  between  95  and  100  mm.,  but  wherever  the 
dimensions  of  the  original  blocks  can  be  taken  independently  of  the  variations  introduced  by  the  placing 
of  the  brass  rules  the  measurements  run  in  pairs,  the  two  cuts  printed  to  face  each  other  always  having 
the  same  height  In  some  cases,  moreover,  a  crack  which  begins  in  a  block  printed  on  one  page  is  continued  in 
that  which  faces  it.  From  these  facts  it  has  been  inferred  that  each  pair  of  pictures  had  originally  been  cut  on 
a  single  block,  and  that  these  blocks  had  been  sawn  in  two  by  Veldener  in  the  same  way  as  those  of  the  Speculum 
Humanae  Saluationis  in  his  edition  of  27  September  in  this  same  year  1483.  If  this  were  so,  the  original 
double-cuts  were  doubtless  accompanied  by  a  block-printed  text.  No  impression  of  such  a  Dutch  blockbook 
is  now  known,  but  a  page  from  a  German  blockbook  representing  the  History  of  the  Holy  Cross  was 
reproduced  in  the  'Collcctio  Weigeliana'.  This  has  three  cuts  and  three  pieces  of  letterpress  on  each  page. 
In  the  hypothetical  Dutch  blockbook   it   has   been  supposed  that  there   must  have  been  two  cuts  with 

30 


Kuilenburg : 
J.  Veldener, 
6  March, 
1483. 


GESCHIEDENIS  VAN  HET  HEYLIGHE  CRUYS.      KUILENBURG:   J.  VELDENER,   I483.      (SIG.  D  4b.) 
HERACLIUS  TAKING  THE  FRAGMENT  OF  THE  CROSS  FROM  THE  THRONE  OF  COSDRAS. 


<&tfr  fate  frit  ft*t  ftitiprfmorf 

GESCHIEDENIS  VAN  HET  HEYLIGHE  CRUYS.      KUILENBURG  !   J.  VELDENER,   I483.       (SIG.  D  5*.)      HERA- 
CLIUS WARNED  BY  AN  ANGEL  THAT  HE  MUST  WALK  BAREFOOT  WHEN  CARRYING  THE  CROSS. 

31 


Kuilenburg  i    letterpress  at  the  top  of  each  page  and  two  more  with  letterpress  at  the  foot,  the  64  cuts  thus  occupying 

J.  Veldener,     16  leaves,  or  8  sheets,  printed  only  on  one  side  of  the  paper. 

6  March,  The  course  of  the  legend  as  illustrated  in  the  64  cuts  is  as  follows  :   1-4,  three  trees  grow  from  seeds 

*483.  given  by  an  angel  to  Seth  and  placed  by  him  under  Adam's  tongue  when  he  dies  ;  5-9,  Moses  sweetens  the 

water  of  Marah  with  them  and  replants  them  in  Moab  ;  10-17,  David,  at  the  bidding  of  an  angel,  fetches  the 
trees ;  they  work  miracles  and  grow  together  in  one  trunk ;  18-38,  Solomon  cuts  this  down  for  the  Temple, 
but  finding  no  place  for  it  uses  it  as  a  footbridge  ;  after  a  Sibyl  has  prophesied  Christ's  death  on  it,  Solomon, 
being  reproved  by  the  Queen  of  Sheba,  puts  it  over  the  door  of  the  Temple  ;  39-38,  after  King  '  Abyas '  has 
stripped  off  the  gold  the  wood  is  buried  (in  Bethesda)  and  an  angel  visits  the  pool  which  is  formed  over  it ;  33-38, 
the  wood  floats  while  Christ  is  before  Pilate  and  is  taken  for  the  Cross  ;  as  it  subsequently  works  miracles  the 
Jews  again  bury  it  with  the  crosses  of  the  thieves  ;  39-49,  S.  Helena,  with  the  aid  of  the  priest  Judas,  finds  the 
crosses,  that  of  Christ  being  distinguished  by  working  miracles  ;  she  takes  part  of  it  to  Rome  and  leaves  the 
rest  at  Jerusalem  ;  50-63,  King  Cosdras  dishonours  the  Cross  and  is  overcome  and  slain  by  King  Heraclius, 
who  restores  the  Cross  to  Jerusalem,  walking  barefoot  at  the  command  of  an  angel  who  closed  the  gate 
against  him  when  he  tried  to  ride  in  ;  63-64,  merchants  at  sea  are  saved  by  invoking  the  Cross  and  bring 
offerings  to  it. 

The  present  work  was  edited  in  facsimile  from  the  copy  then  in  the  possession  of  Lord  Spencer,  now 
in  the  John  Rylands  Library,  Manchester,  by  J.  Ph.  Berjeau  in  1863,  with  an  introduction  and  notes  in  which 
he  traced  the  history  of  the  legend  of  the  Holy  Cross  and  illustrated  the  present  Dutch  text  by  quotations 
from  the  Legenda  Aurea  and  from  two  French  manuscripts  in  the  British  Museum,  Arundel  507  and  Add.  6354 
('Geschiedenis  van  het  heylighe  Cruys,  or  history  of  the  Holy  Cross.  Reproduced  in  facsimile  from  the  original 
edition  printed  by  J.  Veldener  in  1483.  Text  and  engravings  by  J.  Ph.  Berjeau.  London,  C.  J.  Stewart,  1863.' 
See  also  Sir  W.  M.  Conway  in  the  '  Bibliographer ',  vol.  iv,  p.  33,  and  the  same  author's  '  The  Woodcutters 
of  the  Netherlands'  (1884),  pp.  13,  305-8,  334  sq.). 

310  x  145  mm.  (type-page  133  x  97).     Rubricated  with  paragraph-marks  and  underlines. 


Lyon : 
G.  Le  Roy, 
30  Sept., 
1483. 


XXI 

LE  LIVRE  DES  ENEYDES  COMPILE  PAR  VIRGILE.  aft  a  Loneur  de  dieu 
tout  puiflant  tt  la  glorieuse  vierge  marie  mere  b  toute  grace.  i  a  la  vtilite  t  prouffit  de  toute 
la  police  mondaine  ce  prefent  liure  compile  par  virgille  treffubtil  x  ingenieux  orateur 

r 


LE  LIVRE  DES  ENEYDES.      LYON  !   G.  LE  ROY,  1 483.      AENEAS  APPROACHING  SICILY,     (l,  RECTO.) 

%  poete  intitule  efneydes  a  efle  tranflate  de  latin  en  cOmun  lagaige  auql  pourrot  to9 
valereux  princes  »  aultres  nobles  veoir  molt  de  valereux  faictz  darmes.  Et  auffi  eft  1c 
pnt  liure  neceffaire  a  to*  citoyes  t  habitas  en  villes  t  chateaulx  car  ilz  verrot  come  iadis 
troye  la  grat  *  plufieurs  aulttes  places  fortes  t  inexpugnables  ont  efte  affegies  apremet 

32 


%  aflaliej  t  audi  corageufemet  t  vaillamet  deffendues.     Et  eft  ledit  liure  au  teps  pnt  fort  Lyon: 
neceffaire  pour  inftruire  petis  t  gras  pour  chafcQ  en  fon  droit  garder  «  deffendre  .  car   G-  Le  Roy, 
chofe  pi'  noble  eft  de  mourir  que  de  villainemet  eftre  subiugue.    83b.  Colophon  :    Cy  J^.61*  ' 


fillc  pourcc  que  celle  malic  aduenture  ef  lent  cfincuc  /Et  les 
aultrcs Dames  monterer  au  temple  miiieme  pour  Veoir  lee 
a llem blees  et  eeulr  qui  fuiroyet  et eeulr q  plus  feroyet  Dar 
mee  moult  mauldiffoyent  eneae  i  toute  fa  ppagnie  zO  ua  t 
turnue  fat  yflu  De  la  tour  tout  arme  la  royne  canune  a  tou 
te  fa  compatgnic  Dee  ebeualiereet  6  pueellee  armeee  luy 
Vint  audeuant  et  Demand  a  la  premiere  bataille  ptre  eneae 
et  fa  eompagnie  et  contre  fa  ebeualehe.et  Voue Demouree 
aur  mure  De  la  cite  et  Voue  me  hires  eonuenir  t>  m  a  mm ur 
la  bataille.  3Tumuo  la  regard  a  i  Did  £>am  e  qui  eftes tonrc 
la  p:oeflfe  Dyralie  qui  te  pourca  rendrela  merite  De  la  bonte 
que  Voue  me  faietee  faebies  que  a  moy  font  Venue  meilai 
gee  que  eneae  a  enuoye  ey  Deuant  Vne  partie  De  fa  gentet 
De  fee  ebeualiere  et  lee  aul tree  fen  Viennent  par  la  montai 
gne  i  Veullet  la  ate  alfaillir  De  lautre  partie  JEt  ie  Voue Di 

LE  LIVRE  DES  ENEYDES.      LYON  !   G.  LE  ROY,   1 483.       AENEAS  BEFORE  LAURENTIUM.      (SIC.  L«  VERSO.) 

finit  le  liure  des  eneydes  compile  par  Virgille  lequel  a  efte  tranflate  de  latin  en  francois 
lmprime  a  lyon  par  maiftre  Guillaumc  le  roy  le  dernier  iour  de  feptembre  Lan  mil  quatre 
cens.  Ixxxiii. 


33 


Lyon: 

G.  Le  Roy, 

30  Sept., 
1483. 


Folio,  a-c1  d-g*  h-l»  m*.  86  leaves,  the  first  and  last  blank.  Types  :  large  and  small 
Gothic  letter  (Nos.  3  and  4  in  Proctor's  numeration).  61  woodcuts,  of  which  a  few  are 
repeats.    Spaces  left  for  capitals,  a  few  with  guide-letters. 

This  is  the  '  lytyl  booke  in  frenfhe  whichc  late  was  tranflated  oute  of  latyn  by  fome  noble  clerke  of  frauce ' 
from  which  Caxton  '  reduced  in  to  Englyffhe '  his  own  '  boke  of  Eneydos ',  the  printing  of  which  was  completed 
22  June,  1490.  It  is  against  this  therefore,  rather  than  against  the  translation  of  it,  that  Bishop  Douglas  should 
have  directed  the  remarkably  vigorous  attack  in  the  Prologue  to  Book  I  of  his  own  verse  rendering  of  the 
Aeneid.     In  this  attack  Douglas  (ed.  J.  Small,  1874,  pp.  7  sqq.)  recites  how 


.  .  .  Williame  Caxtoun,  of  Inglis  natioun, 

In  pross  hes  prent  ane  buik  of  Inglis  gros, 

C'lepand  it  Virgill  in  Eneados, 

Quhilk  that  he  sais  of  Frensch  he  did  translait, 

It  hes  na  thing  ado  therwith,  God  wait, 

Nor  na  mair  like  than  the  devill  and  Sanct  Austyne  ; 

Haue  he  na  thank  therfor,  bot  lost  his  pyne, 

So  schamfully  that  storye  did  pervert ; 

I  red  his  werk  with  liarmes  at  my  hert, 

That  sic  ane  buik,  but  sentence  or  engyne, 

Suld  be  int it i  11  it  efter  the  poet  divyne  ; 

His  omait  goldin  versis  mair  than  gilt, 

I  spittit  for  despyt  to  see  sua  spilt 

With  sic  a  wycht,  quhilk  treulie  be  myne  entent 

Knew  neuer  thre  wowrdis  of  all  that  Virgill  merit. 

So  far  he  chowpis,  I  am  constrenit  to  flyte. 

The  thre  first  bukis  he  hes  ourhippit  quyte, 

Salfand  ane  litle  twiching  Polidorus, 


And  the  tempest  sent  furth  be  Eolus, 

And  that  full  sympillie  on  his  awin  gyse, 

Virgill  thame  wrote  al  on  ane  wther  wyse. 

For  Caxton  puttis  in  his  buik  out  of  tone, 

The  storme  furth  sent  be  Eolus  and  Neptone ; 

But  quha  that  redis  Virgill  suthtfastlie, 

Sail  fynd  Neptune  salf  Eneas  navie. 

Me  list  nocht  schaw  how  the  story  of  Dido 

Be  this  Caxtoun  is  haill  peruertit  so, 

That  bisyde  quhair  he  fenis  to  follow  Bowcas, 

He  rynnis  sa  fer  fra  Virgill  in  mony  place, 

On  sa  prolixt  and  tedious  fassoun, 

So  that  the  feird  buik  of  Eneadon, 

Tuiching  the  luif  and  deith  of  Dido  quene, 

The  twa  part  of  his  volume  doith  contene, 

That  in  the  text  of  Virgill,  traistis  me, 

The  twelft  part  scars  conteins,  as  je  may  se. 


The  denunciation  is  continued  for  another  ninety  lines.     Caxton  is  accused  of  omitting  the  account  of  the 
funeral  games  in  Book  V  and  the  whole  of  Book  VI.     Finally 


The  last  sax  buikis  of  Virgill  all  in  feris, 
Quhilk  contenis  Strang  batellis  and  weris, 
This  ilk  Caxtoun  sa  blaitlie  lettis  our  slip, 
I  hald  my  toung,  for  schame  bytand  my  lip. 
The  greit  efferis  of  ayther  oist  and  array, 
The  armour  of  Eneas  fresch  and  gay, 
The  quent  and  curious  castis  poeticall 


Perfyte  similitudis  and  examplis  all 
Quhairin  Virgill  beirs  the  palme  of  lawde, 
Caxtoun,  for  dreid  thai  suld  his  Iippis  scawde 
Durst  neuer  tuiche  :  thus  schortlie  for  the  nanis 
A  twenty  devill  mot  fall  his  werk  at  anis, 
Quhilk  is  na  mair  lyke  Virgill,  dar  I  lay, 
Na  the  owle  resemblis  the  papyngay. 


These  accusations,  although  misdirected,  are  all  true,  the  anonymous  French  compiler  having  gone  to 
Virgil's  Aeneid  only  as  a  quarry  from  which  to  take  such  facts  as  suited  him,  rejecting  and  rearranging  as 
he  pleased.  He  had  his  own  standards,  however,  and  when  he  found  Boccaccio  giving  a  different  version  of 
the  story  of  Dido  from  that  adopted  by  Virgil  he  conscientiously  offers  his  readers  both.  Caxton  seems  to 
have  been  attracted  to  the  book  mainly  '  by  caufe  of  the  fayr  and  honeft  termes  i  wordes  in  frenfhe  Whiche  I 
neuer  fawe  to  fore  lyke,  ne  none  fo  playfaunt  ne  fo  wel  ordred ',  and  in  trying  to  reproduce  them  fell  somewhat 
below  his  usual  modest  excellence  as  a  translator.  He  did  not  think  it  necessary  to  supply  his  readers  with 
copies  of  the  Lyonnese  illustrations,  which  indeed  are  hardly  successful  enough  to  attract  imitation.  Several 
of  the  worst  woodcutters  in  Lyon  must  have  been  employed  to  produce  them,  as  they  seem  to  be  the  work  of 
three  or  four  different  hands.  The  cut  here  reproduced  of  Aeneas  approaching  Sicily  shows  the  neatest  work 
of  the  series,  that  of  Aeneas  before  Laurentium  is  more  typical  of  the  style  of  the  better  cuts.  Many  of  the 
worst  ones,  it  should  be  said,  are  modelled  on  designs  full  of  vigorous  movement,  with  which  the  cutter  has 
been  unable  to  cope. 

310  x  207  mm.  (type-page  195  x  127).     Without  the  blank  leaves. 


Lyon: 
G.  Le  Roy, 
5  July, 
(1485?]. 


XXII 

FIERABRAS.  ia  (title-cut  labelled):  Fierabras.  2\  [s]Aint  paul  docteur  de  verite 
nous  dit  que  toutes  chofes  reduytes  par  efcript  font  a  noftre  doctrine  efcriptes  .  .  . 
2b.  line  3 :  Cy  commencent  les  chapitres  des  tiltres  de  l'oeuure  fuyuament  nobrez  pour 
trouuer  plus  legierement  la  matiere  dedans  comprife.  Cy  commence  le  premier  liure 
qui  contiet  troys  parties  par  les  chapitres  fuyuamment  declarez.  La  premiere  partie  du 
premier  liure  contient  cinq  chapitres  et  parle  du  commencement  de  france  et  du  roy 
cloys  ...  7»  (text):  cOmme  on  lit  es  hyftoires  des  troyes  apres  la  deftruction  de 
troye  II  y  auoit  vng  roy  moult  noble  q"  fe  difoit  Francus  .  lequel  eftoit  copaignon  de 
eneas .  lequel  quat  II  partit  de  troye  II  fen  vit  en  la  region  de  Frace  et  comeca  a  regner 
en  grad  profperite  .  et  pour  la  felicite  de  fon  nom  II  fit  copofer  vne  cite  a  laquelle  11  mift 

34 


nom  Frace  .  et  puys  enfuiuat  toute  la  region  fut  appelle  France.     Et  puys  quat  france  fut  Lyon : 

exaulcee  et  reduyte  a  magefte  royale.    Priamus  fut  le  premier  qui  regna  fur  les  francoys  G'^f      y' 

ciuq  ans  .  .  .    99b.  Colophon  :  Cy  finift  Fierabras  Imprime  a  lyon  par  maiftre  Guillaume  (1485  ?']. 
le  roy.    Le  cincquiefme  lour  du  moys  de  Iuillet  Deo  gracias.    ioo*.  [Woodcut.] 


LE  ROMAN  DE  FIERABRAS.       LYON  :   C.  LE  ROV,  5  JULY,  [1485  ?].      (TITLE.) 

Folio,  a-1*  m  n*.  ioo  leaves.  Types  :  Gothic  (Nos.  4  and  5  in  Proctor's  numeration). 
48  woodcuts,  viz.  2  full  page,  of  which  one  is  used  twice  (6s  and  ioo»),  and  46  smaller  ones, 
of  which  three  are  used  twice ;  all  copied  in  reverse  from  those  in  the  Geneva  editions. 


35 


G    2 


Lyon:  In  its  original  form  the  romance  of  Ficrabras  was  a  chanson  de  geste  written  in  about  4,600  alexandrines, 

G.  Le  Roy,       concerned  with  the  combat  between  Ficrabras  of  Alexandria,  who  has  lately  sacked  Rome  and  taken  away 
5  July,  the  relics  of  Christ's  Passion,  and  the  French  champion  Oliver ;  with  the  capture  of  Oliver  by  a  Saracen 

| 1485  ?].  ambush,  the  kindness  of  Florigras,  sister  to  Fierabras,  to  the  Christian  captives,  Charlemagne's  division  of  their 

father's  kingdom  between  Fierabras  and  Guy  de  Bourgogne  to  whom  Florigras  is  married,  and  the  presentation 
of  the  relics  of  the  Passion  to  the  Abbey  of  S.  Denis  (see  the  description  of  Royal  MS.  15  E.  VI,  in  Ward's 
'Catalogue  of  Romances  in  the  Department  of  Manuscripts  in  the  British  Museum',  i.  615).  Like  other 
chansons  de  geste  this  of  Fierabras  was  turned  into  prose  in  the  15th  century,  the  redactor  withholding  his  own 
name,  but  stating  in  his  preface  '  fouuenteffoys  lay  efte  excite  de  la  part  de  venerable  homme  meflire  henry 
bolomier  chanoyne  de  lozanne  pour  reduire  a  fon  plaifir  aucunes  hiftoires  tant  en  latin  comme  en  roman  et  en 
autres  facons  cfcriptes.  Ceftaflauoir  de  celluy  trefpuiflant  virtueux  et  noble  charles  le  grad  roy  de  france  et 
empereur  de  romme  filz  du  grand  roy  pepin  et  de  fes  princes  et  barons,  come  Rolant  Oliuier  et  autres.'  The 
writer,  however,  was  not  content  with  reducing  the  old  chanson  to  prose,  but  warns  his  readers  '  a  caufe  q  le 
puifle  auoir  vng  petit  de  fodemet  honourable  toucheray  du  premier  roy  de  frace  creftie',  obtaining  his 
information  '  tant  par  vng  liure  autenticque  qui  fe  dit  miroir  hiftorial,  comme  par  les  cronicqs  et  aucus  autres 
liures  qui  font  mecion  de  loeuure  fuiuat '.  These  additions  occupy  the  greater  part  of  Book  I  and  part  of 
Book  III,  the  second  book  following  only  the  old  romance.     In  this  form  the  work  was  printed  by  Adam 


LE  ROMAN  DE  FIERABRAS.       LYON  :   G.  LE  ROY,  5  JULY,  [1485  ?].       'COMMENT  FIERABRAS  VINT 

EVITER  LEXERCITE  DE  CHARLES.'       (cg  VERSO.) 


Steinschaber,  or  Steinschauer,  at  Geneva,  38  November,  1478,  and  reprinted  by  Louis  Cruse  at  the  same  place, 
13  March,  1483.  It  was  probably  in  this  same  year  that  Guillaume  Le  Roy  completed  the  first  of  his  three 
Lyon  editions  which  bears  the  date  16  November,  but  no  further  note  of  time.  Inasmuch,  however,  as  it  is 
printed  in  the  same  type  as  the  '  Livre  des  Eneydes '  of  30  September,  1483,  here  catalogued  (no.  xxi), 
it  probably  belongs  to  that  year.  The  present  edition  followed  on  5  July  also  of  an  unspecified  year,  probably 
1485,  and  a  third  on  20  January,  148$.  In  the  first  and  second  of  these  Le  Roy  used  cuts  copied  in  reverse  from 
those  of  the  Geneva  editions,  sometimes  improving  on,  more  often  falling  beneath  their  originals  ;  for  the  third 
he  had  new  copies  made  in  the  better  Lyonnese  style  of  the  day.  All  three  editions  were  only  known  to 
M.  Claudin  by  single  copies,  that  of  16  November  by  one  in  the  Imperial  Library  at  Vienna,  that  of  5  July 
by  the  present  copy,  and  the  edition  of  148$  by  one  at  Brussels  in  the  collection  of  the  Baron  de  Wittert. 
Another  copy  of  this,  however,  is  in  Mr.  Pierpont  Morgan's  library  (no.  603  in  his  Catalogue),  having 

Kreviously  passed  through  the  Essling,  Yemeniz,  Crawford,  and  Bennett  collections.  The  statement  in  the 
(organ  catalogue  that  the  5  July  edition  was  probably  the  latest  of  the  three  was  made  in  ignorance  of  the  fact 
that  its  woodcuts  agree  with  those  of  that  of  the  16  November.  What  we  know  of  Caxton's  sources  in  respect  to 
other  books  entitles  us  to  be  sure  that  it  was  the  first  of  these  three  Lyonnese  editions,  not  one  of  the  Geneva 
ones,  which  he  used  for  his  translation  of  this  romance.  In  his  prologue  to  this  Caxton  writes:  '  for  as  mochc 
I  late  had  fynyflhed  in  emprynte  the  book  of  the  noble  %  vyctoryous  kyng  Arthur  fyrft  of  the  thre  mooft  noble 
t  worthy  of  cryftcn  kyngea/and  alfo  tofore  had  reduced  in  to  engliffhe  the  noble  hyftorye  %  lyf  of  Godefroy 
of  boloyn  kynge  of  Iherusalem  laft  of  the  faid  iii.  worthy/  Somme  perfones  of  noble  eftate  and  degre  haue 
defyred  me  to  reduce  thyftorye  and  lyf  of  the  noble  and  cryften  prynce  Charles  the  grete  kynge  of  fraunce  % 
emperour  of  Rome  /the  fecond  of  the  thre  worthy /to  thende  that  thyftoryes  /actes/ %  lyues  may  be  had  in  our 

36 


maternal  tongue  lyke  as  they  be  in  latyn  or  in  frenffhe.'     Caxton's  work  is  always  quoted  as  his  '  Charles  the  Lyon  : 

Great',  and  in  the  Lyons  edition  of  30  January,  1501,  'par  Pierre  marefchal  t  Barnabas  chaufTard',  while  the  G.  Le  Roy, 

colophon  begins  '  Cy  finift  Fierbras ',  the  title  reads  '  La  coqfte  du  grant  roy  Charlemaigne  des  efpaignes.     Et  5  July, 

Its  vaillances  des  douze  pers  de  france.     Et  aufli  celles  de  Flerabras '  (misprinted  Elerabras).  (1485  ?]. 

The  British  Museum,  which  already  possessed  a  copy  of  one  of  the  Geneva  editions  and  the  unique 
survivor  of  Caxton's  work,  now  makes  its  set  representatively  complete  by  adding  one  of  the  early  Lyonnese 
editions. 

258  x  190  mm.  (type-page  195x126).  Bound  by  Trautz  Bauzonnet  in  green  morocco  with  doublure 
of  red. 


XXIII 


Venice : 
Geronimo 
di  Sancti, 
tec.,  1487. 


-&fc-2"-4^ 


MEDITATIONE    SOPRA  LA  PASSIONE        VENICE:   GER.  DI  SANCTI,   I487. 
THE  LAST  SUPPER.      (.SIC.  A,  VERSO.) 


37 


Venice  i 
Geronimo 
di  Sancti, 
*C  1487- 


MEDITATIONE  SOPRA  LA  PASSIONE  DEL  NOSTRO  SIGNORE.  r»>. 
Woodcut  2*.  |[  Incominciano  le  deuote  meditatione  fopra  la  paffione  del  noftro  fignore 
cauate  «  fundate  originalmente  fopra  fancto  Bonauentura  cardinale  del  ordine  minore 
fopra  Nicolao  de  Lira  .  etiamdio  fopra  altri  doctori  %  predicatori  approbati.  40*.  Colophon: 
C  Finiffe  le  deuote  meditatione  del  noftro  fignore  impreffe  in  la  inclita  cita  de  Venetia  per 


THE  CRUCIFIXION.      (SIG.  D5  VERSO.) 


Ieronimo  di  fancti  *  Cornelio  fuo  compagno  de  mille  quatrocento  ottantafette  a  laude 
t  honore  del  omnipotente  dio  »  de  la  fua  madre  virgine  benedecta.     Deo  gratias.    Amen. 

Quarto,  a-e*.  40  leaves.  Gothic  types  (Nos.  2  and  3  in  Proctor's  numeration).  Eleven 
woodcut  illustrations,  border  to  the  first  page  of  text,  capitals  in  two  sizes.     Proctor  t5i8o. 

The  subjects  of  the  woodcuts  are  as  follows:  ib,  Raising  of  Lazarus;  3b,  Entry  into  Jerusalem ;  7b,  the 
Latt  Supper;  ia»,  the  Agony  in  Gethsemane;  i4b,  the  Betrayal;  i»b,  Christ  before  Pilate;  aib,  Christ 
Scourged;  »3b,  Christ  Mocked;  »5b,  the  Procession  to  Calvary;  ac.b,  the  Crucifixion;  40b,  the  Resurrection. 
With  the  exception  of  the  first  all  these  are  found  in  the  nine  extant  leaves  of  a  blockbook  of  the  Passion,  of 
which  the  only  known  copy  is  preserved  in  the  Kupferstichkabinett  at  Berlin.     They  have,  however,  been  cut 

38 


down  at  the  foot,  so  as  to  remove  the  scrolls,  each  bearing  three  lines  of  text,  which  in  the  blockbook  the  two 
angels  in  the  lower  corners  of  the  pictures  are  holding.  The  removal  of  these  scrolls  leaves  the  position  of  the 
angels'  hands,  and  indeed  the  presence  of  the  angels  themselves,  unintelligible.  The  make-up  of  the  Berlin 
copy  of  the  blockbook  is  not  stated  by  the  Prince  d'Essling  ('  Les  Livres  a  figures  v^nitiens,'  i.  10),  but  it 
probably  was  originally  composed  of  ten  leaves,  of  which  the  first  had  the  recto  blank  and  the  cut  of  the 
Raising  of  Lazarus  on  the  verso.  The  attribution  of  the  blockbook  to  Venice,  supported  by  the  Prince 
d'Essling,  Dr.  Kristeller  and  Dr.  Schreiber,  seems  beyond  dispute;  the  proposed  date  for  it,  'about  1450,' 
though  quite  possible,  is  perhaps  needlessly  early.  The  Prince  d'Essling's  contention  that  the  cuts  suggest 
carvings  in  wood  or  ivory  rather  than  drawings  is  worthy  of  note. 

The  border  on  2\  with  its  arabesque  tracery  in  white  on  a  black  ground,  had  previously  been  used  by 
Bernardinus  Benalius  in  his  edition  of  the  '  Grammaticales  Regulae'  of  Guarinus  Veronensis  completed 
25  May,  1485.  The  design  is  imitated  from  that  used  in  Ratdolt's  1482  edition  of  the  Kalendarium  of 
Johann  Miiller  (Regiomontanus).     The  capitals  also  appear  to  be  derived  from  Ratdolt. 

214  x  144  mm.  (type-page  143  x  98). 


Venice : 
Geronimo 
di  Sancti, 
&c,  1487. 


XXIV 


MEDITATIONE  SOPRA  LA  PASSIONE  DEL  NOSTRO  SIGNORE.  ia 
Incominciano  le  deuote  meditatione  fopra  la  paflione  del  noftro  {Ignore  cauate  &  fundate 
originalmente  fopra  fancto  Bonauentura  cardinale  del  ordine  minore  fopra  Nicolao  de  Lira: 


Venice  1 
M.diCodeca, 
27  Feb.,  1489. 


^^sHL^ 


CHRIST  BEFORE  PILATE. 


CHRIST  MOCKED  AND  BUFFETED. 


etiamdio  fopra  altri  doctori  &  predicatori  approbati.  34b.  Colophon  :  Finifle  le  meditatione 
del  noftro  fignore  iefu  chrifto  con  li  mifterii  pofti  in  figura  impreffe  in  Venetia  per  Matheo 
di  co  de  cha  da  Parma  del  .Mcccclxxxix.  a  di  xxvii.  de  Februario.    [Codeca's  device.] 

Quarto,  a  b8  c-e*.  34  leaves.  Roman  type  (No.  7  in  Proctor's  numeration).  Eleven 
woodcuts.    Spaces,  with  guide-letters  for  capitals. 

The  subjects  of  the  woodcuts  are  as  follows :  i»,  Raising  of  Lazarus ;  2»,  Entry  into  Jerusalem ;  5b,  Last 
Supper;  o»,  Christ's  Agony  in  Gethscmane;  Il»,  the  Betrayal;  I4b,  Christ  before  Pilate;  17*,  Christ 
Scourged;  i8b,  Christ  Mocked;  20*,  the  Procession  to  Calvary;  23b,  the  Crucifixion  ;  34*.  the  Resurrection. 
The  cutting  appears  to  be  by  the  same  two  workmen  who  in  1490  cut  the  small  blocks  for  the  Mallermi 
Bible.  The  three  blocks  on  i4b,  17%  and  i8b  are  by  the  better  workman  ;  most,  if  not  all,  of  the  rest,  by  the 
inferior  one. 

201  x  143  mm.  (type-page  160  x  107). 


39 


XXV,  XXVI 


Paris: 
G.  Mar- 
chant,  149a. 


DANSE  MACABRE.  [Part  I.]  i»  Title  :  ICy  eft  la  nouuelle  danfe  macabre  des 
hommes  dicte  Miroer  falutaire  de  toutes  gens  pour  plufeurs  beaux  dictz  en  latin  et  francoys 
lefquelx  y  font  contenus  et  fi  eft  de  grant  recreacion  pour  plufeurs  yftoires  et  enfeignemens 
monitoires  a  bien  viure  et  mourir  Ainfi  imprimee  pour  tous  ceulx  et  celles  qui  la  vouldront 
auoir  et  defirent  faire  leur  falut  [Mark  of  '  Guiot  marchat  imprimeur  demorant  ou  grant 
hoftel  de  nauarre  en  champ  gaillart  a  pans.']  Miroer  treflalutaire  La  nouuelle  danfe 
macabre  des  hommes.  i4b.  Colophon  :  Cy  finit  la  danfe  macabre  hiftoriee  et  augmetee  de 
plufieurs  nouueaulx  pefonnaiges  et  beaulx  dis  .  tant  en  latin  que  en  francoys  nouuellemet 
ainfi  copofee  et  imprimee  par  guyot  marchant  demourant  a  parts  ou  grat  hoftel  du  college 
de  nauarre  en  champ  gaillart.  Lan  de  grace  mil  quatre  cens  quatre  vingz  et  vnze .  le  xv  iour 
de  auril. 


DANSE  MACABRE.       PARIS:    G.  MARCHANT,   1 492.      LE  CLERC      L  HERMITE. 

[Part  II.]  i*.  Title  :  ICy  eft  la  danfe  macabre  des  femes  toute  hyftoriee  et  augmetee 
de  nouueaulx  perfonaiges  auec  plufieurs  dis  moraulx  en  latin  et  fracoys  qui  font  enfeignemens 
de  bien  viure  pour  bien  mourir.  i4b.  Colophon  :  Cy  finift  la  danfe  macabre  des  femes 
toute  hyftoriee  et  augmetee  de  plufeurs  perfonnages  et  beaux  dictz  en  latin  et  francoys. 
Imprimee  A  Paris  par  Guyot  Marchant  demorant  ou  grant  hoftel  du  champ  gaillard  derrier 
le  college  de  nauarre  Lan  de  grace  mil  quatre  cens  quatre  vingz  t  douze  Le  troiziefme  iour 
de  may.    [Marchant's  device  as  in  Part  I.] 

[Part  III.]  i».  Senfuiuent  les  trois  mors  et  les  trois  vifz  auec  le  debat  du  corps  et  de 
lame.  i4b.  Colophon  :  ICy  font  les  trois  mors  et  trois  vifz  en  francoys  .  et  aufly  trois  mors 
et  trois  vifz  en  latl.  Le  debat  du  corps  et  de  lame.  Et  la  complainte  de  lame  danee. 
Imprimee  a  paris  par  guiot  marchant  demorant  ou  grant  hoftel  du  champ  gaillart  derrier  le 
college  de  nauarre  Lan  mil  quatre  cens  quatre  vingz  et  douze  le  xxii  iour  de  may. 

Folio.  Each  part  consists  of  two  quires  a1  b*,  containing  14  leaves  or  42  leaves  in  all. 
Types :  Gothic  (Nos.  2  and  6  in  Proctor's  numeration).  Numerous  woodcuts  and  some 
large  capitals. 

40 


fcxj8o  moii: woje  ce xta  q8£  nit ce  rrt9  iffa.    *xt&<>  mon:  tfiamtti)  quo8fM?ff>d8ef* ttflttft 
fyovx  ff  mcetfa:  *3ef  mow:  ^a5o  moii.       £mue  intuits  nmcu  not)  awo:  9a8o  moil 


Paris: 
G.  Mar- 
chant,  149a. 


3©ois  8n^  fen  jo  :  ttiots  fcepfrci  ft  gon  i  fy  ctjtwf* 
IDiffimifce  [imifi  con  Si  ft  one  (catena 

Xamozt 
£oue  qui*bfue5:certalnement 
€too?  quil  tarbeainfi  banferee. 
grjaie  quanttoieu  le  feet  feulement 
Bbuifee  comme  "Dous  feree* 
&am  papc  touo  commeneeree 
Comme  le  plue  bigne  feigneur 
£n  ce  point  foomune  feree. 
2(ur  grao.  maiftre  eft  beu  lonneuc 

Xepape 
Dec  fault  1 1  qne  la  banfe  maine 
le  p2emier.  qui  fuf  a  bieu  en  terre 
2Jap  eu  bignttefouneraine 
€n  leglifecommc  Cafntpferre* 
€t  eomeauf  ce  moit  me  trift  querce 
£hco2ea  mourirneeufbaffe, 
£Date  la  ttunt  a  tcFmame  guerre 
•£eu  T>ault  Ijoneur  que  ft  toft  paCe 


©ui8  fuBftme  0cnue  qS  opee:  q8  gfta  pff  df 
One  mtcfp  (iic  a8eraf :  r)cc  micfji  nuc  a6e  tin  £ 

latitat 
£f  uoue  le  non  parcfl  bu  monbe 
jounce  et  feigneur  grat  empertere 
Zaifter  fault  la  pome  bo:  tonbe 
Kcmeo:  fcepttc:  tymbze:  banfere. 
3Je  ne  tooua  lafrav  paeoerrfere. 
&OU0  ne  pouea  plus  feignourir. 

femmene  tout  ceft  ma  maniece 
eo  ffl5  abam  fault  touo  mourir 

lempeceur 
]c  ne  fa  v  beuant  qui  iappclle 
:1a  mozt  quanfi  me  bemette. 
Werner  me  fault  be  pic  be  pclle. 
£t  bun  linfeul.  ee  meft  gratpene 
£>ur  touo  a?  eu  grabeur  rafibaine. 
£t  mo2ii  me  fault  pour  tout  gaige. 
(Qucft  ce  be  ce  moztel  bomaine* 
Xco  grao  ne  lout  paa  bauantaige* 

aou 


DANSE  MACABRE.       PARIS  !   C.  MARCHANT,   1 492.       (SIG.  a,  RECTO.) 


41 


H 


Paris  :  Inasmuch  as  Easter  in  149a  fell  on  33  April,  the  15  April,  149a,  was  reckoned  as  part  of  the  old  year  and 

G.  Mar-  is  here  called  1491.     The  three  parts  of  this  book  were  thus  completed  on  15  April,  3  May,  and  22  May,  all  in 

chant,  149a.  the  same  year,  1493.  The  majority  of  copies  were  doubtless  sold  as  a  single  book  in  three  parts,  but  each 
may  also  have  been  sold  separately,  or  we  may  accept  the  absence  of  a  title-page  to  Part  III  as  suggesting  an 
intention  of  selling  this  not  by  itself  alone  but  with  either  of  the  other  two  parts.  The  history  of  the  book 
goes  back  to  a8  September,  1485,  when  Marchant  completed  an  edition  of  the  '  Danse  des  hommes'  only. 
In  the  next  year  he  produced  a  '  Danse  des  hommes  et  Dit  des  trois  vifs  et  trois  morts '  on  7  June,  and 
a  '  Danse  des  Femmes,  Debat  du  Corps  et  de  l'Ame  et  Complainte  de  l'ame  dampneV  on  7  July,  i.e.  the  same 
matter  as  in  the  present  edition,  but  with  the  contents  of  the  third  part  divided  between  the  other  two.  No 
other  edition  is  recorded  until  the  Latin  '  Chorea  ab  eximio  Macabro  versibus  alemanicis  edita'  of  15  October, 
149a  French  editions  of  the  three  parts  in  their  present  order  appeared  20  Jan.  149$,  2  May,  1491,  and 
30  April,  149  «• 

On  26  June,  1492,  a  month  after  this  edition  was  completed,  a  rival  version  of  the  '  Danse  des  Hommes ' 
and 'Trois  Vifs' was  printed  by  Gilles  Couteau  and  Jean  Me^iart  (see  Claudin,  Histoire  de  l'lmprimerie  en 
France,  ii.  176-188),  who  also  issued  one  or  more  undated  editions.  An  edition  was  also  published  by  Le  Petit 
Laurens  (after  1494?)  and  another  at  Geneva. 


DANSE  MACABRE.      PARIS  :   G.  MARCHANT,   1492.       LA  CHAMBERIERE.      LA  RECOMMENDERESSE. 


The  following  is  a  list  of  the  woodcuts  in  the  three  parts  :— 

Danse  DES  Hommes.     a»,  Ecclesiastic  seated  at  a  revolving  desk,  with  other  desks  and  tables  about,  but 
in  the  open  air.     At  the  right  top  corner  an  angel  bearing  a  scroll  inscribed:  Hec  pictura  decus:  pompam  . 


3b,  Four  figures 


luxumqj  relegat  ||  Inqj  choris  noftris  linquere  fella  monet     Several  versions  of  this  cut  exist. 
of  Death  bearing  respectively  bagpipe,  hand  organ,  harp,  and  drum  and  pipe. 

^  In  the  succeeding  ao  pages  figures  of  Death  are  shown  seizing  the  following  persons :  3*,  Le  pape 
Lempereur.  3*.  Le  cardinal,  Le  roy.  4\  Le  legat,  Le  due.  4*,  Le  patriarche,  Le  conneftable.  *», 
Larcevefque,  Le  cheuaher.  5b,  Leuefque,  Lefcuier.  6»,  Labbe,  Le  bailly.  6b,  Laftrologien,  Le  bourgois. 
7»,  Le  chanome,  Le  marchant.  7b,  Le  maifbre  defcole,  Lomme  darmes.  8\  Le  chartreux,  Le  fergent. 
«  Le  moine  Lufurier.  9*,  Le  medecin,  Lamoureux.  9b,  Laduocat,  Le  mencftrel.  10*,  Le  cure,  Le 
laboureur.  io\  Le  promoteur,  Le  geolier.  n\  Le  pelerin,  Le  bergier.  nb,  Le  cordelier,  Lenfant.  ia», 
Leclerc,  Lcrmite.  ia\  Le  hallcbardier,  Le  fot.  13',  A  man  seated  in  a  canopied  chair,  a  cupboard  with 
books  on  and  in  it  beside  him,  but  in  the  open  air.  A  skeleton,  from  whose  head  a  crown  has  fallen,  lies  before 
him.  Above,  to  the  left,  an  angel  holds  a  scroll  with  a  long  inscription  beginning :  Mortales  dominus  cuctos 
in  luce  creauit.  13*.  Hell  mouth,  the  head  of  a  man  in  torment  appearing  in  it,  in  front  Death  riding  a  horse, 
a  coffin  under  his  left  arm,  in  his  right  hand  a  dart. 

emmes  :  i\  Figure  of  a  Moor  standing  on  a  tower  blowing  a  horn,  a  spear  in  his  right  hand. 
.     a\  Four  figures  of  Death  with  instruments  as  in  the  '  Danse  des  Hommes '  but  in 


a*,  An  ecclesiastic  writing 
different  attitudes. 


42 


In  the  succeeding  18  pages  figures  of  Death  are  shown  seizing  the  following  persons:  3»,  La  royne,  La    Paris: 
ducheffe.     3b,  La  regente,  La  feme  du  cheualier.     4*,  Labbeffe,  La  femme  de  lefcuier.     4**,  La  prieure,  La    G.  Mar- 
damoifelle.     5*,   La  bourgoife,  La  femme  vefue.     5b,  La  marchande,   La  balliue.     6»,   Lefpoufee.    La  feme    chant,  H92- 
mignote.     6b,   La   pucelle   vierge,   La    theologienne.     7',    La   nouuelle    mariee,   La    femme    groffe.     7b,   La 
chamberiere,    La    recommanderreffe.      8a,    La   vieille    damoifelle,   La   cordeliere.      8b,    La   femme   dacueul, 
La   nourrice.     9',   La   bergiere,    La   feme   aux   potences.     ob,    La    femme   de   village,   La  vieille.     io\   La 
reuenderefTe,    La   femme   amoureufe.     iob,   La   garde   dacouchees,    La    ieune   fille.     n»,    La   religieufe,   La 
forciere.     nb,  La  bigote,  La  fotte. 

1  a*,  as  on  13*  in  '  Danse  des  Hommes ' ;  i2b,  figure  of  a  woman  (90  x  45  mm.) ;  13*,  another ;  i3b,  as  on 
i3b  in  '  Danse  des  Hommes ' ;  14*,  a  third  figure  of  a  woman. 

Les  Trois  Morts,  &c.  ab,  Three  cavaliers  hawking  ;  3',  Three  figures  of  Death  standing  by  a  cross,  on 
the  right  a  hermit,  seated  in  a  cave,  holding  a  rosary ;  4*,  Author  writing,  as  on  2»  of  '  Danse  des  Femmes ' ; 
7»,  On  the  left  a  sleeper  in  bed  dreaming,  on  the  right  a  dead  body  half  rising  out  of  a  tomb  placed  inside 
a  church  near  the  wall,  the  soul  depicted  as  a  small  child  standing  on  a  ledge  addressing  the  body,  by  the  side 
of  the  text  below  this  cut  a  border-piece  with  flowers,  a  bird,  &c,  and  a  capital  V ;  7b,  a  body  half  rising 


DANSE  MACABRE.      PARIS  !   G.  MARCHANT,   1 492.       HELL  MOUTH  AND  SOULS  IN  TORMENT. 

from  a  tomb  in  the  open  air,  the  soul,  as  a  child,  addresses  it  from  near  by  ;  9*,  as  on  7b ;  10*,  another  treatment 
of  the  same  subject;  iob,  as  on  7b;  nb,  as  on  7b;  I2»,  as  on  io»;  I2b,  a  body  apparently  sinking  back  into 
a  tomb,  three  devils  seize  the  soul  which  is  near  the  edge,  a  hermit  holding  an  open  book  sits  at  the  foot  of  the 
tomb,  farther  back  is  shown  his  cell ;   I3b,  Hell  mouth  and  souls  in  torment. 

The  two  cuts  of  authors  writing  were  not  made  for  this  book.  The  series  specially  designed  for  it  are  of 
the  size  shown  in  the  facsimiles  (about  105  x  160  mm.)  with  some  smaller  ones  (48  x  115)  in  the  'Debat  du 
Corps  et  de  Tame'.  The  cut  of  the  Queen  and  Duchess  in  the  '  Danse  des  Femmes  '  is  by  the  same  cutter  as 
those  in  the  '  Danse  des  Hommes ',  the  rest  of  the  women  dancers  are  by  a  less  skilful  craftsman,  possibly  the 
same  who  cut  the  borders  and  pictures  in  the  Pigouchet  Horae  of  1  Dec.  1491.  Thirty  out  of  the  forty  figures 
of  men  and  all  the  thirty-six  figures  of  women  appear  in  miniature  in  the  Dance  of  Death  borders  introduced 
by  Pigouchet  into  his  Horae  during  1496,  but  although  the  attitudes  of  a  few  of  the  dancers  and  figures 
of  Death  appear  to  have  been  influenced  by  those  in  the  present  set  Pigouchet  rather  accepted  the  same  series 
of  subjects  than  directly  copied  from  Marchant.  A  German  Totentanz  was  printed  at  Ulm  by  Johann 
Zainer  about  1485  and  reprinted  by  Meidcnbach  at  Mainz,  but  there  seems  to  have  been  no  connexion 
between  this  and  the  French  edition.  There  was  an  abundant  variety  of  models  for  such  woodcuts  in  the 
ecclesiastical  art  of  the  day. 

265  x  190  mm.  (type- page  about  220  x  160). 


43 


11   2 


Paris: 
J.  Du  Pr*, 
c  1494. 


£5 1)  <vt\<$  cQat  qui  fut  m 6c  (i  Beaut 
dgatnfnf  15emi6  et>  toff  8amout  e 
j3our  ftip  fatre  fiatiffecoute 


ote  fifl  fa  me  feme  appet 
gtoncfatcotti'/      {to 
manb'eaafiefkt 
Qat  ne  Ueuft  pas  ma# 
JeftetfeeBoee 
25c«u  ffo  fe  cflat  a  quatte  toee 
"J^ot  f  8e  perfce  e(Jeflfe5 
45n/teii  8e  cfleiwufy:  atfeflb* 
£5  u  j?  cfj  tpmon  fimt  cotbmtieaup 
fame  cti  fro  cofomfiiet  mouft  fieauji" 
(Qjoute  (eutcQofe  ont  aptefiee 
^onceftenfone^atmontee 
©ernie  qui  cfaftete  ejuenope 
<f)uf  8e6  op/eau|C  nt  fe  8(frope 
fyctcnttee  effte  ft  fe  patent 
i?air  ScuarTf  cufr  rDprnf  (2  patient 
foiennent  en  toft rtenue<$enue 
^ofi  eft  8e  fon  t6ar  SefcenSue 
4£ontte  Uif  faiSknt  a  Qiant  fefle 
g*on  ffe>  piemiet  qui  part  fa  fiaflc 
Q  uotf  ra  fct>  tteuee  caffeee 
gjtncope  que  fuf/cn  t  ttefpaffeee 
4&uoncquee  rip  cjarSa  conuenance 
*3£>e  ferment  aufjft  fie  fiance 
C  €*ft  •#■•  8euatrffe  cftyftf 


^>i  granf  que  pteca  ftp  euft  tet 

flam  amoute  ne  fa  compaignie 
cefte  foye  ne  teutent  wipe 
Cat  ceufjt  8c  §e%ene  tefifiance 
iEup  ftrene  pat  feiit  giant  puifjance 


ozeafbzf  gitetzopet  rW8?t 
ft)ncj5  affaifient/auCttee 
SeffenSet  • 

Ceufjt  8ze0etrf  au  cfjaffcf 
45:anecatf;        (pirnee 
•  tioup  8e  ptufteute  m  antetes 
jbout  tdpie  fee  mute  teute  enuopent 
&teepoitiete  (ee  mute  6o:8opcnf 
"j&e  fbrtee  rtapee  tefafiffee 
tjDfa*  fie  tfetgee  pfMee 
ilQutt^eutewf  patgzanoec?  maifttiee 
<&n  ta  Gape  Sangtet  cueitiiee 
i&e  Qiane  faiettee  BatMeee 
"2&e  cjiane  piomeffee  empenneee 
due  8e  fetuicee  que  8e  done 
Qouttoflauoitteute  cjuetSone 
<t£at  tfnp  entta  oncquee  fuft 
Clue  toue  8e  piomeffee  ne  fuft 
!&e  fet  fetieee  fevmement 
y&e  fiance  (Z  8e  (etment 
^tapent  fut  eutp  f  u\  fe  tatejent 
£Qiu  8e  %effen%ie  ne  fatatqent 
4£at  tatqee  ont  foitee  $  fxetee 


LE  ROMAN  DE  LA  ROSE.      PARIS  !   J.  DU  PRE,  C.  1 494.       (SIC.  O,  VERSO.) 


44 


XXVII 

LORRIS,  Guillaume,  and  MEUNG,  Jean  de.     ia.  Le  rommant  de  la  rofe  imprime  Paris: 
a  Paris.     [Device  labelled :  Jehan  du  pre.]    150*.  End  :   Ceft  fin  du  rommant  de  la  rofe   J-  Du  Pr®» 
Ou  lart  damours  eft  toute  enclofe.  " 

Folio,  a-s8 16.  150  leaves.  Types  :  Gothic  (Nos.  15  and  17  in  Proctor's  and  Haebler's 
numeration).  83  different  woodcuts  used  by  repetition  as  88,  of  which  the  first  and  second 
are  printed  on  the  same  block  so  as  to  stretch  across  the  page,  while  the  rest  are  column 
cuts.     Numerous  decorative  capitals. 

The  first  printed  edition  of  the  Roman  de  la  Rose  was  issued  without  title-page,  or  indication  of  its 
printer,  place,  or  date,  but  is  attributed  on  good  grounds  to  the  press  of  Ortuin  and  Schenck  at  Lyon  about 
the  year  1481.  It  occupies  180  leaves  (the  first  blank)  and  has  86  different  cuts  (used  as  92  by  repetition),  of 
which  the  first  and  second  are  printed  on  one  block  so  as  to  stretch  across  the  first  page  of  text,  one  other  cut, 
representing  the  building  of  a  tower,  being  of  double  width,  and  the  rest  column  cuts.  This  edition  was  reprinted 
twice  at  Lyon,  the  first  time  anonymously  by  Jean  Syber  about  1485,  the  second  by  Guillaume  Le  Roy  about 
1487.  Both  these  editions  have  150  leaves,  the  first  leaf  being  presumably  blank  in  Syber's  edition  and 
occupied  with  a  title  in  Le  Roy's.  Both  are  illustrated  with  85  separate  cuts  (used  as  92  by  repetition)  which 
follow  the  designs  of  those  in  Ortuin  and  Schenck's  edition,  the  cutters  showing  greater  technical  skill,  but 
occasionally  blundering  badly  from  trying  to  improve  on  their  models  without  a  sufficient  knowledge  of  the 
text  to  understand  them.  Some  time  after  Le  Roy's  edition  was  printed  at  Lyon  the  85  blocks  used  in  it 
appear  to  have  been  acquired  by  Jean  Du  Pre\  one  of  the  finest  Paris  printers  in  the  15th  century,  who  used  83 
of  them  in  the  present  edition,  which  probably  appeared  about  1494.  The  two  Lyon  cuts  not  found  in  it  are 
(i)  a  column  cut  which  should  illustrate  the  section  beginning  '  Comment  parla  voix  malle  bouche ',  &c,  on 
sig.  d2  verso,  (ii)  the  double-width  cut  illustrating  the  text  '  Ialousie  fift  une  tour '  at  the  end  of  sig.  d  iiii  recto. 
The  former  had  certainly  arrived  in  Paris,  as  it  appears,  wrongly  placed,  in  two  later  Paris  editions.  The  cut 
of  the  Tower  of  Jealousy,  on  the  other  hand,  is  not  found  again.  The  omissions  were  no  doubt  deliberate,  as 
a  passage  of  104  lines  beginning  on  dg  recto,  col.  2,  line  29, '  Et  mefmement  de  ceft  amour,'  and  ending  on  e, 
recto,  col.  1,  line  9, '  Selon  la  diuine  efcripture,'  immediately  before  another  line  beginning  '  Et  mefmement '  ('  Et 
mefmement  en  cefte  guerre '),  is  here  inserted  for  the  first  time  in  a  printed  edition,  and  just  fills  the  space 
occupied  in  the  second  and  third  Lyon  editions  by  the  woodcuts  here  omitted,  so  that  thenceforth  the  printer 
was  able  to  follow  his  copy  page  for  page.  The  inserted  passage  occurs  in  three  of  the  manuscripts  of  the 
British  Museum.  A  full  description  of  this  edition  will  be  found  in  the  Bibliographical  Society's  Illustrated 
Monograph  xiv,  '  The  Early  Editions  of  the  Roman  de  la  Rose,'  by  F.  W.  Bourdillon,  from  which  the  present 
note  has  been  compiled.  The  dated  book  in  which  Du  Pre's  fine  decorative  capitals  here  used  first  appear  is 
his  Legende  Dor^e  of  10  March,  149I,  and  1494  is  the  most  probable  date  for  the  present  edition  of  the 
Roman. 

270  x  196  mm.  (type-page  218  x  140).  The  Due  de  Rivoli's  copy,  bound  for  him  by  Hardy  Mennil  and 
Marius  Michel  in  red  morocco,  elaborately  tooled,  edged  with  yellow  morocco  with  a  green  panel  bearing  the 
Duke's  arms,  and  a  doublure  of  red. 

XXVIII 

DANSE  MACABRE.     ia.  Title:   LA  grat  danfe  macabre  des  homes  t  des  femes   Lyon:  Mat. 
hyftoriee  t  augmentee  de  beaulx  dis  en  latin.     Le  debat  du  corps  et  de  lame.     La  coplainte    Huss, 
de  lame  dampnee.     Exortation  de  bien  viure  *  bien  mourir.    La  vie  du  mauuais  antecrift.   l8Feb->!499- 
Les  quinze  fignes.     Le  iugement.    42*   Colophon  :   |[  Cy  finift  la  danfe  macabre  des 
homes  t  des  femes  hyftoriee  »  augmentee  de  perfonnages  t  de  beaulx  dis  en  latin.    Le  debat 
du  corps  t  de  lame.     La  complainte  de  lame  dapnee  Exortation  de  bien  viure  %  de  bien 
mourir.    La  vie  du  mauuais  antecrift.    Les  quinze  fignes.    Le  iugement.    Imprime  a  lyon 
le  .xviii.  iour  de  feurier  Ian  mil.  cccc.  xcix. 

Folio.  a-g«.  42  leaves.  Types :  Gothic  (Nos.  10  and  17  in  Proctor's  and  Haebler's 
numeration).  Numerous  woodcuts,  for  the  most  part  copied  from  the  Paris  editions  of 
Couteau  and  M<mart  and  of  Gui  Marchant. 

i\  title  ;  ib,  woodcut  of  the  Trinity  and  the  Evangelists;  a»-i4b,  Danse  des  Hommes;  I5*-I7b,  Les  Trois 
Mors  t  les  trois  vifs,  preceded  by  a  '  Cry  de  Mort '  and  ending  '  Cy  finift  la  danfe  macabre  des  hdmes  auec  les 
trois  mors  t  les  trois  vifj.     Et  fenfuit  la  dafc  macabre  des  femes   ,  i8»,  woodcut  as  on  ib;  i8b,  a  Cri  de  mort 

45 


Lyon:  Mat. 

Huss, 

18  Feb.,  1499. 


to  the  women ;  i9*-3i»,  Danse  des  Femmes ;  3ib-3*b,  another  '  Trois  mors  et  trois  vifj ' ;  33*-36*.  '  Le  debat 
du  corps  1  de  lame  ;  36b~37»,  'La  complainte  de  lame  dampnee';  37b-38*. '  Exortation  de  bien  viure  i  de 
bien  mourir ' ;  38b-39b, '  La  vie  du  mauuais  antecrift  felo  lappocalipfe  t  felo  les  opinios  des  fainctz  docteurs ' ; 
40*.  40b,  Les  qiiinze  figncs  precedat  le  iugement ;  4i*-42\  Le  iugement ;  42b,  blank. 

The  following  is  a  list  of  the  woodcuts ;  those  marked  *  are  copied  from  the  '  Danse  des  Hommes '  and 
'Trois  Morts',  of  which  an  edition  was  printed  by  Couteau  and  M6nart  at  Paris  in  June,  149a,  those  marked  f 
from  one  of  the  editions  of  Gui  Marchant  (cp.  supra,  nos.  xxv,  xxvi)  :— 

i»,  woodcut  capital  L  showing  S.  George  piercing  the  dragon's  throat;  ib,  the  Trinity  and  Four 
Evangelists,  copied  from  a  cut  similar  to  that  used  by  Verard  at  Paris  (see  Claudin,  ii.  483 ;  Macfarlane's 
Antoine  Verard,  Plate  xxxi) ;  a»,  author  in  front  of  a  desk,  a  table  in  front  of  him  beneath  which  a  dog  gnaws 
a  bone,  on  the  right  aloft  an  angel  bearing  a  scroll  *  ;  2b,  orchestra  of  Death  f  (copied  from  Marchant's  Danse 
des  Femmes,  not  from  his  Danse  des  Hommes) ;  •*,  Le  pape,  Lempereur  * ;  3b,  Le  cardinal,  Le  roy  *  ;  4»,  Le 
legat,  Le  due  ;  4b,  Le  patriarche,  Le  conneftable*  ;  5',  Larcevefque,  Le  cheualier  *  ;  5b,  Leuefque,  Lefcuier* ; 


DANSE  MACABRE.       LYON  :    MAT.  HUSS,   1 499.      LES  IMPRIMEURS.      LE  LIBRAIRE. 


6%  Labbe,  Le  bailliff*;  6b,  Laftrologien,  Le  bourgois*;  7*,  Les  imprimeurs,  Le  libraire;  7b,  Le  chanoine,  Le 
marchant  * ;  8»,  Le  maiftre  defcolle,  Lhomme  darmes  f ;  8b,  Le  chartreux,  Le  fergent  * ;  9*,  Le  moyne, 
Lufuricr*;  9b,  Le  medicin,  Lamoureux*;  io»,  Laduocat,  Le  meneftrier*;  iob,  Le  cure,  Le  laboureur 
(misprinted  '  Le  mort');  n\  Le  promoteur,  Le  geolierf;  nb,  Le  pelerin,  Le  bergier  f ;  12*,  Le  cordelier, 
Lenfant*;  iab,  Le  hallebardier,  Le  fot  f ;  13*.  Le  clerc,  Lhermite*;  I3b,  Author,  Angel,  and  Corpse  f; 
14*,  Hell-mouth  and  Death  on  horseback  t ;  15*,  a  Moor  with  a  trumpet  f ;  I5b,  Les  trois  mors*;  i6»,  Les 
trois  vif)*;  i8»,  the  Trinity  as  on  ib;  i8b,  as  on  15*;  19*,  as  on  2» ;  i9b,  as  on  2b;  ao*,  La  royne,  La 
ducheffe*  ;  20b,  La  rcgente,  La  femme  de  cheualier  f  ;  21*,  LabbefTe,  La  femme  de  lefcuier  f  ;  2ib,  La  prieufe, 
La  damoifellc  t ;  2a\  La  bourgoife,  La  femme  vefue  f  ;  «b,  La  marchande,  La  baillifuc  f  ;  23",  Lefpoufee, 
La  femme  mignotte  f  ;  23b,  La  pucelle  vierge,  La  theologienne  f  ;  24*,  La  nouuelle  mariee,  La  femme  grofle  f  ; 
»4b»  La  chambcrierc,  La  recommandereffe  f  ;  »5'.  La  veille  damoifelle,  La  cordeliere  t ;  35b.  La  femme 
dacueil,  La  nourrice  t ;  26*,  La  bergiere,  La  femme  aux  potences  f  ;  26b,  La  femme  de  village,  La  vieillc  t ; 
27*,  La  reuenderefTe,  La  femme  amoureufef;  27b,  La  garde  dacouchees,  La  ieune  fillef;  28m,  La  religieufe, 
La  forciere  f ;  a8\  La  bigote,  La  fotte;  29',  as  on  I3b;  29b,  as  on  14* ;  3ib,  as  on  i5b;  32*,  as  on  i6»;  32b, 

46 


4££abo  won  papa  natn  mois  papatebiu  me        {£T>abo  moii  quib  amen  quob  fineny  (ponbct  amavun) 
flop  ficffoccogttaauberc/Dabo  mo2U  ;Cutue  inameanuHnonanwbabonwn. 


Lyon:  Mat 

Huss, 

18  Feb.,  1499. 


CL<$W6  bnn}  f  eruo/mo26  far  ptra  figonu39  equat 
5Diffimiff  e  fimifi  conbitiouc  tra0cne» 

<L£cmo2t 
Cl^oue  qui  toiue  }cettainemavt 
Ouopquiftaroeamfibaufcrce 
<Paie  quant/bteu  fc  fcctfcufemcnt 
2toui(ejcommePou6fcrc6 
3Darn  pape  t)ou6  cominciiccrcs 
^Comfm  fe  pfu6  bignc  fctg/icuc 
€n  cc  point  ()onno2c  fere> 
2tu  grant  mai  |rrc  eft  bcu  rtjonucnr 

fLtfepape 
C$a  fauft  if  que  fa  banfc  maine 
£e  picmie  r  qui  fuie  bteu  en  tcrrc 
jfap  eu  bigwte  fouueraine 
%n  fegfife  comme  (ainct  pierte/ 
€t  comme  autre  mo2t  me  ttient  querte 
€»icoJc  mourir  tie  cuibaffc 
Cpate  fa  mo;t  a  roue  maine  guerre 
Pcu  ftauft  Qonncut  qui  fi  toft  paffc. 


H^wto  fuoTwiegm'J/qmb  opee'quib  gt02ia  pftant 
J©uc  mid;  1  tunc  abcrant  ()ec  m  icfi  1  nunc  aocun  t» 
tfcmo2t 

Q£4St  tome  Cer  non  parcif  bu  monbe 

Pimccqi  fetgneur  grant  empcrtere 

itoiffet  fauft  fa  pommebo2  ronbe 

2frme6/feptre/tpm62c/6amcre 

3]cne  \x>u6  fairap  pae  brrriete 

X>oue  ne  pour  ^  pfue  fetgncurir 

91cmmetnc  toat/cefr  ma  mantcrc 

2?ce  fttf  babart^  fauft  toue  mount 
CJfontpcteur 

C3]c  nc  fcap  bcuant  <nii  lappcflfc 

2Dc  fa  mo  :t  quatnft  me  bcmcine 

Tit  met  me  fauft  be  pic  fl  pcflfe 

<St  bung  fafeau/ce  mrfr  grant  peine 

fbwtoaeapeuqcanbcutmonbame 

€t  mourir  me  fauftpour  tout  gage 

fDncffe  be  cc  mo2f  cfbematne 

flee  griuio  nc  font  pae  bauanfaige. 


an 


DANSE  MACABRE.       LYON:    MAT.  HUSS,   1499.       (SIC  A,  RECTO.) 

47 


Lyon:  Mat     as  on  15*  and  18*;  33*,  sleeper's  vision  of  the  soul  and  the  body  t ;  34*,  a  column  cut  of  the  same  subject ; 
Huss,  34b,  col.  1,  the  soul  and  the  body  in  a  graveyard  ;  ib.  col.  a,  as  on  34* ;  35',  as  on  34*  and  34",  col.  2  ;  35b,  col.  1, 

18  Feb.,  1499.  as  on  34*.  col.  1  ;  35*,  col.  a,  as  on  34*,  34*,  col.  2,  and  35* ;  36*,  small  cut  of  a  pilgrim  ;  36b,  four  devils 
dancing  round  a  man  whom  they  hold  with  four  chains  while  he  tears  his  hair ;  37',  Death  wearing  a  woman's 
peaked  head-dress  surprises  a  woman  at  her  jewel  chest ;  38b,  S.  John  writing,  an  angel  near  him  holding 
a  book,  on  the  other  side  of  a  river  a  seven-headed  dragon,  in  the  sky  Christ  appearing  amid  seven  angels 
who  are  trumpeting ;  40*,  a  Pope,  cardinals,  and  prelates  listening  to  a  sermon,  apparently  the  cut  by  I.  D. 
used  in  Trechsel's  edition  of  the  Quadragesimale  of  Robertus  Caracciolus  de  Licio,  Lyon,  9  Feb.  148J,  with 
the  initials  I.  D.  removed  ;  41',  small  cut  of  Christ  in  glory  with  symbols  of  the  four  evangelists. 

The  above  description  shows  that  Huss  started  by  copying  Couteau  and  M^nart's  edition,  but 
supplemented  this  very  largely  from  one  of  those  by  Gui  Marchant,  to  which  in  the  end  he  was  the  more 
indebted.  Two  of  the  most  striking  woodcuts,  Death  seizing  printers  and  bookseller  (which  gives  the  earliest 
printed  pictures  of  their  respective  shops),  and  again  Death  in  a  fantastic  head-dress  surprising  a  woman  at  her 
jewel  chest,  have  not  been  traced  to  any  earlier  book. 

According  to  Claudin  (iii.  317)  the  figure  of  a  monkey  playing  a  bagpipe,  which  should  appear  in 
a  corner  of  the  capital  L  on  the  title-page,  is  missing  in  the  copy  which  he  examined.  It  appears,  however, 
in  this  copy. 

383  x  aoa  mm.  (type-page  aaa  x  140).  On  the  first  fly-leaf  are  the  notes  '  collationnc.  complet.  le  16  fevrier 
1834.  j.  j.  de  Bure  l'aine';  'exemplaire  de  gaignat  et  de  MacCarthy';  also  the  Yemeniz  device  and 
number  614. 


London : 
R.  Pynson, 
c.  1505. 


XXIX 


H£>  fljc  tf)U6  flept  ano  %  in  papne 
ttttt)  tljcfc  fourc  fares  DpD  cuourc 
Co  me  appjoebe  31  fa  for  certarnc 
%  f  oule  and  cotmtecf  apteD  creature 
fl)D(U0/p?ou&eianb  fpere  31  pou  enfute 
ainDbptbcbauDcfbetcmcmcfaft 
&t)e  tljougrj t  X\?i  purpofe  to  procure 
3nD  Djette  mpne  antics  tfyat  t  be  p  net*  brad 

C  Ws  f alfc  untcrjc  me  To  DpD  greue 
totyebe  bp  bpt  name  mas  calico  ttjougljt 
C  bat  tonetrj  couDe  31  me  remeue 
Cbua  tntoDettje  flje  me  netc  b;oucjbt. 
«>f  aojDefl  anD  tales  tyt  toanteo  noujrrjt 

CASTLE  OF  LABOUR.   LONDON  :  R.  PVNSON,  C.  1505.   (siG.  A,  VERSO.) 


48 


GRINGORE,  Pierre.  i«.  Title  :  C  Here  begynneth  the  caftell  of  laboure. 
[Woodcut.]  ib.  [Woodcut.]  2*.  (  Here  begynneth  the  prologe  of  this  prefent  treatyfe. 
3b.  C  Thus  endeth  the  prologe.  And  begynneth  the  caftell  of  laboure.  55*.  C  Actoris 
excufatio, 

GO  forth  fmale  treatyfe  *  hubly  the  prefet 

Vnto  the  reders  as  indigne  of  audience 

Exortyng  them  with  meke  *  lowe  entent 

To  this  rude  langage  to  gyue  none  aduertence 

For  many  one  hath  parfyte  diligence 

whiche  by  no  meane  his  mynde  can  exprefle 

The  caufe  therof  is  lacke  of  eloquence 

whiche  nowe  is  caduke  by  meane  of  fleuthfulnefle  .  .  . 


London : 
R.  Pynson, 
c.  1505. 


Chou  f^altnat  faple  of  gtcatljonout 
mptb,  ttelrb,  ano  rpcbefle  to  b?epf  Ceafon 


Chat  calleD  am  bcfy  ncrtc 

dint  0  man  ricbefle  Do  piocurx 

£9  V  tt)  v  f  c  airo  m  all  Dcftrc  fle 

3©oth  titan  ofhpr  hclpc  allure 
Chte  place  ie  calico  bp  o?opturc 
Che  erccllcntcallcU  of  labour 
3f  thou  here  be  3  the  en  Cure 
Chou  muft  be  befyc  in  cuerp  hour 

£>ptfae  thou  art  in  our  fublccrfon 

CASTLE  OF  LABOUR.   LONDON  :  R.  PYNSON,  C.  1505.   (SIG.  G,  RECTO.) 


55b.  Colophon  :   C  Thus  endeth  the  caftell  of  labour  wherin  is  rychefle  /  vertue 
and  honoure  *:.      C  Enprynted  be  me  Richarde  Pynfon.    56*.  Device.    s6b.  Woodcut. 

Quarto.     A' B-I*.     56  leaves, 
capitals,  and  printer's  device. 


English  black-letter  type.     Woodcuts,   ornamental 


The  first  edition  of  Gringore's '  Chasteau  de  Labour '  was  printed  at  Paris  by  Philippe  Pigouchet  for  Simon 
Vostre  in  1499.  The  statement  on  its  first  leaf, '  ce  present  liure  ...  a  este  acheue  le  .xxii.  iour  de  octobre,' 
is  probably  an  instance  of  the  transference  to  the  beginning  of  a  book  of  a  phrase  which  had  become 
stereotyped  in   colophons,  as  at  the  end  is  printed   a  quatrain  commemorating  the  fall  of  the   bridge  of 

49  I 


London :  Notre  Dame  three  days  later.     The  book  was  richly  illustrated  in  the  style  of  the  best  Pigouchet  Horae 

R.  Pynson,       and  was  three  times  reprinted  by  Pigouchet  for  Vostre  at  short  intervals,  31  December,  1499,  31  May,  1500, 
c,  1505.  31  March,  150$,  this  last  edition  professing  to  contain  'aucunes  balades  t  addicios  nouuellemet  compofees'. 

Gringore's  authorship  is  revealed  only  in  an  acrostic  at  the  end  of  the  book,  a  frequent  trick  of  his,  the  more 
intelligible  in  this  case  since  the  poem  is  merely  a  retelling  of  one  entitled  '  Le  Chemin  de  Povrete"  et  de  Richesse', 
written  in  1342  by  Jehan  Bruyant  and  included  in  the  anonymous  '  Menagier  de  Paris'  written  about  1393. 
The  English  translation  has  always  been  attributed  to  Alexander  Barclay,  the  translator  (1509)  of  Sebastian 
Brant's  '  Narrenschift",  who  is  supposed  to  have  made  it  during  a  tour  in  which  (if  he  can  fairly  be  identified 
with  the  shepherd  Cornix  of  his  First  Eclogue)  he  visited  Rouen  (where  '  Le  Chasteau  de  Labour '  was  printed 
by  Jacques  Le  Forestier,  5  November,  1500),  Paris,  Lyon,  and  Florence.  The  first  edition  of  this  English  version 
was  published  at  Paris  by  Antoine  Ve>ard,  probably  in  or  before  1503.  It  is  only  known  by  a  single  leaf 
extant  at  the  British  Museum  (Bagford  Fragments,  5919,  no.  214)  and  a  few  others  in  the  library  at  Lambeth 
Palace.  As  in  the  case  of  other  English  books  published  by  Verard  at  Paris,  the  copy  which  he  provided  was 
quickly  seized  on  both  by  Pynson  and  Wynkyn  de  Worde.  Pynson's  edition  was  probably  printed  in 
1505,  the  woodcut  of  a  scholar  seated  at  a  desk  on  ib  agreeing  with  that  in  the  'Grammatica  Sulpitiana' 
completed  on  1 1  August  in  that  year,  while  the  bend  in  the  metal  device  on  56"  is  about  as  large  as  in  other 
books  of  1 505.  This  edition  is  only  known  from  the  present  copy,  and  by  one  leaf  and  part  of  another  among 
the  Douce  fragments  at  the  Bodleian  Library.  Wynkyn  de  Worde  issued  two  editions,  one  dated  1506,  the 
other  undated  (c.  1510?).  Of  the  former  the  only  known  copy  is  in  the  University  Library,  Cambridge 
(facsimile  presented  to  the  Roxburghe  Club  by  the  Duke  of  Buccleuch  in  1905) ;  of  the  latter,  one  lacking  the 
last  leaf  in  the  British  Museum. 

The  woodcuts  in  Pynson's  edition  consist  of  a  set  of  29,  of  which  22  illustrate  the  development  of  the 
story  while  seven  exhibit  the  defeat  of  the  Seven  Deadly  Sins  by  the  corresponding  virtues.  They  fail  to 
reproduce  the  charm  of  Pigouchet's  crible"  cuts  representing  the  combats  of  the  Vices  and  Virtues,  but  the 
woodcuts  which  tell  the  story  are  very  fairly  reproduced.  Both  sets  are  throughout  much  superior  to  those 
in  De  Worde's  editions,  from  which  backgrounds  and  accessories  are  omitted  in  a  very  slovenly  fashion. 

193  x  '33  mm-  (type-page  144  x  88). 


XXX 

London:  W.  FLOWER  OF  THE  COMMANDMENTS.    ia.  Title:  Ihesus.    (  The  floure  of  the 

de  Worde,  commaundementes  of  god  with  many  examples  and  auctorytees  extracte  and  drawen  as 
1510  '  we"  °f  h°ly  fcryptures  as  of  other  doctours  and  good  auncient  faders  /  the  whiche  is  moche 
vtyle  and  prouffytable  vnto  all  people  .  .  .  288*.  Colophon  :  |[  Here  endeth  the  booke 
intytuled  the  floure  of  the  cOmaundementes  of  god  with  many  examples  *  auctorytes  extracte 
as  wel  of  the  holy  fcryptures  as  of  other  doctours  *  good  auncyent  faders  the  whiche  is 
moche  prouffytable  *  vtyle  vnto  all  people  /  lately  tranflated  out  of  Frenffhe  in  to  Englyffhe 
in  the  yeres  of  our  lorde  .M.  CCCCC  ix.  Enprynted  at  London  in  Flete  ftrete  at  the 
fygne  of  the  fonne  by  Wynkyn  de  Worde.  The  fecode  yere  of  ye  reygne  of  oure  mooft 
naturell  fouerayne  lorde  kynge  Henry  the  Eyght  of  that  name.  Fynyffhed  the  yere  of  oure 
lorde  .M.  CCCCC.  x.  the  xiiii.  daye  of  Septembre. 

Folio.  A-D  ;  A-X  y  2  Aa-Xx6.  288  leaves,  25-288  numbered  1-261  in  error  for  264, 
the  numbers  ccxxvi-ccxxviii  being  repeated,  besides  other  errors  which  cancel  each  other. 
Types  :  black  letter.  Woodcut  illustrations  and  capitals.  Subject  head-lines.  The  title  of 
the  book  is  given  on  a  line  with  the  signatures  in  the  form  '  The  .$£>.'  for  'The  flower'. 

I*  title ;  ib,  woodcut  of  the  Crucifixion  ;  2»,  The  prologue  of  the  tranflatour  ;  2b-24»,  Tabula ;  24b,  blank  ; 
*5rl5°f  text  of  Book  '.  ending  'C  Here  is  the  ende  of  the  boke  the  whiche  is  called  the  floure  of  the  com- 
maundementes of  god ' ;  151-264',  text  of  Book  ii,  beginning  *  C  Here  begynneth  the  exemplayre  of  the  com- 
maundementes of  god  ' ;  264b,  Device. 

Editions  of  the '  Fleur  des  Commandements  de  Dieu '  had  been  published  at  Paris  by  Nicolas  de  La  Barre  and 
Guillaume  Eustace,  31  January,  1494,  and  by  Antoine  Vdrard,  6  September,  1499,  and  7  March,  150$. 
Wynkyn  de  Worde  probably  found  a  model  for  this  English  version  in  one  of  the  Verard  editions.  A  copy 
of  the  first  of  these  on  vellum  (wanting  one  leaf  at  beginning  and  others  at  the  end)  is  among  Henry  VII's 
books  at  the  British  Museum.  Facing  the  first  page  of  text  are  verses  rehearsing  the  Ten  Commandments  of 
the  Law  and  the  Five  Commandments  of  the  Church,  inserted  in  small  type  between  woodcuts  of  Moses 
encountering  Ecclesiastics  and  of  Prelates  and  a  King  and  other  laity  kneeling  before  the  Pope.  These 
woodcuts  Wynkyn  de  Worde  had  already  freely  copied  for  his  '  Ordinary  of  Cristen  Men '  (1506),  and  he  now 
placed  his  cuts  with  the  verses  belonging  to  them  beneath  the  title  on  i\  As  in  the  French  edition,  moreover, 
he  begins  Book  i  with  a  picture  of  the  Trinity.     The  large  Crucifixion  cut  on  i"  does  not  occur  in  Verard 's 

50 


editions,  but  is  also  copied  from  a  French  source.     De  Worde's  remaining  woodcut,  at  the  beginning  of  London :  W. 

Book  ii,  where  the  French  is  undecorated,  represents  Christ  in  glory.     As  it  does  not  fill  the  width  of  the  page  de  Worde, 

it  is  supported  on  the  one  side  by  a  cut  of  a  tower,  apparently  imitated  from  Verard's  'Therence  en  francoys',  14  Sept., 

and  on  the  other  by  a  floral  ledge.  1510. 


^eejcempla^e,       tfo*c.jcjtWu 


FLOWER  OF  THE  COMMANDMENTS.      LONDON  !    W.  DE  WORDE,   15IO. 

'  The  prologue  of  the  tranflatour '  supplies  no  information  save  that — 

to  auoyde  the  peryllous  infeccyon 
Of  ydlenes  flouthe  *  other  occafyos  of  fynne 
Hath  bolded  me  vnder  correccyon 
Out  of  frenflhe  this  mater  to  begyn 

Entendynge  therby  no  fyluer  for  to  wyn 
Ne  yet  none  other  temporall  gayne 
But  welthe  of  foules  efcapyng  the  engyn 
Of  the  deuyll  of  hell,  his  fnares  *  his  chayne. 

The  translator's  name  is  nowhere  given,  but  despite  the  asserted  indifference  to  the  winning  of  silver  there 
can  be  no  doubt  that  the  version  is  by  Andrew  Chertsey,  Wynkyn  de  Worde's  usual  translator,  his  device 
being  placed  at  the  end  of  the  reprint  of  1521,  while  this  is  mentioned  along  with  other  translations  by 
him  by  Robert  Copland,  in  his  prologue  to  '  A  gooftely  Treatyfe  of  the  Paffyon  of  our  Lorde  Iesu  Chryft ', 

266  x  193  mm.  (type-page  210  x  149). 


XXXI 

A  HUNDRED  MERRY  TALES,     i\  Title:   C  A  .C.  mery  Talys.    Colophon:  London: 
[C  Thus  endeth  the]  booke  of  a  .C.  mery  [talys.     Emprynted  at  L]ondon  at  the  fygne  of  ■*•  Ra?te11. 
[the  Mermayd  At   P]owlys  gate  next  [to  chepe  fyde].    [Device  inscribed  :]  Johannes.    C' *5 
Raftell.     |[  Cum  priuilegio  Regali. 


5' 


1  2 


London :  Folio.    A-F4.    24  leaves.    Types :   black  letter.     Ornaments :   miscellaneous  border- 

J.  Rasteii,       pieces  and  ledges,  with  small  cuts  from  the  borders  of  a  Horae  surrounding  title  and 

c.  1526.  Rastell's  device ;  ornamental  capital  A  (white  on  black,  in  the  French  style)  on  3a,  elsewhere 

many  spaces  left  for  capitals  mostly  with  majuscule  guide-letters,  also  towards  the  end  of 

the  book  numerous  majuscules  from  the  large  black-letter  fount  used  for  the  title. 

%    to  oman  there  teas  tohi'rh  hat>  hab.iiit.hufbonbpB  Jt  fourtunct)  al 

fo  that  this  fourth  fjufbanbe  DpeD  ft  teas  thought  to  cbprche  bpon 
the  bere  /  tobom  this  too  man  folotoeb  ft  maDe  great  mone  ft  urn  re  0  berp 
fo? p  in  fo  moehe  that  her  neighbours  thought  Gjc  tooloe  ftoo  ton  ft  Dpe  fo; 
fo;o  to/  toberfb?c  one  of  her  golTcps  ram  to  her  ft  fpabe  to  bee  in  her  ere  ft 
baD  her  fo?  gobbs  febe  cofo?t  her  felf  ftrefrapne  that  lame*tat6n  0?  eltps  it 
toolD  hurt  her  anDpauenturc  put  hcriu  feoparbp  of  beehfe  Co  tohom 
tbfe  tooman  anftoerpb  anb  fapb  3!tops  goob  gofpp  31baue  greatcawVto 
mo?nc  if  pe  bncto  all  fo?  J  bauc  bcrpeb.iii.hufbabes  bpfpbetbis  man  but 
3  toas  ncucr  in  p  rafe  that  J  am  note  /  JT  0?  there  toas  not  one  of  the  but 
tohc  p  1  f  olotoib  the  co?fc  to  cbp?fb  pet  J  teas  fure  of  an  nother  jjufbanb 
befo;e  pco?fcrum  out  of  mpboufe  ftnotol!  am  fure  of  no  nother  hulbab 
I  trjerf  o?c  pe  map  be  fure  J  haue  great  raufe  to  be  fab  ft  tjeup. 

C 33 p  tbps  tale  pe map  fe  tba t  the  olbe  p?o tie tfae  pa  treto  that  it  is 

as  great  ppte  to  ft  a  tooma  toepc  as  a  go  (c  to  go  batefote. 
3     pother  tooman  tbete  toas  p  Snelpo  at  the  mas  of  tequte  tofrple 

the  co?fe  of^cr  bufbanbe  lap  on  t&e  bere  in  p  ebprcbe.rCo  tohome  a 
pongema  cam  ft  fpabe  topth  ber  in  ber  ere  as  thougbe  it  tjiab  ben  fo?  fom 
mater  r5rernpng£  funerallps/botoe  be  it  be  fpabe  of  on  furije  matter  but 
onelp  tootopb  ber  p  be  mpght  be  ber  bufbanbe  /  to  tobom  Oje  anltoereb  » 
fapoe  tbus  &yx  bp  mptrourhe  J  am  fo?p  p  ye  tome  fo  late  fo?3|  am  Dpetj 
allrebp  f  0?  |  toas  mabe  fute  pefter  bap  to  another  man. 

C  23p  tbps  tale  pe  mape  percepue  that  to  omen  ofte  tpmes  be  topfe  $ 

lothetolofeanptprae. 
%  *af)arcbauntt^attbougb.tto  Detibeamplnetfepbbntotfjemplner 
fpttpnge  amonge  companp/<&ir  J  haue  barbe  fap  ttjat  euetp  tteto 
rnplner  that  toltptb  tretolp  bathe  a  gplben  rbombe/f  mpUner  anftoerpb  f 
fa  m  it  toas  true  Chan  quob  p  marcbant  %  p?ap  p  let  me  fe  tbP  tbombe 
ft  tobe  pmplner  Qjetopb  bps  tbombe  f  matebant  fapb  J  can  not  percepue 
twtthpth^mbcisgpitbutiti0a0aUot^ermen0tioinbesbe/totol)ome 

&.i, 

A  C.  MERY  TALYS.      LONDON  '.   J.  RASTELL,  C.   1 526.      (LOWER  PART  OF  SIG.  B,  RECTO.) 

This  is  an  early  edition  of  the  jest  book  from  which  Beatrice  was  told  that  Benedick  had  accused  her  of 
stealing  her  good  wit  ('  Much  Ado  About  Nothing ',  Act  II,  sc.  i).  No  copy  of  it  was  known  until  1814  or  1815, 
when  the  Rev.  J.  J.  Conybeare  discovered  the  present  mutilated  one  and  forwarded  it  to  Singer,  who  under 
the  titie  of '  Shakespeare's  Jest  Book  '  had  just  brought  out  an  edition  of  a  later  work  of  the  same  kind,  '  Tales 
and  quicke  answeres,  very  mery  and  pleasant  to  rede,'  which  he  had  rashly  identified  with  the  collection 
referred  to  in  '  Much  Ado  About  Nothing '.  Singer  hastened  to  print  the  new  find  as  '  Shakespeare's  Jest 
Book,  Part  II',  and  that  the  allusion  in  'Much  Ado'  is  to  this  collection  is  beyond  question.  Subsequently 
a  perfect  copy  of  another  edition,  dated  1526,  was  discovered  at  the  University  Library  at  Gottingen,  for  which 
it  had  been  bought  at  a  book-sale  at  Llineburg,  in  December,  1767.  This  was  printed  in  1866  by  Dr.  Hermann 
Oesterley  ('Shakespeare's  Jest  Book,  A  Hundred  Mery  Talys,  from  the  only  perfect  copy  known.  Kdited 
with  introduction  and  notes  by  Dr.  Hermann  Oesterley',  London,  1866,  ia°).  The  text  of  the  edition  at 
Gottingen  differs  on  every  page  from  this  discovered  by  Conybeare,  and  more  particularly  (i)  in  having  four 
stories,  nos.  3,  7,  91,  and  98,  which  this  edition  does  not  contain,  and  omitting  the  last  three  here  printed  ; 
(ii)  in  assigning  a  different  position  to  the  story  '  of  the  prcft  that  fayde  our  lady  was  not  fo  curyous  a  woman ' ; 
(iii)  in  various  places  in  the  Table ;  (iv)  in  having  7  instead  of  3  or  3$  lines  to  the  colophon,  the  additional 
lines  giving  the  date  '  C  The  yere  ||  of  our  Lorde  .M.  v.  C.  ||  xxvi.  C  The  xxii.  ||  day  of  Noueber'. 

Mainly  on  literary  grounds  Dr.  Oesterley  argued  that  the  Gottingen  dated  edition  must  be  accepted  as 
indubitably  earlier  than  the  present  undated  one.  The  evidence  is  somewhat  conflicting,  but  would  appear 
rather  to  point  to  the  reverse  conclusion.  Dr.  Oesterley's  psychological  argument  that  an  editor  would 
naturally  rather  excise  stories  at  any  point  where  he  met  what  he  thought  dull  ones  and  add  new  ones  at  the 

52 


end,  than  add  new  ones  at  haphazard  in  several  places  in  the  text  and  excise  three  at  the  end,  may  count  for    London : 

something,  but  not  for  very  much.     His  reliance  on  what  he  took  to  be  evidence  that  '  the  undated  edition    J.  Rastell, 

is  the  product  of  a  revision '  neglects  the  well-established  rule  that  in  early  printed  books  the  first  edition  is  on    c.  1526. 

a  balance  more  correct  than  any  of  its  successors.     The  bibliographical  evidence  is  rather  strongly  in  favour 

of  the  priority  of  the  undated  edition.     In  early  books  the  first  edition  is  nearly  always  not  only  more  correct 

but   handsomer  than   any   of  its  successors.     The   undated   edition   appears    to   have   a   larger   type-page 

(187x135  mm.)  than  the  dated  (179x134),  and  although  3  %  of  this  difference  is  due  to  a  reduction   in 

Mr.  W.  C.  Hazlitt's  photographic  facsimile  (i.e.  the  true  measurement  should  be  184X  ia6)  a  reduction  of  over 

8  mm.  in  the  length  of  the  line  has  to  be  admitted,  and  we  can  frequently  see  the  printer  resorting  to 

contractions  in  the  dated  edition  in  order  to  get  the  same  words  as  in  the  undated  into  the  shorter  space. 

Longer  lines  are,  of  course,  common  enough  in  later  editions  when  the  object  is  to  save  paper,  but  of  longer 

lines  adopted  in  order  to  reduce  the  number  of  contractions  it  would  be  hard  to  find  an  undoubted  instance. 

On  the  other  hand,  of  what  looks  like  deliberate  abridgement  in  the  dated  edition  of  the  text  of  the  undated 

there  are  several  instances  in  the  Table.     Thus  one  entry  in  the  undated  runs : 

C  Of  the  horfeman  of  Irelande  that  prayde  a  Oconer  for  to  hange  vp  the  ||  frere.     fo.  eodem. 

In  the  dated  edition  we  find  : 

C  of  the  horfman  of  yrelond  that  prayd  dconer  to  hang  vp  the  frere.     fo.  iiii. 

Here  two  words  and  four  letters  are  omitted,  and  three  majuscules  reduced  to  lower-case,  with  the  result  of 
saving  a  line.  Moreover,  while  both  editions  agree  in  substituting  the  actual  numeral  for  '  eodem '  on  the 
second  and  third  pages  of  the  Table,  the  printer  of  the  dated  edition  discards  '  eodem '  also  on  the  first.  That 
he  should  thus  profit  by  a  predecessor's  experience  is  natural  enough ;  but  that  (if  he  were  himself  the 
predecessor)  a  successor  should  substitute  '  eodem '  for  numerals  on  one  page  and  discard  it  on  the  other 
two  is  inconceivable.  Some  arguments  on  the  other  side  might  perhaps  be  founded  on  a  comparison  of  the 
fragmentary  colophon  of  the  undated  edition  with  that  to  the  dated,  but  these  would  fall  to  the  ground  if  the 
undated  copy,  as  is  not  impossible,  should  turn  out  to  be  in  whole  or  part  a  proof.  Unfortunately  the 
Rev.  J.  J.  Conybeare  did  not  inform  Singer  as  to  what  book  the  leaves  were  found  in,  so  we  do  not  know  if  it 
was  one  printed  by  Rastell  or  not. 

The  photolithographic  reproduction  of  the  Gottingen  copy  mentioned  above  was  produced  under  the 
editorship  of  Mr.  W.  C.  Hazlitt  in  1887  in  an  edition  of  137  copies.  Mr.  Hazlitt  called  attention  in  his 
introduction  to  two  points  of  resemblance  to  the  '  Interlude  of  the  Four  Elements ',  and  suggested  that  Sir 
Thomas  More  might  have  had  some  connexion  with  the  publication.  If  any  suggestion  is  to  be  made,  John 
Rastell,  the  printer-lawyer,  who  was  More's  brother-in-law,  is  as  likely  an  author  as  could  be  named. 

450  x  180  mm.  (type-page  187  x  135).     Every  leaf  is  more  or  less  mutilated. 


XXXII 

THE  SUMMONING  OF  EVERYMAN.     i».  Title  :   C  Here  begynneth  a  treatyfe   London: 
how  the  hye  fader  of  heuen  fendeth  dethe  to  fomon  euery  creature  to  come  and  gyue   J0^"^0*' 
a  counte  of  theyr  lyues  in  this  worlde  and  is  in  maner  of  a  morall  playe.     16*.  End  :    Say 
ye  for  faynte  charyte.  AMEN.     i6b.  Device,  inscribed  '  Iohn  Scott '. 

Quarto.  A  B*  D4.  16  leaves.  Types  :  black  letter.  Ornaments  :  two  ledges,  figure 
of  Everyman  and  figure  of  Death,  on  ia;  on  ib  six  figures,  superscribed  on  labels,  Felaw- 
fhyp,  Eueryman,  Beauty,  DyfcrecyO,  ftrengths,  |[  Kynne.  Ornamental  capital  on  2a,  two 
border-pieces  and  Skot's  device  on  i6b. 

The  proper  title  of  this  morality,  which  does  not  occur  in  the  descriptive  paragraph  on  the  title-page,  is 
given  in  the  opening  lines  : 

I  pray  you  all  gyue  your  audyence 
And  here  this  matter  with  reuerence 
By  figure  a  morall  playe 
The  ibmonyg  of  eueryman  called  it  is 
That  of  our  lyues  and  endynge  fhewes 
How  tranfytory  we  be  all  daye  .  . . 

The  catch-title  '  The  fummenynge '  or  '  The  fomonynge '  is  printed  at  the  foot  of  the  text  in  most  of  the  sheets. 
The  play  itself,  which  maintains  a  higher  level  than  any  of  the  native  English  moralities  of  the  late  15th  or 
early  16th  century,  has  been  shown  to  be  a  translation  from  the  Dutch  '  Elckerlijk ',  attributed  by  Logeman 

S'Elckcrlijk  and  Everyman,  edited  by  Dr.  H.  Logeman,'  Gand,  1892)  to  Petrus  Dor  land  us,  a  native  of  Diest. 
ts  popularity  about  1530  is  attested  by  the  fact  that,  of  four  editions  known  to  have  been  printed,  two  by 
Richard  Pyason  survive  only  in  fragments,  and  two  by  John  Skot  in  single  copies.  Of  one  of  the  Pynson 
editions  the  Hritish  Museum  possesses  leaves  7-16,  of  the  other  a  smaller  fragment  is  at  the  Bodleian 
Library.    The  Skot  edition  here  catalogued  belonged  in  1834  to  George  Daniel,  who  claims  in  a  note  that  it  is 

53 


c.  1530. 


London :  '  much  earlier '  than  the  one  which   Dibdin  obtained   from  Lincoln  Cathedral  and  which  passed  by  ex- 

John  Skot,      change  from  Lord  Spencer  to  Heber  and  at  the  Heber  Sale  was  purchased  for  the  library  at  Britwell  Court, 
c.  1530.  The   relation  of  the  four  surviving  copies  is,  however,  obscure.    The  Britwell  edition  has  the  colophon  : 

C  Thus  endeth  this  morall  playe  of  euery  man  ||  C  Imprynted  at  London  in  Poules  ||  chyrche  yarde  by  me 
||  Iohfi  Skot  ||  >fr.  The  present  edition  has  no  colophon,  only  Skot's  first  device  in  the  later  form  in  which 
a  monogram  was  substituted  for  his  mark  on  the  shield.  As  in  this  state  the  device  was  used  about  1530, 
during  the  time  that  Skot  lived  in  S.  Paul's  Churchyard,  his  two  extant  editions  can  only  have  been  separated 

C*«te  bear  nnctft  a  t  reatpfe  ftotb  t$e 

tjpe  facer  of  tmienfenbetft&etlie 

to  Comon  cutty  creature  to 

comeanDgpucacounte 

oft&epjipuesmtijts 

Xbo:  IDc  ariDtst  tuna- 
nerofamojall 
plape* 


EVERYMAN.   LONDON:  J.  SKOT,  C.  I53O.   (TITLE-PAGE.) 

by  a  very  few  years.  There  are  numerous  small  differences  in  the  text  of  the  two  Skot  editions,  as  well  as 
between  these  and  the  editions  printed  by  Pynson.  But  if  a  play  was  being  frequently  performed,  and 
consequently  well  known,  changes  of  words  between  one  edition  and  another  would  naturally  be  more  frequent 
than  in  the  case  of  a  prose  treatise. 

183  x  128  mm.  (type-page,  including  marginalia,  15a  x  no). 


London : 
R.  Caly, 
1558. 


XXXIII 

INTERROGATORIES  TO  CHURCHWARDENS.  Interrogatories,  vpon  which, 
and  euerye  part  of  the  fame,  afwell  the  Churchwardens  now  being,  as  alfo  all  other  hereafter 
to  be  appointed,  fhalbe  charged  withal,  fet  foorth  by  the  kyng  and  Quenes  Maiefties 
Commiffioners,  for  fearche,  inquiry,  *  certificat  to  be  had  of  al  fuch  things  as  now  be, 

54 


or  hereafter  fhalbe  amyfle,  in  anye  wyfe  concernyng  the  Commiffion  to  them  geuen,  vpon    London : 
whych   certificat  duelye  made,  reformation  and   redrefle  (hall  be  had  thereof  wyth   all    *•  £alv' 
conuenient  fpeede  and  diligence.     Anno.  1558.      Menfe  Aprielis.     Excufum  Londini   in    I55  ' 
adibus    Roberti    Caly,    Typographi.      Cum    Priuilegio    ad    Imprimendum    folum.      8a. 
Colophon  :   C  Imprinted  at  London  by  Robart  Caly,  wythin  the  precinct  of  Chriftes 
Hofpitall.     The  .vi.  day  of  Aprill.  M.  D.  LVIII.     Cum  priuilegio  ad  imprimendum  folum. 


ncg,i)pon  totncftanD  euerpe 

part  of  the  fame,  nfineil  ttje  Church  > 

martens  nolb  being, as  alio  all  otbf  r  tjcreaf 

tec  to  br  appotnteb  >  fhalb*  cnareeDdMtbal, 

ret  foojCtj  bp  tbc  Kpng  auD  £)uencs  mm 

lies  £ommiffioncts,  fo:  ffattt)c,inquicp,f 

cc  t  tif  1  cat  to  be  ban  of  al  f  tub  tbuigs  as  note 

bcoj  tjcrcaftcc  ft)  albr  amp  (It ,  in  anpe  tdpfc 

contetnpngtbe  £  omtnttHon  to  tbem  gearn , 

bpontbopct)  certificat  ouelpe  mnoc,  cc- 

fo;mation  anD  teo:cCe  (ball be  bad 

tbecrof  tbptb  all  conuenient 

fpeebe  ano  Qiit- 

flttice. 

"Menfe  ylprtelis. 

Ixrufum  Londini  in ddibtti  fyt 

berti  Ctlyt  TypofTApht. 
Ctm  Triuilegio  ad  Imprinter?* 
dumjilum. 


tfv> 


&< 


•d- 


£3 


Quarto.  A  B4.  8  leaves.  Types  :  black  letter,  with  italics  for  Latin  on  title-page  and 
roman  for  Latin  in  colophon.  The  title-page  is  enclosed  in  an  ornamental  border.  At  the 
beginning  of  the  text  is  a  pictorial  capital  F,  representing  the  plague  of  hail  falling  at  the 
bidding  of  Moses  and  Aaron. 


Issued  only  a  few  months  before  the  death  of  Queen  Mary  these  Interrogatories  are  of  great  interest  as 
showing  the  manner  in  which  her  advisers  were  endeavouring  to  enforce  her  ecclesiastical  policy.  The  following 
is  a  summary  of  the  48  questions : — 

1.  Whether  there  be  within  the  parish  a  resident  Parson,  Vicar  or  Curate,  and  as  to  his  conduct, 
a.  Whether  the  said  Parson  '  haue  been  heretofore  maried  or  no,  *  if  he  continue  with  his  woman '. 

55 


London  :  3,  4-  Whether  there  be  any  other  married  priest  in  the  parish,  or  any  one  who  maintains  that  priests  may 

R.  Calv.  lawfully  be  married.  ,  ,  .  .  ,       . 

,55g     '  5.  Whether  there  be  '  any  priefte  that  taketh  vpon  hym  to  feme  the  cure,  not  being  before  examined  and 

allowed  thereto  by  thordinary'.  . 

6-11  Whether  there  be  any  heretics  or  favorers  of  heresy,  or  (7)  who  keep  erroneous  books,  efpecially 
1  nelifh  tcftamentes  or  Bibles  falfely  tranflated',  or  (8)  any  Printers  or  Booksellers  who  sell  such  books,  or  (9) 
any  who  neglect  the  sacraments,  festivals,  and  fasts  of  the  Church,  or  (10)  have  '  fpoken  directlye  or  mdirectlye 
aeaynfte  the  Maffe,  or  other  ecclefiafticall  feruice  vfed  or  commaunded  in  the  Churche  ,  or  (1 1)  who  '  receyue 
any  noughty  perfon  or  perfones  efpecially  to  rede  the  englifh  feruice,  vfed  in  the  time  of  king  Edwardc  the 
fixte,  or  the  booke  of  Communion '. 

tbe  aucf  0  jtrtf  o;  iuxiCbittion  of  tbe  £  ope  s  bo!p< 
m  b,oj  tbe  Tea  of  lftotne,o;  Do  let  tbe  piorefTe  of 
anpc  SrdjbrOjoppeo;  ttpfijoppe,  02  of  anpeof 
tbep;  Deputie0.  _ 

Jtem  t»bitber  anp  plapesl  o^  3nf  erluDes  not  xlv. 
bepng  firO  erarmneD,allotoeD,anD  appjoueD  bp 
tb  o2Dinarp,are  bfeD  at  anp  tpme ,  efpectallpe  in 
tbe  Jlcnt,02  bpon  ftonoaies  02  bolpbaies,efpe* 
nallpe  at  tbe  tpme  of  Dtutne  feruice ,  ano  t»bp* 
tber  anp  otber  bple  02  letobe  pattimes  at  anp  of 
tbe  fapDe  times ,  are  in  anpe  topfc  UfcD  02  accu  -- 
Oomeo. 

31  tern  tobttber  ttjere  be  anp  tbat  Dotlj  ftfe  fo  xjVi. 
bpe  9  fel  bpon  rbe  funoapce  02  bolpDapes.o;  do 
bpon  tborc  Daprs  feepe  open  tbepj  fboppes^a- 
uecne0,3Uboufe0,o;  bictualpng  IjottfcjJ ,  efpe* 
ctatlp  in  tbe  tune  of  Diuine  feruice, 

3!  tern  tobttber  pe  baue  pjocureD  02  content  eD  xlvif 
in  anp  topfe,tbat  ourpng  anre  part  of  tbe  &er* 
monmaDeat  pauics  Croffe  ,tbere  Chouloe  be 
rpnging  of  belles,plaping  of  CbtlDzcn,  crpmgc 
0;  mafemg  louoDe  nopfe,rpDtnge  of  bojfes,  02  0  -. 
t ber topfe,ro  tbat  tbe pjeacber  t ber c,oi  bus  nu- 
iience  teas  troubled  tberebp,anD  if  pe  baue  not 
Co  p;ocureD  02  confenteD ,  tobttber  baue  pou  v*t 
to  tbe  belt  anDbttcrmoftc  of  pour  potter  enoe* 
uobojcD  pour  felfe  to  let  fuctj  nngingcplapeng. 
crp cng,ano  nopfe  tbat  tbe  faiD  pjcacber  nugbt 
tbe  better  Doo  bis  Dutp ,wid  tbe  auotence  be  tbe 
better  inQructeD  ano  eDtfieD. 

31temttJbitbcrrcDohnoto,o2CTeDibIpe!)aue  ... 
bearD  tbat  toitbtn  anp  part  of  tbe  citpe  of  JLon*  xlv,u« 
Don  tijer e  battj  bene  anp  fet  tables  Kept  f  02  fuel) 

INTERROGATORIES  TO  CHURCHWARDENS.       LONDON  !    R.  CALV,   I  558.       (SIG.  B,  RECTO.) 

ia.  Whether  there  be  'any  priuie  lectures  or  fermons,  or  other  deuifes,  or  anye  vnlawfull  conuenticles  or 
affembles '. 

13.  '  Whether  there  be  within  the  fayde  parifhe  any,  that  at  the  facring  time  of  the  Maffe  dothe  hangc 
downc  theyr  heades,  or  hyde  them  felues  behinde  pillers,  or  turneth  away  their  faces,  or  departeth  out  of  the 
church,  becaufe  they  woulde  not  looke  vpon  the  bleffed  facrament  of  the  Aultare.' 

14.  Whether  there  be  any  '  that  haue  committed  Lollardie,  as  in  catyng  of  flefhe  at  dayes  and  times 
forbydden '. 

15.  Whether  there  be  '  any  perfon,  man,  woman  or  childe,  being  of  fufficient  age  and  difcretion,  that  can 
not  faye  theyr  Pater  nofter,  Aue  Maria,  and  the  Crede '. 

16.  Whether  there  be  any  schoolmaster  or  schoolmistress  not  admitted  by  the  ordinary,  and  whether  the 
schoolmaster  and  schoolmistress  '  be  sound  in  religion  '. 

56 


17.  Whether  there  be  'any  that  do  abfent  them  felues  willynglie  from  the  churche'. 

18-ao.  'Whether  you  knowe  or  haue  hearde  of  any  in  your  parifhe,  that  haue  bene,  or  is  a  fcold*  or 
a  sower  of  discord  or  sedition,  or  (19)  'that  haue  geuen  occafion  to  moue  or  fturre  vp  any  deuifion, 
ftrife,  contention  or  fedition,  especially  betwene  the  king  and  Quenes  maiefties  and  their  Subiectes',  or 
(20)  '  of  any  concelements,  contempts,  confpiracies ',  &c. 

11-23.  Whether  the  Patrons  have  made  sincere,  true,  and  just  presentations  in  due  time,  or  (22)  have 
directly  or  indirectly  covenanted  to  have  '  anye  fumme  of  money  for  the  fame',  or  (23)  have  pulled  down  or 
despoiled  any  Church,  chapel,  or  other  ecclefiaftical  buildinge,  or  haue  taken  away  the  lead,  belles, 
ornamentes,  goodes,  or  landes  of  the  faid  places '  or  converted  any  of  the  possessions  of  the  same  to  priuate 
and  prophane  vfe '. 

24.  Whether  the  Parson  '  hathe  made  alienation  of  fuche  thinges  as  perteyned  to  his  Parfonage ',  &c. 

25.  Whether  the  church  be  now  vacant,  and  if  so,  who  is  receiving  the  tithes,  &c. 

26-30.  Whether  there  be  any  Midwife  not  admitted  by  the  Ordinary,  or  'any  woman,  hauing  bene 
a  priefts  wife  or  fufpect  of  herefy,  that  is  a  comon  keper  of  women  lying  in  childbed ' ;  whether  (27)  the  midwife 
be  '  catholike,  faithfull,  difcrete,  fober,  and  diligent,  ready  to  helpe  euerye  woman  trauelyng  with  childe,  afwel 
the  poore  as  the  riche ' ;  (28)  whether  she  'or  any  other  comming  to  fuch  trauelling  do  vfe  any  Witchecraft, 
charmes ',  &c,  or  (29)  '  denieth  or  letteth  the  newe  borne  childe  to  be  brought  to  the  church '  and  baptized, 
and  '  the  mother  to  be  duly  and  accuftomably  purified ' ;  or  whether  (30)  any  women, '  by  them  felues  or  by  the 
finiftre  counfell  of  other,  haue  after  their  own  fantafies  purified  them  felues '. 

31.  Whether  the  Churchwardens  'do  prouide  all  thinges  neceffarie  and  requifite  to  be  had  in  your  church, 
accordynge  as  hathe  bene  accuftomed  wythin  thys  realme  of  Englande,  before  the  time  of  the  late  fchifme  in 
the  fame  . 

32.  Whether  there  be  '  a  roode  and  a  roode  loft,  hauing  the  Images  of  Mary  and  Iohn,  *  lightes  before 
the  fame ',  a  covering  for  the  said  Crucifix  in  Lent,  lights  upon  the  high  altar,  and  an  Image  of  the  patron 
saint. 

33.  Whether  there  be  '  any  Inuentary  made  and  kept  of  the  church  goodes,  and  a  boke  concerning  the 
regeftringe  of  thofe  that  are  baptized,  maried  or  buryed '. 

34.  Whether  the  vestments  and  ornaments  be  '  kept  clene  and  fufficiently  repayred ',  whether  there  be 
*  a  comely  pixe  to  kepe  the  bleffed  facrament  in  %  vpon  the  high  Aultar '  and  a  light  burning  before  it,  and 
whether  '  the  bleffed  Sacrament  be  caryed  decentlye  and  deuoutlye  to  the  ficke,  the  Clerke  goynge  before  the 
Priefte  in  a  furpleffe  with  lighte  in  his  hand,  and  a  litle  facring  bell  ringing '. 

35.  Whether  the  church  or  chancel  be  in  ruin, '  and  in  whofe  default  or  negligence  the  fame  is '. 

36.  Whether  there  be  '  anye  legacies  or  gyftes  made  for  the  repayrynge  and  mayntenaunce  of  your  church, 
or  of  highwaies,  finding  of  the  poore,  maryenge  of  poore  Maydens,  or  any  fuche  like,  and  the  fame  not  payde 
and  aunfwered  accordingly'. 

37.  38-  Whether  any  husbands  or  wives  are  incontinent,  or  live  apart,  not  being  lawfully  divorced,  or 
being  divorced  marry  during  the  life  of  the  other,  or  (38)  there  be  any  that  commit  bigamy. 

39.  Whether  '  you  knowe  of  any  vfurers  or  of  any  bawdes,  man  or  woman,  or  of  any  other  vicious  and 
notable  offendours '. 

40.  Whether  the  church  or  churchyard  have  been  violated  or  polluted,  '  efpecially  by  effufion  of  blood '. 

41.  Whether  any  'dothe  take  vpon  hym  to  miniftre  the  goodes  of  any  that  is  deade  before  the  Teftament 
be  proued ',  &c. 

42.  Whether  '  fuche  as  can  not  reade  vpon  the  booke  haue  euerye  one  of  theym  a  payre  of  beades,  and  doo 
vfe  the  fame  deuoutlye  and  accordingly '. 

43.  Whether  any  Minstrels  or  any  other  persons  sing  or  say  vile  songs  or  ditties,  especially  against  any 
of  the  Seven  Sacraments  '  or  againft  any  the  rites  and  ceremonies  of  thys  Churche  of  Englande,  whyche  is 
a  notable  member  of  Chriftes  catholike  churche '. 

44.  Whether  any  contemn  the  'auctoritie  or  iurifdiction  of  the  Popes  holynes',  or  let  (i.e.  hinder)  the 
process  of  any  Archbishop  or  Bishop. 

45.  Whether  '  any  playes  or  Interludes  not  beyng  first  examined,  allowed,  and  approued  by  thordinary, 
are  vfed  at  any  tyme,  efpeciallye  in  the  Lent,  or  vpon  Sondaies  or  holydaies,  efpeciallye  at  the  tyme  of  diuine 
feruice '. 

46.  Whether  '  there  be  any  that  doth  vfe  to  bye  *  fcl  vpon  the  fundayes  or  holydayes,  or  do  vpon  thofe 
dayes  kepe  open  theyr  fhoppes,  Tauernes,  Alehoufes,  or  victualyng  houfes,  efpecially  in  the  time  of  diuine 
feruice '. 

47.  Whether  'ye  haue  procured  or  confented  in  any  wyfe,  that  duryng  anye  part  of  the  Sermon  made  at 
Paules  Croffe,  there  fhoulde  be  rynging  of  belles,  playing  of  Children,  cryinge  or  making  lowde  noyfe,  rydinge 
of  horfes,  or  otherwyfe,  fo  that  the  Preacher  there,  or  his  audience  was  troubled  thereby ',  or  have  taken  steps 
to  prevent  such  disturbance. 

48.  Whether  '  ye  do  know,  or  crediblye  haue  heard  that  within  any  part  of  the  citye  of  London  there  hath 
bene  any  fet  tables  kept  for  fuch  as  woulde  thythcr  reforte  to  eatc  and  drynke,  and  whither  it  be  not  vfed  at 
the  faid  tables  to  haue  Diner  and  Supper  vpon  the  Fryday  and  F.mbryng  dayes,  and  all  other  dayes,  afwel 
within  the  Lent  time  as  without,  or  whither  there  be  at  the  faidc  tables  any  flefh  eaten  at  times  prohibited '. 

'73  *  l35  mm-  (type-page  156  x  86). 


London : 
R.  Caly, 
1558. 


57 


London : 
R.  Tottell, 
ag  Novemb., 
1562. 


XXXIV 

BROKE,  Arthur.  The  Tragicall  Hiftorye  of  Romeus  and  Iuliet,  written  firft  in 
Italian  by  Bandell,  and  nowe  in  Englifhe  by  Ar.  Br.  In  aedibus  Richardi  Tottelli.  Cum 
Priuilegio.  Colophon  :  C  Imprinted  at  London  in  Flete  ftrete  within  Temble  barre,  at 
the  figne  of  the  hand  and  ftarre,  by  Richard  Tottill  the  .xix.  day  of  Nouember.  An.  do. 
1562. 


Tbe  Tragica/IhiJIorj. 

AC;  m  a  Lpon  ttjplDe 

that rampct bin  rjisragr, 
S>is  tobrlprsbrreft.tobofcfurp  am 
no  Djrahrr  btatt  afftoagc. 
feucb  feemcD  UomruB, 
in  runp  of  hers  fight: 
ftsbcn  be  b»m  fyope,  of  to;ong  reccaube 
tauenge  btmfelfic  bpbgbt. 
C  urn  as  t  too  tbunberboltes, 
th;otone  Dotont  out  of  tberhpe, 
Chat  rb;ougbtbrap;e  tbe inaflp  eartb 
a nD  fr as  bauc  potoer  to  flpe: 
&o  met  tbcff  ttoo,anD  tohile 

tl)tp  rbaungr  a  blotoe  0;  ttoopne, 
£Dur  stomcustfouflbim  tfcougb  toe  tbjofe 
anbfo  10  Cpbalt  flavrtc. 
Hoe  here  the  enoe  of  tbofc 
tbat  &p;re  a  oeolp  flrpfe: 
tQbo  thptfetb  after  0  tbe  to  Death, 
bimfri  e  bath  loft  bis  life. 
Cbc  Capilf  tsarr  quaploe , 
bp  Zv batrs  ouertb;otoe: 
JCbe  courage  of  tbe  SBountagetors. 
bp  Uomrufi  figbt  Dot b  gro tor. 
JCbe  to  tones  men  toarc  n  urong, 
tbe  p;mc£Dotb  ftnb  btefojee: 
J£bcftaphatben&,thcCapHet0 
bo  b?tng  tbe  tyetble*  co?ee, 
jrMo;e  tbe  p;inrr  :ano  traue, 
that  crufll  ocDlppapne 
qpap  be  tbe  guerbon  of  bia  fait, 

that  barb  tbetc  hmfman  flaine. 
EbeSpontagetocB  bopleaoe, 
tbep;  tiomcus  bopot  of  fait: 
JCbe  lookers  on  bo  fap,tbe  figbt 
b  ego  nnc  teas  trp  Epbalt. 


%Mt 


of  Romeus  and  lulttt        Fo.yo. 

SCbe  pjfnce  ootbpatnfMnD  ttjen 
gcues  fentmce  (n  a  tobtle, 
XTbat  Wcmcufi»fo;  flepf  ng hitn 
thoulbgor  tntocrplr. 
tyis  foes  tooulD  bauc  btm  bangbe, 
0;  Of  r  m  (n  p;ifo  n  ffrong: 
|)(flfrenOca  bo  tb(ntt(butbare  not  lap) 
tbat  ill  oincus  bath  to;ong. 
iBotbbouajolDstrrafgbtarecbargcb 
onpapneoflounglpfe: 
SCbep;  biouDp  toeapons  lapbaftDr, 
to  reafe  tbt  C  pjr  rb  frrpfe, 
JEbts  common  plage  10  rp;cb, 
through  all  tbe  totonranon: 
jFrom  fioe  to  fpbe  tbe  to  tone  t*  fitb 

toitb  murmour  an&  tot  tb  mone. 
jro;  SCpbaltabafip  beatb, 
betoapled  toas  of  fommr, 
JBotb  fo?  bis  rwil  in  Kates  of  armea, 
arc  fo:  in  ttme  to  comme: 
*&elbotilb(bab  this  not  cbaunceb) 
been  ridjc.anb  of  great  poto;c: 
%o  belpe  bia  frenbes,anb  ferue  tbcQatc, 
tobicb  bops  toltbin  an  bo to;e 
Mas  toafteo  quirr  ,nno  be 
thuspelotngbp  bl0b;ratb, 
fl3o;c  tben  be  bolpe  tbetotone  in  Ipfr, 
barb  barmbe  it  bp  bis  ocatb. 
0nb  other  fomme  bcfoaple, 
(bnt  labtes  moff  of  all) 
Ebcloohcles  lotbpf  o;tunesgplf , 
that  is  folate  befall, 
(QHitbout  bts  fait,  )bnto 
tbe  feelp  Womctis, 
iFojtobUft  that  be  from  natift  lanU 

fljallliuewplcbtbw- 

^Frora 


BROKE  :   ROMEUS  AND  JULIET.      LONDON  :    R.  TOTTELL,   1 562.       (LEAVES  20,  VERSO  AND  30  RECTO.) 

Octavo.  I4  A-K'L4.  88  leaves,  5-88  numbered  fo.  1-84.  The  title,  prose  address 
to  the  reader,  and  head-lines  throughout  the  book  in  italics,  the  rest  in  black  letter.  ia,  title; 
2,  3,  To  the  Reader  (prose  address)  signed  Ar.  Br.  ;  4*.  To  the  Reader  (two  stanzas) ; 
4b,  The  Argument ;  5-88,  text. 

The  Novelle  of  Matteo  Bandello  were  first  published  '  in  Lucca  per  il  Busdrago,  1554 ',  four  years  after  he 
had  been  consecrated  Bishop  of  Agen.  In  1559  a  selection  from  them  was  freely  translated  into  French  by 
Pierre  Boaistuau  under  the  title  '  Histoires  tragiques  extraictes  des  oeuures  italiennes  de  Bandel'  (Paris,  V. 
Sertcnas),  and  it  was  from  this  French  version,  which  like  its  original  is  in  prose,  that  Arthur  Broke  made  his 
verse  translation  in  156a,  the  year  of  Bandello's  death.  Broke  himself  was  drowned  at  sea  near  Newhaven  in 
1563  while  another  book  by  him,  *  An  Agreement  of  sundry  places  of  Scripture,'  was  passing  through  the  press. 
His  preface  to  the  present  work  is  sufficiently  curious  to  be  quoted  in  full. 

'  THe  God  of  all  glorye  created  vniuerfallye  all  creatures,  to  fette  forth  his  prayfe,  both  thofe  whiche 
we  efteme  profitable  in  vfe  and  pleafure,  and  alfo  thofe,  whiche  we  accompte  noyfome,  and  lothfome.  But 
principally  he  hath  appointed  man,  the  chiefeft  inftrument  of  his  honour,  not  onely,  for  miniftryng  matter 

58 


thereof  in  man  himfelfe ;  but  afwell  in  gatheryng  out  of  other,  the  occafions  of  publifhing  Gods  goodnes, 
wifdome,  &  power.  And  in  like  fort,  euerye  dooyng  of  man  hath  by  Goddes  dyfpenfacion  fome  thynge, 
whereby  God  may,  and  ought  to  be  honored.  So  the  good  doynges  of  the  good,  &  the  euill  actes  of  the 
wicked,  the  happy  fucceffe  of  the  bleffed,  and  the  wofull  procedinges  of  the  miferable,  doe  in  diuers  forte  found 
one  prayfe  of  God.  And  as  eche  flower  yeldeth  hony  to  the  bee  :  fo  euery  exaumple  miniftreth  good  lefsons  to 
the  well  difpofed  mynde.  The  glorious  triumphe  of  the  continent  man  vpon  the  luftes  of  wanton  flefhe, 
incourageth  men  to  honeft  reftraynt  of  wyld  affections,  the  fhamefull  and  wretched  endes  of  fuch,  as  haue 
yelded  their  libertie  thrall  to  fowle  defires,  teache  men  to  witholde  them  felues  from  the  hedlong  fall  of  loofe 
difhoneftie.  So,  to  lyke  effect,  by  fundry  meanes,  the  good  mans  exaumple  byddeth  men  to  be  good,  and  the 
euill  mans  mifchefe,  warneth  men  not  to  be  euyll.  To  this  good  ende,  feme  all  ill  endes,  of  yll  begynnynges. 
And  to  this  ende  (good  Reader)  is  this  tragicall  matter  written,  to  defcribe  vnto  thee  a  coople  of  vnfortunate 
louers,  thralling  themfelues  to  vnhoneft  defire,  neglecting  the  authoritie  and  aduife  of  parents  and  frendes, 
conferring  their  principall  counfels  with  dronken  goffyppes,  and  fuperftitious  friers  (the  naturally  fitte  inftrumentes 
of  vnchaftitie)  attemptyng  all  aduentures  of  peryll,  for  thattaynyng  of  their  wifhed  luft,  vfyng  auriculer  confeffion 
(the  kay  of  whoredome,  and  treafon)  for  furtheraunce  of  theyr  purpofe,  abufyng  the  honorable  name  of  lawefull 
mariage,  to  cloke  the  fhame  of  ftolne  contractes,  finallye,  by  all  meanes  of  vnhoneft  lyfe,  haftyng  to  moft 
vnhappye  deathe.  This  prefident  (good  Reader)  fhalbe  to  thee,  as  the  flaues  of  Lacedemon,  oppreffed  with 
exceffe  of  drinke,  deformed  and  altered  from  likenes  of  men,  bothe  in  mynde,  and  vfe  of  body,  were  to  the  free 
borne  children,  fo  fhewed  to  them  by  their  parentes,  to  thintent  to  rayfe  in  them  an  hatefull  lothyng  of  fo 
filthy  beaftlynes.  Hereunto  if  you  applye  it,  ye  fhall  deliuer  my  dooing  from  offence,  and  profit  your  felues. 
Though  I  faw  the  fame  argument  lately  fet  foorth  on  ftage  with  more  commendation,  then  I  can  looke  for : 
(being  there  much  better  fet  forth  then  I  haue  or  can  dooe)  yet  the  fame  matter  penned  as  it  is,  may  ferue  the 
lyke  good  effect,  if  the  readers  do  brynge  with  them  lyke  good  myndes,  to  confider  it,  which  hath  the  more 
incouraged  me  to  publifhe  it,  fuche  as  it  is.     Ar.  Br.' 

Brake's  poem  is  written  in  lines  alternately  of  twelve  and  fourteen  syllables  broken  by  a  strong  caesura 
respectively  into  sixes  and  sevens  and  so  printed.  Being  thus"  little  hampered  by  his  rhymes  he  can  follow  his 
French  original  fairly  closely  when  he  pleases,  but  often  embroiders  on  it  and  makes  a  few  larger  changes. 
The  chief  interest  of  his  version  lies  in  the  fact  that  it  was  this  and  neither  the  Italian  nor  the  French  which 
Shakespeare  followed  in  his  '  Romeo  and  Juliet'. 

Another  copy  is  in  the  Bodleian  Library,  Oxford,  and  an  imperfect  one  at  Trinity  College,  Cambridge. 
The  present  copy  is  from  the  library  of  George  Daniel  with  a  note  dated  3  April,  1849,  of  its  purchase  from 
Thomas  Rodd.  It  bears  several  scribbles  by  early  owners,  among  others  the  Grolieresque  note  of  ownership 
'  Sum  Johis  Browne  eiufqj  amicoij. '. 

165  x  105  mm.  (type-page  137  x  70). 


London : 
R.  Tottell, 
29  Novemb., 
1562. 


XXXV 

GOOGE,  Barnabe.  Eglogs  Epytaphes,  and  Sonettes.  Newly  written  by  Barnabe 
Googe.  1563.  15.  Marche.  |[  Imprynted  at  London,  by  Thomas  Colwell,  for  Raffe 
Newbery,  dwelyng  in  Fleetftreete  a  litle  aboue  the  Conduit  in  the  late  (hop  of  Thomas 
Bartelet.  Colophon  :  C  Imprynted  at  London  in  S.  Brydes  Churchyarde,  by  Thomas 
ColWell,  for  Raufe  Newbery.  And  are  to  be  fold  at  his  (hop  in  Fleeteftrete,  a  lytle  aboue 
the  Conduit.     1563.     15  Die  Menfis  March.     [Ornament] 

Small  Octavo.  A8  B* ;  A-C8  D« ;  E-K8.  88  leaves,  leaf  12  blank,  also  88,  here  missing. 
Types  :  various  sizes  of  black  letter,  with  italics  as  a  subsidiary  fount.  Ornaments  :  4a,  arms 
of  Googe,  facing  dedication ;  5a,  ornamental  H  ;  7b,  woodcut  of  two  shepherds  from 
a  Kalendar  of  Shepherds,  serving  for  '  Daphnes '  and  Amintas ;  87*  small  bird  and  flower 
border-piece. 


London : 
T.  Colwell 
for  R.  New- 
berv, 
15  March, 
1563. 


1,  title ;  2-4\  commendatory  verses  headed  C  Alexander  Neuyll ;  4b,  woodcut  of  arms ;  5-7*,  dedication 
headed,  'To  the  ryght  worfhipfull  M.  William  Louelacc,  Efquier,  Reader  of  Graycs  Inne:  (Barnabe  Googe) 
wyflhcth  health  ' ;  ends,  '  C  yours  affuredly  Barnabe  Googe ' ;  7b,  woodcut ;  8-9,  editorial  address  headed, 
'C  L.  Blundcfton  to  the  Reader';  ends,  'C  From  my  Chambre,  the  .xxvii.  of  Maye,  1562';  10-11,  'C  The 
Preface  of  L.  Blundcfton'  in  verse;  12,  blank;  13-40,  Egloga  prima — octaua;  41-4.5*,  Epytaphes;  4,<;b-69b, 
Sonettes ;  69b-86b,  C  Cupido  Conquered  ;  87*,  Colophon  ;  87'',  Faultcs  efcaped  in  the  l'ryntynge  ;  88,  blank  ? 

This  is  the  second  published  work  of  Barnabe  Googe  (1540-1594),  a  kinsman  of  Sir  William  Cecil,  his 
first  having  been  a  translation, '  The  First  thrc  Bokcs  of  the  most  Christian  poet,  Marcellus  Palingenius  called 
the  Zodyake  of  Lyfe'  (1560),  which  was  continued  in  1561  and  completed  in  1565  and  passed  through  two 
other  editions.  In  1562,  during  the  absence  of  Googe  on  a  visit  to  Spain,  a  manuscript  containing  most  of  the 
verses  in  the  present  volume  was  left  in  the  keeping  of  his  friend  L.  Blundcston,  with  the  result  that  the  latter 


59 


K    2 


London: 

T.  Colwell 

for  R.  New- 

bery, 

15  March, 

1563- 


sent  them  to  be  printed  with  a  prose  address  to  the  reader  and  a  preface  in  verse  from  his  own  pen.     His 
account  of  the  matter  occupies  seven  stanzas  of  the  Preface,  of  which  the  first  and  last  may  be  quoted  : 

Lo  here  the  Eye  a  Paper  buntche  doth  fe  Thus  pufhte  I  forth  ftrayghte  to  the  Printers  hande 

Of  fyled  worke  of  Googes  flowing  Heade,  Thefe  Eglogs,  Sonets,  Epytaphes  of  men 

Lefte  here  behynde,  when  hence  he  part  from  me  Vnto  the  Readers  Eyes  tor  to  be  fkande, 

In  all  the  ftormes  that  Winter  blades  befpreade  with  Prayfes  fuche  as  is  due  vnto  them 

Through  fwellyng  Seas  *  loftye  moutains  hye  who  abfent  nowe  theyr  Mayfter  maye  comende, 

Of  Pyrenei  the  pathes  vnknowen  to  treade.  And  feade  his  Fame  what  foeuer  fayleth  him, 

Whole  greal  good  wyll  I  kepe,  and  in  his  place  Gyue  Googe  therfore  his  owne  deferued  Fame, 

Hit  Verfes  craue  to  reprefent  his  face.  Giue  Blundeflon  leaue  to  wylh  wel  to  his  name. 

Googe's  own  account  in  his  dedicatory  letter  is  that  his  sense  of  '  the  grofenes  of  my  Style '  and  mistrust 
of  '  fcornefull  and  carpynge  Correctours '  caused  him  to  condemn  his  poems  rather  to  '  continuall  darkenes, 
wherby  no  Inconuenience  could  happen :  than  to  endaunger  my  felfe  in  gyuynge  them  to  lyght,  to  the  difdaynfull 
doome  of  any  offended  mynde.  .  . .  Notwithftandynge  all  the  dylygence  that  I  coulde  vfe  in  the  Suppreffion 
therof  coulde  not  fuffife  for  I  my  felfe  beyng  at  that  tyme  oute  of  the  Realme,  lytell  fearynge  any  fuche 
thynge  to  happen.  A  verye  Frende  of  myne,  bearynge  as  it  femed  better  wyll  to  my  doynges  than  refpectyng 
the  hazarde  of  my  name,  commytted  them  all  togyther  vnpolyfhed  to  the  handes  of  the  Prynter.  In  whofe 
handes  durynge  his  abfence  from  the  Cytie,  tyll  his  returne  of  late  they  remayned.  At  whiche  tyme,  he 
declared  the  matter  wholly  vnto  me:   fhewynge  me  that  beynge  fo  farre  paft,  \  Paper  prouyded  for  the 


23.<£ooge. 

GOOGE  :    ECLOGUES.      LONDON  :    R.  NEWBERV,   I  563.      (siG.  A4  VERSO  AND  A8  RECTO.) 


Impreffion  therof:  It  coulde  not  withoute  greate  hynderaunce  of  the  poore  Printer  be  nowe  reuoked.  His 
fodaync  tale  made  me  at  y"  fyrft,  vtterly  amazed,  and  doubting  a  great  while,  what  was  beft  to  be  done :  at  the 
lcngthe  agreyng  both  with  Neceffytie  and  his  Counfell,  I  fayde  with  Martiall  I  iam  fed  poteras  tutior  effe 
domi ',  &c  The  whole  story,  with  all  the  elaborations  of  Googe  and  his  friend  in  prose  and  verse,  is  perhaps 
best  taken  as  an  example  of  the  straits  to  which  versifiers  were  driven  to  circumvent  the  16th-century 
convention  that  a  gentleman's  poems  should  be  circulated  in  manuscript,  not  committed  to  print. 

Only  three  copies  of  this  book  are  known,  the  other  two  being  in  the  Capell  collection  at  Trinity  College, 
Cambridge,  and  the  library  at  Britwell  Court.  In  the  present  copy,  sig.  C  iii  verso,  which  should  contain  the 
beginning  of  the  sixth  Eglog,  is  left  blank.  The  accident  was  a  complicated  one,  as  whereas  the  average  page 
only  contains  24  lines  no  fewer  than  44  are  omitted,  making  with  the  heading  matter  for  two  pages  instead  of 
one.  This  mistake  is  set  right  in  the  Britwell  copy  by  the  insertion  of  an  additional  leaf  signed  c  iii.  In  the 
Capell  copy  the  new  leaf  has  been  inserted,  but  the  original  C  iii  destroyed.  Professor  Arber  is  mistaken 
in  saying  that  the  copy  at  Britwell  has  a  different  title,  reading  only :  '  Eglogs,  Epytaphes  and  Sonettes  by 
Barnabe  Googe.'     It  has  an  imprint  as  in  this  copy. 


133  *  85  mm-  (type-page  93  x  65). 


60 


XXXVI 


CERVANTES  SAAVEDRA,  Miguel  de.  Primera  parte  de  la  Galatea,  diuidida  en 
seys  libros.  Copuefta  por  Miguel  de  Ceruantes.  Dirigida  al  Illuftrifsi.  fenor  Afcanio 
Colona  Abad  de  fancta  Sofia.  [Arms  of  the  Colonna  family.]  Con  priuilegio.  Impreffa  en 
Alcala  por  Iuan  Gracian.    Ano  de  1585.    A  cofta  de  Bias  de  Robles  mercader  de  libros. 

PRIMERA    PARTE 

DELA    GALATEA, 

DIVIDIDA  EN  SEYS  LIBROS. 
Copuefta  por  Migucldc  Ceruantes. 

Dirigilaal lllujhifsi.fenor  afcanio  Colona.  Abadde 
fancla  Sofia. 


Alcala : 
Juan 

Gracian  for 
Bias  de 
Robles, 
1585. 


CON     pRIVILEGIO. 

Imprcfla  en  Alcala  por  Iuan  Gracian. 
Anode    1585. 
A  cofta  it  bias  ie  Robles  mercader  ie Ubrot* 

Octavo.  8  preliminary  leaves  unsigned  and  unnumbered ;  A-Z,  Aa-Zz,  AA».  384 
leaves,  of  which  375  numbered  leaves  of  text.  The  last  leaf,  probably  blank,  is  wanting. 
Types :  roman  ;  head-lines,  &c,  in  italics. 

I*,  title;  ib,  Tasa,  signed  by  'Miguel  de  Ondarga  c,auala',  Madrid,  M  March,  1585  ;  a4,  Fe  de  erratas, 
signed  by  'El  licenciado  Varez  de  Caftro',  official  corrector  to  the  University  of  Alcala  de  Henares, 
28  February,  1585;  2b,  Aprobacidn,  signed  by  'Lucas  Gracian  de  Antifeo'  (sic),  Madrid,  1  February,  1584; 
3*,  Privilegio,  signed  in  the  King's  name  by  'Antonio  de  Eraffo',  Madrid,  22  February,  1584;  4*,  '  Dedicatoria 
al  Illuftrifsimo  fenor  Afcanio  Colona,  Abbad  de  fancta  Sofia';  5b,  Address  to  the  Reader;  8»*b,  three 
complimentary  sonnets  by '  Luys  Galuez  de  Montaluo ', '  Luys  de  Bargas  Manrrique ',  and  '  Lopez  Maldonado '. 

In  the  dedication  to  Ascanio  Colonna,  under  whose  recently  deceased  father  Marco  Antonio  Colonna, 
Viceroy  of  Sicily,  he  had  served  as  a  soldier  for  several  years,  Cervantes  describes  this  work  as  '  these  first- 
fruits  of  my  poor  genius '. 

It  was  only  natural  that  his  earliest  published  effort  should  be  a  pastoral  romance,  for  since  its  introduction 
into  Spain  from  Italy  by  the  Portuguese  Jorge  de  Montemdr,  whose  '  Siete  libros  de  la  Diana '  is  an  imitation  of 
Jacopo  Sannazaro's  '  Arcadia  ',  this  form  of  fiction  had  gradually  superseded  in  popular  favour  the  chivalresque 
romances,  to  which  Cervantes  himself  was  later  to  deal  the  death-blow  with  his  '  Don  Quixote'. 

The  present  edition  of  1585  is  now  universally  acknowledged  to  be  the  first,  a  reputed  Madrid  edition  of 
1584  having  been  finally  disposed  of  by  the  discovery  of  the  original  contract  between  the  author  and  his 
Alcala  publisher,  Bias  de  Robles.  From  this  contract,  by  which  the  author  ceded  his  entire  rights  for  about 
£30,  it  appears  that  the  title  was  first  intended  to  be  '  Los  scis  libros  dc  Galatea '.     This  was  afterwards 

61 


Alcala: 

Juan 

Gracian 

Bias  de 

Robles, 

1585- 


altered  as  above,  perhaps  to  emphasize  the  promise  of  a  continuation  contained  in  the  last  paragraph :  '  The 
end  of  this  loving  tale  and  history,  with  what  happened  to  Galercio,  Lenio  and  Gelasia,  Arsindo  and  Maurisa, 
for     Grisaldo,  Artandro  and  Rosaura,  Marsilo  and  Belisa,  with  other  things  that  happened  to  the  shepherds 
mentioned  hitherto,  is  promised  in  the  Second  Part  of  this  history.' 

This  promise  was  still  unfulfilled  twenty  years  later,  when  it  was  repeated  in  the  sixth  chapter  of  the  First 
Part  of '  Don  Quixote  '  (1605),  in  a  paragraph  which  shows  that  the  reception  given  to  the  book  by  the  public 
did  not  accord  with  the  author's  fondness  for  'these  firstfruits  of  his  poor  genius'.  The  continuation  is  again 
mentioned  by  Cervantes  in  the  dedication  to  his  'Ocho  comedias  y  ocho  entremeses  nuevos'  (1615),  in  the 

Prologue  to  the  Second  Part  of '  Don  Quixote '  (1615),  and  in  the  famous  prefatory  letter  to  the  '  Trabajos  de 
ersiles  y  Sigismunda'  (1617),  written  on  his  death-bed  to  the  Conde  de  Lemos,  with  whom  the  '  Galatea'  was 
a  favourite.  From  these  it  would  appear  that  Cervantes  had  been  actively  engaged  upon  the  continuation ; 
but  no  trace  of  it  has  ever  been  found. 

This  edition  of  the '  Galatea '  is  one  of  the  rarest  of  Cervantes's  works.  Rius,  the  bibliographer  of  Cervantes, 
mentions  only  five  copies,  one  of  them  imperfect,  as  against  eight  copies  of  the  first  edition  of  the  First  Part 
of '  Don  Quixote '.  All  these  five  copies  are  now  believed  to  be  in  permanent  possession.  The  present  copy 
formerly  belonged  to  the  Royal  Society. 

140  x  98  mm.  (text  1 19  x  75). 


London : 
R.  Walde- 
grave,  1587. 


XXXVII 

LONGUS.  [Ornament]  Daphnis  and  Chloe  excellently  defcribing  the  weight  of 
affection,  the  fimplicitie  of  loue,  the  purport  of  honeft  meaning,  the  refolution  of  men,  and 
difpofition  of  Fate,  finifhed  in  a  Pastorall,  and  interlaced  with  the  praifes  of  a  moft  peerleffe 
Princeffe,  wonderfull  in  Maieftie,  and  rare  in  perfection,  celebrated  within  the  fame  Paftorall, 
and  therefore  termed  by  the  name  of  The  Shepheards  Holidaie.  By  Angell  Daye. 
[Motto :]  Altior  fortuna  virtus.  At  London  Printed  by  Robert  Walde-graue,  &  are  to  be 
fold  at  his  (hop  in  Paules  church-yard  at  the  figne  of  the  Crane.     1587. 

Quarto.  [*]*  A-O  P*.  60  leaves,  the  last  (missing  in  this  copy)  presumably  blank. 
Types :  black  letter  for  prose  text,  with  italics  for  songs,  proper  names,  head-lines,  &c. ; 
roman  for  the  Dedicatory  Epistle  and  text  of  the  Shepherd's  Holiday.  Running  title 
'  Daphnis  and  Chloe',  'The  Shepeheards  Holiday '. 

I,  title;  a,  dedication,  'To  the  rightlie  ennobled  in  all  virtues,  Sir  William  Hatton  knight,  aduancement 
in  virtue,  worfhip  in  life,  and  fame  in  perpetuitie ' ;  3-19*,  The  first  Booke  of  the  loues  Paftorall,  of  Daphnis 
and  Chloe  ;  i9b-34*,  The  fecond  booke  of  the  loues  paftorall  of  Daphnis  and  Chloe  ;  34b-4.5b,  The  third  booke 
of  the  loues  paftorall  of  Daphnis  and  Chloe  (39b  sqq.  The  fhepheards  Hollidaie)  ;  48m~59b,  The  fourth  booke  of 
the  loues  paftorall  of  Daphnis  and  Chloe. 

Angell  Day  was  the  son  of  Thomas  Day,  of  London,  a  parish  clerk,  and  was  apprenticed  at  Christmas, 
1563,  for  twelve  years  to  Thomas  Duxsell,  a  stationer.  In  1586  he  published  '  The  Englifh  Secretorie ',  a  guide 
to  letter-writing,  which  went  through  several  editions,  and  also  wrote  a  poem  on  '  The  Life  and  Death  of 
Sir  Philip  Sydney '.  A  pamphlet  on  '  Wonderfull  Straunge  Sightes  seene  in  the  Element  ouer  the  Citie 
of  London ',  and  a  sonnet  prefixed  in  1,595  to  '  Nennio,  or  a  treatife  of  nobility ',  translated  by  William  Jones 
from  the  Italian  of  G.  B.  Nenna,  complete  the  list  of  his  writings.     Nothing  else  seems  to  be  known  of  him. 

At  the  time  that  Day's  version  of'  Daphnis  and  Chloe'  appeared,  the  original  Greek  of  Longus  (assigned 
to  the  5th  century  A.D.)  had  not  yet  been  printed,  the  editio  princeps  being  that  published  by  Philippus  Junta 
at  Florence  in  1598  ;  neither  was  any  Latin  translation  available.  In  1559,  however,  there  had  been  issued  at 
Paris  by  Vincent  Sertenas,  in  a  small  octavo  of  84  leaves, '  Les  Amours  pastorales  de  Daphnis  et  Chloe,'  the 
rendering  being  that  of  Jacques  Amyot,  tutor  to  the  sons  of  Henri  II,  afterwards  Bishop  of  Auxerre.  Amyot 
is  better  known  in  England  as  the  author  of  the  French  version  of  Plutarch's  Lives  which  Sir  Thomas  North 
used  instead  of  the  original,  but  the  freshness  and  simplicity  of  his  '  Daphnis  and  Chloe '  have  made  it  into 
a  French  classic,  which  during  the  last  two  centuries  has  been  frequently  reprinted  and  re-illustrated.  The 
edition  of  1559  contained  only  the  preface  and  text  of  Longus  without  any  introduction  or  notes,  even  as  to 
the  manuscript  which  Amyot  used.  Day  imitated  him  in  this  respect,  his  book  giving  no  information  either 
as  to  the  author  of  the  story  or  the  immediate  source  from  which  he  obtained  it.  His  translation  of  Amyot's 
French  is  often  a  somewhat  clumsy  paraphrase.  The  insertion  of  the  account  of  the  Shepherd's  Holiday  in 
honour  of  'the  moft  excellent  and  braue  Princeffe  Eliza'  was  apparently  suggested  by  unwillingness  to 
translate  one  of  the  episodes  of  the  original,  and  sprang  out  of  the  mention  of  a  sacrifice  to  Bacchus.  In  his 
dedication  Day  exhorts  his  patron  '  if  the  courfe  of  the  weeke-daies  paftimes  of  thefe  Shepheards  feeme 
happelie  to  mifiike  you,  turn  then  I  pray  to  their  Holidaie  where  (how  rudelie  fo  euer  handled)  yet  the  Maiefty 
of  her,  who  is  without  comparifon,  being  there  in  moft  efpccially  honoured,  fhunneth  not  the  fauour  of  anie 

62 


fweete  conceipte  to  haue  the  fame  recommended '.     The  main  feature  of  the  '  Holidaie '  is  a  long  panegyric  London : 

on  Elizabeth,  written  in  rhyming  decasyllabic  couplets,  pronounced  by  a  '  graue  old  man '  named  '  Meleboeus '.  R.  Walde- 

As  Day's  loyal  insertion  naturally  interrupts  the  story  he  makes  his  account  of  the  '  Holidaie '  end  Book  iii,  grave,  1587. 
transferring  several  pages  to  the  beginning  of  Book  iv. 


Thefhe^heards  Hollidaie. 

rcrt£2S5r  tyf  tr  farrifice*,  tjotoes  am>  tritrmpbes ,  luttb 
M,  all  renerence  retmireo  being  petfourmea,  the 
'  mod  artificial  9  cunning  of  the  flj  cphcr&s  (op: 
!  n  cd  togitljer  in  companp,?  tfoeit  Behtterp  bp5 
!  tbeir  inffrumente  funDjp  fouc  of  muflhe,  ha= 
!  uingamong  tljeni  an  moll  excellent  r omfo;c, 
T7^r^1*P^  fr  Knotting  tbe great  toojtbineai  of  Meleboe- 
us, f  large  at r opt  among  them  that  untuerfallp  hec  hao  at tat'nCB, 
tbep  pjapeo  bim  flru\m  example  to  all  tbe  tf  fiDue,to  Oram  bta  an« 
cient  tanee  to  the  religious  aoaanncement  oftfjofe  ttieir  fojtoatD 
fenuces. 

<Ebe  gratte  olo  man  renfeo  not  at  an  tbetr  fatea,  but  glaWp  tat 
king  (n  bauo  ins  barpe.plaien  tbereon  a  tigbt  folemne  fount>,fiirb 
a«  tobifom  Yopas  banolr 0  in  tbe  bamjnetB  of  Dido,  at  tobat  time 
in  Ijer  pjineelp  panace  (be  featteo  tbe  noble  Troian  Bake  iEneas, 
fo  0?  moje  ejeeeeoing  farre  toere  tfje  Orokes  of  tbfa  bomneo  (be  p* 
bean>,UjbiebDone,bcrenerentlp  uneottcrtng  bimfelfe ,  anoftan* 
mng  up  before  antbecompanp.oeliuereDunto  tbeminfongcbte 
inuentionfollotDing. 

JN  ftatelie  Romance  of  the  worthieliues, 

Of  mightie  princes  free  from  fortunes  grieues, 
An  fuch  aswhilomin  their  kingly  raygne, 
Ofvertuesfclfeweredeemedfoueraigne, 
From  outtheftockeofeuery  princely  line, 
A  choyce  was  made  of  noble  worthies  nine. 
Of  thefc  and  fuch  as  thefe  a  manic  moe, 
Haue  diucrs  Poets  written  longagoe. 
In  skilful!  vcrfe  and  to  the  world  made  knewne, 
The  fondrie  vertues  in  their  Hues  that  (hone. 
For  kingdomes  well  we  know  and  ftatelie  ruls* 
Pofleflions  largeaud  chaire  of  honours  ftoole, 
Gold  pearlcand  (tones  with  iewels  rich  of  price* 
Large  pallaccs  built  by  deintie  rare  deuice. 

Yet 

LONGUS:    DAPHNIS  AND  C11LOE.      LONDON:    R.  WALDEGRAVE,   1 587.      (siG.  K,  VERSO.) 

This  is  believed  to  be  the  only  copy  known.  It  is  first  mentioned  at  the  sale  of  the  library  of  Philip  Bliss 
in  1858,  when  it  passed  into  the  hands  of  Thomas  Corser,  who  described  it  in  his  '  Collectanea  Anglo-Poetica ', 
v.  1 14-133.    At  Corser's  sale  it  fetched  ;£6o. 

I07  x  13&  mm-  (type-page  160  x  94). 


XXXVIII 

M  UN  DAY,  Anthony.  A  Banquet  of  Daintie  Conceits.  Furnifhed  with  veric  delicate 
and  choyfe  inuentions,  to  delight  their  mindes,  who  take  pleafure  in  Mufique,  and  there- 
withal! to  fing  fweete  Ditties,  either  to  the  Lute,  Bandora,  Virginalles,  or  anie  other 
Inftrument.  Published  at  the  defire  of  bothe  Honorable  and  Worfhipfull  pcrfonages,  who 
haue  had  copies  of  diuers  of  the  Ditties  heerein  contained.  [Ornament.]  Written  by 
A.  M.  Seruaunt  to  the  Queenes  moft  excellent  Maieftie.    [Motto  :]   Honos  Alit  Artcs.    At 

63 


London : 
J.  C[harl- 
wood]  for 
E.  White, 
1588. 


r 


London : 
J.  C[harl- 
wood]  for 
E.  White, 
1588- 


London.    Printed  by  J.  C.  for  Edwarde  White,  and  are  to  be  fold  at  the  figne  of  the  Gunne, 
at  the  little  North  doore  of  Paules.    Anno.  1588. 

Quarto.  A-I*.  36  leaves.  Types :  text  in  black  letter,  with  italics  and  roman 
for  head-lines,  headings,  preliminaries,  &c.  Running  title  '  A  Banquet  of  daintie  Conceits '. 
Head  and  tail-pieces  and  ornamental  capitals.  Seven  woodcuts,  four  measuring  about 
72  x  80  mm.  apparently  designed  for  the  book,  and  three  larger  ones  originally  designed  for 
'  The  Trauayled  Pilgrime '  of  S.  B.,  an  English  version  of  '  Le  Chevalier  Deliberd '  by 
Olivier  de  La  Marche,  printed  in  1569. 


jfflanquet  of  daintie  Qonceits. 
A  pleafant  Dictie,  wherein  is  defcri- 

bed.what  falfebood  oftentimes  is  found  in  fclowfhip, 
verified  by  a  couetous  minded  man,who  labou- 
red todecciue  hisdccrefrcende.buc 
yet  decerned  himfclfein 
theende. 

This  Dittie  may  befurtg  to  the  note  of  the 
Spanifh  Pauin. 


'J'COo  frccnos  that  rjaD  a  ffoefee  of  €o;ne, 

one  Date  did  part  it  cquallv : 
13ut  left  it  in  ttje  Garner  Sill, 
fo;  toant  of  other  rcmcoic. 


Jfcne 


A  TSantjuet  of  daintie  Conceits. 

£Hic  of  f  bem  thought  but  freenoc  hao  moff , 

tDbirlj  r  nufco  bun  DifcotirtcotiQp : 
Co  fccHc  to  tteale  it  thence, 

not  minoing  freenbh;  am  1  tic. 

%  \>)is  freenb  that  not  miff  ruff  co  him, 

did  toalfee  about  bis  bufmes : 
Ebc  ottjer  to  the  Carrier  com  re, 

to  malic  affnr  Dc  bis  craft  in  cITe. 
3nD  on  tie  frccnos  bcapc  raft  hue  rloahc, 

lcatttjcQ)oulDmiiTcofhi0  Dcuifc 
jfci  be  that  ftcalcs  in  the  oarhc, 

magbebeceiaebttoife. 

f  l^c  being  gonctoi  t  bin  a  tubile, 

the  other  partner  the tfjcr  came : 
HQn  feeing  bis  freenos  cloalte  on  bis  bcapc, 

bio  bcrr  liinblu  fabe  the  lame. 
Ojmlung  his  freenb  hao  left  W  Cloalie, 

to  faue  W  portion  from  the  bud : 
£bcrcfo,2c  be  thought  again. 

to  ffjciu  bis  frccnortup  tuff. 

f  ffliuottj  be,boto  bino  a  freenbe  baue  3, 

that  bealestoitb  me  thus  courtcouflg; 
tyie  otonc  Come  hcerc  be  leauetb  bare, 

anb  couers  mine  full  gentlie. 
3  neebes  mult  fljeuj  fome  loue  againc, 

bnto  fo  QfflD  a  freenD  anb  15  :o  t  her : 
£>o  be  takes  of  the  Cloafte, 

anb  laies  it  on  tbe  other. 

f  at  nigbt  this  falfc  freenb  comes  agatnr, 

tol;o  Uitth  a  Shccfc  compatteb  bab: 


ffo 


MUNDAY  :     A    BANQUET   OF    DAINTY   CONCEITS.       LONDON  !    E.  WHITE,   I  588. 
(SIG.  E,  VEKSO.)  (SIC.  E2  RECTO.) 

!•,  title;  2,  'To  the  worfhipfull  and  his  efpeciall  good  freend  Maister  Richard  Topcliffe,  Esquire.  A.  M. 
commendeth  this  fmall  motion  of  his  vnfeigned  good  will  and  affection  (.'.)',  signed  'Your  worfhips  poorc 
Frecnde  to  commaund.  Anthony  Monday ' ;  3, '  To  the  Gentle  and  freendlie  Reader ',  signed  '  Thine  to  vfe  in 
freendfliip,  A.  Munday';  4*.'®*  A  Breuiate  of  the  Notes  of  the  Ditties  contained  in  this  Booke';  5-36', 
text,  ending  '  Finis.  ^  The  feconde  fcruice  of  this  Banquet  (vppon  the  gentle  and  good  receit  of  this  firft) 
I  will  verie  fhortlie  publifh,  wherein  is  manie  excellent  Ditties,  and  fuch  as  I  doubt  not  but  thou  wilt  well 
efteeme  of. 

Anthony  Munday  (1553- 1633)  addressed  himself  to  popular  audiences,  with  the  result  that  most  of  his 
numerous  books,  plays,  and  pamphlets  are  exceptionally  rare,  while  many  have  perished  altogether.  Of  the 
'  Banquet  of  Daintie  Conceits '  the  present  is  the  only  copy  known.  The  initials  J.  C.  of  the  printer  clearly 
stand  for  John  Charlwood,  and  account  for  the  appearance  on  the  first  page  of  text  of  a  head-piece  and  capital 
W  which  are  found,  somewhat  the  worse  for  wear,  thirty-five  years  later,  in  the  First  Folio  Shakespeare  placed 

64 


respectively  at  the  beginning  of  Henry  V  and  of  Hamlet,  Charlwood's  stock  having  descended  first  to  his 
widow,  through  her  to  James  Roberts,  and  from  Roberts  to  Jaggard,  in  whose  office  the  Folio  of  1623  was 
printed.  '  Maister  Richard  Topcliffe ',  to  whom  the  book  is  dedicated,  is  the  Topcliffe  whose  name  became 
a  byword  in  England  for  the  illegal  cruelties  which  he  inflicted  on  the  Roman  Catholic  recusants  whom  he 
spent  five  and  twenty  years  of  his  life  in  tracking  down  and  persecuting.  Munday  himself  was  a  humble 
follower  of  Topcliffe,  and  is  now  perhaps  best  remembered  as  the  traducer  of  Campion. 

The  not  very  high  poetical  interest  of  Munday's  '  ditties '  in  this  volume  is  somewhat  increased  by  the 
relation  in  which  they  stand  to  the  music  of  the  period.     In  his  address  to  the  reader  Munday  writes : 

'  Before  thou  readeft  this  fmall  trauaile  of  mine  (gentle  Reader)  I  am  a  little  to  admonifh  thee,  lead 
otherwife  thou  maift  happen  to  fal  out  of  loue  with  my  Booke,  and  fo  thinke  it  not  woorthy  the  reading. 
Fyrft,  thou  art  to  confider,  that  the  Ditties  heerein  contained,  are  made  to  feuerall  fet  Notes,  wherein  no 
meafure  of  verfe  can  be  obferued,  becaufe  the  Notes  will  affoorde  no  fuch  libertie :  for  looke  how  they  rife  and 
fall,  in  iufl  time  and  order  of  Mufique,  euen  fo  haue  I  kept  courfe  therewith  in  making  the  Ditties,  which  will 
feeme  very  bad  ftuffe  in  reading,  but  (I  perfwade  me)  wyll  delight  thee,  when  thou  fingest  any  of  them  to  thine 
Inftrument.  Secondlie,  though  thou  finde  them  not  fette  downe  in  excellent  verfe,  as  perhaps  many  are 
curious  in  fifting  fuch  matters,  yet  I  am  fure  thou  (halt  finde  in  them  fence  fufficient,  and  matter  woorth  the 
reading :  though  not  fantafticall,  and  full  of  loue  quirkes  &  quiddities,  yet  ftored  with  good  admonitions  and 
freendly  documents,  fo  canft  thou  not  fay,  that  there  is  neither  rime  nor  reafon  in  them,  but  if  thou  marke 
them  wel,  thou  fhalt  finde  both.' 

'  Laftly,  if  any  Dittie  (hall  chaunce  to  lympe  a  little  in  the  Note  (as  I  doo  not  know  that  any  one  of  them 
dooth,  becaufe  they  haue  beene  tryed  by  them  of  judgment,  and  thofe  that  haue  not  a  little  efteemed  of  them) 
yet  I  pray  thee  condemne  mee  not,  in  that  I  haue  no  iote  of  knowledge  in  Mufique,  but  what  I  haue  doone 
and  doo,  is  onely  by  the  eare ;  for  had  I  skill  in  Mufique,  they  fhould  haue  beene  farre  better  than  they  be. 
But  I  thanke  God  of  that  which  I  haue,  it  is  not  for  euery  man  to  goe  to  Corinth,  therefore  I  content  my 
felfe  with  that  poore  Talent  which  I  haue,  &  which  is  thine  to  commaund,  fo  thou  entertaine  my  labours  with 
courtefie.' 

The  list  of  tunes  given  in  the  '  Breuiate  of  the  Notes  of  the  Ditties  contained  in  this  Booke '  and  at  the 
head  of  the  several  pieces  is  as  follows:  'a  Courtlie  Daunce  called  Les  guanto  di  Hifpania;  a  very  prettie  fet 
note,  which  is  called  Primero ;  Iohnfons  Medley ;  a  very  gallant  note,  called  the  Earle  of  Oxenfords  March  ; 
a  pleafaunt  new  note  called  Mounfieures  Allemaigne ;  the  flat  Pauin,  which  is  playd  in  Conforte ;  a  pleafant 
newe  note,  called  Prima  vifto ;  the  newe  Scottifh  Allemaigne,  the  high  Allemaigne  Meafure,  the  Spanifh  Pauin, 
the  Venetian  Allemaigne,  the  note  of  Deeme  all  my  deedes,  the  Quadrant  Pauin  or  Galliard,  the  Maskers 
Allemaigne  commonly  called  the  olde  Allemaigne,  the  Queenes  Maiefties  new  Hunt  is  vp,  the  Earle  of 
Oxenfords  Galliard,  Dowlands  Galliard,  the  Countefle  of  Ormonds  Galliard,  Wigmores  Galliard,  La  vechia 
Pauin,  A.  Munday  his  Galliard,  A.  Munday  his  Toy.' 

178  x  125  mm.  (type-page  148  x  88).  The  Daniel  copy,  bought  at  the  sale  (May,  1834)  of  the  Rev.  John 
Morgan  Rice,  who  had  acquired  it  at  the  Corser  sale. 


London: 
J.  C[harl- 
wood]  for 
E.  White, 
1588. 


XXXIX 

COLONNA,  Francesco.  Hypnerotomachia.  The  Strife  of  Loue  in  a  Dreame. 
[John  Charlwood's  device.]  At  London,  Printed  for  Simon  Waterfon,  and  are  to  be  fold 
at  his  (hop,  in  S.  Paules  Church-yard,  at  Cheape-gate.     1592. 

Quarto.  A-Z  Aa-Cc4.  104  leaves,  of  which  4  of  preliminary  matter  and  1-100  of  text 
so  numbered.  Types :  roman  and  italics  and  Greek  majuscules.  Notes  in  margin.  Wood- 
cut pictures,  head-piece,  and  capitals. 

1*,  title  ;  ib,  dedication,  '  To  the  thrise  honourable  and  euer  lyuing  vertues  of  Syr  Phillip  Sydney  knight ; 
and  to  the  Right  Honorable  and  others  whatfoeuer,  who  liuing  loued  him,  and  being  dead  giue  him  his  due' ; 
2,  the  Epistle,  'To  the  Right  Honourable  Robert  Deuorax,  Earle  of  Eflex  and  Ewe,  Vifcount  Hereford,  and 
Bourgchicr,  Lorde  Ferrers  of  Chartley,  Bourghchier  and  Louaine,  Maifter  of  the  Queenes  Maiefties  Horfe 
and  Knight  of  the  moft  noble  order  of  the  Garter:  Is  wifhed,  the  perfection  of  all  happineffe  and  tryumphant 
felicitie  in  this  life,  and  in  the  worlde  to  come '.  Signature  at  end, '  Your  Honors  deuoted,  R.  D. ' ;  3,  *  Anonymi 
elcgia  ad  Lectorem,'  13  Latin  elegiac  couplets;  4*,  blank;  4b,  '  Faultes  efcaped  in  the  printing';  numbered 
leaves  i-ioo»,  text  headed  'Poliphili  hypnerotomachia,  Wherein  he  sheweth,  that  all  humaine  and  worldlie 
things  are  but  a  dreame,  and  but  as  vanitie  it  felfe.  In  the  fctting  foorth  whereof  many  things  are  figured 
worthie  of  remembrance ',  with  running  head-line  '  The  strife  of  Loue  /  in  a  Dreame '  in  italics  ;  numbered  leaf 
ioo\  blank. 

An  abridged  English  version  of  the  famous  Italian  romance  written  at  Treviso  by  Francesco  Colonna  in  1467 
and  printed  at  Venice  by  Aldus  at  the  expense  of  Lionardo  Crasso,  a  jurisconsult,  in  December,  1499,  with  172 
woodcuts,  a  few  of  which  arc  here  fairly  neatly  imitated.    A  French  translation  by  Jean  Martin  was  printed  at 

65  L 


London : 
ForS. 
Waterson, 
1592 


London:  Paris  in  1546,  with  woodcuts  of  great  interest  for  the  success  with  which  they  transform   their  Venetian 

For  S.  originals  into  a  quite  different  style.     Contrary,  however,  to  the  general  custom,  the  English  abridgement  was 

Waterson,  made  not  from  this  French  version,  but  direct  from  the  Italian,  and  it  was  the  Italian  cuts  which  the  English 

159a.  woodcutter  imitated  on  a  reduced  scale. 

The  text  of  the  Epistle  to  the  Earl  of  Essex  reads :  '  WHen  I  had  determined  (Right  honorable)  to 
dedicate  this  Booke,  to  the  euerlyuing  vertues  of  that  matchleffe  Knyght  Syr  Phillip  Sydney  ;  me  thought  that 
I  could  not  finde  out  a  more  Noble  perfonage  then  your  felfe,  and  more  fit,  to  patronize,  fhield,  and  defende 
my  dutie  to  the  deade,  then  your  Honour,  whofe  greatnes  is  fuch,  and  vertues  of  that  power,  as  who  fo 
commendeth  them,  deferueth  not  to  be  accounted  a  flatterer,  but  he  that  doth  not  the  fame,  may  be  thought 
an  euill  wilier.  How  your  Honor  will  accept  hereof,  I  make  no  doubt,  because  that  curtefie  attendeth  vpon 
true  nobilitie ;  but  my  humble  requeft  is,  that  your  Honor  may  not  thinke  of  me  (by  the  tytle  of  the  Booke, 
and  fome  part  of  the  difcourfe)  as  if  I  were  amorous,  and  did  fpeake  according  to  my  owne  pafsions,  for 
1  beeing  reftrained  of  my  liberty,  and  helde  in  the  graue  of  obliuion,  where  I  ftill  as  yet  remaine,  oppreffed  with 


n£n*cmBiv    "rosnss\STW(  v&*r\emf 

OEOA03TIA     EmTOTPOOOSKormMtfTIAf 
GLORJDEI     .^lATgR  ArtORtt  OLORMMVBjJ! 


fTpTWTl 


HYPNEROTOMACHIA.      LONDON  :    S.  WATERSON,    1 592.      THE  GATES  IN  THE  ROCK.       (LEAF  74  VERSO.) 

Melancholie,  and  wearied  with  deeper  ftudies,  I  was  glad  to  beguile  the  time  with  thefe  conceits,  anothomifing 
in  them,  the  vanitie  of  this  life,  and  vncertaintie  of  the  delights  therof,  in  the  Dreame  of  Poliphilus  ;  Which  if 
it  (hall  pleafe  your  Honor  at  conuenient  leyfure  to  looke  ouer,  pardoning  what  you  finde  amiffe,  and  weighing 
my  good  will,  I  fhall  thinke  my  felfe  molt  happy. 

And  thus  I  humbly  take  my  leaue,  vntill  that  I  may  prefent  your  Honour,  with  a  matter  more  fitting 
the  fame.' 

The  Latin  elegiacs  assure  the  reader  that  if  he  likes  neither  the  love  story  nor  the  style  he  will  still  find 
the  book  worth  reading  for  its  '  geometrical '  interest 

The  book  is  found  with  two  other  imprints.     One  of  these  reads :  '  Printed  for  Iohn  Bufbie,  and  arc  to  be 
fold  at  his  Schoppe,  at  the  weft  doore  of  Paules.'    A  copy  with  thia  imprint  was  bought  of  Mr.  Toovey  by 

66 


Mr.  Andrew  Lang,  returned  on  account  of  an  imperfection,  and  passed  into  the  possession  of  M.  Claude 
Popelin,  the  author  of  a  French  version  of  the '  Hypnerotomachia ',  published  in  1 883.  The  other  imprint  reads  : 
'  Printed  for  William  Holme,  and  are  to  be  fold  at  his  fhoppe,  neere  the  Great  North  Doore  of  Paules.'  This 
is  found  on  a  fragment  of  the  title-page  in  the  Ames  Collection  of  Title-pages  in  the  British  Museum  and  on 
a  copy  in  the  Douce  Collection  at  the  Bodleian  Library,  Oxford,  from  which  Mr.  Lang  edited  a  reprint  in 
1890  for  David  Nutt's  Tudor  Library.  The  Huth  cataloguers  write  of  this  book:  'Of  the  translator  nothing 
is  known,  but  it  may  be  Robert  Dexter,  the  printer,  whose  name  is  mentioned  by  Herbert  in  connexion  with 
Holme  the  printer,  whose  name  appears  on  some  copies.'  But  Dexter  (as  well  as  Holme)  was  a  bookseller, 
not  a  printer,  and  the  device  on  the  title-page  indicates  that  the  book  was  printed  by  John  Charlwood.  The 
device  had  originally  belonged  to  Baldwin,  '  the  D  in  the  centre  being  a  remnant  of  his  name,  the  rest  of 


London : 
For  S. 
Waterson, 
i59a. 


HYPNEROTOMACHIA.      LONDON  :    S.  WATERSON,   I  592.      THE  OBELISK.      (LEAF  8  RECTO.) 


which  was  cut  away,  as  was  also  the  motto  round  the  frame '  (see  '  Works  of  Thomas  Nashe  edited  by 
R.  B.  McKcrrow ',  i.  56),  and  had  passed  from  Baldwin  to  Charlwood,  from  whom  it  subsequently  descended 
to  James  Roberts.  Dexter,  therefore,  could  not  have  signed  the  Epistle  to  Essex  as  the  printer  of  the  book 
(even  if  the  language  of  the  Epistle  permitted  such  a  supposition),  and  he  is  not  otherwise  known  as  a  writer. 
In  the  Bodleian  copy  the  initials  have  been  much  more  plausibly  connected  by  Douce  with  Robert  Dallington. 
Dallington  has  been  also  identified  by  Douce  with  the  R.  D.  who  translated  Bonavcnture  Des  Periers' 
'  Nouvellcs  Recreations'  into  English  as  the  '  Mirrour  of  Mirth  '  in  1583.  About  that  date  he  certainly  edited 
'  A  Booke  of  Epitaphcs  made  upon  the  death  of  Sir  William  Buttcs  .  For  some  years  after  1583  Dallington 
was  apparently  a  schoolmaster  in  Norfolk,  but  he  subsequently  travelled  in  France  and  Italy,  and  on  his  return 
became  secretary  to  Francis,  Earl  of  Rutland,  wrote  '  A  Survey  of  the  Great  Duke's  State  of  Tuscany  in  the 
yeare  of  our  Lord  1596 '  (printed  in  1605)  and  '  A  Method  for  Travcll :  shewed  by  taking  the  View  of  France 

67  L  2 


London: 
For  a 

Waterson, 
'593. 


as  it  stood   in  the  yeare  of  our  Lord  1598'  (printed  in  1606),  and  other  books,  was  knighted  and  became 
Master  of  the  Charterhouse. 

R.  D.'s  complaint, '  beeing  reftrained  of  my  liberty,  and  helde  in  the  graue  of  obliuion,  where  I  ftill  as  yet 
remaine,  oppreffed  with  Melancholie,  and  wearied  with  deeper  ftudies,'  is  perhaps  not  too  exaggerated  to  be 
applied  to  the  irksome  life  of  an  Elizabethan  schoolmaster,  and  his  subsequent  career  fits  well  with  his  having 
translated  a  book  from  the  Italian,  while  qualifying  himself  for  foreign  travel.  A  slight  and  perhaps  fanciful 
confirmation  of  Douce's  identification  of  Dallington  with  R.  D.  may  be  found  in  the  translator's  curious 
interpolation  (sig.  Cs  verso),  where  he  says  of  the  noise  made  by  the  vane  of  the  Obelisk  '  it  gaue  fuch  a  found, 
as  if  the  tower  bell  of  Saint  Iohns  Colledge  in  the  famous  Vniuersitie  of  Cambridge  had  beene  rung ',  Dallington 
being  not  only  a  Cambridge  man,  but  presumably  a  lover  of  bells,  since  the  great  bell  of  the  parish  church  of 
Geddington,  his  native  village,  was  his  gift. 

This  English  abridgement  of  the  '  Hypnerotomachia '  apparently  met  with  little  success.  The  woodcuts 
made  for  it  were  used  for  other  books  and  it  went  into  no  second  edition  ;  but  the  extraordinary  preciosity  of 
its  language  did  not  pass  unremarked,  and  seven  years  later,  in  the  preface  to  his  '  Lenten  Stuffe ',  Nashe  bade 
every  reader  to  '  hug '  the  praise  of  the  Red  Herring  '  now  thou  hast  it  and  renounce  eating  of  greene  beefe  and 
garlike  till  Martlemas,  if  it  be  not  the  next  stile  to  The  Strife  of  Loue  in  a  Dreame  or  the  lamentable  burning 
of  Teuerton '. 

277  x  130  mm.  (type-page  26a  x  95). 


XL 


London : 
A.  Jeffes  for 
T.GIubbinl 

and  J.  Busby, 
1592- 


Euphues  golden  Lcgacie,  found  at- 

tcr  his  death  in  his  Celiac  Sile- 
xedra. 

BEQUEATHED   TO    PHILAVTVS 

Sonne s,  nourfed  vp  with  their  Father  in 
England. 

Fetch  from  tbt  Canariei  bj  f X.Gent 


LONDON, 

Printed  by  Abel  Ieffes  forT.G. 

and IehnBtubtc.    \  m  9  %  , 
68 


LODGE,  Thomas.     Rofalynde.    Euphues  golden  Legacie,  found  after  his  death  in  his   London: 
Cell  at  Silexedra.     Bequeathed  to   Philautus  Sonnes,   nourfed  vp  with  their  Father  in   trJS^S^\ 
England.     Fetcht  from  the  Canaries  by  T.  L.  Gent.    [Ornament.]    London,  Printed  by   andLBusby, 
Abel  Ieffes  for  T.  G.  and  Iohn  Busbie.     1592.  159a. 

Quarto.  A-P4.  60  leaves.  Types :  prose  text  in  black  letter ;  songs  in  italics,  also 
the  dedicatory  letter,  &c. ;  address  '  To  the  Reader '  and  '  Scedule '  in  roman.  Head  title 
'  Rofalynde  ' ;  running  title  '  Euphues  ||  golden  Legacie ',  both  in  large  roman.  The  word 
'  Rofalynde '  on  the  title  is  in  a  cartouche  ornament  on  title.  Three  head-pieces  besides  one 
of  printer's  lace-work,  and  four  capitals. 

1*,  title  ;  2»,  dedication, '  To  the  right  Honourable  and  his  moft  efteemed  Lord  the  Lord  of  Hunfdon,  Lord 
Chamberlaine  of  her  Maiefties  houfhold,  and  Gouernor  of  her  Towne  of  Barwicke :  T.  L.  G.  wifheth  increafe 
of  all  honourable  vertues ' ;  3*, '  To  the  Gentlemen  Readers  ' ;  3b, '  The  Scedule  annexed  to  Euphues  Teftament, 
the  tenour  of  his  Legacie,  the  token  of  his  Loue.' 

Lodge's  '  Rosalynde '  supplied  Shakespeare  with  the  ground  plan  for  '  As  You  Like  It '.  Lodge  himself 
doubtless  drew  on  his  recollection  of  the  Tale  of  Gamelyn  bound  up  with  Chaucer's  Works,  but  the 
circumstances  under  which  the  story  was  written  did  not  favour  much  consultation  of  earlier  books.  In 
his  dedication  Lodge  tells  his  patron  :  '  Hauing  with  Captain  Clarke  made  a  voyage  to  the  Hands  of  Terceras 
and  the  Canaries,  to  beguile  the  time  with  labour,  I  writ  this  booke :  rough,  as  hatcht  in  the  ftormes  of  the 
Ocean,  and  feathered  in  the  furges  of  many  perillous  feas.'  Again  in  his  address  '  To  the  Gentlemen  Readers ' 
he  writes :  '  To  bee  briefe  Gentlemen,  roome  for  a  fouldier  and  a  failer,  that  giues  you  the  fruits  of  his  labors 
that  he  wrote  in  the  Ocean,  when  euerie  line  was  wet  with  a  furge,  &  euery  humorous  pafsion  countercheckt 
with  a  ftorme.  If  you  like  it,  fo :  and  yet  I  will  bee  yours  in  duetie,  if  you  be  mine  in  fauour.  But  if  Momus 
or  any  fquinteied  affe,  that  hath  mighty  eares  to  conceiue  with  Midas,  and  yet  little  reafon  to  iudge :  if  he 
come  abord  our  Barke  to  find  fault  with  the  tackling,  when  hee  knowes  not  the  fhrowds,  He  downe  into  the 
hold,  and  fetch  out  a  ruftie  pollax,  that  fawe  no  funne  this  feauen  yeare,  and  either  well  bebaft  him,  or  heaue 
the  cockefcombe  ouer  boord  to  feed  cods.  But  curteous  Gentlemen  that  fauour  moft,  backbite  none,  and 
pardon  what  is  ouerflipt,  let  fuch  come  and  welcome,  He  into  the  Stewards  roome,  and  fetch  them  a  kanne  of 
our  beft  beuradge.' 

Nothing  is  known  of  a  voyage  by  '  Captain  Clarke '  to  the  Canaries,  but  the  combination  of  seamanship 
and  literature  seems  to  have  pleased  Lodge,  as  in  August,  1591,  he  sailed  under  Cavendish  for  S.  America  and 
during  this  voyage  compiled  his  '  Margarite  of  America '.  Meanwhile  his  '  Rosalynde '  had  been  entered  on 
the  Stationers'  Register,  6  October,  1590,  to  Ling  and  Busby  ('Nicholas  Lynge  and  John  Busbye  .  Entred  for 
their  copie  vnder  thandes  of  Doctor  Stallard  and  the  wardens  Ephues  (sic)  golden  legacye  found  after  his 
Deathe  at  his  Cell  at  Selexidra  .  .  .  vjd ').  Ling's  rights  in  this  appear  to  have  been  conveyed  at  once  to  T.  G., 
i.  e.  Thomas  Gubbin,  whose  name  with  Busby's  is  found  in  the  resultant  edition  printed  by  Thomas  Orwin  and 
dated  1590.  Of  this  the  only  known  copy  (imperfect)  is  at  Britwell,  while  of  the  reprint  of  159a,  besides  that 
here  entered,  a  copy  exists  at  the  Bodleian  Library.  Previously  to  Mr.  Huth's  bequest  the  British  Museum 
possessed  no  edition  earlier  than  the  fifth,  printed  in  1609. 

1 84  x  130  mm.  (text  153  x  90). 


XLI 


FLETCHER,  Giles.  Licia,  or  Poemes  of  Loue,  in  honour  of  the  admirable  and 
fingular  vertues  of  his  Lady,  to  the  imitation  of  the  best  Latin  Poets,  and  others.  Whereunto 
is  added  the  Riling  to  the  Crowne  of  Richard  the  third.  [Motto  :]  Auxit  mufarum  numerum 
Sappho  addita  mufis.  Faelix  fi  faevus,  fie  voluiffet  Amor.  41*.  (second  title  :)  The  Rising 
to  the  Crowne  of  Richard  the  third.     Written  by  him  felfe. 

Quarto.  A-M4.  48  leaves.  Types :  roman  and  italic.  Ornaments :  figures  of 
Chastity,  Truth,  Charity,  and  Faith  arranged  as  ledges  round  the  title-pages ;  azured 
capitals ;  numerous  head-  and  tail-pieces,  blocks  ordinarily  used  as  head-pieces  being  placed 
at  the  foot  of  each  sonnet. 


[Cain- 
bridge  : 
J.  Legate, 
c  I593-] 


i»,  title  ;  ib,  Ad  Amorem  and  Ad  Lcctorem,  Latin  verses  ;  0-3,  dedicatory  letter  '  To  the  Worthie,  Kinde, 
Wife  and  Vertuous  Ladie,  the  Ladie  Mollincux  wife  to  the  Right  Worfhipful  Syr  Richard  Mollineux  Knight ', 
dated  'From  my  chamber,  Sept.  4.  '593';  4-5,  address  'To  the  Reader',  dated  'Septemb.  8.  1593';  6-32, 
Sonnets;    33,  an  Ode;   34~35t  'A   dialogue   betwixt  two   Sca-Nymphes,   Doris   and  Galatea,  concerning 

69 


[Cam- 
bridge : 
J.  Legate, 
c.  1593.] 


Polyphemus ;  briefly  tranflated  out  of  Lucian ' ;  36-40,  three  Elegies,  the  first  headed  '  A  Lovers  Maze ' ; 
41,  title  of  'The  Rifing  to  the  Crowne  of  Richard  the  third.  Written  by  him  felfe';  4*-47>  *he  poem; 
48*,  errata ;  4«b,  blank. 

The  ascription  of  the  contents  of  this  volume  to  Giles  Fletcher  the  Elder  rests  primarily  on  the  words 
assigned  to  him  under  the  name  of  Thelgon  in  the  '  Piscatory  Eclogues '  of  his  son  Phineas  : — 

I  fang  fad  Telethufa's  fruftrate  plaint, 

And  ruftick  Daphnis  wrong  and  magicks  vain  reftraint : 

And  then  appcas'd  young  Myrtilus,  repining, 

At  generall  contempt  of  fhepherd's  life ; 

And  rais'd  my  rime  to  fing  of  Richard's  climbing,  &c, 

where  the  allusion  is  clearly  to  '  The  Rifing  to  the  Crowne  of  Richard  the  third ',  which  carries  with  it  the  rest 
of  the  book. 


7*- 


LICIA, 


or 

POEMES  OF 

LOve,jncHO- 

nour  of  the  admirable 

and  fingular  venues  ofhis  Lady, 

to  the  imitation  of  the  belt 

Latin  Pocts,and  others. 

whereunto  is  added  the  Riftgtothe 
Crowne  of  RICHARD 
the  third. 


Atixit  mu forum  mtmerum  Sappho  ad- 
ditamufis. 
FaUx  fifevusjic  vokiffet  Amor. 


n 


W**Zz*M 


GILES  FLETCHER  :    LICIA.       CAMBRIDGE:   J.  LEGATE,  C.   I  593.       (TITLE-PAGE.) 


The  volume  has  not  hitherto  been  assigned  to  any  printer,  but  the  text  type  and  all  the  ornaments  used  in 
the  book  can  be  shown  to  have  been  in  the  possession  of  John  Legate,  who  succeeded  Thomas  Thomas  as 
printer  to  the  University  of  Cambridge,  and  there  can  be  no  doubt  that  the  book  came  from  his  press,  though 
the  four  cuts  of  Virtues  and  one  of  the  head-pieces,  or  cliches  from  them,  are  also  found  in  use  at  this  time 
by  Waldegrave  at  Edinburgh.  Dyce  referred  to  the  book  as  'evidently  intended  for  private  circulation, 
having  neither  printer's  nor  publisher's  name',  and  although  this  statement  literally  understood  seems  to  be 
negatived  by  the  author's  phrase  towards  the  end  of  the  dedication,  '  let  the  Printer  looke  he  grow  not 
a  begger  by  fuch  bargaynes,'  Legate's  practice  of  putting  his  name  in  the  books  which  he  published  was 
sufficiently  constant  to  make  it  probable  that  this  was  issued  out  of  the  ordinary  way  of  trade.  Lady 
Mollineux  to  whom  it  was  dedicated,  the  wife  of  Sir  Richard  Mollineux  of  Sefton,  Lancashire,  was  the  eldest 
daughter  of  Sir  Gilbert  Gerard  (her  husband's  guardian),  and  the  'kind  and  wife  M.  Lee'  and  'curteous 
M.  Houghton'  (i.e.  Peter  Leigh  and  Richard  Hoghton,  mentioned  as  a  benefactor  at  the  end  of  the  address 

70 


to  the  Reader)  were  the  husbands  of  Margaret  and  Catherine  Gerard,  two  of  her  sisters.  The  passage  in 
which  this  reference  occurs  is  of  sufficient  importance  for  the  history  of  the  Sonnet-cycles,  which  were  so 
much  in  fashion  about  1593,  to  be  quoted  (correcting  the  misprints) :  '  If  thou  mufe  what  my  Licia  is,  take 
her  to  be  fome  Diana,  at  the  leaft  chaSte,  or  fome  Minerva,  no  Venus,  fairer  farre ;  it  may  be  fhee  is  Learnings 
image,  or  fome  heavenlie  vvoonder,  which  the  precifeSt  may  not  miflike :  perhaps  under  that  name  I  have 
fhadowed  Difcipline.  It  may  be,  I  meane  that  kinde  courtefie  which  I  found  at  the  Patroneffe  of  thefe 
Poems  ;  it  may  bee  fome  Colledge ;  it  may  bee  my  conceit,  and  portende  nothing :  whatfoever  it  be,  if  thou 
like  it,  take  it,  and  thanke  the  worthie  Ladie  Mollineux,  for  whofe  fake  thou  haft  it ;  worthie  indeed,  and  fo 
not  onlie  reputed  by  me  in  private  affection  of  thankefulneffe,  but  fo  equallie  to  be  efteemed  by  all  that  knowe 
her:  For  if  I  had  not  received  of  her  and  good  Sir  Richard,  of  kind  and  wife  M.  Lee,  of  curteous  M.  Houghton, 
all  matchleffe,  matched  in  one  kindred,  thofe  unrequitable  favours,  I  had  not  thus  idlely  toyed.  If  thou 
miflike  it,  yet  fhe  or  they,  or  both,  or  divine  Licia  fhall  patronize  it,  or  if  none,  I  wil  and  can  doe  it  myfelfe : 
yet  I  wifh  thy  fauour:  do  but  fay  thou  art  content,  and  I  reft  thine:  if  not  farewel  till  we  both  meete. 
Septemb.  8.  1593.' 

The  only  other  copy  known  is  at  the  Bodleian  Library.  A  note  of  price  '  6d '  on  the  title-page  is  in  the 
handwriting  of  Narcissus  Luttrell.  The  history  of  the  book  may  thus  have  been  similar  to  that  of  Smith's 
'Chloris'. 

J79x  '33  mm-  (type-page  of  prose  150X  85). 


[Cam- 
bridge : 
J.  Legate, 
c  I593-] 


XLII 


S.,  R.,  of  the  Inner  Temple  Gentleman.  The  Phoenix  Neft.  Built  vp  with  the  mod  rare 
and  refined  workes  of  Noblemen,  woorthy  Knights,  gallant  Gentlemen,  Masters  of  Arts, 
and  braue  Schollers.  Full  of  varietie,  excellent  inuention,  and  lingular  delight.  Neuer 
before  this  time  publifhed.  Set  foorth  by  R.  S.  of  the  Inner  Temple  Gentleman. 
Imprinted  at  London,  by  Iohn  Iackfon.     1593. 

Quarto.  A-O4.  56  leaves,  the  last  blank,  5-55  paged  1-102.  Types :  roman,  with 
subsidiary  use  of  italics.  Running  title  '  The  Phoenix  nest '  in  Roman  type.  Ornamental 
capitals. 

i»,  title ;  2»,  table,  'This  Booke  containeth  thefe  14.  moft  fpeciall  and  woorthie  workes  .  .  .  With  other 
excellent  and  rare  Ditties ' ;  2b,  '  A  Preface  to  the  Reader  vpon  the  dead  mans  Right ' ;  3,4,'  The  dead  mans 
Right.  Written  vpon  the  death  of  the  Right  Honorable  the  Earle  of  Leicester'  (in  prose);  pp.  1-11, 
4  An  Elegie,  or  friends  paffion,  for  his  Aftrophill.  Written  vpon  the  death  of  the  right  Honorable  fir  Philip 
Sidney  knight,  Lord  gouernor  of  Flufhing',  followed  by  two  'Epitaphs',  in  verse;  pp.  14-15,  'The  praife 
of  Chaftitie.  Wherein  is  fet  foorth  by  way  of  comparifon,  how  great  is  the  conquest  ouer  our  affections, 
by  G.  P.  MaSter  of  Arts' ;  pp.  16-21,  'An  excellent  Dialogue  betweene  Conftancie  and  Inconftancie,  as  it  was 
by  fpeech  prefented  to  hir  MaieStie,  in  the  laSt  Progreffe  at  fir  Henrie  Leighs  houfe';  pp.  21-30,  'A  ftrange 
defcription  of  a  rare  Garden  plot,  Written  by  N.  B.  Gent ',  preceded  by  a  Preamble,  and  followed  by  '  An 
excellent  Dreame  of  Ladies  and  their  Riddles ',  and  by  'The  Cheffe  Play ',  both  by  N.  B.  Gent ;  pp.  31-43,  'A 
moft  rare  and  excellent  Dreame,  learnedly  fet  downe  by  a  woorthy  Gentleman,  a  braue  Scholler,  and  M.  of 
Artes  in  both  Vniuerfities ' ;  pp.  44-102,  '  Excellent  Ditties  of  diuers  kindes,  and  rare  inuention :  written  by 
fundry  Gentlemea' 

This  anthology  was  entered  on  the  Stationers'  Register  as  follows :  '  8  Die  Octobris.  John  Jackson  and 
his  parteners.  Entered  for  their  Copie  vnder  thandes  of  Master  Hartwell  and  bothe  the  wardens  a  booke 


intituled  the  Phoenix  neste  &c.     Compiled  by  R.  S 


vj 


.1  > 


The  compiler  R.  S.  has  not  yet  been 


identified.  In  this  same  year  1593  there  was  prefixed  to  Greene's  'Mamillia'  verses  headed  'Richard 
Stapleton  Gentleman  to  the  Curteous  and  Courtly  Ladies  of  England ',  and  two  years  later,  in  Chapman's 
'  Ovids  Banquet  of  Sence '  other  verses  are  headed  '  Richard  Stapleton  to  the  Author '.  But  neither  Richard 
Stapleton,  nor  Ralph  Sidley,  nor  yet  Richard  Smith,  other  authors  of  commendatory  verses,  is  entered  in  the 
list  of  Students  admitted  to  the  Inner  Temple,  1547-1660  (edited  by  W.  H.  Cooke,  Q.C.,  1877).  The  bearers 
of  the  initials  R.  S.  admitted  in  1593  and  the  twenty  preceding  years  were  Richard  Sayer,  Foot's  Cray,  Kent 
0593).  Roger  Speccott,  Thornbury,  Devon  (1592),  Rufus  Stratford,  Guiting,  Gloucestershire  (1589),  Richard 
Southcot,  Shillingford,  Devon  (1588),  Richard  Spye,  Holcombc  Grange,  Oxon.  (1586),  Richard  Slatter, 
Hollington,  Sussex  (1584),  Richard  Stone,  London  (1578).  Not  one  of  these  is  known  as  a  writer.  No  strong 
candidate  for  the  editorship  can  thus  be  brought  forward. 

Either  the  unsigned  Elegy  on  Sir  Philip  Sidney  or  one  of  the  two  epitaphs  by  which  it  is  followed 
is  assignable  to  Matthew  Roydon  on  the  evidence  of  Nashc's  epistle  prefixed  to  Greene's  '  Mcnaphon '  (1589) ; 
G.  P.,  Master  of  Arts,  author  of  '  The  Praife  of  Chaftitie ',  is  George  Pcelc ;  N.  B.  Gent.,  Nicholas  Breton  ;  the 

7' 


London : 
J.  Jackson, 
1593- 


of  the  three  epithets,  'a  woorthy  Gentleman,  a  braue  Scholler,  and  M.  of  Artes  in  both  Vniuerfities', 
owed  on  the  writer  of '  A  most  rare  and  excellent  Dreame '  recalls  the  '  Vtriufque  Vniuerfitatis  Magifter ' 


London :  last 

J.  Jackson,      bestowed 

'593-  which  Greene  used  to  write  after  his  name,  but  the  attribution  is  uncertain ;  the  numerous  poems  signed 

'  T.  L.  Gent.'  are  by  Thomas  Lodge ;  E.  O.,  whose  verses  begin '  What  cunning  can  expreffe  the  fauor  of  her  face ', 


1  i- 1  <.  i  i  i  (    >  i 


ipf'8 


THE 

P  H  OE  N  I  X 

NEST. 

Built  vp  with  the  moft  rare 

and  refined  workes  of  Noble 

men,  woorthj  Kmgbtt,  gallant 

Gentlemen,  (^Mailers  of 

Arts,  and  braue 

Scbollers 

Full  of  varictic.excencnt  inuen- 

tion,and  lingular 

delight. 

Never  before  thu  time  fubhfhed. 

SetfoorthbyR.S.of 

the  Inner  Temple 
Gentleman. 


Imprinted  at  London,  by 

Iohn  lacklon. 


is  the  Earl  of  Oxford  ;  '  Sir  W.  H.'  ('  Thefe  lines  I  fend  by  waues  of  woe '),  Sir  William  Herbert,  author  of  an 
elegy  on  Sidney  (1586)  and  'A  Prophecie  of  Cadwallader'  (1604);  W.  S.  Gent,  who  signs  'A  notable 
defcription  of  the  World ',  probably  William  Smith,  author  of  Chloris ;  lastly  T.  W.  Gent.,  author  of  '  The 
Praife  of  Virginitie '  and  two  following  poems,  Thomas  Watson.     Many  pieces  are  unsigned. 

177  x  123  mm.  (type-page  158  x  93).    With  the  book-plate  of  George  Chalmers. 


London : 
V.  Sims  for 
Widow 
Newman, 
c.1594- 


XLIII 

APOLLONIUS,  King  of  Tyre.  The  Patterne  of  painefull  Aduentures  :  Containing 
the  moft  excellent,  pleafant  and  variable  Hiftorie  of  the  ftrange  accidents  that  befell  vnto 
Prince  Apollonius,  the  Lady  Lucina  his  wife,  and  Tharfia  his  daughter.  Wherein  the 
vncertaintie  of  this  world,  and  the  fickle  ftate  of  mans  life  are  liuely  defcribed.  Gathered 
into  Englifh  by  Laurence  Twine  Gentleman.  [Ornament.]  Imprinted  at  London  by 
Valentine  Simmes  for  the  Widow  Newman. 

72 


Quarto.    A-L4  M*.    46  leaves.     Types:    the  text  in   black  letter,   with   roman  and  London: 

italics  for  the  preliminary  leaves,  and  for  head-lines  and  headings.     Printer's  ornaments  V-.Sims  for 

arranged  as  border  round  title,  and  as  head-  and  tail-pieces.    Ornamental  capital  at  beginning  Newman 

of  text.     No  head  title ;  running  head-line  '  The  Patterne  ||  of  painfull  Aduentures '.  c.  1594. 


ucnrures 

Containing  the  mod  excel 

lent, f  leaf  ant  and  variable  Hi- 

ftorieof  theftrange  accidents  that  be- 
fell vnto  Prince  Apollonius ,  the 

Lady  Lucind  bis  wifcand. 
Thirua  bu  daughter. 

Wherein  thevneertaintieof 

this  world,and  the  fickle  ftate 

of  mans  life  arc  liuc- 
lydefcnbcd. 

Gathered  into  Englifh  by 

Lavrence   Twine 
Gentleman. 


Imprinted  at  London  by  Va- 
lentine Simrnes  for  the 
Widow  Newman. 


*/s& 


i»,  title;  3*-3m,  dedication  'To  the  worshipfull  Matter  Iohn  Donning,  Cuftomer  and  lurate  of  the  towne 
of  Rie  in  Suffex ',  signed  '  Your  worfhips  to  vfe,  Laurence  Twine ' ;  3b-4b,  the  Table ;  5*-46*,  text. 

In  his  monograph  on  '  Shakespeare's  Pericles  and  Apollonius  of  Tyre :  a  study  in  comparative  literature ', 
Prof.  A.  H.  Smyth  writes :  '  The  Apollonius  Saga  is  known  to  nearly  every  language  of  Europe,  and  persists 
through  more  than  a  thousand  years,  flourishing  in  extraordinary  popularity.  From  its  untraced  origin  in  the 
late  sophistic  romance  of  Greece  it  entered  the  literatures  of  Europe  through  a  hundred  manuscripts  of  an  early 
Latin  version.  It  was  popular  in  Italy,  Russia,  Hungary,  Bohemia,  Norway,  and  Iceland ;  it  is  found  in 
a  Danish  ballad  and  a  Netherland  drama ;  it  was  sung  by  Provencal  poets,  and  beyond  the  Pyrenees  it  was 
borrowed  from  to  praise  the  Cid ;  it  was  translated  in  Crete  into  modern  Greek  in  the  sixteenth  century ; 
it  was  absorbed  in  France  into  the  cycle  of  Charlemagne  and  it  is  the  only  romance  in  Anglo-Saxon  literature.' 
After  this  Anglo-Saxon  romance,  which  belongs  to  the  eleventh  century,  the  story  of  Apollonius  appeared  in 
a  middle  English  metrical  version  of  which  only  a  fragment  survives,  again  as  one  of  the  tales  in  Gower's 
'Confessio  Amantis',  in  1510  in  a  translation  from  the  French  made  by  Robert  Copland  and  printed  by 
Wynkyn  de  Worde,  and  then  in  the  present  version,  Laurence  Twine's  '  Patterne  of  Painefull  Aduentures ',  as  to 
which  the  following  entry  is  found  in  the  Stationers'  Register  for  17  July,  1576 : — 

William  Howe.     Keceyued  of  him  for  hit  licence  to  ymprint  a  booke  intituled  the  most  excellent  pleasant  and  variable 


historic  of  the  strange  adventures  of  prince  Apollonius  Lucina  his  wife  andTharsa  his  Daughter  . 
This  booke  is  sett  forth  in  print  with  this  title,  The  patterne  of  peynfull  aduentures. 

73 


vuj° 


London :  Although  the  note  to  the  entry  makes  it  certain  that  the  book  was  published  no  copy  of  it  is  known,  and 

V.  Sims  for      Twine's  version  survives  only  in  the  present  undated  edition,  and  a  reprint  by  Valentine  Sims  in  1607.     The 
Widow  last  book-entry  to  W.  Howe  in  the  Stationers'  Register  was  made  on  20  November,  1587,  and  his  rights  in 

Newman,         Apollonius  were  presumably  soon  afterwards  acquired  by  Thomas  Newman,  to  whom  books  were  entered  from 
c  1594.  18  September  in  that  year  to  30  June,  1593.     Newman's  widow,  ENizabeth?]  Newman,  is  apparently  heard 

of  in  1594  and  in  that  year  only  (see  Arber's  Transcript,  V.  ci  and  170). 

Lawrence  Twine  was  one  of  three  sons  of  John  Twine,  master  of  the  grammar  school  at  Canterbury. 
He  was  elected  a  fellow  of  All  Souls'  College.  Oxford,  and  graduated  B.C.L.  in  1564.  Save  for  some  verses  in 
the  translation  of  Lloyd's  '  Breviary  of  Britain '  by  his  brother  Thomas  Twine  (1573),  the  '  Patterne  of  Painefull 
Adventures '  appears  to  be  his  only  literary  work,  and  two  years  after  its  issue  he  retired  to  a  country  living  at 
Twineham  in  Sussex.  From  the  dedication  of  his  book  '  to  Matter  Iohn  Donning,  Cuftomer  and  Iurate  of  the 
towne  of  Rie',  it  would  seem  that  in  1576  Twine  was  already  living  in  Sussex,  and  probably  doing  clerical 
work  there.  The  dedication  is  not  notable  save  for  the  pleasing  phrase  in  which  Twine  informs  his  friend  that 
he  has  no  fear  of  his  misliking  the  book, '  confidering  your  natural  difpofition,  which  is  to  be  delighted  with  honeSt 
pleaiure,  and  commendable  recreation,  and  not  to  lie  euermore  weltering,  as  it  were,  in  dolefull  dumpifhneffe '. 

From  what  text  Twine '  gathered  into  English '  the  story  of  Apollonius  has  not  been  ascertained,  but  it 
belonged  to  the  '  Gesta  Romanorum '  group  of  versions,  whereas  Gower  had  derived  his  from  the  '  Pantheon ' 
of  Godfrey  of  Viterbo.  The  author  of  '  Pericles  Prince  of  Tyre '  in  the  main  followed  Gower's  version,  but 
certainly  used  also  that  of  Twine,  which,  as  has  been  noted,  was  reprinted  in  1607,  the  year  in  which  the  play 
was  probably  written  or  rewritten. 


163  x  134  rnm.  (type-page  155  x  82). 
fetched  £7  7s. 


With  the  book  label  of  Edward  Vernon  Utterson,  at  whose  sale  it 


XLIV 


w/dow:  GRIFFIN,  Bartholomew.     Fidelia,  more  chaSte  then  kinde.     By  B.  Griffin,  gent. 

Orwin  for  [Ornament.]    At  London  Printed  by  the  Widdow  Orwin,  for  Matthew  Lownes.    1596. 
M.  Lownes, 

'596.  .» (Ci 


SONNET.    XX XV 7. 

QH  let  my  heart, my  bodie  and  my  tongue, 

Bleed  forth  the  UueJy  ftrcames  of  taith  vn  dined 
Worfliip  my  faint  the  Gods  and  Saints  among, 

Praife  andcxtollhcr  faire  that  me  hath  pained. 
Oh  let  (he  fmoake  of  my  fuppreft  defire 

Be  rak"d  vp  in  arties  of  my  burning  breft, 
Brcake  out  ac  lcngth,and  to  the  clowdes  afpire, 

Vrging  the  heauens  t'afrbord  me  reft. 
But  let  my  bodie  naturally  defcend 

Into  the  bowels  of  our  common  mother, 
And  to  the  rery  Center  let  it  wend: 

When  it  no  lower  can , her  griefes  to  (mother. 
And  yet  when  I  (b  low  doe  buried  lie, 
Then  lliall  my  louc  afcend  vnto  the  skie. 

Fair* 


SONNET.    XX XV II. 

P  Aire  is  my  loue  (hat  (cedes  among  the  Lillies, 

The  Lillies  growing  in  that  plcalant  garden, 
Where  Cupids  mount  that  wclbcloued  hill  is, 

And  where  that  Iitde  god  himfclfe  is  warden. 
See  where  my  Loue  (its  in  the  beds  of  fpices, 

Befct  all  round  wich  Camphere,Myrrnc  and  Rofcs. 
And  intcrlac'd  with  curious  deuices, 

Which  her  from  all  the  world  apart  inclofes. 
There  doth  (he  tunc  her  Lute  for  her  delight, 

And  with  Tweet  mufick  makes  the  ground  to  moue, 
Whil'ft  I(poore  I)  doe  (it  in  heauie  plight, 

Wayling  alone  my  vnrefpefted  loue, 
Not  daring  ruih  into  (b  rare  a  place, 
That  giues  to  her  and  (he  to  it  a  grace. 

D  3  Wis 


GRIFFIN  :    FIDESSA.      LONDON  !    M.  LOWNES,   I  596.       (slUS.  D,  VERSO,  Ds  RECTO.) 

Quarto.  A4  B-E».  36  leaves,  the  last  (missing  in  this  copy)  presumably  blank. 
Types :  roman,  with  italics  for  subsidiary  matter.  Printer's  '  lace-work '  ornament  on  every 
page. 

74 


i»,  signature  A,  between  two  ornaments ;  a*,  title ;  3,  dedication  '  To  the  moft  kinde  and  vertuous 
gentleman,  M.  William  Effex  of  Lamebourne,  in  the  Countie  of  Barke  Efquire',  signed  'Yours  euer, 
B.  Griffin  ' ;  4, '  To  the  Gentlemen  of  the  Innes  of  Court ',  with  the  same  signature,  followed  by  two  errata  headed 
'  Faultes  efcaped,  amend  thus  ' ;  5-35,  text  of  62  sonnets  headed  '  To  Fideffa '  and  ending  '  Finis.     B.  Griffin. 

Talis  apud  tales,  talis  fub  tempore  tali : 
Subque  meo  tali  iudice,  talis  ero.' 

Although  Griffin's  surname  occurs  four  times  in  this  book,  it  is  never  preceded  by  a  Christian  name  in  full, 
only  by  the  initial  B.  He  has  been  identified  with  a  Bartholomew  Griffin  of  Coventry,  who  died  there  in 
December,  1602,  and  whose  will  was  proved  by  his  widow  Katherine  in  May,  1603.  Nothing  appears  to  be 
known  of  the  '  M.  William  EfTex  of  Lamebourne,  in  the  Countie  of  Barke  Efquire '  to  whom  these  sonnets  are 
dedicated,  nor  has  the  dedication  any  biographical  value.  The  address  to  the  Gentlemen  of  the  Inns  of  Court 
reads :  '  CVrteous  Gentlemen,  it  may  pleafe  you  intertaine  with  patience  this  poore  pamphlet,  vnworthy  I  confefse 
fo  worthy  patronage,  if  I  prefume,  I  craue  pardon  :  if  offend,  it  is  the  firft  fruite  of  any  my  writings :  if  diflike, 
I  can  be  but  fory.  Sweete  Gentlemen,  cenfure  mildlie,  as  protectors  of  a  poore  ftranger,  iudge  the  bed,  as 
incouragers  of  a  young  beginner :  So  fhall  I  make  true  report  of  your  vndeferued  fauours,  and  you  fhall  be 
your  felues  euer  curteous.  In  this  hope  (if  promife  may  goe  for  currant)  I  willingly  make  the  fame  vnto  you 
of  a  PaStorall  yet  vnfinifhed,  that  my  purpofe  was  to  haue  added  (for  varietie  fake)  to  this  little  volume  of 
Sonnets :  the  next  tearme  you  may  expect  it.  In  the  meane  time  I  wholy  relye  on  your  gentle  acceptance.' 
1  Fidessa '  was  thus  Griffin's  first  published  work,  and  since  nothing  is  known  of  the  promised  Pastoral  it  was 
apparently  his  last  also.  The  third  sonnet  of  his  cycle,  that  beginning  '  Venus,  and  yong  Adonis  fitting  by 
her',  was  printed  in  1599,  in  a  different  text,  by  William  Jaggard,  in  his  piratical  miscellany,  'The  Passionate 
Pilgrim '. 

The  form  in  which  Griffin's  '  Fidessa '  was  issued  is  exceptionally  neat  and  pretty  for  Elizabethan  work, 
but  a  model  had  been  given  in  the  '  Diana '  of  Henry  Constable  printed  by  James  Roberts  for  R.  Smith  in 
1594.  Other  copies  exist  at  the  Bodleian  Library  and  at  Britwell  Court.  The  provenance  of  this  is  shown 
by  a  note  on  the  fly-leaf:  'This  Volume  is  of  the  greatest  rarity.  I  never  saw,  or  heard  of  another.  See 
Sonnet  3.  which  treats,  particularly,  of  Venus  and  Adonis  ...  A  truly  Shakesperean  Tome ! . .  .  George  Daniel. 
Canonbury.  August,  1849.' 

1 27  x  80  mm.  (type-page  100  x  63). 


London : 
Widow 
Orwin  for 

M.  Lownes, 
1596. 


XLV 


SMITH,  William.  Chloris,  or  the  complaint  of  the  pafsionate  defpifed  Shepheard. 
By  William  Smith.    [Lace-work  ornament]    Imprinted  at  London,  by  Edm.  Bollifant.  1596. 

Quarto.  A-D*,  16  leaves,  the  last,  wanting  in  this  copy,  presumably  blank.  Types  : 
text  in  roman,  dedicatory  verses  in  italics.  Running  title  '  Chloris '.  The  title  is  enclosed 
in  a  lace-work  border. 


London: 
E.  Bollifant, 
1596. 


i*  title;  2',  'To  the  most  excellent  and  learned  Shepheard  Collin  Cloute' (i.e.  Edmund  Spenser),  two 
sonnets  ;  2b, '  To  all  Shepheards  in  generall ',  three  sestets ;  3b-i5b,  text ;  16,  blank  ?. 

Nothing  appears  to  be  known  of  William  Smith  apart  from  his  poetry.  One  of  the  Sonnets  of  the  present 
collection  had  been  printed  the  previous  year  in  the  '  Phoenix  Nest '  over  the  signature  '  W.  S.  Gentleman '. 
In  1600  the  poem  of  26  lines  here  headed  '  A  dreame.  Sonnet  13.'  was  reprinted  in  '  England's  Helicon',  and 
shows  Smith  at  his  best.  On  3  January  of  that  year  '  A  booke  called  Amours  by  J.  D.  with  certein  other 
Sonnetes  by  W.  S.'  was  entered  on  the  Stationers'  Registers,  but  neither  this  nor  '  A  New  Yeares  Guift 
or  a  posie  vpon  certein  flowers  presented  to  the  Countcsse  of  Pembroke  by  the  author  of  Chloris ',  of  which 
Heber  is  said  to  have  owned  a  manuscript,  arrived  at  publication.  Probably  '  Chloris '  was  recognized  at  the 
time,  as  it  has  been  since,  as  one  of  the  weaker  sonnet-cycles. 

The  copy  here  described  and  another  in  the  Bodleian  Library  are  the  only  ones  now  known.  This  came 
into  Mr.  Huth's  collection  from  the  library  of  George  Daniel,  and  had  previously  belonged  to  Sir  M.  M.  Sykes, 
Thomas  Park,  Dr.  Farmer,  Mr.  Wynne,  and  Narcissus  Luttrell,  whose  note  of  price  '  ad '  is  found  on  the  title-page 
and  his  signature  'Nar.  Luttrell :  His  Book.  1682  '  on  a  fly-leaf.  It  may  have  formed  part  of  the  '  very  curious 
collection  of  ancient  English  Poetry  in  24  quarto  volumes '  described  by  Malone  in  his  Life  of  Dryden  as 
having  been  brought  together  by  Luttrell,  but  the  fifteen  titles  enumerated  on  the  fly-leaf  which  bears  Luttrell 's 
signature  as  having  composed  the  volume  from  which  this  is  taken  are  not  all  English.  The  list  is  as 
follows : 

Herein : 

1.  The  Churle  and  tbe  Bird.     Imprint  for  W.  Copland. 

2.  Carmen  Panegyricum  in  Illufln  Atheneo  Uethlcn  Kacoelano,  &*. 

3.  Carolanna  a  Poeme  in  honour  of  our  King  Charles  James,  Queen  Ann  &  Prince  Charles  &*. 
4  The  Popes  Complaint  to  his  Minion  Cardinalli  ag'  the  good  Succefi  of  the  Bohemians  &*. 
5.  Tragi  Comedia  Oxonienin. 


Imprint  by  E.  Alle-de. 


75 


M     2 


London  :  6-  Carmen  Eroticon  ab  uno  Membroum  quinque  ad  Dilectifsimam  Suam  Animam  D.  C:  with  the  Anfwear. 

E    Rollifont  h  Septuagenanj  Senis  Itinerantis  Cantus  Epithalamicus. 

"  H  8.  Serenifsimo  Principi  Richardo,  Inuictifsimi  et  Auguftifsimi  Oliuari  nuper  uita  defuncti  succefsori  Angliae  &c.    Protectori. 

«59°-  Carmen  Panegyricum  per  Aug  Wingfeild. 

9.  Carolidum  Libri  tres  de  vita  et  Rebus  Geflis  Diui  Caroli  Maximi  Auftriaci,  pij  felicis,  Iufti  Aug"  Cefaris  &c  Imp.  pro 
W.  Ederi,  1583. 

10.  Ad  Potentifsimos  ac  Serenifsimos  Reges,  principes  reliquosqj  amplifsimos  Chriftiani  Orbis  Ordines.  1 583. 


11.  A  Cantide  of  the  Victory  obtained  by  the  french  King  Henry  fourth  at  Yury.   Tranflated  from  french  by  Iofuah  Siluester. 
printed  by  R.  Yardley.  1 590. 

n.  St.  Peters  Complaint,  with  other  Poems  [by  R.  Southwell],  printed  for  G.  C.  1595. 

13.  In  Obitum  Oraatifsimi  viri  Guilielmi  Whitakeri,  Doctoris  in  Theologia,  &c.  Carmen  Funebre  per  Caroli  Horni.  Imp. 
pro  I:  W'olfius.  1596. 

1 4.  Cholris  or  the  Complaint  of  the  pafsionate  Defpifed  Shepheard  by  W1".  Smith.  Imprint,  by  E.  Bollifant.  1 596. 

1 5.  Carmina  Funebria  in  ejufdem  Vendrandi  Doctoris  trifte  fatum.  a  quibufdam  Cantabrigienftbus,  &c.  Imp.  1598- 

180  x  133  mm.  (type-page  163  x  106). 


76 


XLVI 


SHAKESPEARE,  William.    The  Tragedie  of  King  Richard  the  fecond.    As  it  hath 
beene  publikely  acted  by  the  right  Honourable  the  Lorde  Chamberlaine  his  Seruants. 


London : 
V.  Sims  for 

[Device.]    London  Printed  by  Valentine  Simmes  for  Androw  Wife,  and  are  to  be  fold  at  ,5g7  '         ' 
his  (hop  in  Paules  church  yard  at  the  figne  of  the  Angel.    1597. 

Quarto.   A-P  K2.   38  leaves.    Types  :  roman  and  italics.    Head-piece  and  ornamental  O 
at  beginning  of  text,  tail-piece  at  end. 


-^ 


THE 

Tragedie  of  King  Ri- 
chard the  fe- 


con< 


d. 


%As  It  hath  beene  publicly  aUed 
right  Hot 
Lorde  Chamberlaine  bis  Ser~ 


by  the  right  Honourable  tht-> 


uants. 


LONDON 

Printed  by  Valentine  Simmes  for  Androw  Wife,  and 

arc  to  be  fold  at  his  fliop  in  Paules  church  yard  at 

the  figne  of  the  Angel. 

I  5  9  7* 

There  is  no  head  title  to  this  play,  the  text  beginning  with  the  stage-direction :  Enter  King  Richard,  Iohn 
of  Gaunt,  with  other  Nobles  and  attendants.  Running  title  (in  italics) :  The  Tragedie  of  ||  King  Richard  the 
fecond. 

The  play  was  entered  in  the  Stationers'  Register  on  29  August,  1597,  the  entry  reading:  '  29°  Augusti. 
Andrew  Wise.  Entred  for  his  Copie  by  appoyntment  from  Master  Warden  man,  The  Tragedye  of  Richard  the 
Second  .  .  .  vjd.'  About  this  time  the  phrases  'by  appointment  of,  'by  warrant  from',  'by  direction  from' 
seem  to  have  been  used  indifferently  with  the  normal  '  under  th'  hand  of,  and  there  is  no  reason  to  regard  this 
as  anything  other  than  an  original  entry.  In  the  case  of  this  play  Shakespeare's  name  first  appeared  on  the 
title-page  of  the  second  edition,  printed  by  Sims  for  Wise  in  1598. 

This  is  the  first  of  the  four  quarto  editions  of'  Richard  II '  printed  prior  to  the  Folio  of  1643.  Of  the 
<i\  sheets  of  which  it  is  made  up  five,  signed  A,  B,  C,  D,  and  I,  exist  in  two  states,  an  uncorrected  and 

77 


London  :  a  corrected.     This  copy  has  the  sheets  A,  C,  and  D  in  the  corrected  form  and  sheets  B  and  I  in  the  uncorrected. 

V.  Sims  for     The  most  important  differences  occur  in  I.  ii.  41-70  and  1.  iii.  108-35,  where  the  Devonshire  copy  has  the 
Andr.  Wise,    correct  readings  and  this  and  the  Capell  copy  at  Trinity  College,  Cambridge,  the  uncorrected  ones. 

59'*  The  1598  edition  of  this  play  was  merely  a  reprint  of  this  of  1597  Wltn  ^e  introduction,  as  usual,  of 

numerous  errors.  On  35  June,  1604,  the  copyright  of  this  play  as  well  as  that  of  Richard  III '  was  transferred 
from  Andrew  Wise  to  Matthew  Law.  In  1608  Law  reprinted  the  play  with  a  title-page  following  that  of  1598 
save  for  the  imprint  ('  Printed  by  W.  W.  for  Mathew  Law,  and  are  to  be  fold  at  his  fhop  in  Paules  Church- 
yard, at  the  figne  of  the  Fox.  1608 ').  For  this  was  substituted  another  title-page  beginning:  'The  Tragedie 
of  King  Richard  the  Second  :  with  new  additions  of  the  Parliament  Sceane,  and  the  depofing  of  King  Richard. 
As  it  hath  been  lately  acted  by  the  Kinges  Maiefties  feruantes  at  the  Globe.'  The  additions  comprise  IV.  i. 
154-318.  A  fourth  edition  was  printed  for  Law  in  1615,  and  a  copy  of  this  corrected  by  a  better  text  was  used 
in  printing  the  Folio  of  1643.  The  Folio,  however,  omits  some  fifty  lines  in  different  parts  of  the  play,  and 
repeats  numerous  small  errors  which  had  been  introduced  into  the  second,  third,  or  fourth  Quartos,  from  which 
this  first  Quarto  is  free.     The  textual  value  of  the  first  Quarto  is  thus  very  great. 

Another  copy  of  this  edition  is  in  the  Capell  Collection  at  Trinity  College,  Cambridge. 

176  x  129  mm.  (type-page  163  x  84).     George  Daniel's  Copy,  with  a  note  on  the  rarity  of  the  book  and 
a  list  of  his  Shakespeariana,  dated  1847. 

XLVII 


THE  TRAGEDY    OF 
KingRichardthe  third. 

Containing, 
His  treacherous  Plots  again  ft  his  brother  Clarence: 
the  pittiefull  murther  of  his  innocent  nephewes : 
his  tyranoicall  vfurpation  :  with  the  whole  courfe 
of  his  detefted  life,  and  mo  ft  defcrued  death. 

As  it  hath  beene  lately  Adled  by  the 

Right  honourable  the  Lord  Chamber* 
laine  his  feruants. 


AT  LONDON 
<[  Printed  by  Valentine  Sims ,  for  Andrew  Wife, 
dwelling  in  Paules  Cbuch-yard ,  at  the 
Signe  ofthcAngclL 

-5*7- 

London:  SHAKESPEARE,  William.      [Ornament.]     The  Tragedy  of  King   Richard  the 

a  rfinwf°r    tmr<h     Containing,  His  treacherous   Plots  againft  his  brother  Clarence  :    the  pittiefull 

,59_  '  '    murther  of  his  iunocent  nephewes  :  his  tyrannicall  vfurpation  :  with  the  whole  courfe  of  his 

detefted  life,   and   moft  deferued  death.     As  it  hath  beene  lately  Acted   by  the  Right 

78 


honourable  the  Lord  Chamberlaine  his  feruants.     [Ornament.]    At  London  <fl  Printed  by   London: 
Valentine  Sims,  for  Andrew  Wife,  dwelling  in  Paules  Chuch-yard,  at  the  Signe  of  the   Xndr"wise 
Angell.     1597.  1597. ' 

Quarto.  A-M*.  48  leaves,  the  last  presumably  blank,  but  no  copy  known.  Types  : 
roman  and  italics.  Metal  cut  ornaments  on  title  and  above  beginning  of  text.  Printer's 
'  lace-work '  ornament  at  end.     Capital  N  on  2a. 

There  is  no  head  title  to  this  play,  the  text  beginning  with  the  stage-direction :  Enter  Richard  Duke  of 
Glocefter  folus.  Running  title  in  italics :  The  Tragedy  ||  of  Richard  the  third.  In  the  second  half  of  each 
sheet  from  H  to  M  the  spelling  is  '  Tragedie '.  The  text  type  used  in  these  five  sheets  differs  from  that  in  the 
first  seven. 

The  play  was  entered  in  the  Stationers'  Register  on  19  October,  1597,  the  entry  reading:  '  190  Octobris. 
Andrewe  wife.  Entred  for  his  copie  vnder  thandes  of  mafter  Barlowe,  and  mafter  warden  man.  The  tragedie 
of  Kinge  Richard  the  Third  with  the  death  of  the  Duke  of  Clarence  .  .  .  vjd.'  In  the  case  of  this  play 
Shakespeare's  name  first  appeared  on  the  title-page  of  the  second  edition  printed  in  1598  by  Thomas  Creede 
for  Andrew  Wise. 

The  text  of  the  six  quarto  editions  of  '  Richard  III ',  of  which  that  here  described  is  the  first,  is  of 
exceptional  interest  and  value  from  its  marked  differences  from  that  of  the  Folio  of  1623.  It  contains  one 
famous  passage  (IV.  ii.  112-31,  ending  with  Richard's  remark  to  Buckingham,  'I  am  not  in  the  giuing  vein 
to-day ')  which  the  Folio  omits,  and  several  of  its  readings  appear  to  be  deliberate  corrections  of  the  manuscript 
which  in  its  turn  seems  to  have  been  used  in  preparing  the  Folio  text  from  that  of  one  of  the  Quartos.  This 
was  probably  the  sixth,  rather  than  (as  has  been  supposed)  the  third,  since  where  a  Quarto  was  used  at  all  in 
the  preparation  of  the  Folio  it  was  nearly  always  the  most  recently  printed  edition.  Despite,  however,  the  fact 
that  the  readings  of  the  sixth  Quarto  would  thus  be  specially  likely  to  be  reproduced,  Mr.  P.  A.  Daniel  has 
shown  that  in  cases  where  the  Quartos  differ  among  themselves  the  Folio  agrees  326  times  with  the  reading  of 
Quarto  i,  with  Q  ii  292  times,  with  Q  iii  262,  with  Q  iv  238,  with  Q  v  236,  and  only  168  times  with  Quarto  vi, 
a  striking  instance  of  the  progressive  deterioration  in  reprints  of  this  period  and  the  consequent  importance 
of  having  access  to  first  editions. 

Other  copies  are  in  the  Duke  of  Devonshire's  collection  and  at  the  Bodleian  Library,  Oxford,  and  another 
was  among  the  Quartos  sold  by  Earl  Howe  in  1907.     This  belonged  to  George  Daniel. 

175  x  128  mm.  (type-page  159  x  90). 


XLVIII 


SHAKESPEARE,  William.  A  Moft  pleafaunt  and  excellent  conceited  Comedie, 
of  Syr  Iohn  Falftaffe,  and  the  merrie  Wiues  of  Windfor.  Entermixed  with  fundrie  variable 
and  pleafing  humors,  of  Syr  Hugh  the  Welch  Knight,  Iuftice  Shallow,  and  his  wife  Coufin 
M.  Slender.  With  the  fwaggering  vaine  of  Auncient  Piftoll,  and  Corporall  Nym.  By 
William  Shakefpeare.  As  it  hath  bene  diuers  times  Acted  by  the  right  Honorable  my 
Lord  Chamberlaines  feruants.  Both  before  her  Maieftie,  and  elfe-where.  [Ornament] 
London  Printed  by  T.  C.  for  Arthur  Iohnfon,  and  are  to  be  fold  at  his  (hop  in  Powles 
Church-yard,  at  the  figne  of  the  Flower  de  Leufe  and  the  Crowne.     1602. 

Quarto.  A-G\  28  leaves,  the  first  blank  save  for  the  signature.  Types :  roman  and 
italics.     Printer's  ornament  on  title-page,  head-piece  above  head  title. 


London : 
T.  C[reed] 
for  A.  John- 
son, 1602. 


The  head  title  reads :  A  pleafant  conceited  Comedie  of  Syr  Iohn  Falftaffe,  and  the  merry  Wiues  of 
Windfor.     Running  title :  A  pleafant  Comedie,  of  ||  the  merry  wiues  of  windfor. 

Two  entries  concerning  this  play  were  made  on  the  Stationers'  Register  on  18  January,  160 J: — 

•  18  Januarij.  John  Busby.  Entred  for  his  copie  vnder  the  hand  of  Master  Scton,  A  booke  called  An 
excellent  and  pleasant  conceited  commcdie  of  Sir  John  ffaulstof  and  the  merry  wyves  of  Windesor  .  .  .  vjd.' 

'  Arthur  Johnson.  Entred  for  his  Copye  by  assignement  from  John  Busbye,  A  booke  Called  an  excellent 
and  pleasant  conccyted  Comedie  of  Sir  John  ffaulstafe  and  the  mcrye  wyves  of  Windsor.' 

The  significance  of  this  entry  and  immediate  transfer  has  been  variously  explained,  but  in  view  of  the 
undoubtedly  piratical  nature  of  the  publication  it  seems  probable  that  Busby  procured  the  text,  such  as  it  was, 
from  which  the  Quarto  was  printed,  and  that  Arthur  Johnson  preferred  that  Busby  (who  had  already  been 

79 


London :  concerned  in  the  piracy  of '  Henry  V ')  should  take  the  onus  of  entering  it  on  the  Stationers'  Register  in  the  first 

T.  C[reed]        instance. 

^fi  This  is  one  of  the  clearest  instances  of  a  play  printed  from  a  text  supplied  by  reporters,  who  may  have 

son,  iooa.  ^1^  some  notes  in  the  theatres,  but  probably  trusted  very  largely  to  their  memory.  In  his  reprint  of  this 
Quarto  in  1910  for  the  'Tudor  and  Stuart  Library'  Dr.  W.  W.  Greg  has  suggested  that  the  player  who  took 
the  part  of  the  Host  may  have  given  the  reporters  his  help,  his  own  speeches  and  the  text  generally  of  the 
scenes  where  he  is  on  the  stage  being  more  accurately  reproduced  than  the  rest  of  the  play.  Under  ordinary 
circumstances  the  text  of  an  edition  of  this  kind  would  possess  little  critical  value.  The  text  of  this  play, 
however,  in  the  First  Folio,  while  of  a  different  origin,  is  also  very  unsatisfactory ;  and  the  Quarto,  although  it 
gives  little  help  towards  remedying  its  fundamental  faults,  is  useful  in  removing  many  minor  ones. 


A 

Mod  pleafaunt  and 

excellent  conceited  Co- 

medie,  of  Syr  bhn  Falflaffe,  and  the 
mcrric  Wiues  of  Wmdfor. 

Entermixed  with  fundrie 

variable  and  pleafing  humors,of  Syr  Hugh 

the  Welch  Knight,  Iuftice  Shallow  ,  and  his 

wife  Coufin  M..  Slender. 

With  the  (waggering  vaine  of  Auncient 
TtftoQ,  and  Corporall  Nym. 

By  William  Shake  ft  are. 

At  it  hath  bene  diners  timet  A  ft  ed  by  the  right  Honorable 

my  Lord  Chamberlainesferuanti.  Both  before  her 

Maieftie,  and  elfe-  where. 


LONDON 

Printed  by  T  C  for  Arthur  Iohnfon,and  are  ro  be  fold  at 

his  (hop  in  Powles  Church  -yard,  at  the  figne  of  the 

flower  dc  Leufe  and  the  Crowne. 

16  0  2. 

Other  copies  are  preserved  at  the  Bodleian  Library,  Oxford,  and  in  the  Capell  Collection  at  Trinity 
College,  Cambridge. 

195  x  1 37  mm.  (type-page  157  x  83). 

*♦*  The  acquisition  of  these  three  editions  very  nearly  completes  the  British  Museum's  set  of  Shakespeare 
Quartos  printed  before  1664.  The  set  now  includes  every  first  edition  with  the  exception  of  that  of  '  Titus 
Andronicus '  (a  doubtful  play)  printed  in  1594,  and  every  subsequent  Quarto  save  the  third  of '  Henry  IV '  (1604), 
the  second  of  Henry  V '  (160a),  and  the  second  of  Titus  Andronicus  '  (1600) ;  it  lacks  also,  however,  two  variant 
title-pages,  viz.  that  of  the  second  edition  of '  Hamlet '  dated  1604  instead  of  1605,  and  that  of  the  third  edition 
of '  Richard  II '  mentioning  the  '  new  additions '. 


80 


XLIX 

RICH,  R.    Newes  from  Virginia,  S~&  The  loft  Flocke  Triumphant.    With  the  happy  London : 

Arriuall  of  that  famous  and  worthy  Knight  Sr-  Thomas  Gates :  and  the  well  reputed  &  valiant  SQld  bye' 

Captaine  Mr-  Chriftopher  Newporte,  and  others,  into  England.    $  With  the  maner  of  their  J.  Wright, 

diftreffe  in  the  Hand  of  Deuils  (otherwife  called  Bermoothawes)  where  they  remayned  l6l°- 

Newes  trom  Virginia. 

£+>  The  loft  Flocke 

Triumphant. 

With  the  happy  Arriuall  of  that  famous  and 
worthy  Knight  Sr«  Thomas  Gates  .'and  the  well 
reputed  &  valiant  Captaine  Mr«  Chri- 
fiofher  T^ewporte,  and  others, 
into  England. 

§  With  the  maner  of  their  diftrefle  in  the 

Iland  of  Deuils  (otherwife  called  Bermoothawes) 

where  they  remayned  42.  weekes,  Scbuilded 

twoPynace*,in  which  they  returned 

into  Virginia. 

By  r.  Rich,  Gent,  one  of  the  Voyage. 


LONDON 

Printed  by  Edw :  Allic,  and  are  to  be  folde  by  Iohn 

^/jA/atChrift-Churchdorc.  16  10. 

42.  weekes,  &  builded  two  Pynaces,  in  which  they  returned  into  Virginia.  By  R.  Rich, 
Gent,  one  of  the  Voyage.  [Ornament.]  London  Printed  by  Edw:  Allde,  and  are  to  be  folde 
by  Iohn  Wright  at  Chrift-Church  dore.     1610. 

Quarto.  A  B4.  8  leaves,  the  last  blank.  Types  :  roman  and  italics.  Woodcut  picture 
and  ornaments. 

i%  woodcut  of  a  ship  and  '  signature ',  a  large  A ;  J»,  title  ;  3,  address  '  To  the  Reader '  signed  *  Thy 
louing  Country-man,  RR.' ;  4*~7b,  text  in  2%  eight-line  stanzas,  headed  '  Newes  from  Virginia  of  the  happy 
ariuall  of  that  famous  &  worthy  knight  Sir  Thomas  Gates  and  well  reputed  and  valiant  Captaine  Newport  into 
England '. 

'The  first  attempt  to  colonise  Virginia  having  proved  abortive,  James  I  granted  a  new  charter,  dated 
»3  May,  1609,  with  larger  powers  and  privileges.  The  chief  officers  of  the  company  were  Sir  Thomas  Gates, 
lieutenant-general ;    Lord  De  la  Warr,  captain-general  of  Virginia  ;   Sir  George  Somcrs,  admiral ;  and  Sir 

81  N 


London : 
E.  Allde, 
sold  by 
J.  Wright, 
1610. 


Thomas  Dale,  high  marshal.  The  project  excited  great  enthusiasm.  Large  sums  of  money  were  contributed, 
and  so  many  persons  desired  to  be  transported  that  nine  ships,  with  more  than  five  hundred  emigrants,  were 
despatched  in  charge  of  Gates,  Somers  and  Captain  Newport.  They  sailed  from  England  at  the  close  of  May, 
1609,  but  only  seven  vessels  arrived  in  Virginia.  The  ship  of  the  three  commissioners,  the  Sea  Venture,  was 
separated  from  the  rest  of  the  fleet  by  a  furious  hurricane,  and  stranded  on  the  rocks  of  Bermuda.  The 
passengers  effected  a  landing,  but  six  of  the  company  died  on  the  island.  .  .  .  Gates  and  his  fellow-voyagers 
remained  nine  months  in  Bermuda,  where  they  constructed  two  vessels,  partly  from  the  wreck  of  the  Sea 
Venture,  and  partly  from  cedars  which  they  felled.  Reaching  Virginia  on  24  May,  16 10,  Gates  found  the 
colony  in  a  desolate  and  miserable  condition.  After  the  departure  of  John  Smith  the  colonists,  uncontrolled 
by  authority,  had  given  way  to  excesses,  and  their  numbers  were  further  reduced  by  famine.  They  resolved 
to  burn  the  town,  but  were  prevented  by  Gates,  who  determined  to  sail  for  Newfoundland  with  the  surviving 
colonists,  in  order  to  seek  a  passage  for  England.  Lord  De  la  Warr,  however,  arrived  on  9  June,  1610,  with 
new  colonists  and  supplies,  and  Gates  returned  with  him  to  Jamestown.  Before  the  close  of  1610  De  la  Warr 
despatched  Gates  to  England  for  further  supplies  .  .  .'     D.N.B. 

The  present  pamphlet  in  verse  was  written  by  '  R.  Rich,  Gent.,  one  of  the  Voyage ',  who  accompanied  Sir 
Thomas  Gates  home,  but  in  his  address  '  To  the  Reader '  professes  his  eagerness  to  return.  Here  he  writes : 
'  Reader,  thou  doft  peraduenture  imagine  that  I  am  mercenarie  in  this  bufines,  and  write  for  money  (as  your 
moderne  Poets  vfe)  hyred  by  fome  of  thofe  euer  to  be  admired  Aduenturers,  to  flatter  the  world :  No,  I 
difclaime  it,  I  haue  knowne  the  Voyage,  paft  the  danger,  feene  that  honorable  work  of  Virginia,  &  I  thanke  God 
am  arriud  here  to  tell  thee  what  I  haue  feene,  don  &  paft :  if  thou  wilt  belieue  me  fo,  if  not  fo  to  ;  for  I  cannot 
force  thee  but  to  thy  owne  liking :  I  am  a  Soldier,  blunt  and  plaine,  and  fo  is  the  phrafe  of  my  newes :  and 
I  proteft  it  is  true.  If  thou  aske  why  I  put  it  in  Verfe?  I  prethee  knowe,  it  was  onely  to  feede  mine  owne 
humour:  I  muft  confeffe,  that  had  I  not  debard  my  felfe  of  that  large  fcope  which  to  the  writing  of  profe  is 
allowed,  I  fhould  haue  much  eafd  my  felfe,  and  giuen  thee  better  content.  But  I  intreat  thee  to  take  this  as  it 
is ;  and  before  many  daies  expire,  I  will  promife  thee  the  fame  worke  more  at  large.  I  did  feare  preuention  by 
fome  of  your  writers,  if  they  fhould  haue  gotten  but  fome  part  of  the  newes  by  the  tayle,  and  therefore  though 
it  be  rude,  let  it  paffe  with  thy  liking,  and  in  fo  doing  I  fhall  like  well  of  thee :  but  how  euer,  I  haue  not  long 
to  ftay  :  if  thou  wilt  be  vnnaturall  to  thy  country-man,  thou  maift,  I  muft  not  loofe  my  patrymonie  ;  I  am  for 
Virginia  againe,  and  fo  I  will  bid  thee  hartily  farewell,  with  an  honeft  verfe : 

As  I  came  hether  to  fee  my  natiue  land, 
to  waft  me  backe  lend  me  thy  gentle  hand.' 

Nothing  appears  to  be  known  of  Rich.  Despite  his  assurance  that  he  was  not  '  hyred  by  fome  of  thofe  euer  to 
be  admired  Aduenturers '  his  poem  ends  on  a  very  business-like  key. 


...  To  fuch  as  to  Virginia 

do  purpofe  to  repaire  : 
And  when  that  they  fhall  thither  come, 

each  man  fhall  haue  his  fhare. 
Day  wages  for  the  Laborer, 

and  for  his  more  content, 
A  houfe  and  garden  plot  fhall  haue, 

befides,  t'is  further  ment 

That  euery  man  fhall  haue  a  part, 

and  not  thereof  denaid: 
Of  generall  profit,  as  if  that  he 

twelue  pounds  ten  (hillings  paid, 
And  he  that  in  Virginia, 

fhall  copper  coyne  receiue, 
For  hyer  or  commodities, 

and  will  the  country  leaue, 

175X  126  mm.  (type-page  147  x  80). 


Vpon  deliuery  of  fuch  coyne, 

vnto  the  Gouernour: 
Shall  by  exchange  at  his  returne, 

be  by  their  Treafurer 
Paid  him  in  London  at  firft  fight, 

no  man  fhall  caufe  to  grieue : 
For  'tis  their  generall  will  and  wifh 

that  euery  man  fhould  liue. 

The  number  of  Aduenturers, 

that  are  for  this  Plantation  : 
Are  full  eight  hundred  worthy  men, 

fome  Noble,  all  of  fafhion. 
Good,  difcreete,  their  worke  is  good, 

and  as  they  haue  begun  : 
May  Heauen  affifl  them  in  their  worke, 

and  thus  our  newes  is  done. 


82 


Plate  18 


THE  PICTURE  OF  QUEEN  ELIZABETH 

No.  ii  (Reduced) 


PART    III   -ELIZABETHAN    BALLADS 


The  ballads  and  other  pieces  here  described  in  the  approximate  order  of  their  publication  are  one  half 
of  a  collection  bought  by  George  Daniel  about  1830  from  William  Fitch,  postmaster  at  Ipswich.  The  other 
half  Daniel  exchanged  for  Shakespeariana  with  Thorpe,  the  bookseller.  From  Thorpe  they  passed  to  Heber, 
at  whose  sale  they  were  divided  into  lots,  most  or  all  of  which  were  acquired  for  the  library  of  W.  H.  Miller  at 
Britwell  Court.  A  Handlist  of  these  was  printed  for  Mr.  Christie  Miller  in  187a,  and  the  text  of  nineteen, 
with  that  of  six  other  ballads,  was  reprinted  by  J.  P.  Collier  in  1842  for  the  Percy  Society.  Of  those 
which  he  retained  Daniel  printed  a  descriptive  catalogue  in  1856  under  the  title  'An  Elizabethan  Garland*. 
In  this  he  describes  '  seventy  black-letter  ballads  printed  between  the  years  1559  and  1597  ',  reaching  the 
number  70  by  counting  our  no.  15  as  four,  and  nos.  36*,  36"  as  two,  and  on  the  other  hand  omitting  nos.  55-57 
(prose  pieces)  and  all  after  69.  At  Daniel's  sale  in  1864  the  collection  was  bought  by  Lilly  for  Mr.  Henry 
Huth  for  £750.  In  1867  Mr.  Huth  reprinted  its  contents  for  the  Philobiblon  Society  under  the  title  '  Ancient 
Ballads  and  Broadsides  ',  adding  copies  of  the  woodcuts,  an  introduction  by  Mr.  W.  C.  Hazlitt,  and  notes.  In 
the  same  year  he  allowed  Lilly  to  reprint  this  work  without  the  cuts.  In  the  descriptions  that  follow  some 
use  has  been  made  of  the  notes  in  these  editions. 

At  the  end  of  the  volume  are  bound  three  leaves  bearing  six  manuscript  poems,  one  a  species  of  acrostic 
entitled  '  A  spell  for  Jone ',  two  beginning  '  What  Lyfe  is  Beft '  (these  are  signed  I.  G.),  an  epigram,  and  an 
epitaph  on  Edmund  Sandford.  The  remaining  piece,  entitled '  Love  deserveth  Love ',  is  the  earliest,  and  is  signed 
T.  W.  The  present  collection  is  bound  in  a  single  volume  in  plain  calf;  it  was  probably  arranged  by  Daniel 
after  his  division  of  his  ballads  with  Heber.  The  numbers  printed  in  leaded  type  at  the  end  of  each  entry 
represent  the  order  in  which  the  ballads  are  bound  in  this  volume.  Three  sheets  (nos.  7a,  73,  74  A  and  h)  have 
been  interpolated  towards  the  end  of  the  volume,  it  is  difficult  to  say  at  what  period,  and,  with  two  other  late 
pieces  (nos.  70  and  71),  are  here  catalogued  at  the  end  as  '  Later  Ballads'.  The  reprints  of  1867  number 
79  pieces,  i.  e.  nos.  1-69  as  here  catalogued,  with  the  six  poems  in  MS.,  no.  $6*  and  the  five  minor  pieces  of 
nos.  15,  16,  and  24  being  counted  separately  and  the  two  parts  of  nos.  63  and  66  in  each  case  as  one. 


I 

AWDELEY,  John.     C  The  wonders  of  England.    1559. 

WHen  date  of  (1553.)  was  expirde  ful, 
And  God's  wrath  rypt,  ready  to  fall : 
His  fworde  from  fheath  did  ferce  out  pul, 
And  to  the  heauens  beganne  to  call. 
Saying:   on  England  now  I  (hall, 
Plage  Prince,  Prophet,  and  People  all, 

For  contemptes  fake. 
Go  Death  inclofe  their  Kyng  in  clay, 
And  Sunne  withdraw  the  light  of  day, 

And  darkenes  make  .  .  . 

End  :    Finis,  cp  I.  A.    |[  Imprinted  at  London  by  Iohn  Awdeley. 


[I559-] 


Under  the  name  of  John  Sampson,  John  Awdeley  was  admitted  a  freeman  of  the  Stationers'  Company  in 
'55^  ;  he  died  in  1575.  He  wrote  '  The  Fraternitie  of  vacabondes  ',  1.565,  and  four  other  ballads  of  his,  besides 
this,  survive  :  '  Ecclefi.  xx.  Remember  Death  and  thou  fhalt  ncucr  fmne',  1569  ;  'An  Epitaphe  upon  the  Death 
[of]  Mayfter  Iohn  Viron  ',  n.  d. ;  '  The  cruel  Affault  of  Gods  Fort ',  n.d.  (printed  in  the  Percy  Society's  '  Old 
Ballads')  ;  and  'A  godly  Ditty  .  .  .  againft  all  Traytours',  &c.  [1569],  in  the  present  collection.  The  first 
three  are  in  the  Library  at  Britwell  Court,  and  were  originally  in  the  same  collection  as  these.  Yet  another 
ballad,  '  Volcon  and  Venus,'  licensed  to  Awdeley  in  1562-3,  may  be  by  him. 


355x>'5  (349**i°)  mm. 


83 


144 


N    2 


2 

M.,  R.    C  A  Newe  Ballade. 
O  Dere  Lady  Elyfabeth,  which  art  our  right  and  vertous  Quene 
God  hath  endued  the  w*  mercy  *  fayth,  as  by  thy  workes  it  may  be  fene 
Wherefore  good  Quene  I  counfayle  thee,  Lady  Lady. 
For  to  beware  of  the  fpiritualtie  moft  dere  Lady  .  .  . 

End:  Finis,    quod  R.  M.  [i559?] 

Apparently  written  soon  after  Elizabeth's  accession.  There  is  another  copy  in  the  Library  of  the  Society 
of  Antiquaries  (no.  48  in  Lemon's  Catalogue). 

The  refrain  '  Lady,  lady  . .  .  most  dere  Lady '  is  that  of  Elderton's  ballad  '  The  Panges  of  Loue ',  known 
from  its  first  line  as  '  King  Salomon ',  1559  ;  this  probably  is  later.  The  refrain  became  very  popular ;  see  the 
note  to  the  late  edition  of  the  ballad  of 'The  Conftancy  of  Sufanna'  in  this  collection,  below  (no.  72). 

309  x  185  (299  x  169)  mm.  [15 


OF  A  PRIEST  THAT  LOST  HIS  NOSE.    A  balade  of  a  prieft  that  lofte  his  nose 
For  fayinge  of  made  as  I  fuppofe. 

WHo  fo  lift  heare  of  a  wonderous  chaunce 
Of  late  I  mette  with  one  did  me  tell 
The  craftieft  prieft  in  England  or  Fraunce 
Hath  loft  his  nofe,  and  how  fhould  he  smell 
He  went  to  his  freinde  his  mynde  to  difclofe 
And  as  he  came  home  one  cut  of  his  nofe  .  .  . 

End  :  Finis.     God  saue  the  Quene.  [About  1560  ?] 

Apparently  written  soon  after  Elizabeth's  accession  ;  the  last  stanza  but  two  begins  with  these  lines : — 

Take  hede  I  faye  you  chaplyns  of  Balle, 
Though  ye  haue  fed  longe  at  Iefabel's  borde 

which  would  seem  to  imply  that  Mary's  reign  was  still  very  recent. 

Of  the  victim, '  olde  fyr  Iohn,  the  vycar  of  Lee/  nothing  seems  to  be  known ;  the  name  '  Sir  John '  was 
used  generically  for  a  priest. 

315  x  310  (302x180)  mm.  [16 


BARKER,  John.    A  Balade  declaryng  how  neybourhed  loue,  and  trew  dealyng 
is  gone. 

NOw  ftraunge  it  is,  to  men  of  age 
the  which  they  fe,  before  their  face. 
This  world  to  be,  in  fuch  outrage, 
It  was  neuer  fene,  in  fo  bad  cafe, 
Neibourhed  nor  loue  is  none 
trew  dealyng  now  is  fled  *  gone  .  .  . 
End  :  qd  lhon  Barker.     Imprinted  at  London  by  Richard  Lant.  [1561.] 

Licensed  to  Lant  by  the  first  entry  of  the  year  beginning  22  July,  1561,  as  'a  ballett  intituled  how 
ncyghborhed  loue  and  Tru  Dealynge  ys  gone '. 

John  Barker,  besides  this  ballad  and  two  others  in  the  present  collection,  'The  true  defcription  of 
a  monftcrous  Chylde,'  1564,  and  'The  Plagues  of  Northomberland '  [1570],  wrote  another,  'Of  the  horyble 
and  woful  deftruccion  of  lerufalcm '  [1568],  a  copy  of  which  is  at  Britwell. 

373  *  33«  (358  *  *°5)  mm.  [5 

84 


HEYWOOD,  John.    C  A  Ballad  against  (lander  and  detraction. 
f  Gar  call  him  downe  gar  call  him  downe  gar  call  him  downe  downe  a : 
|[  God  fend  the  faction  of  all  detraction  calld  downe  and  caft  away. 

AL  myghty  God 

Dooth  fhake  his  Rod 

Of  iuftife,  and  all  thofe : 

That  Vniuftly 

Detractyfly 

Detract  their  freends  or  foes  .  .  . 

End  :  Finis,    cp  Haywood.     Imprinted  at  Londo  at  the  log  Shop  adioining  vnto  Saint 
Mildreds  Churche  in  the  Pultrie  by  Iohn  Allde.  [1562.] 

Licensed  to  Allde  by  the  62nd  entry  for  the  year  beginning  22  July,  1561,  with  the  following  and  other 
ballads,  as  '  agaynfte  Detrection '. 

John  Heywood,  best  known  for  his  plays  and  epigrams,  wrote  besides  this  '  A  Balade  fpecifienge  partly 
the  maner,  partly  the  matter,  in  the  moft  excellent  meetyng  and  lyke  mariage  betwene  our  Soueraigne  Lord 
and  our  Soueraigne  Lady  the  Kynges  and  Queenes  Highnes'  [1554],  and  'A  breefe  balet  touching  the 
traytorous   takyng   of  Scarborow  CaftelT  [1557],  copies   of  which    are   in  the  Library  of  the  Society  of 

"ataloi 


Antiquaries  (nos.  37  and  40  in  Lemon's  Catalogue). 
292  x  219  (287  x  212)  mm. 


no 


FULWOOD,  William.    A  New  Ballad  againft  vnthrifts. 

When  raging  louts  with  feble  braines, 

mofte  wilfully  wyl  fpend  awaye : 
And  eke  cofume  more  the  their  gaines, 

in  riotyng  al  the  longe  day. 
And  fpend  with  him  that  wil  fpend  mode : 

yet  of  their  gaine  they  need  not  bofte  .  .  . 

End  :  C  Finis,  quoth.  W.  F.     [Ornaments.]    C  Imprinted  at  London  at  the  long  (hop 
adioining  vnto  Saint  mildreds  Churche  in  the  Poultry,  by  Iohn  Aide.  [1562.] 

Licensed  to  Allde  by  the  62nd  entry  for  the  year  beginning  22  July,  1561,  with  the  preceding  and  other 
ballads,  as  '  of  vnthreftes '.  Perhaps  a  parody  on  a  ballad  'when  raging  loue',  licensed  to  Hacket  in  1560-1 
and  to  Singleton  in  1561-2. 

The  author,  William  Fulwood,  is  known  to  have  written  besides  this  and  no.  9  another  ballad, 
'  A  Supplication  to  Elderton  for  Leaches  vnlewdnes,'  which  is  printed  in  the  Percy  Society's  '  Old  Ballads '. 
He  also  wrote  'The  Enimie  of  Idlenesse',  1568,  a  handbook  of  letter-writing,  which  was  five  times  reprinted, 
and  a  broadside,  'A  Spectacle  for  Periurers' ;  and  translated  Gratarolus'  'Castle  of  Memory',  1563. 

302  x  173  (283  x  157)  mm.  [59 


MONSTROUS  CHILD.  C  The  true  reporte  of  the  forme  and  fhape  of  a  monftrous 
childe,  borne  at  Muche  Horkefleye,  a  village  three  myles  from  Colchefter,  in  the  Countye 
of  Effex,  the  .xxi.  daye  of  Apryll  in  this  yeare.    1562. 

O,  prayfe  ye  God  and  [Woodcut         His  mightye  hande  hath 

blefle  his  name  of  the  child.]  wrought  the  fame 

THis  monftrous  world  that  monfters  bredes  as  rife 
As  men  tofore  it  bred  by  natiue  kindc 
By  birthes  that  fhewe  corrupted  natures  ftrife 
Declares  what  fumes  befct  the  fecrete  mindc  .  .  . 

85 


ON  Tuyfday  being  the  .xxi.  day  of  Apryll,  in  this  yeare  of  our  Lorde  God  a  thoufand 
fyue  hundred  thre  fcore  and  two,  there  was  borne  a  man  childe  of  this  maymed  forme  at 
Muche  Horkefley  in  Eflex  .  .  .  End  :  |[  Imprinted  at  London  in  Fleteftrete  nere  to 
S.  Dunftons  church  by  Thomas  Marfhe.  [1562.] 

The  editor  of  'Ancient  Ballads'  notes  that  the  woodcut  to  this  ballad  and  several  others,  including 
some  in  the  present  collection,  are  copied  by  hand  on  the  margins  of  the  register-book  of  Wills  in  the 
Prerogative  Court  of  Canterbury,  headed  by  the  note,  '  Prodigiae  (sic)  quaedam  contra  solitum  naturae  cursum 
nata  et  in  lucem  aedit:  anno  Domini  1562.'    The  year  156a  seems  to  have  been  peculiarly  fruitful  in  monsters. 

363  x  ai  1  (350  x  195)  mm.  [36 

8 

D.,  John.  C  A  difcription  of  a  monftrous  Chylde,  borne  at  Chychefter  in  Suffex,  the 
.xxiiii.  dayeof  May.  This  being  the  very  length,  andbygnesofthefame.  M.CCCCC.  LXII. 
[Woodcut  of  the  child,  6|  inches  high.] 

WHen  God  for  fynne,  to  plage  hath  met 

Although,  he  longe  defarde 
He  tokens  truly,  ftraunge  hath  fent 

To  make  his  foes  a  fearde  .  .  . 

End  :  quod.  Ihon.  D.  (  The  father  hereof  is  one  Vyncent,  a  boutcher,  bothe  he  and 
hys  wyfe  being  of  honeft  t  quiet  conuerfation.  They  hauing  had  chyldre  before,  in  natural 
proportion :  and  went  with  this  her  full  tyme.  C  Imprynted  at  London,  by  Leonard 
Afkel  for  Fraunces  Godlyf.     In  the  yeare  of  oure  Lorde.     1562. 

This  is  the  first  piece  licensed  to  Godlyf  in  the  Stationers'  Register ;  it  is  entered  (in  the  70th  entry  for 
the  year  beginning  22  July,  156 1)  as  '  the  pycture  of  a  monfterus  chylde  which  was  bourne  at  Chechefter '. 

The  author  has  not  been  further  identified. 

354  x  240  (345  x  237)  mm.  [33 


9 

FULWOOD,  William.  C  The  Shape  of  .ii.  Mofters.  M.  D.  Lxii.  [Double  wood- 
cut.] THis  prefent  yere  of  oure  Lord  God  a  thoufande  fiue  hundred  thre  fcore  and  two, 
one  Marke  Finkle  a  Ioiner  dwelling  befide  Charing  croffe  by  Weftminfter  had  a  Sow  that 
brought  forth  one  Pigge  onely,  vpon  the  feuenth  of  Maye  beinge  Afcention  daye  ...  ([An 
Admonition  vnto  the  Reader. 

LEt  vs  knowe  by  thefe  vgly  fights, 

and  eke  confider  well : 
That  our  God  is  the  Lord  of  mights, 

who  rules  both  heauen  and  hell  .  .  . 

End  :  Amen.  q>.  W.  F.  {[  Imprinted  at  London  at  the  Long  Shop  in  the  Pultry  by 
IohnAldeO  [1562.] 

Licensed  to  Alldc  by  the  72nd  entry  for  the  year  beginning  22  July,  1561,  as  'a  pycture  of  a  monfterus 

pygge  '• 

For  the  author  see  the  note  to  no.  6. 

355X175  (343x163)  mm.  [37 


86 


IO 

MONSTROUS  PIG.  C  The  defcription  of  a  monftrous  Pig,  the  which  was  farrowed 
at  Hamfted  befyde  London,  the  .xvi.  day  of  October  this  prefent  yeare  of  our  Lord  God. 
M.D.LXII.  [Woodcut.] .  .  .  End:  (  Imprinted  at  London  by  Alexander  Lacy  for  Garat 
Dewes,  dwellyng  in  Poules  church  yarde,  at  the  Eaft  end  of  the  Church.  [1562.] 

Licensed  to  Dewes  by  the  31st  entry  for  the  year  beginning  22  July,  1562,  as '  a  pycture  of  [a]  monfterous 
pygge  at  Hamfted '. 


315x196(303x178)  mm. 


[39 


I  I 


ELIZABETH,  Queen.    [Woodcut  portrait,  followed  by  verses  in  a  frame.] 


Loe  here  the  pearle, 

whom  God  and  man  doth  loue 
Loe  here  on  earth, 

the  onely  ftarre  of  light : 
Loe  here  the  Queene, 

whom  no  mifhap  can  moue  : 
To  chaunge  her  mynde, 

from  vertues  chief  delight : 


Loe  here  the  heart, 

that  fo  hath  honord  God  : 
That  for  her  loue, 

we  feele  not  of  his  rod  : 
Pray  for  her  health, 

fuch  as  good  fubiectes  bee : 
(O  Princely  Dame,) 

there  is  none  like  to  thee. 

[Giles  Godhead,  1563.] 


Woodcut  of  Queen  Elizabeth,  with  initials  E.  R.  and  crowns. 

'The  pycture  of  quene  Elyfabeth,'  with  other  pictures,  was  licensed  to  Giles  Godhead  by  the  89th  entry 
for  the  year  beginning  22  July,  1562. 

A  proclamation,  attributed  by  Mr.  Steele  (' Bibliotheca  Lindesiana')  to  December,  1563,  prohibiting  all 
'  payntors,  pryntors,  and  grauors '  from  drawing  Queen  Elizabeth's  picture,  until  '  some  conning  person  mete 
therefor  shall  make  a  naturall  representation  of  her  Ma'7'"  person,  fauour,  or  grace,  as  a  pattern  for  other 
persons  to  copy ',  exists  in  a  draft  in  Cecil's  hand,  at  the  Record  Office ;  it  is  not  known  ever  to  have  been 
printed. 

A  reduced  facsimile  of  this  broadsheet  forms  the  frontispiece  to  this  section  of  the  catalogue. 

325  x  232  mm.  (cut  close  round  the  frame).    The  woodcut  and  space  inside  the  frame  are  coloured.      [28 


12 

BARKER,  John.  ^\  The  true  defcription  of  a  monfterous  Chylde/  Borne  in  the 
He  of  wight,  in  this  prefent  yeare  of  oure  Lord  God,  M.D.LXII  1 1,  the  month  October, 
after  this  forme  with  a  clufter  of  longe  heare  about  the  Nauell,  the  Fathers  name  is  lames 
Iohnfun,  in  the  parys  of  Frefwater.    [Woodcut.] 

FOr  mercy  Lorde,  with  one  accorde, 
To  the  we  call  and  crye  : 
That  fo  doth  (how,  in  earth  below, 
Thy  wonderous  workes  daylye  .  .  . 
AL1  ye  that  dothe  beholde  and  fee,  this  monftrous  fight  fo  ftraunge, 
Let  it  to  you  a  preachyng  be,  from  fynfull  lyfe  to  chaunge :   .  .  . 

End  :  Finis  quod  lohn  Barkar.  |[  Imprynted  at  London  in  Fleteftrete  :  at  the  Sygne 
of  the  Faucon,  by  Wylliam  Gryffith,  and  are  to  be  folde  at  his  fhop  in  faint  Dunftons 
churchyardc,  in  the  weft  of  London,  the  .viii.  daye  of  Nouember. 

Licensed  to  Griffith  soon  after  27  October,  1564,  by  the  48th  entry  for  the  year  beginning  22  July,  1564, 
as  'a  pycture  of  a  chylde  borne  in  the  lie  of  Wyghte  with  a  clufter  of  grapes  about  yt  nauell '. 

For  the  author  see  the  note  to  no.  4. 

343  x  239  (338  x  230)  mm.  [40 

87 


13 

MELLYS,  John.  The  true  defcription  of  two  monfterous  children,  laufully  begotten 
betwene  George  Steuens  and  Margerie  his  wyfe,  and  borne  in  the  parifh  of  Swanburne  in 
Buckingham  fhyre,  the  .iiij.  of  Aprill.  Anno  Domini.  1566.  the  two  children  hauing  both 
their  belies  fad  ioyned  together,  and  imbracying  one  an  other  with  their  armes  :  which 
children  wer  both  a  lyue  by  the  fpace  of  half  an  hower,  and  wer  baptized,  and  named  the 
one  Iohn,  and  the  other  loan.    [Woodcut.] 

I  Read  how  Affrique  land  was  fraught 

for  their  molt  filthy  life, 
With  moftrous  fhapes,  confuzedly 

that  therin  wer  full  rife  .  .  . 

End  :  C  Finis,  q?  Iohn  Mellys  Nor.  (  Imprinted  at  London  by  Alexander  Lacy,  for 
William  Lewes :  dwellyng  in  Cow  lane  aboue  Holborne  cundit,  ouer  againft  the  figne  of 
the  Plough.  [1566] 

Licensed  to  Lewes  by  the  153rd  entry  for  the  year  beginning  22  July,  1565,  as '  the  monfterus  chylde  which 
was  borne  in  Buckenham  fhyre '. 

Nothing  more  is  known  of  the  author,  unless  he  be  the  John  Mellis  who  wrote  a  '  Brief  Instruction  and 
maner  how  to  keepe  Bookes  of  Accompts ',  1581,  and  edited  Record's  '  Ground  of  Arts  ',  1582. 

Framed  within  black  rules. 

318  x  an  mm.  (cut  close  round  the  rules).  [35 


14 

GARTER,  Bernard.    (  A  dittie  In  the  worthie  praife  of  an  high  and  mightie  Prince. 

WHen  heapes  of  heauie  hap,  had  fild  my  harte  right  full, 
And  forrow  fet  forth  penfiuenes,  my  ioyes  away  to  pull  .  .  . 

End  :  |[  Finis.  Ber.  Gar.  |[  Imprinted  at  London  without  Alderfgate  in  little  Britaine, 
by  Alexander  Lacy.  [1566.] 

Licensed  to  Lacy  by  the  169th  entry  for  the  year  beginning  22  July,  1565,  as  'a  Dytty  in  the  prayfe  of 
a  hygh  and  myghty  prynce  &c  ',  with  another, '  Orpheous  and  his  wyf '. 

Bernard  Garter  wrote,  besides  this  poem,  the  two  printed  with  Canand's  '  fantafies  of  a  troubled  mannes 
head '  below,  and  a  poem  prefixed  to  Curio's  ■  Pafquine  in  a  Traunce ',  also  of  1566,  three  books,  viz.  a  verse 
translation  from  Bandello  entitled 'The  Tragicall  and  True  Hiftorie  which  happened  betwene  two  English 
louers',  1565,  'A  Newyeares  Gifte,  dedicated  to  the  Popes  Holinefle,'  licensed  in  1565,  but  now  only  known 
in  the  edition  of  1579,  and  'The  Ioyfull  Receyuing  of  the  Queenes  mod  excellent  Maieftie,  into  hir  Highnefle 
Citie  of  Norwiche ',  1578. 

This  poem  is  in  honour  of  Thomas  Howard,  fourth  Duke  of  Norfolk,  who  was  executed  for  high  treason 
in  1572.  The  particular  occasion  does  not  appear;  the  author  rejoices  that  the  Duke  'amongft  vs  here 
is  plaft '. 

The  line  '  In  frecndfhip  he  furmounts  Gifippus  and  his  Tite '  alludes  to  the  story  of  Titus  and 
Gisippus,  from  Boccaccio's  '  Decamerone '  (x.  8),  a  version  of  which  was  incorporated  by  Sir  Thomas  Elyot  in 
his  '  Book  of  the  Governor ' ;  it  was  also  versified  by  Edward  Lewicke  in  1562. 

Framed  within  black  rules. 

287  x  138  mm.  (cut  close  round  the  rules).  [53 


15 

CAN  AND,  J.,  and  GARTER,  Bernard.    C  The  fantafies  of  a  troubled  mannes  head. 
BY  Fortune  as  I  lay  in  bed,  my  fortune  was  to  fynd, 
Such  fancies  as  my  careful  thought  hath  brought  into  my  mynd  .  .  . 

88 


C  Finis.  I.  C.  [With  three  other  pieces,  viz.  'Of  euyll  tounges',  signed  I.  Canand ; 
'  Of  truft  and  triall ',  signed  B.  G. ;  and  '  A  ftrife  betwene  Appelles  and  Pigmalion ',  signed 
Ber.  Gar.,  i.  e.  Bernard  Garter.]  Imprinted  at  London  without  Alderfgate  in  little 
Britaine,  by  A.  Lacy.  [1566.] 

Garter's  poems  were  licensed  first  by  the  164th  entry  for  the  year  beginning  22  July,  1565,  as  'a  fonge  of 
Appelles  with  an  other  Dytty'.  Later  in  the  same  year  (by  the  176th  entry)  Canand's  first  poem  on  this 
sheet  was  licensed  separately  as  '  a.  ballet  intituled  the  fantifes  of  a  T  rubbled  mans  hed  '.  The  editor  of 
'  Ancient  Ballads '  notes  that  this  poem  appeared  anonymously,  as  '  Of  the  mutabilitie  of  the  World ',  in 
Tottel's  Miscellany,  1557.  A  ballad  of '  Appelles  and  Pygmalyne '  was  also  licensed  to  Griffith  in  this  year. 
From  the  end  of  Garter's  '  Strife  betwene  Appelles  and  Pigmalion ', 

That  God  may  graunt  most  happie  state, 
Vnto  that  Princesse  and  her  mate, 

it  would  appear  that  this  poem,  like  Canand's,  was  written  before  the  death  of  Queen  Mary. 

Nothing  more  is  known  of  Canand  ;  for  Garter  see  the  note  to  no.  14. 

Framed  within  rules. 


317  x  206  mm.     (Cut  close  round  the  rules.) 


[57 


16 
WILSON,  Christopher. 

C  Almightie  God  I  pray,  his  Holy  fpirite  to  fend : 

The  iuft  mannes  hart  ftedfaft  to  (lay,  and  wicked  Hues  to  mend. 

T  rue  tryall  touchyng  truth,  time  trimly  here  doth  trye: 

E  xcept  the  Scribes  therfore  we  pafle  in  righteoufnes,  we  dye  .  .  . 

O  Lorde  graunt  this  requeft,  Lorde  let  thy  kyngdome  cum  : 
N  ow  watch  and  pray  we  wyll,  for  whye  ?  Tempus  edax  rerum. 

C  Finis,  (cp)  Christopher  Wilson.  [With  a  second  poem  beginning  '  SOme  hope  you 
fee  .  .  .']  End  :  C  Imprinted  at  London  without  Alderfgate,  in  little  Britaine  :  by  Alex. 
Lacy.     The  .16.  of  August.     1566. 

The  first  letters  of  the  lines  in  the  first  poem  make  the  acrostic  :  TEMPUS  EDAX  RERUM  TIME  BRYNGETHE" 
AL  THYNGES  TO  AN  ENDE  QUOD  CHRISTOPHER  WILSON. 

Licensed  to  Lacy  by  the  5th  entry  for  the  year  beginning  23  July,  1566,  as  'a  ballett  intituled  anexhorte 
and  eke  I  pray  that  God  his  fpirite  will  fende  &c.\ 

Nothing  is  known  as  to  Christopher  Wilson. 

Printed  within  rules. 

31 8  x  198  (303  x  182)  mm.  [68 

17 

B.,  H.  |[  The  true  difcription  of  a  Childe  with  Ruffes  borne  in  the  parifh  of  Micheham 
in  the  Coutie  of  Surrey  in  the  yeere  of  our  Lord  .M.D.LXvi.  .  .  .  [Woodcut.]  THis  prefet 
yeere  of  our  Lor[d]  M.D.Lxvi  the  .vii.  day  of  Iune  one  Helene  Iermin  the  wife  of  Iohn 
Iermin  Hufbandman  Dwelling  in  the  parifhe  of  Micheham  was  deliuered  of  a  Woman 
Childe  named  Chriftian  beeing  aft[et]  this  maner  *  fourme  following  ...  C  This  Childe 
beforfaid  (the  day  of  the  date  vnder  written)  was  tobe  feene  in  Glene  Alley  in  Suthwark 
beeing  aliue  and  x  weeks  olde  and  iiii.  dayes  not  vnlikly  to  liue  long.  |[  An  Admonition 
vnto  the  Reader. 

THis  picture  preft  in  paper  white; 

our  natures  dooth  declare : 
Whofe  fourme  so  ftraunge  by  natures  fpite 
may  lerne  vs  to  beware  .  .  . 

End  :  Finis,  q?  H.  B.  C  Imprinted  at  London  by  Iohn  Allde  and  Richarde  Iohnes 
and  are  to  be  folde  at  the  Long  Shop  adioining  vnto  S.  Mildreds  Churche  in  the  Pultric 

89  o 


and  at  the  Htle  (hop  adioining  to  the  Northweft  doore  of  Paules  Churche.    Anno  domini. 
M.D.Lxvi.  the  .xx.  of  August. 

Printed  twice  on  the  same  sheet,  once  on  each  side. 

Licensed  to  Allde  and  Johnes  in  1566  by  the  18th  entry  for  the  year  beginning  22  July,  1566,  as  'a  tru 
Difcription  of  a  chylde  bornne  with  Ruffes  in  the  parryffhe  of  Myttcham  in  the  County  of  Surry  . 

The  author  is  unknown. 

345  x  227  (338  x  226)  mm.  [34 


18 

MELL,  George.    [Ornament]    A  Proper  New  balad  of  the  Bryber  Gehefie.    Taken 
out  of  the  fourth  booke  of  Kinges  the  .v.  Chapter.    To  the  tune  of  Kynge  Salomon. 

WAs  not  the  Bryber  Gehezie 
Rewarded  iuftly  of  the  Lord, 
Which  for  example  verelie, 
The  holie  Scripture  doth  recorde 
If  this  be  true,  as  true  it  was, 

Of  his  rewarde : 
Why  fhould  not  chriftan  men  alas, 

Than  haue  regarde  .  .  . 

End  :  |[  Finis,     q?  George  Mell.     Imprinted  at  London  in  Fleteftreate  beneath  the 
Conduit,  at  the  figne  of  S.  Iohn  Evangelift,  by  Thomas  Colwell.  [1566] 

Between  the  two  columns  of  text  is  a  border  made  up  of  two  blocks  which  read,  in  white  on  black,  Tl  ET 
PER  and  A  MULIERE  iMTrv  FACT? ;  they  are  separated  by  a  square  'lace'  ornament. 

Licensed  to  Colwell  by  the  32nd  entry  for  the  year  beginning  22  July,  1566,  as  'a  ballett  intituled  of 
bryber  Jehezye  taken  out  of  the  v"1  Chapter  of  the  iiijth  bokes  of  Kynges '. 

Nothing  else  is  known  of  the  author. 

345  x  226  (333  x  206)  mm.  [3 


19 

I.,  A.     C  A  godly  Ballad  declaring  by  the  Scriptures  the  plagues  that  haue  infued 
whordome. 

REfrain  of  youth  thy  vain  defire 

fubdue  thy  lufts  inordinate : 
Supprefle  y6  fparks  left  if  the  fire, 
to  quenche  them  it  wilbe  to  late  .  .  . 

End  :   Finis.    A.  I.    C  Imprinted  at  London  at  the  long  Shop  adioining  vnto  Sainct 
Mildreds  Churche  in  the  Poultrie  by  Iohn  Allde.    Anno  Domini  1566.     Nouembris.  25. 

Licensed  to  Allde  by  the  90th  entry  for  the  year  beginning  22  July,  1566,  as  'a  ballett  intituled 
Declarynge  by  the  fcriptures  the  plages  that  haue  infued  of  whoredome '. 

The  author,  A.  I.  or  A.  J.,  is  unknown. 

Framed  within  rules. 

345  x  198  (338  x  190)  mm.     On  the  back  of  this  copy  a  proof  has  been  taken  of  the  first  twelve  pages  of 
a  Prognostication  for  1567.  [49 


90 


20 

OSB[ORNE  ?],  M.  (^5  A  Newe  Ballade  of  a  Louer  /  Extolling  his  Ladye.  To  the 
tune  of  Damon  and  Pithias. 

ALas  my  harte  doth  boyle,  and  burne  with  in  my  brefte : 
To  fhowe  to  thee  myne  onely  deere,  my  fute  and  fure  requeft. 
My  loue  no  toung  can  tell,  ne  pen  can  well  defcrye : 
Extend  thy  Loue  for  loue  again?    Or  els  for  Loue  I  dye  .  .  . 

End  :  Finis,  cp  M.  Ofb.  Imprinted  at  London,  in  Fletftrete  at  the  ligne  of  the 
Faucon,  by  Wylliam  Gryffith.     1568. 

'  A  ballett  intituled  the  louer  extollynge  hys  Ladyes '  was  licensed  to  Colwell  in  156a. 

The  first  stanza  is  printed  with  the  musical  notation,  stated  by  Chappell  to  be  '  worthless  as  music,  and 
I  suspect  very  incorrectly  printed  ' ;  between  the  columns  are  four  40  x  30  mm.  cuts,  probably  from  a  Horae. 
Framed  within  rules. 
Nothing  is  known  as  to  the  author. 
285  x  180  (278  x  175)  mm.  [27 

21 

MONSTROUS  CHILD.  C  The  forme  and  fhape  of  a  Monftrous  Child  /  borne  at 
Maydftone  in  Kent,  the  .xxiiij.  of  October.  1568.  [Woodcut  of  the  child,  with  verses  inset, 
dated  1568.]  AT  Maydftone  in  Kent  there  was  one  Marget  Mere,  Daughter  to  Richard 
Mere  of  the  fayd  Towne  of  Maydftone,  who  being  vnmaryed,  played  the  naughty  packe, 
and  was  gotten  with  childe,  being  deliuered  of  the  fame  childe  the  .xxiiij.  daye  of  October 

laft  paft,  in  the  yeare  of  our  Lord  1568  .  .  .     ^-^^A  warnyng  to  England. 

THis  monftrous  fhape  to  thee  England 

Playn  fhewes  thy  monftrous  vice. 
If  thou  ech  part  wylt  vnderftand, 

And  take  thereby  aduice  .  .  . 

End  :  C  Imprinted  at  London  by  Iohn  Awdeley,  dwellyng  in  little  Britain  ftreete 
without  Alderfgate.    The  xxiij.  of  December.  [1568.] 

Licensed  to  Awdeley  (called  Sampson)  by  the  58th  entry  for  the  year  beginning  22  July,  1568,  as 
'  a  monfterus  chylde  which  was  borne  at  Maydertone '. 

Framed  within  rules. 

343  *  *43  (340  x  236)  mm.  [38 


22 

ELDERTON,  William.  [Woodcuts  of  five  sibyls.]  A  proper  newe  ballad  fheweing 
that  Philofophers  Learnynges,  are  full  of  good  warnynges.  And  fonge  to  the  tune  of  my 
Lorde  Marques  Galyarde  ;  or  the  firfte  traces  of  Que  pafla. 

PHilofophers  learnings,  are  ful  of  good  wamlgs, 

in  memorye  yet  left,  to  fcoole  vs, 
So  be  ther  contayned,  in  Poietries  fained 

great  Documentes,  to  rate  and  rule  vs, 
As  well  for  continuance,  of  life  helth  and  fubftance, 

whofe  vanities  the  world  requireth, 
As  for  the  derection  of  life  by  correction 

from  lyberties  that  luft  defireth  .  .  . 

91  02 


End:  C  Finis.    q>.    W.  Elderton.)    C  Imprinted  at  London  in  Fleeteftreet  beneath 
the  Conduit,  at  the  figne  of  Sainte .  Iohn  Euangelift,  by  Thomas  Colwell.    [Ornament.] 

[1569?] 

The  five  woodcuts  at  the  head  are  English  copies  from  the  set  of  the  Sibyls  used  in  Antoine  Verard's 
Grandea  Heures.  The  tail-piece  is  apparently  printed  from  a  binder's  stamp  of  four  dragons,  &c.  The  two 
columns  of  text  are  separated  by  a  narrow  border. 

Licensed  to  Colwell,  probably  early  in  1569,  by  the  67th  entry  for  the  year  beginning  22  July,  1568,  as 
'  a  ballett  intituled  the  philofifor  lernynges '. 

William  Elderton  was  well  known  as  a  writer  of  ballads  and  also  for  his  drinking  propensities.  Stow 
records  that  he  was  an  attorney  in  the  Sheriffs  Court ;  later  he  was  master  of  a  company  of  players.  He 
died  before  1592. 

Besides  this  there  are  in  the  present  collection  three  other  ballads  by  Elderton,  'A  proper  new  balad 
in  praife  of  my  Ladie  Marques '  (no.  23),  '  A  Newe  well  a  daye '  (no.  30),  and  '  Prepare  ye  to  the  Plowe ' 
(no.  33).  In  the  Roxburghe  Collection  is  one  by  him,  '  A  new  Yorkshyre  Song,'  1584.  and  in  the  Percy 
Society's  ' Old  Ballads'  are  two,  'The  Panges  of  Loue  and  louers  f[i]ttes,'  1559,  and  'The  Lamentation  of 
Folly  .  'A  ballat  intituled  Northomberland  Newes',  licensed  1569-70,  exists  at  Britwell  (see  note  on  no.  29), 
and  another  by  him,  '  Newes  from  Northumberland,'  in  the  Library  of  the  Society  of  Antiquaries  (no.  60  in 
Lemon's  Catalogue).  This  last,  with  others,  including  three  more  by  Elderton, '  The  Dekaye  of  the  Duke  ' 
[1572],  'A  newe  Ballade  declaryng  the  daungerous  Shootyng  of  the  Gunne  at  the  Courte'  [1578?],  and 
•  A  new  Ballad  declaring  the  great  Treason  conspired  against  the  young  King  of  Scots ',  is  reprinted  in  the 
Harleian  Miscellany  (18 13,  vol.  x,  pp.  266-74).  '  Elderton's  Jeftes  with  his  mery  Toyes',  licensed  1561-2  to 
Singleton,  is  lost,  as  is  also  '  Eldertons  ell  fortune ',  which  is  not  called  a '  ballett ',  but  was  presumably  a  broadside 
of  some  sort,  licensed  to  Colwell  in  1 570-1. 

282  x  245  mm.     (Cropped  close  round  text.)  [7 


23 

ELDERTON,  William.  A  proper  new  balad  in  praife  of  my  Ladie  Marques.  Whofe 
death  is  bewailed,  To  the  tune  of  new  lufty  gallant. 

LAdies  I  thinke  you  maruell  that 

I  writ  no  mery  report  to  you, 

And  what  is  the  caufe  I  court  it  not 

So  merye  as  I  was  wont  to  dooe, 

Alas  I  let  you  vnderftand, 

It  is  no  newes  for  me  to  fhow, 

The  faireft  flower  of  my  garland 

Was  caught  from  court  a  great  while  a  goe  .  .  . 

End  :  f}  Finis.  q>.  W.  Elderton.  C  Imprinted  at  London  in  Fleteftreat  beneath  the 
Conduit,  at  the  figne  of  S.  Iohn  Euangelift,  by  Thomas  Colwell.    [Ornament.]         [1569?] 

Licensed  to  Colwell,  probably  early  in  1569,  by  the  68th  entry  for  the  year  beginning  22  July,  1568,  as 
'  a  ballett  intituled  the  prayfe  of  my  lady  marques,  &c.' 

For  Elderton  see  the  note  to  no.  23. 

Above  the  text  are  five  blocks,  one  of  a  Sibyl,  another  of  an  eastern  sage,  three  of  S.  Luke,  old  copies 
from  the  border  sets  in  Verard's  Grandes  Heures.     The  tail-piece  is  the  same  as  in  no.  22. 

There  were  only  two  marquisates  in  1568-9,  those  of  Winchester  and  Dorset  Elizabeth  Paulet,  the 
first  wife  of  the  first  Marquis  of  Winchester,  died  in  1558,  and  in  spite  of  the  words  *  caught  from  court  a  great 
while  a  goe  at  the  end  of  the  first  stanza,  which  appear  to  be  rendered  meaningless  by  what  follows,  she  can 
hardly  be  the  subject  of  this  poem.     The  second  wife  of  the  Marquis  survived  him,  dying  in  1586. 

The  third  Marquis  of  Dorset  was  also  Duke  of  Suffolk  ;  and  it  is  possible  that  his  widow,  who  soon  after 
her  husband's  execution  in  1554  married  Adrian  Stokes,  her  master  of  the  horse,  continued  to  be  styled  '  my 
Lady  Marquess  '  and  died  at  this  time.  We  learn  from  the  second  stanza  that  the  subject  of  this  ballad  was 
buried  in  old  Saint  Paul's.     But  it  is  possible  that  the  whole  poem  is  fanciful  and  does  not  relate  to  a  real  person. 

303  x  mo  mm.    (Cropped  close.)  [2 

92 


24 

GOOD  FELLOWS  MUST  GO  LEARN  TO  DANCE.  ^^  A  Newe  Ballade 
intytuled  /  Good  Fellowes  mull  go  learne  to  Daunce.    [Woodcut.] 

GOod  fellowes  muft  go  learne  to  daunce, 

the  brydeall  is  full  nere  a : 
There  is  a  brail  come  out  of  Fraunce, 

the  tryxt  ye  harde  this  yeare  a. 
For  I  muft  leape  and  thou  muft  hoppe, 

and  we  muft  turne  all  three  a : 
The  fourth  muft  bounce  it  lyke  a  toppe, 

and  fo  we  fhall  a  gree  a. 
I  praye  thee  mynftrell  make  no  ftoppe, 

for  we  wyll  merye  be  a  .  .  . 

O  where  fhall  all  this  dauncinge  bee 

in  Kent  or  at  cotfolde  a. 
Oure  Lorde  doth  knowe  then  axe  not  mee, 

and  fo  my  tale  is  tolde  a. 

[Followed  by  a  second  piece  beginning  :  ADewe  fweete  harte  adewe  . .  .  End  :  Finis. 
d  Imprinted  at  London,  in  Fleteftrete  at  the  figne  of  the  Faucon,  by  Wylliam  Gryffith, 
and  are  to  be  folde  at  his  fhoppe  in  S.  Dunftones  Churchyearde.     1569.    [Device.] 

Licensed  to  Griffith  in  the  earlier  half  of  1568  by  the  90th  entry  for  the  year  beginning  22  July,  1567,  as 
'  a  ballett  intituled  good  felowes  muft  go  learne  to  Daunce,  &c.'     This  may  be  a  reprint 

The  cut  at  the  head  of  the  text,  obviously  by  a  quite  untrained  workman,  shows  a  man  and  woman  at 
a  window,  beneath  which  is  a  large  vessel  labelled  '  canikin  '.  Between  the  columns  is  a  fragment  of  a  border 
of  ornamental  branches  amid  which  stand  two  figures  of  men  (cp.  no.  38).  This  not  being  long  enough  to 
fill  the  space  is  eked  out  with  two  small  cuts  of  Libra  and  Gemini.     Beneath  the  colophon  are  the  imperial  arms. 

326x215  (319x203)  mm.  [66 

25 
SAPARTON,  John. 

Saparton's  Alarum,  to  all  fuch  as  do  beare 

The  name  of  true  Souldiers,  in  England,  or  els  wheare. 

AL  Mars  his  men  drawe  neere, 

that  warlike  feates  embrace, 
Sit  downe  a  while,  *  harken  heere, 

a  feruinge  Souldiers  cafe  .  .  . 

End  :  Finis.  Iohn  Saparton.  Imprinted  at  London,  in  Fleeteftreete,  by  William 
How,  for  Richard  Iohnes,  and  are  to  be  folde  at  his  fhoppe  vnder  the  Lotterie  houfe. 
[Device.]  [1569] 


Licensed  to  Johncs  by  the  93rd  entry  for  the  year  beginning  22  July,  1568,  as  'all  Mars  his  men  Drawe 


ncrc 


The  author  is  only  known  from  this  and  a  ballad  with  the  title  '  my  gentle  Iohn  Saperton ',  licensed  to 
Colwell  in  1569-70. 

Framed  within  rules. 

338  x  202  mm.     (Cut  close  round  the  rules.)  [70 


93 


26 

THE  DANCE  AND  SONG  OF  DEATH.  £^?  The  Daunce  and  Song  of  Death. 
A  large  woodcut ;  in  the  four  corners  are  scenes  of  Death  and  the  miser,  Death  and 
the  Judge  and  suitor,  Death  and  the  prisoner,  and  Death  and  two  lovers ;  in  the  upper 
half  are  grouped  Death,  the  old  man  and  the  child,  and  Death,  the  beggar  and  the  King ; 
in  the  lower  half  Death  dances  with  the  wise  man  and  the  fool ;  in  the  centre  '  Sycknes 
Deathes  minftrel '  sits  with  pipe  and  tabor  over  an  open  grave.  The  four  vignettes  in  the 
corners,  and  the  group  of  figures  on  the  central  field,  have  each  a  type-set  verse  in 
Gothic  letter,  the  separate  figures  each  a  description  in  roman  letter.  The  verse  on  the 
miser,  in  the  top  left-hand  corner,  reads  : 

From  your  gold  and  filuer, 

To  graue  ye  muft  daunce  : 
Though  you  loue  it  fo  deare, 
And  haue  therein  affiaunce. 

That  on  the  lovers,  in  the  lower  right-hand  corner,  reads : 

Ye  dallying  fyne  Louers, 

In  mydft  of  your  chere : 
To  daunce  here  be  partners, 

And  to  graue  draw  ye  nere. 

[John  Awdeley,  1569.] 

Licensed  to  Awdeley  by  the  97th  entry  for  the  year  beginning  22  July,  1568. 

254  x  365  mm.    Cropped  close  and  mutilated  in  two  places.  [32 

27 

R.,  C.  [Ornament.]  The  true  difcripcion  of  this  marueilous  ftraunge  Fifhe,  whiche 
was  taken  on  thurfday  was  fennight,  the  .xvi.  day  of  Iune,  this  prefent  month,  in  the  yeare 
of  our  Lord  God  .  M.  DLX.  ix.  [Woodcut  of  the  fish.]  C  A  declaration  of  the  taking  of  this 
ftraunge  Fifhe,  with  the  length  *  bredth  .%c  .  .  .  End  :  Ther  is  no  proper  name  for  it  that 
I  knowe  but  that  fertayne  men  of  Captayne  Haukinfes,  doth  call  it  a  Sharke.  And  it 
is  to  bee  feene  in  London,  at  the  red  Lyon,  in  Fleteftreete.  Fininis.  Qd.  C.  R. 
Imprynted  at  London,  in  Fleetftreate,  beneathe  the  conduit,  at  the  figne  of  Saint  Iohn 
Euangelift,  by  Thomas  Colwell.  [June,  1569.] 

In  the  previous   year   there  was    licensed    to    Colwell  «a  mounfterous   fyffhe   which   was    taken    in 
Ipwyche '. 

The  passage  quoted  above  shows  that  the  word  shark,  which  is  derived  from  O.  F.  cherquier,  to  prowl, 
and  had  been  used  in  English  for  a  prowling  greedy  fellow,  was  now  coming  to  be  applied  to  the  fish. 

The  text  is  framed  in  a  lace  border  and  begins  with  a  large  pictorial  D  from  a  New  Testament  set 
(57  x57  mm.). 

313x240  (308x236)  mm.  [41 

28 

AWDELY,  John.  9^  A  godly  ditty  or  Prayer  to  be  fong  vnto  God  for  the 
preferuation  of  his  Church,  our  Queene  and  Realme,  againft  all  Traytours,  Rebels,  and 
Papifticall  Enemies.    [Border  and  cut  of  the  Royal  Arms.] 

Preferue  thy  Seruaunt  Lord, 

Elizabeth  our  Queene: 
Be  thou  her  fhield  and  fword, 

Now  let  thy  power  be  feene. 
94 


That  this  our  Queene  annoynted, 

May  vanquifh  al  her  foes : 
And  as  by  thee  appoynted, 

Let  her  lay  fword  on  thofe  .  .  . 

^  Syng  this  after  the  tune  of  the  cxxxvii.  Pfalme,  which  begins  When  as  we  fat  in 
Babilon.    Or  fuch  lyke  .  .  . 

End  :    Finis.      Quoth  Ioh.  Awdely.      €J  Imprynted  at  London  by    Iohn   Awdely. 

[November,  1569?] 

This,  the  four  ballads  immediately  following,  and  no.  38  were  evoked  by  the  rising  in  the  North  of 
England  in  1569.  In  the  autumn  of  that  year  the  Earls  of  Northumberland  and  Westmorland  entered 
into  negotiations  with  the  Duke  of  Alva  for  rescuing  Mary  Queen  of  Scots  and  marrying  her  to  the  Duke 
of  Norfolk,  and  for  the  overthrow  of  Queen  Elizabeth's  Protestant  advisers,  especially  Cecil.  Alva  encouraged 
them  with  promises,  and  they  began  to  raise  the  country.  Rumours  of  this  reached  the  Earl  of  Sussex, 
President  of  the  Council  of  the  North,  and  he  summoned  the  two  disaffected  Earls  to  appear  before  the 
Queen  ;  but  both  refused  to  come,  and  on  November  14  appeared  in  County  Durham  with  a  force  of 
some  12,000  men.  Wherever  the  insurgents  went  they  destroyed  the  new  service-books;  at  Durham  they 
re-erected  the  altars  and  Mass  was  sung  in  the  Cathedral.  The  Earl  of  Sussex,  who  had  not  anticipated 
that  the  movement  would  come  to  a  head,  was  compelled  to  wait  in  York  with  an  insufficient  force.  Mean- 
while, however,  the  Duke  of  Norfolk  was  thrown  into  the  Tower,  and  the  Queen  of  Scots  was  moved  on 
November  25  from  Tutbury  to  Coventry,  so  that  the  immediate  object  of  the  rising  was  frustrated.  Finding 
also  that  the  Catholic  gentry  of  Yorkshire  did  not  join  them  in  the  numbers  they  had  hoped,  the  Earls 
retired  into  County  Durham  and  besieged  the  leading  loyalist,  Sir  George  Bowes,  in  Barnard  Castle,  which 
was  surrendered  after  eleven  days.  This  was  the  Earls'  only  success.  On  the  appearance  of  an  army 
from  the  South  at  Doncaster,  on  December  16,  they  disbanded  their  footmen  and  with  the  horse  fled 
through  Hexhamshire  over  the  border.  The  leaders,  disappointed  of  a  welcome  from  Mary's  party  in 
Scotland,  escaped  abroad,  except  Northumberland,  who  was  given  up  by  the  Scotch  in  1572  and  executed 
at  York 

Besides  the  six  ballads  on  this  theme  in  the  present  collection,  there  is  one,  'A  Lamentation  from  Rome,' 
in  the  Percy  Society's  '  Old  Ballads '.  The  present  ballad  must  have  been  written  and  issued  before  the 
news  of  the  dispersal  of  the  insurgents  reached  London,  late  in  December. 

For  John  Awdely,  the  author  and  printer,  see  note  to  no.  I. 

Framed  within  rules,  with  a  woodcut  of  the  Royal  Arms. 

247  x  168  (241  x  163)  mm.  [18 


KIRKHAM,  W. 


29 


Ioyfull  Newes  for  true  Subiectes,  to  God  and  the  Crowne : 
The  Rebelles  are  cooled,  their  Bragges  be  put  downe. 
Come  humble  ye  downe,  come  humble  ye  downe, 
Perforce  now  fubmit  ye :  to  the  Queen  and  the  Crowne. 

AL  true  Englifh  Subjects  both  mofte  and  lefte, 

geue  thanks  vnto  God,  with  humble  knees  (downe 

That  it  hath  pleazde  him  at  our  requeft, 

to  vanquifh  the  Rebels  that  troubled  the  Crowne, 

Come  humble  ye  downe,  come  humble  ye  downe : 

Perforce  now  fubmit  ye  to  the  Quene  *  and  the  Crowne  .  .  . 

End:  Finis.  W.  Kyrkh.     ( Imprinted  at  London  in  Fleetftreete,  by  Wyllyam  How: 
for  Richard  Iohnes.  [i57°-] 

Licensed  to  Iohnes  by  the  77th  entry  for  the  year  beginning  22  July,  1569,  aa  '  a  ballett  intituled  Ioyfull 
newes  for  tru  fubiectcs  to  God  and  the  Crone '.  Nothing  is  known  of  the  author.  The  text  is  enclosed  within 
thick  rules.  The  refrain  of  this  ballad  seems  to  be  an  imitation  of  that  of  Elderton's  '  Northumberland  Newes  ', 
licensed  earlier  than  this  (by  the  59th  entry), 

Come  tomblinge  downe,  come  tomblinge  downe. 

That  will  not  yet  be  trcwe  to  the  Crowne. 

338  x  228  mm.    (Cut  close  round  the  rules.)  154 

95 


3Q 

ELDERTON,  William.    A  Ballad  Intituled,  a  Newe  well  a  daye  /  As  playne  maifter 
Papift,  as  Donftable  waye. 

Well  a  daye  well  a  daye,  well  a  daye  woe  is  mee 
Syr  Thomas  Plomtrie  is  hanged  on  a  tree. 

AMonge  manye  newes  reported  of  late, 
As  touchinge  the  Rebelles  their  wicked  eftate, 
Yet  Syr  Thomas  Plomtrie,  their  preacher  they  faie, 
Hath  made  the  North  countrie,  to  crie  well  a  daye. 
Well  a  daye,  well  a  daye,  well  a  daye,  woe  is  me, 
Syr  Thomas  Plomtrie  is  hanged  on  a  tree  .  .  . 

End  :   Finis.  W.  E.    <|  Imprinted  at  London  in  Fleeftrete  beneath  the  Conduit,  at 
the  figne  of  S.  Iohn  Euangelift,  by  Thomas  Colwell.    [Three  coats  of  arms.]       [1570] 

Licensed  to  Colwell  by  the  79th  entry  for  the  year  beginning  22  July,  1569,  as  'a  ballett  intituled 
a  newe  well  a  Daye  as  playne  mafter  papefte  as  Dunftable  waye '. 

For  William  Elderton  see  above,  no.  22. 

Sir  Thomas  Plomtrie  (or  Plumptre)  was  the  '  preacher ',  apparently  the  chaplain  in  chief  of  the  rebels. 
He  was  hanged  by  martial  law.  Richard  Norton,  generally  called  '  Old  Norton ',  also  mentioned  in  the 
ballad,  was  sheriff  of  Yorkshire,  and  after  the  Earls  the  most  important  of  the  rebels.  He  was  71  years 
old,  and  had  taken  part  in  the  Pilgrimage  of  Grace.  Seven  of  his  nine  sons  went  with  him  into  the  rebellion. 
He  died  abroad  in  poverty. 

1  As  plain  as  Dunstable  way  ',  or  more  shortly  '  plain  Dunstable',  is  a  proverb  of  common  occurrence  (see 
examples  in  Nares'  Glossary),  and  is  given  by  Fuller  in  his  Worthies  as  a  Bedfordshire  proverb. 

Surrounded  by  a  lace  border ;  the  columns  separated  by  five  miscellaneous  border  blocks  ;  three  from 
Horae  as  in  no.  32. 

344  x  225  (340  x  218)  mm.  [4 


31 

THE  FALL  OF  REBELS.     A  Ballad  reioyfinge  the  fodaine  fall, 

Of  Rebels  that  thought  to  deuower  vs  all. 

REioyce  with  me  ye  Chriftians  all, 

To  God  geue  laude  and  prayfe : 
The  Rebels  ftoute  haue  now  the  fall, 

Their  force  and  ftrength  decayes. 

End:  Finis.  Imprinted  at  London,  in  Fleeteftreete,  by  William  How,  for  Henry 
Kirkham,  and  are  to  be  folde  at  his  fhop  at  the  middle  North  doore  of  Paules 
Churche.  [1570.] 

Perhaps  the  ballad  licensed  to  Kirkham  by  the  98th  entry  for  the  year  beginning  22  July,  1569,  as 
'  a  ballet  intituled  the  Sudden  fayle  of  the  Rebelles  '. 
The  statement  in  this  ballad  that 

In  comming  through  ech  Towne 
The  Bibles  they  did  rent  and  teare 

is  confirmed  by  letters  in  the  State  Papers  for  this  year. 

Thick  rules  divide  the  heading  and  columns. 

363  x21a  (351x179)  mm.  [29 

96 


32 

BARKER,  John.    [Five  woodcuts  and  ornament.]    The  Plagues  of  Northomberland. 
To  the  tune  of  Appelles. 

WHen  that  the  Moone,  in  Northomberland, 
After  the  chaynge,  in  age  well  conne, 
Did  rife  with  force,  then  to  with  ftande, 
The  lyght  and  bright  beames  of  the  Sonne 
The  forowfull  dolers  foone  began, 
Through  Percies  pryde  to  many  a  man  .  .  . 

End:  Finis,  cp.  Iohn  Barker.  ( Imprinted  at  London  in  Fleeteftreate  beneath  the 
Conduyt,  at  the  figne  of  faint,  Iohn  Euangelift,  by  Thomas  Colwell.  [1570.] 

Licensed  to  Colwell  by  the  115th  entry  for  the  year  beginning  22  July,  1569,  as  'a  ballett  intituled  ye 
plaiges  of  Northumberlande  &c.' 

'  The  Moone,  in  Northomberland '  is  the  crescent  of  the  Percies,  and  the  '  Westmere  Bull ',  alluded  to  in 
the  second  stanza,  was  similarly  the  standard  of  the  Nevilles,  Earls  of  Westmorland. 

For  John  Barker  see  above,  no.  4.  The  blocks  used  at  the  head  of  the  sheet  are  the  same  as  in  no.  23. 
Between  the  columns  are  fragments  of  border-pieces,  also  from  a  Horae,  as  in  no.  30. 

333  x  213  (326  x  198)  mm.  [20 

33 

ELDERTON,  William.  A  ballad  intituled,  Prepare  ye  to  the  Plowe,  To  the  Tune, 
of  Pepper  is  blacke. 

{[The  Queene  holdes  the  Plow,  to  continew  good  feede. 
Truftie  Subiectes  be  readie  to  helpe  if  fhe  neede. 

LOoke  vp  my  Lordes,  and  marke  my  wordes, 

and  heare  what  I  fhall  fing  ye : 
And  Subiects  all,  both  great  and  fmall, 

Now  marke  what  word  I  bring  ye. 
Parnafo  Hill,  nor  all  the  (kill, 

Of  Nimphs  or  Mufes  fayned : 
Can  bringe  about  that  I  finde  out, 

By  Chrift  him  felfe  ordayned  .  .  . 

End  :  W.  Elderton.  |[  Imprinted  at  London,  in  Fleeteftreete,  by  William  How,  for 
Richard  Iohnes :  and  are  to  be  folde  at  his  Shop,  ioyning  to  the  Southweft  doore  of 
Paules  Church.    [Double-headed  Eagle.]  [I57°] 

Licensed  to  Johnes  by  the  122nd  entry  for  the  year  beginning  22  July,  1569,  as  'a  ballett  intituled 
prepare  you  to  the  ploughe  &c.' 

Framed  in  heavy  rules.  The  device  of  the  Double-headed  Eagle  was  that  of  Johnes'  printing  office  at 
the  upper  end  of  Fleet  lane. 

355  x  204  mm.    (Cut  close  round  the  rules.)  [25 

34 
GR[ANGERJ  T[imothy],    CThe,  xxv,  orders  of  Fooles, 

STay  a  while  with  paciece,  my  freends  I  you  pray, 

Of  the  orders  of  Fooles,  fomewhat  I  wyll  fay : 

Fiue  and  twentie,  iuft  a  quarterne  is  ye  know, 

Euery  Foole  in  his  foolifhnes  wyll  I  fhow. 

And  as  the  prouerbe  doth  fhow  very  playne, 

A  hood  for  this  foole,  to  kepe  him  from  the  rayne  .  .  . 

97  * 


End  :  C  Finis.  q>  T.  Gr.  ft  Imprinted  at  London  by  Alexander  Lacie,  for  Henrie 
Kyrkham,  dwellyng  at  the  figne  of  the  blacke  Boye :  at  the  middle  North  dore  of 
Paules  church.  [i57<>?] 

This  is  one  of  the  last  of  Lacy's  productions,  and  one  of  the  first  of  Kirkham's.  It  was  licensed  to  the 
latter  by  the  161st  entry  for  the  year  beginning  22  July,  1569,  as  'a  ballett  intituled  ye  xxv  orders  of  fooles'. 

The  title  may  have  been  suggested  by  Awdely's  '  Fraternitie  of  vacabondes  .  .  .  Wherunto  alfo  is 
adioyned  the  .xxv.  Orders  of  Knaues,  otherwyfe  called  a  Quartern  of  Knaues ',  &c,  1565. 

The  author  is  probably  Timothy  Granger,  who  wrote  two  more  ballads, '  A  mofte  true  and  marueilous 
ftraunge  wonder  ...  of  xvii  monftrous  fiffhes ',  1568,  of  which  a  copy  exists  at  Britwell,  and  '  A  fonge  of 
Peters  Dclyueraunce  out  of  Herodes  handes  ',  licensed  to  Peter  French,  1569-70. 

The  text  is  surrounded  by  black  rules. 

342  x  219  (336  x  214)  mm.  [46 

35 

B.,  R.     CA  new  balade  entituled  as  foloweth. 

|[To  fuch  as  write  in  Metres,  I  write 
Of  fmall  matters  an  exhortation, 
By  readyng  of  which,  men  may  delite 
[Woodcut.]  In  fuch  as  be  worthy  commendation.  [Woodcut.] 

My  verfe  alfo  it  hath  relation 
To  fuch  as  print,  that  they  doe  it  well, 
The  better  they  fhall  their  Metres  fell. 

ft  And  when  we  haue  doen  al  that  euer  we  can, 
Let  vs  neuer  feke  prayfe  at  the  mouth  of  man. 

HOrace,  that  noble  Poet  did  write  .  .  . 

End  :  |[  Finis,  by  R.  B.  |[  Imprinted  at  S.  Katherins  befyde  the  Towre  of  London, 
by  Alexander  Lacie.  [JS?0-] 

Licensed  to  Lacy  by  the  first  entry  for  the  year  beginning  22  July,  1570,  as  '  a  ballett  intituled  whan  that 
we  haue  Donne  all  that  we  can  &c.' 

Two  other  ballads  by  R.  B.  are  known,  but  are  ten  years  later,  being  dated  1580 :  '  The  Plow  mans 
Complaint  of  fundry  wicked  Liuers',  and  'An  Epitaph  vpon  the  death  of  the  worfhipfull  Benedict  Spinola '. 
Nothing  is  known  of  the  author. 

The  two  cuts  measure  25x18  mm.  One  apparently  represents  a  priest  eating  a  beast,  the  other  a  man 
pouring  water  into  a  vessel. 

The  text  is  enclosed  within  black  rules. 

318  x  211  mm.    (Cut  close  round  the  rules.)  [13 

36  A 

PHILLIP,  John.  An  Epitaph  on  the  death  of  the  vertuousMatrone,  the  Ladie  Maioreffe, 
late  wyfe  to  the  right  Honorable  Lorde,  (Alexander  Auenet)  Lord  Maior  of  the  Citie  of 
London.    Who  deceafed  the  vii.  Daie  of  Iuly.  1570. 

HElpe  nowe  ye  Mufes  nyne,  powre  out  your  Noates  of  woe: 
Aide  me  w  pitious  pearcing  plaints,  the  loffe  of  her  to  fhoe  .  .  . 
End  :  Poft  funera  viuit  virtus.    Quoth  Iohn  Phillip.   Imprinted  at  London  by  Richarde 
Iohnes.  [1570.] 

Licensed  to  Iohnes  by  the  second  entry  for  the  year  beginning  22  July,  1570,  as  'an  epytaphe  of  my  lady 
mares '.     The  name  should  be  Avenon. 

Of  John  Phillip's  life  very  little  is  known,  except  that  he  studied  Divinity  and  was  educated  at  Queen's 
College,  Cambridge ;  he  described  himself  as  '  a  preacher  of  the  word  of  God '.  As  many  as  twenty-four 
books  or  pieces  by  him  are  known  to  have  existed,  though  some  are  now  lost ;  the  most  important  is  the 
recently  discovered  'Commodye  of  pacient  and  meeke  Griffill '.  See  '  John  Phillip — Notes  for  a  Bibliography '. 
by  W.  W.  Greg,  in  '  The  Library ',  July  and  October,  1910. 

Surrounded  by  a  lace  border.    Printed  on  the  back  of  this  is  Leonard  Gybson's '  very  proper  dittie '  (no.  36  B). 

374  x  220  mm.  [23 

98 


36  b 

GIBSON,  Leonard.     C  A  very  proper  dittie  :  to  the  tune  of  Lightie  loue. 

C  Leaue  Lightie  loue  Ladies,  for  feare  of  yll  name : 
And  True  loue  embrace  ye,  to  purchace  your  Fame. 

[Ornament] 
BY  force  I  am  fixed  my  fancie  to  write, 
Ingratitude  willeth  mee  not  to  refraine : 
Then  blame  me  not  Ladies  although  I  indite 
What  lighty  loue  now  amongft  you  doth  raigne 
Your  traces  in  places,  w  outward  alluremets 
Doth  mooue  my  endeuour  to  be  the  more  playne : 
Your  nicyngs  and  ticings,  with  fundrie  procurementes 
To  publifh  your  lightie  loue  doth  mee  conftrayne  .  .  . 

End  :  f[  Finis.  By  Leonarde  Gybfon.  |[  Imprynted  at  London,  in  the  vpper  end  of 
Fleetlane,  by  Richard  Ihones :  and  are  to  be  folde  at  his  (hop  ioyning  to  the  Southweft 
Dore  of  Saint  Paules  Church.     |[*  ])    [Ornament]  [!57o.] 

Printed  on  the  back  of  no.  36  A. 

Leonard  Gibson  wrote,  besides  the  present  ballad,  'The  Tower  of  trustineffe,'  1534,  and  another  single 
sheet,  '  L.  Gibfon's  Tantara '.  He  also  translated  '  The  ioyful  and  royal  entertainment  of .  .  .  Frauncis  the 
Frcnche  Kings  only  brother ',  158a. 

Framed  within  broad  rules. 

374  x  220  (31a  x  216)  mm.  [22 


37 

BULL.  CThe  braineles  bleffing  of  the  Bull 

The  homes,  the  heads  and  all, 
Light  on  their  fquint  eyed  fkonfes  full 
That  boweth  their  knees  to  Ball. 

The  cancred  curfe  that  wolde  confume  this  realme  with  wracke  and  ruine, 
Returne  to  Rome  with  fyre  and  fume,  to  bryng  the  Pope  in  tune : 
If  neither  curfe,  nor  bleffyng  bare,  may  mend  thefe  parties  throwe, 
I  then  bequeath  (curft  as  they  are)  to  Plutoes  kyngdome  nowe. 

[Border  of  ornaments.] 

WAS  neuer  worlde  fo  farre  from  orders  rule, 

That  men  durft  fpeake  fuch  fawcie  words  of  Kings 

Nor  neuer  Pope  fo  like  an  Affe  or  mule, 

Or  dunghyll  Cocke  to  crow  and  clap  his  winges. 

Stand  backe  good  dogs,  the  Bui  he  leapes  *  flinges 

He  bleates  and  bleathes  as  he  a  baightyng  were, 

And  fomes  at  mouth,  lyke  Boare  with  briftled  heare. 

A  bcaftlye  found,  comes  runnyng  from  his  paunch, 

He  beates  the  ground  with  foote,  with  hip  and  haunch  : 

As  though  hell  gates  fhould  open  at  his  call, 

And  at  his  becke,  the  heauens  high  fhould  fall  .  .  . 

99  ■*  * 


End  :  |[  Finis.     C  Imprynted  at  S.  Katherins  befide  the  Tower  of  London,  ouer 
againft  the  Beare  daunce,  by  Alexander  Lacie.    [Ornament.]  [1570] 

Licensed  to  Lacy  by  the  fifth  entry  for  the  year  beginning  33  July,  1570,  as  'a  ballett  intituled  ye 
brayneles  bleffynge  of  the  bull,  &c.' 

John  Felton,  a  Catholic  gentleman  of  large  property,  published  Pope  Pius  V's  Bull  of  Deposition  by 
affixing  it  to  the  Bishop  of  London's  gate  early  in  the  morning  of  May  15,  1570.  The  deed  was  soon  traced 
to  him  and  he  was  arrested.  He  confessed  at  once,  and  after  trial  was  hanged  on  August  8.  The  incident 
produced  a  quantity  of  ballads  and  other  ephemeral  literature.  No.  40  below  is  a  specimen,  and  there  is  also 
one  in  the  Percy  Society's  '  Old  Ballads ', 

'A  Letter  to  Rome  to  declare  to  the  Pope 
Iohn  Felton  his  Freend  is  hanged  in  a  Rope ', 

by  Stephen  Peele,  the  author  of  no.  39. 

The  text  is  enclosed  in  thick  rules. 

377  x  315  mm.     (Cut  close  round  the  rules.)  [48 


38 

BETTE,  Thomas.  5"^^  A  newe  ballade  intituled,  Agaynft  Rebellious  and  falfe 
Rumours.    To  the  newe  tune  of  the  Blacke  Almaine,  vpon  Sciffillia.    [Ornament.] 

WHat  Rumores  now  are  raifed  of  late 

Within  this  Englifh  lande  : 

Which  is  not  much  for  to  be  prayfed 

The  cafe  so  harde  doth  ftand, 

For  euery  one  doth  talke, 

There  tongues  contrary  walke, 

And  femes  to  meddell,  of  this  and  that, 

There  babling  tongues,  fo  large  doth  chatte, 

As  foolifhe  fancye,  moues  them  faye, 

So  out  there  foolish  talke  they  braye. 

And  euery  one  doth  befie  him  ftill, 

About  the  thing  he  hath  no  fkill .  .  . 

End:  Finis,  cp.  Thomas  Bette.  IJ  Imprinted  at  London,  in  Fleteftreat  at  the  figne 
of  the  Faucon  by  Wylliam  Gryffith,  and  are  to  be  fold  at  his  fhoppe  in  Sainct  Dunftones 
Churchyarde.     1570.    [Ornaments.] 

This  was  apparently  written  in  January,  1570,  the  second  stanza  containing  these  lines  : — 

Some  longeth  to  here  tell 

Of  thofe  that  dyd  Rebell, 

And  whether  they  be  fled  or  take, 

Thus  ftill  inquirie  they  do  make, 

Some  fayth  to  Scotland  they  be  goe 

And  other  fayth  it  is  not  fo. 

It  was  only  licensed,  however,  by  the  seventh  entry  for  the  year  beginning  32  July,  1570,  as  'a  ballett 
intituled  Rebelles  Rumers'.  Of  the  author  nothing  is  known.  This  ballad  not  only  refers  to  rumours  of  the 
troubles  at  home,  but  contains  allusions  to  those  in  France  and  the  Low  Countries. 

The  ornament  at  the  head  of  the  text  shows  a  griffin  in  an  oval  frame  round  which  runs  the  legend  geve 
GOD  THE  GLORYE  NOWE  AND  EVERMORE.  Between  the  columns  is  a  piece  of  an  ornamental  border  and  small 
cuts  of  Libra  and  a  Lion  as  in  no.  34. 

In  the  double  ornament  at  the  end  the  upper  piece  shows  a  vase  and  cornucopiae,  the  lower  scroll-work 
and  two  sceptres  (?). 

3*8x194  (330  xi  79)  mm.  [26 


ICO 


39 
PEELE,  Stephen. 

The  pope  in  his  fury  doth  anfwer  returne, 
To  a  letter  y8  which  to  Rome  is  late  come, 

I  Doe  efteme  your  kyndnes  much 

For  fendyng  worde  fo  fone, 
Your  diligence  it  hath  ben  fuch 

It  is  ariued  at  Rome  : 
But  when  I  had  pervfd  your  byl 
In  that  you  fet  thereto  your  wyl 
And  eke  your  mynd  applyed  vntyl 

The  writyng  of  the  fame. 
I  did  beleue  it  to  be  true 
But  furely  I  muft  fay  to  you 
It  greued  mee  thofe  lines  to  vew 

Were  wrtten  in  your  name  .  .  . 

End  :  (  Finis.    S.  P.    C  Imprinted  by  Alexander  Lacie  for  Henrie  Kyrkham,  dwelling 
at  the  figne  of  the  blacke  Boy,  at  the  middle  North  dore  of  Paules  church.  [!570.] 

Licensed  to  Kirkham  by  the  30th  entry  for  the  year  beginning  aa  July,  1570,  as  '  a  ballett  ye  pope  in 
greate  fury  Doth '.  The  letter  '  which  to  Rome  is  late  come '  must  be  the  ballad  by  Peele  printed  in  the 
Percy  Society's  collection.     See  note  to  no.  37. 

The  last  stanza  but  one  of  the  present  ballad  contains  these  lines  : — 

And  yf  that  here  I  might  you  fee 
For  wrytyng  lately  vnto  mee 
Be  fure,  ye  fhould  rewarded  bee 

As  beft  I  coulde  bethynke. 
And  as  for  Wylliam  Elderton 
That  lately  fent  me  worde  to  Rome 
Be  fure  that  he  fhould  haue  lyke  dome 

To  bye  him  pen  and  ynke. 

Elderton's  ballad,  here  referred  to,  has  not  been  identified. 


The  text  is  enclosed  in  broad  rules. 

312  x  190  mm.     (Cut  close  round  the  rules.) 


[50 


40 

P.,  I.  A  meruaylous  ftraunge  deformed  Swyne.  [Woodcut.]  HEre  Good  Reader 
(halt  thou  beholde  a  ftraunge  and  deformed  Swyne,  farowed  and  brought  foorth  in  Den- 
marke,  and  there  bought  and  brought  ouer  by  an  Englishman  ...  |[  An  exhortation  or 
warnynge  to  all  men,  for  amendment  of  lyfe. 

COme  neere  good  Chriftians  all, 

beholde  a  monfter  rare : 
Whofe  monftrous  fhape  (no  doubt)  fortels 

Gods  wrath  we  fhould  beware  . .  . 

End  :  Finis.  I.  P.  Imprinted  at  London  by  William  How,  for  Richard  Iohnes:  and 
are  to  be  folde  at  his  Shop  ioyning  to  the  Southwest  doore  of  Paules  Churche.        [1570  ?] 

This  ballad  contains  allusions  to  the  Northern  rising  of  1569  and  to  the  execution  of  Felton,  as  to  recent 
events.  It  was  licensed  to  Johnes  by  the  31st  entry  for  the  year  beginning  aa  July,  1,570,  as  '  monfteru* 
Swyne '.    I.  P.  is  probably  John  Phillip,  other  pieces  by  whom  were  published  by  Richard  Johnes.    See  no.  36  A. 


370  x  230  (367  x  a 26)  mm. 


[42 


101 


4* 

THE  DESTRUCTION  OF  SODOM  AND  GOMORRAH,  -f*  0f  the  horrible 
and  wofull  Deflruction  of,  Sodome  and  Gomorra.    To  the  Tune  of  the  nine  Mufes. 

THe  Scripture  playne  doth  (how  and  tell, 
How  Lot  in  Sodome  Towne  did  dwell 

Amongft  the  Sodomites  vile : 
He  did  rebuke  their  noughty  hues, 
Both  yong  and  olde,  both  men  *  wiues, 

Why  do  you  your  felues  defile? 
He  often  times  with  watry  eyes, 

their  caufe  he  did  lament : 
He  wept  in  Hart,  in  greeuous  wife, 

and  bad  them  to  repent, 
Defiring :  and  praying, 

From  finne  they  fhould  refrayne, 
Leaft  Body,  and  Soule  bee, 

In  euerlaftyng  payne. 

End  :  C  Finis.  (  :  Imprinted  at  London  by  Richard  Iohnes  for  Henrie  Kyrkham, 
dwellyng  at  the  figne  of  the  blacke  Boy :  at  the  middle  North  dore  of  Paules  church. 
f>  1  [1570?] 

Licensed  to  Kirkham  by  the  42nd  entry  for  the  year  beginning  22  July,  1570,  as 'a  ballett  of  Sodom 
and  Gomore'. 

Framed  in  broad  rules.  Between  the  columns  are  four  border-blocks,  two  of  columns  in  the  Renaissance 
style  and  two  thin  ledges. 

318  x  210  mm.    (Cut  close  round  the  rules.)  [24 


42 

DEVIL  INDICTED.    [Woodcuts.] 

C  O  Maruelous  tydynges  both  Wonders  Old  and  New 
The  Deuyll  is  indited  yf  many  mens  wordes  be  tru. 

IN  all  Chriftendom,  Chriftes  Godfpell  now  is  rad 
Of  man,  woma,  and  chyld,  it  maketh  their  harts  glad 
Whiche  with  fhamefull  fyns,  before  were  full  fad 
O  wounders  good  tydynges,  yf  all  fayinges  be  tru  .  .  . 

End  :  |[  Printed  by  Cornelis  Woltrop  dwellyng  at  faynt  Antonies.         [About  1570?] 

Of  the  printer  nothing  is  known.     He  was  probably  a  Dutch  refugee. 

At  the  head  are  four  rude  cuts ;  the  first  three,  representing  Hell  mouth,  the  Temptation,  and  the  Second 
Coming,  are  apparently  Dutch  ;  the  fourth,  the  Devil  flying  away  from  a  woman,  may  be  English. 

392  x  144  (239)  mm.     (Cut  close.)  [60 

43 

OTHER  THUS  IT  IS  OR  THUS  IT  SHOULD  BE.    C  Other  thus  it  is :  or  thus 
it  fhoulde  bee.     [Ornament.] 

THe  golden  world  is  now  come  agayne, 
God  is  knowen,  beleued,  loued,  *  obeyed  : 
True  doctryne  is  taught,  and  falfe  exyled  cleane, 
Sinne  is  mortified,  all  vice  is  decayed. 

102 


Peace  doeth  take  place,  all  warres  be  delayed, 
Youth  is  brought  vp  in  learnyng  vertuouflye  : 
Common  wealth  doeth  flourifh,  pouertie  hath  ayde, 
Other  thus  it  is,  or  thus  it  fhoulde  be  .  .  . 


End  :  |[  Finis. 
Alexander  Lacy. 


£  Imprinted  at  London  without  Alderfgate,  in  little  Brittaine  by 

[About  1570?] 


There  is  no  record  of  Lacy  having  printed  after  1571. 

Framed  in  broad  rules. 

3 14  x  218  mm.     (Cut  close  round  the  frame.) 


[52 


44 
T.,  T.  W.     |[  A  mery  balade,  how  a  wife  entreated  her  Hufband  to  haue  her  owne  wyll. 

IN  May  when  floures  fwetely  fmel 

The  people  romyng  abrode  ful  ryfe 

A  mery  tale  I  fhal  you  tel 

y  then  was  herd,  but  no  great  ftrife 

In  clofe,  a  yong  man  and  his  wife 

Sate  reafonyng  fore,  but  for  none  yl, 

She  faid,  I  am  wery  of  this  lyfe 

Good  hufband  let  me  haue  mine  owne  will  .  .  . 

End  :   |[  Finis,      quod  T.  W.  T.      f[  Imprinted  at  London  by  Alexander  Lacy. 
[Woodcut.]  [About  1570?] 


The  woodcut  is  from  a  Dance  of  Death  set,  as  in  no.  54. 
Framed  in  broad  rules  and,  at  the  foot,  three  thin  ledges. 
335  x  19a  mm.     (Cut  close  round  the  frame.) 


[21 


45 

SYMON,  John.  ~$~  A  pleafant  pofie,  or  fweete  Nofegay  of  fragrant  fmellyng 
Flowers  :  gathered  in  the  Garden  of  heauenly  pleafure,  the  holy  and  bleffed  Bible.  To  the 
Tune  of  the  black  Almayne.  I572- 

A  Stock  of  flowers,  bedewed  with  fhowers, 

In  a  Garden  now  there  fprings : 
With  mirth  and  glee,  vpon  a  Tree 

A  Byrd  there  fits  and  fings, 
So  pleafant  is  her  voyce, 
It  doth  my  hart  reioyce : 

She  fets  her  tunes  and  noates  fo  meete, 
That  vnto  me  it  feemes  fo  fweete : 
That  all  the  Flowers  that  euer  could  be 
Was  neuer  fo  fwete  as  this  to  me, 

The  lyke  before  I  dyd  neuer  fe  .  .  . 
End  :  C  Finis.    Iohn  Symon.     C  Imprinted  at  London,  by  Richard  Iohnes  :  dwcllyng 
in  the  vpper  end  of  Fleetlane.  I572- 


Nothing  else  by  this  author  is  known. 

Framed  in  broad  rules. 

308  x  197  mm.     (Cut  close  round  the  frame.) 


[6 


103 


46 

SEMPILL,  Robert.    «^»  ane  new  ballet  fet  out  be  ane  Fugitiue  Scottifman  that 
fled  out  of  Paris  at  this  lait  Murther. 

NOw  Katherine  de  Medicis  hes  maid  fie  a  Gyis 

To  tary  in  Paris  the  Papiftes  ar  tykit 

At  Baftianes  brydell  howbeit  fcho  denyis 

Giue  Mary  flew  Hary,  it  was  not  vnlykk 

"$it  a  man  is  nane  refpectand  this  number 

I  dar  not  fay  wemen  hes  wyte  of  this  cummer  .  .  . 

End  :  |[  Finis.    IF*  Quod  Simpell.    C  Imprentit  at  Sanctandrois  be  Robert  Lekpriuik. 
Anno.  Do.  1572. 

Robert  Sempill  (i530?-i595)  wrote  numerous  ballads  on  Scottish  politics  between  1567  and  1581,  from 
the  Protestant  standpoint.  Lekprevik  printed  them  all,  in  Edinburgh  from  156 1  to  1570,  at  Stirling  in  157 1, 
at  St.  Andrews  from  1571  to  1573,  and  again  in  Edinburgh  from  1573  to  1581.  Copies  of  two,  'The  Regentis 
tragedie,'  1570,  and  'The  Sege  of  the  Cartel  of  Edinburgh,'  1573,  are  in  the  Museum. 

The  present  ballad  is  an  attack  on  the  Roman  party  in  Scotland,  and  an  invitation  to  England  to  an 
alliance  against  the  French  Catholics.     The  '  lait  Murther  '  is  the  massacre  of  St.  Bartholomew. 

It  appears,  both  from  this  ballad  and  from  Sempill's  '  Complaint  vpon  Fortoun'  [1581],  described  below 
(no.  49),  that  the  author  was  present  at  the  siege  of  Leith  in  1559-60. 

38a  x  188  (265  x  172)  mm.  [11 


47 

CAPUCHINS.     £^    A  Newe  Secte  of  Friars  called  Capichini.    [Woodcut.] 

These  newe  frefhecome  Friars  being  fprong  vp  of  late, 
doe  nowe  within  Andwarpe  keepe  their  abidinge  .  .  . 

End  :  But  let  Sathan  worke  all  that  he  can  deuife, 

God  it  is  alone  which  the  Gofpel  doeth  protect.  [About  1580?] 

The  order  of  Capuchins,  or  Fratres  Minores  Eremitae,  was  an  offshoot  from  the  original  order  of  Friars 
Minor,  and  received  the  papal  sanction  in  1528.  These  verses  therefore  must  relate,  not  to  the  foundation  of  the 
order,  but  to  some  special  settlement  of  them  in  Antwerp  and  incursion  thence  into  England.  The  Capuchins, 
like  the  Jesuits,  were  distinguished  for  their  missionary  zeal. 

The  woodcut  represents  two  Capuchins.  Under  it  are  twelve  lines  of  verse,  of  which  the  first  and  last  two 
arc  quoted  above,  printed  in  a  large  roman  type. 

295  x  145  mm.     (Cut  close.)    The  cut  is  coloured  by  hand.  [43 


48 

DEATH  AND  THE  FIVE  ALLS.    [Woodcut.] 

Marke  well  the  effect,  purtreyed  here  in  all : 
The  Prelate  with  his  dignities  renowne, 
The  King  that  rules,  the  Lawyer  in  the  hall, 
The  harlot  and  the  countrey  toyling  Clowne  : 
Howe  and  which  way  together  they  agree, 
And  what  their  talke  and  conference  might  be. 
Ech  to  their  Caufe,  for  gard  of  their  degree, 
And  yet  death  is  the  conquerour  you  fee  .  .  . 

104 


End  :  (***)  The  Authors  Apoftrophe  to  the  Reader. 

Here  may  you  fee,  what  as  the  world  might  be, 

The  rich,  the  poore,  Earle,  Cefar,  Duke,  &  King, 

Death  fpareth  not  the  chiefeft  high  degree, 

He  triumphes  ftill,  on  euery  earthly  thing, 

While  then  we  Hue  let  vs  endeuour  ftill, 

That  all  our  works  agree  with  Gods  good  will.  [About  1580?] 

Printed  on  an  open  folio  sheet  (in  roman  type),  the  text  set  along  the  foot.  The  upper  part  is  occupied 
by  a  large  woodcut  representing  (from  left  to  right)  the  Prelate,  the  King,  the  Harlot,  the  Lawyer,  the  Country- 
man, and  Death  ;  against  each  is  an  appropriate  inscription :  '  I  praye  for  you  fower ', '  I  defende  you  fower ', 
1 1  vanquefh  you  fower  ', '  I  helpe  you  nil  to  your  right ', '  I  feede  you  fower  ',  and  '  I  kill  you  all '.  In  the 
background,  in  a  pleached  arbour,  the  Countryman  supports  on  his  back  a  table,  at  which  the  other  four  sit 
eating,  while  Death  approaches. 

The  text  is  framed  in  rules. 

492  x  356  mm.     (Cut  close.)     The  cut  is  coloured  by  hand.  [63 


49 

SEMPILL,  Robert.    [Ornament]    Ane  Complaint  vpon  Fortoun. 

INconftant  warld  fragill  and  friuolous, 

With  fein3eit  Fortoun,  quha  confides  in  the : 

fall  find  his  lyfe  cairfull  and  cruellus, 

Led  in  this  vale  of  wofull  miferie, 

Quhat  potent  Princes  in  profperitie, 

Hes  fho  depofd  from  their  imperiall  places. 

Hir  craft  quotidian,  we  may  cleirly  fe 

As  men  in  mirrouris  may  behauld  their  faces  .  .  . 

End:    Finis,   quod  Sempill.     <gr  Imprintit  at  Edinburgh  be  Robert  Lekprewicke, 
dwelling  at  the  Netherbow.  CI58i.] 

This  ballad  is  an  appeal  to  James  VI  on  behalf  of  James  Douglas,  Earl  of  Morton,  and  must  have  been 
written  between  January  and  a  June,  1581,  when  Morton  was  executed  at  Edinburgh. 

For  the  author  see  note  to  no.  46. 

33s  *  253  (3*6  *  349)  mm.  [12 


50 

PHILLIP,  John.  ^  An  Epitaph  on  the  death  of  the  Right  honorable  and  vertuous 
Lord  Henry  Wrifley,  the  Noble  Earle  of  South  hampton  :  who  lieth  interred  at  Touchfeelde 
in  the  Countie  of  Hamfhyre,  the  30.  day  of  Nouember  1581.  and  in  the  24.  yeare  of  our 
moft  drad  and  Soueraigne  Ladie  Elizabeth  by  the  grace  of  God,  of  England,  Fraunce, 
&  Ireland  Queene.  &c. 

YOu  noble  Peeres  refraine,  Your  courtly  fportes  awhyle : 

Caft  on  your  wailefull  weedes  of  woe,  Dame  pleafure  doo  exile  .  .  . 
End  :  Omnis  caro  fenum.    (q?)  Iohn  Phillip.    [Ornaments.]  [1581-] 

For  the  author  see  the  note  to  his  '  Epitaph  on  . .  .  the  Ladie  Maiorefle',  1570  (no.  36  a)  above. 

Henry  Wriothesley,  second  Earl  of  Southampton,  was  born  in  1545,  and  was  only  in  his  37th  year  when 
he  died.  He  was  the  father  of  Shakespeare's  patron,  the  third  EarL  He  had  been  involved  in  the  Northern 
rising  of  1569,  but  escaped  with  a  prolonged  imprisonment. 

'Touchfeelde '  is  Titchficld,  the  seat  of  the  Southamptons,  on  the  east  bank  of  Southampton  Water. 

Framed  in  a  lace  border,  and,  at  the  foot,  by  a  large  block  of  Renaissance  style,  with  architectural  scroll- 
work and  heads  of  monsters. 

36a  x  347  (359  x  345)  mm.  [58 

105  Q 


5i 

HARRINGTON,  Richard.  ^&-\  A  famous  dittie  of  the  Ioyful  receauing  of  the 
Queens  mosle  excellent  maieStie,  by  the  worthy  Citizens  of  London  the  xij  day  of  Nouember, 
1584.  at  her  graces  comming  to  Saint  lames.    To  the  tune  of  Wigmores  Galliard. 

The  twelfe  day  of  Nouember  laft, 

Elizabeth  our  noble  Queen : 
To  Londen-warde  (he  hied  faft, 

which  in  the  Cuntry  long  had  been 
The  Citizens  went  then  apace, 

on  ftately  fteeds  to  meet  her  grace. 
In  veluet  coats  and  chaines  of  golde, 

mofte  gorgioufly  for  to  beholde  .  ,  . 

End  :  Finis.  Richard.  Harrington,  C  At  London  Printed  by  Edward  Allde  for 
Yarath  lames  and  are  to  be  folde  in  Newgate  Market  againft  Chrift  Church  gate.     1584. 

'The  12.  of  Nouember  the  queenes  maieftie  (returning  after  her  progreffe)  came  to  her  manor  of  S.  lames, 
where  the  citizens  of  London  to  the  number  of  200.  the  graueft  fort  in  coats  of  veluet  t  chaines  of  gould,  on 
horfeback,  and  iooo.  men  with  torches  ready  there  to  giue  light  on  euery  fide,  for  that  the  night  drew  on, 
receiued  t  welcomed  her.'     Stow, '  Annales '. 

Nothing  more  is  known  of  the  author. 

Framed  within  lace  borders  and  rules. 

305  x  201  mm.     (Cut  close  round  the  frame.)  [61 


52 

DELONEY,  Thomas.  A  proper  new  fonet  declaring  the  lamentation  of  Beckles 
[a  Market  Town  in  ?]  Suffolke,  which  was  in  the  great  winde  vpon  S.  Andrewes  eue  laft, 
pad  moft  pittifully  burned  with  fire,  to  the  lofle  by  eftimation  of  twentie  thoufande  pound 
and  vpwarde,  and  to  the  number  of  foure  fcore  dwelling  houfes.  1586.    To  Wilfon's  tune. 

With  fobbing  fighes  and  trickling  teares 

my  ftate  I  doe  lament 
Perceiuing  how  Gods  heauie  wrath 

againft  my  sinnes  is  bent 
Let  all  men  viewe  my  woefull  fall 

and  rue  my  woefull  cafe 
And  learne  hereby  in  fpeedy  fort 

repentaunce  to  embrace  .  .  . 

End  :  Finis.  T.  D.  At  London,  Imprinted  by  Robert  Robinfon  for  Nicholas  Colma 
of  Norwich,  dwelling  in  S.  Andrewes  Church  yard.  [1586] 

This  or  the  following  was  licensed  to  Colman  on  13  December,  1586,  as  *  a  ballad  of  the  lamentacon  of 
Beckles  a  market  towne  pn]  Suffolk,  on  Sainct  Andrewes  Day  lafte  pafte  beinge  burnt  with  fier  to  the  number 
of  lxxx  houfe  and  loffe  of  xx"" '. 

The  destruction  of  Beccles  was  not  complete,  and  the  walls  of  the  Church  were  left  standing. 
Contributions  were  raised  throughout  the  Eastern  Counties  for  the  rebuilding.  It  is  recorded  that  in  1846 
part  of  the  steeple  was  still  blackened. 

This  is  Deloney's  earliest  known  ballad.  He  succeeded  William  Elderton  in  popular  favour  and  was 
a  prolific  author  of  slight  popular  pieces ;  three  of  his  ballads  deal  with  the  Spanish  Armada.  He  is  best 
known  as  the  author  of  three  prose  story-books,  '  The  Gentle  Craft ', '  Thomas  of  Reading ',  and  *  Jack  of 
Newbury '.  Nash  described  him  as  *  the  balleting  filk-weauer  of  Norwich  ',  so  he  may  have  had  a  personal 
interest  in  the  fate  of  Beccles. 

The  columns  and  heading  arc  divided  by  rules  and  a  lace  border. 

315  x  185  (308  x  169)  mm.     Cropped  at  the  head.  [55 

106 


53 

STERRIE,  D.  A  briefe  fonet  declaring  the  lamentation  of  Beckles,  a  Market  Towne 
in  Suffolke  which  was  in  the  great  winde  vpon  S.  Andrewes  eue  pitifully  burned  with 
fire  to  the  value  by  eftimation  of  tweentie  thoufande  pounds.  And  to  the  number  of  foure- 
fcore  dwelling  houfes,  befides  a  great  number  of  other  houfes.  1586.  To  the  tune  of 
Labandalafhotte.     [Woodcut  of  the  burning  town.] 

MY  louing  good  neighbours,  that  comes  to  beholde, 
Me  fillie  poore  Beckles,  in  cares  manyfolde, 
In  forrow  all  drowned,  which  floated  of  late, 
With  teares  all  bedewed,  at  my  wofull  ftate, 
With  fire  fo  confumed,  moft  wofull  to  vewe, 
Whofe  fpoyle  my  poore  people,  for  euer  may  rue, 
When  well  you  haue  vewed,  my  dolefull  decay, 
And  pittie  haue  pierced,  your  heartes  as  it  may, 
Say  thus  my  good  neighbours,  that  God  in  his  ire : 
For  finne  hath  confumed,  me  Beckles  with  fire  .  .  . 

End  :  Finis  cp  D.  Sterrie.  Foelix  quern  faciunt  aliena  pericula  cautum.  [Lace  ornament] 

Ech  (lately  Towre  with  mightie  walles  vp  prope 
Ech  loftie  Roofe  which  golden  wealth  hath  raifed 
All  flickering  wealth  which  flies  in  firmeft  hope 
All  glittering  hew  fo  haught  and  highly  praifde 
I  fee  by  fodaine  ruine  of  Beckles  towne 
Is  but  a  blaft  if  mightie  Ioue  doe  frowne. 

At  London,  Imprinted  by  Robert  Robinfon  for  Nicholas  Colman  of  Norwich,  dwelling 
in  S.  Andrewes  Church  yarde.  [1586-] 


Nothing  more  is  known  of  the  author.     See  note  to  the  preceding  ballad. 
Lace  borders  are  used  for  head-  and  tail-pieces,  &c. 
396  x  1 89  mm.     (Cut  close  round  the  text.) 


[14 


54 

LINCOLN  ASSIZES.  A  mournfull  Dittie  on  the  death  of  certaine  Iudges  and 
Iuftices  of  the  Peace,  and  diuers  other  Gentlemen,  who  died  immediatly  after  the  Affifes, 
holden  at  Lincolne  laft  paft.    To  the  tune  of  Fortune.    [Woodcut.] 

REcounting  grief es  and  dolors  long  tyme  done, 
Or  blazyng  forth  the  danger  none  can  fhon, 
Might  feeme  a  ftudy  altogether  vayne: 
Yet  outwarde  words  oft  eafeth  inward  payne  .  .  . 

End  :  Finis.     Imprinted  at  London  by  Iohn  Wolfe,  for  William  Wright.  1590. 

Of  the  victims  of  this  mortality  the  most  important  was  Robert  Shute,  Judge  of  the  Queen's  Bench.  He 
is  known  to  have  died  in  April,  which  helps  to  fix  the  date  of  this  ballad  more  exactly. 

The  woodcut  was  not  cut  for  this  piece ;  it  represents  two  gentlemen  exclaiming  at  a  baby  in  a  dish  which 
a  serving  man  has  placed  before  them.  The  text  is  surrounded  by  lace-work  borders ;  at  the  top  corners  are 
two  cuts  from  a  Dance  of  Death  (cp.  no.  44)  and  at  the  foot  one  of  the  varieties  of  the  Archer  and  Rabbit  head- 
piece frequently  found  in  books  of  this  date. 

377  x  X47  mm.     (Cut  close  round  the  borders  and  cropped  at  the  head.)  [62 


107 


Q  2 


55 

MAW.  The  Groome-porters  lawes  at  Mawe,  to  be  obferued  in  fulfilling  the  due 
orders  of  the  Game. 

i.     IF  you  chaunge  hands,  it  is  the  lofle  of  the  Set  .  .  . 

End  :  16.  Prouided  alfo  that  if  you  meane  to  lead  a  helpe,  you  may  vie  it  vpon  your 
owne  afked  carde,  fo  as  it  be  done  before  the  helpe  be  out  of  your  hand,  the  contrary  part 
may  pledge  you  a  card  after  he  feeth  your  helpe  vpon  the  boord,  fo  as  it  be  done  before 
his  owne  card  be  played.  [About  1590  ?] 

Maw  was  played,  according  to  Halliwell,  with  a  piquet  pack  of  36  cards,  and  any  number  from  two  to  six 
formed  the  party.  The  origin  of  the  word  is  obscure.  Groom  porters  were  officers  of  the  Royal  Household, 
whose  function  it  was  to  supervise  gaming  at  Court,  to  provide  dice,  cards,  &c,  and  to  settle  disputes  arising 
from  play. 

The  text  is  enclosed  within  a  lace  border. 

a33  x  163  mm.    (Cut  close  round  the  border.)  [51 

56 

OATH  OF  EVERY  FREEMAN  OF  LONDON.  [Woodcut  of  the  City  Arms.] 
The  Othe  of  euerie  Free  man  of  the  City  of  London. 

YE  (hall  fweare  that  yee  fhall  bee  good  and  true  to  our  Souereigne  Ladie  Queene 
Elizabeth  .  .  . 

End  : .  .  .  So  God  you  help,  and  by  the  holie  contentes  of  this  Booke.  God  faue  the 
Queene.     Printed  at  London  by  Hugh  Singleton.  [About  1590?] 

After  the  clause  as  to  allegiance  the  text  proceeds :  '  Obeyfant  and  obedient  ye  fhall  be  to  the  Mayor  and 
Minifters  of  this  Citie.  The  Franchises  and  cuftomes  thereof  yee  ihall  mainteine,  and  this  Citie  keepe  harmeles 
in  that  that  in  you  is.  Ye  fhall  be  contributorie  to  all  manner  of  charges  within  this  Citie,  as  fummons,  Watches, 
contributions,  tafkes,  tallages,  lot,  and  fcot,  and  all  other  charges,  bearing  your  part  as  a  free  man  ought  to 
doo.  Yee  fhall  colour  no  forreines  goods,  vnder  or  in  your  name,  whereby  the  Queene  or  this  Citie,  might  or 
may  loofe  their  Cuftomes  or  aduantages.  Ye  fhall  know  no  forreine  to  buy  or  fell  anie  Marchandife  with  any 
other  forreine  within  the  Citie  or  the  Franchife  thereof,  but  yee  fhall  warne  the  Chamberlaine  thereof,  or  fome 
Minifter  of  the  Chamber.  Yee  fhall  implead  or  fue  no  free  man  out  of  this  Citie,  whiles  yee  may  haue  right 
and  law  within  the  fame  Citie.  Yee  fhall  take  none  Apprentice,  but  if  hee  bee  free  borne  (that  is  to  fay)  no 
bond  mans  fonne,  nor  the  childe  of  any  Alien,  and  for  no  lefle  terme  then  for  feuen  yeeres,  within  the  firft 
yeere  yee  fhall  caufe  him  to  be  enrolled,  and  at  his  termes  end  ye  fhall  make  him  free  of  this  Citie,  (if  he  haue 
well  and  truely  ferued  you.)  Ye  fhall  alfo  keepe  the  Queenes  peace  in  your  owne  perfons,  ye  fhall  know  no 
gatherings,  conuenticles  nor  confpiracies  made  againft  the  Queenes  peace,  but  ye  (hall  warn  the  Mayor  thereof, 
or  let  it  to  your  power.  All  thefe  points  and  Articles  yee  fhall  well  and  truely  keepe  according  to  the  lawes 
and  cuftomes  of  this  Citie  to  your  power.    So  God  you  help,  &c.' 

Singleton  was  Printer  to  the  City  of  London  from  1584  till  his  death  in  1593. 

194x106  mm.     (Cut  close.)  [47 


57 

PRISONERS  IN  WOOD  STREET  COUNTER.  [An  appeal  for  alms  at  Easter.] 
To  the  worfhipful  our  good  benefactor .  .  .  End  :  We  humbly  pray,  your  chriftian  and 
godly  charitie  to  be  fent  vnto  vs  by  fome  of  your  feruants. 

[A  Slip.]  [About  1590?] 

'To  the  worfhipful  our  good  benefactor.  IN  all  lamentable  manner,  moft  humbly  befeechcth  your  good 
Worfhip,  wee  the  miferablc  multitude  of  very  poore  diftreffed  prifoners,  in  the  hole  of  Woodftreet  Counter,  in 
nombcr  Fiftie  poore  men,  or  thereabouts,  [l]ying  vpon  the  bare  boordes,  ftill  languifhing  in  great  neede,  eolde 
and  mifcric,  who,  by  reafon  of  this  daungerous  and  troublefome  time,  be  almoft  famifhed  and  hunger  ftarucd 
to  death :  others  very  fore  ficke  and  difeafed  for  want  of  reliefe  and  fuftenancc,  by  reafon  of  the  great  number 
which  dayly  increafeth,  dooth  in  all  humblenes,  moil  humbly  befeech  your  good  Worfhip,  euen  for  gods  fake, 

108 


to  pitie  our  poore  lamentable  and  diftreffed  cafes.  And  nowe  helpe  to  relieue,  and  comfort  vs  with  your  chriftian 
and  godly  charitie  againft  this  holie  and  blefled  time  of  Eafter.  And  wee,  according  to  our  bounden  duties, 
do,  and  will,  dayly  pray  vnto  Almighty  God,  for  your  long  life,  and  happy  profperitie. 

We  humbly  pray,  your  chriftian  and  godly  charitie  to  be  fent  vnto  vs  by  fome  of  your  feruants.' 

Woodstreet  Counter  was  one  of  the  two  City  prisons,  the  other  being  in  the  Poultry.  It  was  built  in 
place  of  that  in  Bread  Street  in  1555.  There  were  three  sides,  the  Knights'  ward,  the  Master's  side,  and  the 
Hole.  The  tariff  paid  by  prisoners  was  highest  in  the  Knights'  ward,  and  cheapest  in  the  Hole.  The  Counter 
was  burnt  in  1665,  and  moved  to  Giltspur  Street  in  1791. 

88  xi»3  (78x115)  mm.  [1 


58 

RIDER,  T.  £^^  A  merie  newe  Ballad  intituled  the  pinnyng  of  the  Bafket:  And 
is  to  bee  fonge  to  the  tune  of  the  doune  right  Squire. 

IT  was  my  hap  of  late  to  heare, 

a  pretie  iefte : 
The  which  by  me  as  may  appeare 

is  here  exprefte. 
With  tantara,  tantara,  tantara, 

for  this  belonges  thereto : 
With  bitter  broyles,  and  bickeryng  blofe, 

and  ftrife  with  muche  adoe  .  .  . 

End  :  Finis,  q?  T.  Rider.  C  Imprinted  at  London  for  Henrie  Kirkham,  and  are  to 
be  fold  at  his  (hop,  at  the  little  North  doore  of  Paules,  at  the  figne  of  the  blacke 
Boye.  [About  1590?] 

Of  the  author,  unless  he  be  Timothy  Rider,  the  bookseller,  nothing  more  is  known. 

It  is  suggested  in  the  1867  edition  of  these  ballads  that  the  allusion  to  Bewdley  Ale  in  stanza  12,  with  the 
rude  spelling,  may  imply  a  provincial  origin  for  this  ballad. 

The  text  is  enclosed  within  a  lace  border. 

353  x  aoo  mm.     (Cut  close  round  the  border.)  [30 


59 

WATKIN'S  ALE.    A  Ditty  delightfull  of  mother  watkins  ale 

A  warning  wel  wayed,  though  counted  a  tale. 

[Border.]  THere  was  a  maid  this  other  day, 

and  fhe  would  needs  go  forth  to  play, 
And  as  fhe  walked  fhe  fithd  and  faid, 
I  am  afraid  to  die  a  mayd. 

End  :  Then  blame  the  author,  blame  not  me.     Finis.  [About  1590  ?] 

In  a  letter,  signed  T.  N.,  to  A.  M.  (Anthony  Munday),  prefixed  to '  Gerileon  of  England  ',  159a,  occurs  the 
following  sentence  referring  to  this  ballad  :  '  I  fhould  hardly  be  perfwaded  that  anie  profeffor  of  fo  excellent 
a  fcience  would  be  fo  impudent  to  print  fuch  ribauldrie  as  Watkins  Ale,  the  Carmans  Whiftle,  and  fundrie 
fuch  other.' 

With  lace  borders  at  the  head  and  foot  and  below  the  heading. 

364  x187  mm.    (Cut  close.)  [65 

109 


6o 

T.,  R.    5"^  ^  prettie  newe  Ballad,  intytuled  : 

The  Crowe  fits  vpon  the  wall, 
Pleafe  one  and  pleafe  all. 

To  the  tune  of,  Pleafe  one  and  pleafe  all. 

[Woodcut]  Pleafe  one  and  pleafe  all, 

Be  they  great  be  they  fmall, 
Be  they  little  be  they  lowe, 
So  pypeth  the  Crowe, 

fitting  vpon  a  wall : 

pleafe  one  and  pleafe  all, 

pleafe  one  and  pleafe  all. 

End  :  Finis.     R.  T.     |[  Imprinted  at  London  for  Henry  Kyrkham,  dwelling  at  the 
little  North  doore  of  Paules,  at  the  figne  of  the  blacke  Boy.  [1592] 

Licensed  to  Kirkham  on  18  January,  1592,  as  'a  Ballad  intituled  the  Crowe  (hee  fittes  vppon  the  wall: 
pleafe  One  and  pleafe  all '. 

This  ballad  is  referred  to  by  Shakespeare  in  'Twelfth  Night'  (Act  III,  Sc.  iv):  'But  what  of  that?  if  it 
pleafe  the  eye  of  one,  it  is  with  me  as  the  very  true  fonnet  is, — Pleafe  one,  and  pleafe  all '. 

The  editor  of  1 867  interprets  the  author's  initials  as  Richard  Tarlton  ;  but  if  Tarlton  had  been  the  author, 
his  name  would  probably  have  been  given  in  full  by  the  publisher. 

The  woodcut  represents  a  lady  holding  a  fan  of  feathers  ;  it  is  from  the  same  set  as  that  in  the  following. 

The  text  is  framed  within  rules. 

a8i  (274)  x  182  mm.    (Cut  close  to  the  frame,  except  at  the  foot.)  [31 


6l 

THE  BREWER  AND  THE  COOPER.  A  merry  new  Song  how  a  Bruer  meant  to 
make  a  Cooper  cuckold,  and  how  deere  the  Bruer  paid  for  the  bargaine.  To  the  tune  of, 
In  Somertime.    [Woodcut.] 

IF  that  you  lift  now  merry  be, 
Lend  liftning  eares  a  while  to  me : 
To  heare  a  fong  of  a  Bruer  bold, 
That  meant  a  Cooper  to  cuckold  .  .  . 

End  : 

When  he  came  againe  his  houfe  within, 
Packe  away  qd.  he  Bruer  with  your  broken  fhin : 
And  under  my  Fat  creepe  you  no  more, 
Except  you  make  wifer  bargaines  before. 

[Henry  Kirkham,  about  1592?] 

The  woodcut  represents  a  man  (an  actor  or  singer?),  and  comes  from  the  same  set  as  that  in  the  preceding. 
The  two  columns  of  text  are  divided  by  a  lace  border. 

278  x  169  (273  x  154)  mm.  [19 


no 


62 

THE  MERCHANT'S  DAUGHTER  OF  BRISTOL.  The  firft  part  of  the  Marchants 
Daughter  of  Briftow.    To  the  tune  of,  The  Maydens  ioy. 

BEhold  the  touchftone  of  true  loue, 
Maudlin  the  Marchants  daughter  of  Briftow  towne 
Whofe  firme  affection  nothing  could  moue : 
Such  fauour  beares  the  louely  browne .  .  . 
End  :  Finis.  [After  24  February,  1595.] 

The  first  part  was  licensed  to  T.  Creede  on  24  February,  1595,  as  '  a  ballad  intiteled  the  firft  parte  of  the 
Merchauntes  daughter  of  Briftoll,  &c.' 

The  printing  of  this  copy  is  very  rude,  and  may  well  have  been  done  at  a  jobbing  press  in  the 
1 7th  century. 

264  x  165  (259  x  154)  mm.  [8 

63 

THE  MERCHANT'S  DAUGHTER  OF  BRISTOL.  The  fecond  part  of  the 
Marchants  Daughter  of  Briftow.    To  the  tune  of  the  Maidens  Ioy.    [Lace  border.] 

WElcome  fweet  Maudlin  from  the  fea, 
Where  bitter  ftorms  i  cruel  tempefts  did  arife : 
The  pleafant  banks  of  Italy, 
We  may  behold  with  ioyfull  eies  .  . . 

End  :  Finis.     Printed  at  London  for  William  Blackwall. 

[Lace  border.]  [After  17  March,  1595.] 

This  second  part  was  licensed  to  T.  Creede  on  17  March,  1595.  Blackwall  published  from  1586  to  1618. 
This  may  be  the  first  edition  of  this  part,  or  an  early  reprint  of  it. 

A  long  lace  border  divides  the  text  and  heading,  and  a  short  one  is  placed  under  the  colophon. 

278  x  199  (269  x  190)  mm.  [9 

64 

HASTINGS,  Henry,  Earl  of  Huntingdon.  The  crie  of  the  poore  for  the  death  of 
the  Right  Honourable  Earle  of  Huntington.  To  the  tune  of  the  Earle  of  Bedford. 
[Woodcut.] 

O  God  of  thy  mercie  remember  the  poore 

And  grant  vs  thy  bleffings,  thy  plenty  %  ftore  : 

For  dead  is  Lord  Haftinges,  the  more  is  our  griefe, 

And  now  vp  to  heauen  we  cry  for  reliefe. 

Then  waile  we,  then  weepe  we,  then  mourne  we  ech  one, 
The  good  Earle  of  Huntington  from  vs  is  gone  .  .  . 

End  :  Finis.  Printed  at  London  for  William  Blackwall,  and  are  to  be  fold  at  his 
Shoppe  nere  Guild-Hall  gate.  1596. 

Henry  Hastings,  third  Earl  of  Huntingdon,  was  born  in  1535.  He  had  strong  puritan  leanings,  and  was 
active  in  resisting  Norfolk's  projected  marriage  with  Mary  Queen  of  Scots,  the  Northern  rising  of  1569,  and 
the  Spanish  invasion  of  1588.  He  died  without  issue  on  14  December,  1595,  and  was  buried  at  Ashby-de-la- 
Zouch. 

His  appointment  to  be  Lord-President  of  the  North  in  1572  is  referred  to  in  the  seventh  stanza,  his 
knighthood  at  the  hands  of  Edward  VI  in  1547-8  in  the  ninth,  his  benefactions  to  poor  scholars  (which 
included  an  endowment  of  Emmanuel  College,  Cambridge)  in  the  eleventh.  The  woodcut  represents  a  dying 
man  making  a  will;  the  editor  of  1867  points  out  that  it  was  probably  not  cut  for  this  piece,  as  the  Earl 
died  intestate.     The  text  is  framed  within  lace  borders. 

286  x  1 88  (283  x  1 85)  mm.  [56 

in 


65 

THE  WIDOW  OF  WATLING  STREET.  The  firft  part  of  the  faire  widow  of 
Watlingftreet  &  her  3  daughters,  &  how  her  wicked  fonne  accufed  her  to  be  a  harlot,  &  his 
fifters  baftards,  only  to  deceiue  them  of  their  portions.    To  the  tune  of  Bragandary. 

OF  the  kind  Widdow  of  Watlingftreet 

I  will  the  ftory  tell: 
Who  by  her  hufband  deere  was  left, 

in  fubftance  rich  and  well. 
A  prodigall  fonne  likewife  had  fhe 
And  faire  yong  daughters  louely  three. 

Great  mifery,  forrow  and  mifery, 

Commeth  for  want  of  grace. 

End  :  Finis.     Imprinted  at  London  for  T.  P.  [After  15  August,  1597.] 

T.  P.,  the  publisher  of  this  ballad  and  the  next,  must  be  Thomas  Pavier,  who  was  transferred  from  the 
Drapers'  to  the  Stationers'  Company  in  June,  1600,  and  continued  in  business  until  1625.  Both  parts  of  the 
ballad  were  licensed  to  Richard  Jones  on  15  August,  1597.  The  present  edition  must  thus  either  be  a  reprint 
or  have  been  published  by  Pavier  while  still  a  draper.  A  copy  of  a  much  later  edition  is  in  the  Roxburghe 
Collection.  The  play  of  the  Widow  of  Watling  Street  does  not  follow  the  ballad,  but  probably  owed  its  title 
to  its  popularity. 

Framed  at  the  sides,  and  the  columns  divided  by  lace  borders.  Perhaps  there  were  originally  borders  at 
the  head  and  foot  also,  as  in  the  second  part. 

280  x  152  mm.    (Cut  close  to  the  text  at  the  head  and  foot,  and  to  the  borders  at  the  sides.)  [71 

66 

THE  WIDOW  OF  WATLING  STREET.  The  fecond  part  of  the  Widdow  of 
Watling-ftreete,  and  her  three  Daughters.    To  the  tune  of  the  Wanton  wife. 

THe  beautifull  Widdow  of  Watling  ftreete, 
being  thus  falfly  accufde  by  her  fonne : 
With  her  three  daughters  of  fauor  fo  fweet, 
Whofe  beauty  the  loue  of  fo  many  had  wonne, 
With  her  daughters  three  for  fuccour  went  fhe, 
Vnto  the  kings  counfaile  ot  Noble  degree, 

Now  fie  vpon  falfhood  and  forgerie  fraile, 

For  great  is  the  truth  and  it  fhall  preuaile. 

End  :  Finis.     Imprinted  at  London  for  T.  P.  [After  15  August,  1597.] 

See  note  to  the  preceding. 

Framed  in  a  lace  border. 

280  x  152  mm.    (Cut  close  round  the  frame.)  [73 

67 

DITTY.  As  pleafant  a  dittie  as  your  hart  can  wifh 

Shewing  what  vnkindnes  befell  by  a  Kiffe. 

MY  Miftris  fings  none  other  fong, 
But  ftil  coplains  I  do  her  wrong, 
Beleeue  her  not  it  is  not  fo : 

For  I  did  but  kiffe  her, 

For  I  did  but  kiffe  her 

and  fo  let  her  goe  .... 

End  :  Finis.    At  London  printed  for  T.  P.  [About  1600?] 

112 


This  song  was  printed  in  Robert  Jones's  '  First  Booke  of  Songs  and  Ayres ',  1601,  and  in  Marston's  '  Dutch 
Courtezan  ',  1605,  Francischina  sings  in  broken  English  : — 

mine  Mettre  fing  non  oder  fong,  .  .  . 
But  ftill  complaine  me  doe  her  wrong,  .  .  . 
For  me  did  but  kiffe  her. 
For  me  did  but  kis  her, 
And  fo  let  go. 
The  publisher  must  be  Thomas  Pavier.     See  note  to  no.  65. 
Lace  borders  at  the  head  and  foot ;  the  columns  are  divided  by  a  rule. 
313  x  115  mm.    (Cut  close.)  [04 

68 

GRISELDA.    A  mofl  pleafant  Ballad  of  patient  Griffell.    To  the  tune  of  the  Brides 
good  morrow. 

A  Noble  Marques  as  he  did  ride  on  hunting 

hard  by  a  Forreft  fide : 
A  proper  Mayden  as  fhe  did  fit  a  fpinning 

his  gentle  eye  efpide. 
Moft  faire  *  louely,  and  of  curteous  grace  was  fhe, 

although  in  fimple  attire : 
She  fung  full  fweet  with  pleafant  voyce  melodioufly, 

which  fet  the  Lords  hart  on  fire. 
The  more  he  looked  the  more  he  might, 
Beautie  bred  his  hartes  delight, 

and  to  this  dainty  Damfell  then  he  went : 
God  fpeede  quoth  he,  thou  famous  flower, 
Faire  miftres  of  this  homely  bower 

where  loue  *  vertue  Hues  with  fweete  content  .  .  . 
End  :  Finis.  [About  1600?] 

The  earliest  known  edition  of  this  ballad ;  there  were  many  later  ones.  It  was  also  printed  in  a  small 
undated  octavo  volume  by  E.  P.  for  John  Wright,  with  a  prose  introduction  and  conclusion. 

Lace  borders  at  the  head  and  foot,  and  below  the  Finis.     The  three  columns  are  separated  by  rules. 

262  x  183  (258  x  176)  mm.  [17 

69 

FRANKLIN,  James.    £^  Franklins  Farewell  to  the  World,  With  his  Chriftian 

Contrition  in  Prifon,  before  his  Death. 

FArwell  vaine  World  whofe  comforts  all  are  Cares, 
Whofe  gaines  are  loffe,  whofe  liberty  are  Snares :  .  .  . 

End  :  Finis.     Printed  at  London  for  Henry  Goflbn.  [1615-16.] 

James  Franklin  was  the  apothecary  who  supplied  the  poisons  for  the  murder  of  Sir  Thomas  Ovcrbury 
He  was  tried  on  18  November,  1615,  and  executed  on  9  December.  His  confession  is  given  in  Cobbett's 
'  State  Trials '  (ii.  947-8). 

There  is  in  the  Museum  a  pamphlet  entitled  'The  laft  Downfall  of  Ambition  Adultery  and  Murder. 
Where-vnto  are  added  3  notorious  fmners  Wefton  M.  Turner  and  Franklin  With  his  Arraignment,  Confeffion 
and  Execution,  &c* 

There  is  also  in  the  library  of  the  Society  of  Antiquaries  (no.  146  in  Lemon's  Catalogue)  a  broadside 
entitled  'James  Franklin,  a  Kcntifhman  of  Maidftone,  his  owne  Arraignment,  Confeffion,  Condemnation, 
and  Judgment  of  Himfelfe,  whilft  hee  lay  Prifoner  in  the  Kings  Bench  for  the  Poifoning  of  Sir  Thomas 
Overbury',  and  several  other  broadsides  relating  to  the  Ovcrbury  case. 

Framed  within  a  broad  border ;  narrow  borders  divide  the  heading  and  columns. 

499  x  375  (495  x  4*8)  mm.  [45 

M3  R 


LATER  BALLADS 

70 

THE  SUBJECTS  THANKFULNESS.  The  Subjects  Thankfulneffe :  or,  God-a- 
mercie  good  Scot.    To  the  tune  of  Blew  Cap  for  mee.    [Woodcut.] 

LOng  time  hath  fweet  England  injoy'd  her  peace, 

under  the  good  government  of  prudent  Kings, 
Since  royall  Elizabeth  that  Queen  did  ceafe, 

thofe  jarres  in  this  nation  her  fame  ever  rings,  .  .  . 
Nor  dare  they  repofe  any  faith  in  their  Creed, 

fince  there  Avi-mary  doth  faile  them  at  need, 
The  Houfe  is  acquainted  with  every  fine  plot, 

their  mines  is  blown  up,  God-a-mercy  good  Scot  .  .  . 

End  :  Finis.     Printed  in  the  yeare,  1640. 

Two  parts  printed,  in  roman  type,  side  by  side,  each  headed  by  a  woodcut.  Of  the  two  cuts  the  first 
represents  a  King  striking  at  a  Pope  with  a  sword  ;  the  second  (very  crude  work)  an  execution.  Narrow 
borders  divide  the  columns  of  each  part. 

*5i  x  378  (332  *  363)  mm-  [67 

THE  KINGDOM'S  MONSTER.  The  Kingdomes  Monfter  Vncloaked  from 
Heaven  :  The  Popifh  Confpirators,  Malignant  Plotters,  and  crucll  Irifh,  in  one  Body  to 
deftroy  Kingdome,  Religion  and  Lawes  :  But  under  colour  to  defend  them,  efpecially  the 
Irifh,  who  having  deftroyed  the  Proteftants  There,  Flye  hither  to  defend  the  Proteftant 
Religion  Here.    [Woodcut] 

O  England  looke  upon  this  monftrous  Thing, 
That  would  our  Kingdome  unto  mine  bring  .  .  . 

End  :  Finis.     Printed  in  the  Year,  1643. 

Two  other  copies  of  this  are  in  the  Museum,  one  in  the  King's  Pamphlets  and  one  in  the  Luttrell  Ballads. 

The  comprehensive  woodcut,  which  is  oi  the  breadth  of  the  sheet,  represents  the  monster,  whom  a  hand 
from  heaven  is  uncloaking.  He  has  three  clusters  of  heads,  labelled  '  Papift  Confpiritors ',  '  Bloudy  Irifh  ',  and 
'  Mallignant  Plotters ',  and  two  pairs  of  arms,  holding  a  knife,  an  axe,  a  sword,  a  torch  and  a  match,  while 
a  pardon  and  a  rosary  also  hang  from  his  right  arms.  To  his  right  are  '  church  ',  '  parlement ',  to  barrels  in  the 
cellars  of  which  he  applies  his  match,  and  a  man  on  a  gallows ;  to  his  left  a  burning  town,  burning  haystacks 
('  Kingdom ')  and  London  ('  Cittye ')  with  the  Thames  and  London  Bridge  in  the  foreground.  Printed  in 
roman  type. 

354  x  235  (341  x  230)  mm.  [74 

72 

SUSANNA.  An  Excellent  Ballad,  intituled,  The  Conftancy  of  Sufanna.  To  an 
excellent  New  tune.    [Woodcut.] 

There  was  a  man  in  Babylon 

of  reputation  great  by  fame, 
He  took  to  wife  a  faire  woman 

Sufanna  was  fhe  cal'd  by  name : 
A  woman  fair  and  vertuous, 

Lady,  Lady, 
Why  fhould  not  we  of  her  learn  thus, 
to  live  godly  .  .  . 

End  :  Printed  for  F.  Coles,  T.  Vere,  and  Wright.  [About  1660?] 

114 


With  two  crude  woodcuts  ;  the  second,  of  the  Judgement  of  Paris,  is  probably  from  a  chap-book  edition  of 
*  The  Destruction  of  Troy',  but  no  edition  by  these  printers  is  now  known. 

Printed  between  1646,  when  Thomas  Vere  began  business,  and  1667,  when  John  Wright  the  younger  died. 

There  is  a  copy  of  another  edition  of  this  ballad  in  the  Roxburghe  collection,  and  one  of  another  in  the 
Bagford  collection.     The  latter,  printed  for  W.  0[nley],  has  the  same  cuts  as  this,  in  a  battered  condition. 

This  may  be  the  same  as  the  ballad  of  Susanna  which  appears  in  the  Stationers'  Register,  licensed  to 
Colwell  in  1562/3;  the  refrain,  'Lady,  Lady',  at  least  is  old,  occurring  in  Elderton's  '  Panges  of  Loue  and 
Louers  fittes  ,  1559,  in  R.  M.'s  '  Newe  Ballade  to  Queen  Elizabeth '  [1559  ?]  (no.  2),  in  '  The  Trial  of  Treasure ', 
1567,  etc. 

It  is  quoted  in  '  Twelfth  Night '  (Act  II,  sc.  iii),  Sir  Toby  Belch  singing  a  snatch  from  it, — 

'  There  dwelt  a  man  in  Babylon, 
Lady,  Lady'. 

289  x  374  (254  x  299)  mm.  Taken  from  a  bound  volume,  the  pages  made  by  folding  the  sheet  being 
numbered  in  a  contemporary  hand,  21-24.  [72 


73 

TITUS  ANDRONICUS.  The  Lamentable  and  Tragical  Hiflory  of  Titus 
Andronicus.  With  the  fall  of  his  five  and  twenty  Sons  in  the  Wars  of  Goths,  with  the 
manner  of  his  Daughter  Lavinia,  by  the  Empreffes  two  Sons,  through  the  means  of 
a  bloody  Moor,  taken  by  the  Sword  of  Titus,  in  the  War ;  his  revenge  upon  their  cruel 
and  inhumane  Act.     To  the  Tune  of,  Fortune  my  Foe.     [Woodcut.] 

YOu  Noble  minds,  and  famous  Martial  wights, 
That  in  defence  of  Native  Country  fights, 
Give  ear  to  me,  that  ten  years  fought  for  Rome, 
Yet  reap'd  difgrace  at  my  returning  home  .  .  . 

End  :  Printed  for  F.  Coles,  T.  Vere,  J.  Wright,  and  J.  Clarke.  [About  1660?] 

A  copy  of  an  edition  of  this,  printed  by  A.  M.,  is  in  the  Roxburghe,  one  of  another,  printed  by 
W.  Ofnley],  in  the  Bagford,  collection  ;  the  latter  has  the  first  cut  of  the  present  edition,  in  a  worm-eaten  and 
battered  condition. 

With  three  crude  woodcuts,  of  which  only  the  first,  which  represents  many  of  its  scenes,  seems  to  have 
been  cut  for  this  piece. 

285  x  3  56  (239  x  325)  mm.  [69 


74  a 

TOM  OF  ALL  TRADES.    Merry  Tom  of  all  Trades;  Or, 

A  trick  to  get  money  at  every  dead  lift, 

Made  known  by  Tom  of  all  Trades,  that  bravely  could  fhift, 

From  one  Place  to  another,  about  he  did  range, 

And  at  his  own  pleafure  his  Trade  he  could  change. 

The  tune  is,  Behold  the  Man. 

[Woodcut.] 

End  :  Printed  for  I.  Wriight,  I.  Clarke,  W.  Thackeray,  and  T.  Paffinger. 

[About  1665.] 

The  date  must  be  between  1664,  when  Passingcr  began  business,  and  1667,  when  Wright  died. 

With  two  crude  woodcuts  ;  the  first  represents  two  men  hammering  on  an  anvil ;  the  second  is  of  Don 
Quixote  riding  at  a  windmill,  and  probably  comes  from  a  chap-book  edition  of '  Don  Quixote',  but  none  by 
these  printers  or  nearly  so  early  is  now  known. 

aai  x  291  mm.    (Cropped  at  the  head.)  [75 

"5 


74  b 

FATAL  VIRGIN.  The  Fatal  Virgin:  Or,  the  young  Lady's  Drowning  herfelf  In 
the  River  of  Thames,  Who  leap'd  out  of  a  Boat  in  the  middle  of  the  River  on  Saturday 
laft  at  Ten  at  Night,  and  taken  up  on  Sunday  morning  the  23d.  of  July,  1710.  at  break 
of  Day.    Tune  of,  forgive  me  if  your  Looks  I  thought,  &c.     Licens'd  and  Enter'd. 

Good  People  liften  and  you'll  find, 

the  Ruin  of  a  Maiden: 
Whofe  tender  Years  to  love  inclin'd, 

her  mind  was  heavy  laden. 
Not  Eighteen  Year  fhe  was  'tis  faid, 

and  yet  was  difcontented, 
Ah  fair  unhappy  youthful  maid, 

who  was  in  mind  tormented  .  .  . 

End  :  London :  Printed  for  Robert  Mills,  1710. 

Printed  on  the  back  of  the  preceding,  presumably  to  add  attractiveness  to  some  unsold  stock. 

Between  the  two  columns  of  text  are  two  cuts  of  the  maiden  in  her  shroud. 

a6ox  15,5  mm.    (Measurement  of  the  text)  [76 


116 


INDEXES 


I.    GENERAL    INDEX   TO    MANUSCRIPTS 

[  The  references  are  to  the  manuscripts  and  folios] 


Andrew,  Prior  of  Salem,  1801,  n,  f.  288  b. 
Apocalypse,  arc.  1400,  Lat.,  8. 

with  commentary,  14th  cent.,  Fr.,  5. 
Arms,  v.  Heraldry. 

Augustine,  S., '  Meditations  sainct  Augustin,'  16-1 7th  cent., 
Fr.,  13,  f.  ii  b. 

Prayers  ascribed  to,  15th  cent.,  Lat.,  11,  ff.  247,  282  b. 

Beda  (?),      Interpretationes      Hebraicorum       nominum, 

13th  cent.,  2,  f.  361. 
Bergantino,  Counts  of,  v.  Romei. 
Bible,  13th  cent.,  Lat.,  1,  2. 

Old  Testament  history,  with  commentary,   15th  cent., 

Flem.,  9. 
Bindings.      Dutch  (?).      Mottled    calf,    arms    on     back, 

1 8th  cent,  8. 
Flemish.    Wooden  boards  covered  with  leather,  stamped, 

arc.  1500,  13. 
Italian.     Tooled  morocco,  1 7-1 8th  cent,  12. 
Boniface  VI   (for  VIII),   Pope,  Prayer  indulgenced  by, 

arc.  1500,  Lat,  13,  f.  35  b. 
Book-plate  of  the  Huth  Library,  19th  cent.,  1-13. 
Boron,   Robert  de,  Romances  attributed  to,  14th  cent., 

Fr.,  4. 
Boysselli,  Robert,  Franciscan  of  the  province  of  Tours, 

domestic  chaplain  to  the  Pope,  Psalmorum   bre- 

vissima  expositio,  1358,  6,  f.  2. 

Catherine,  S.,  of  Alexandria,  Hymn  to,  circ.  1500,  Lat., 

«3>  f-  '44- 
Clermont,  College  de,  v.  Paris,  Jesuits'  College. 
Cologne,  Archbishop  of,  v.  Moers,  Dietrich  von. 
Confession,  directions  for,  by  H.  de  Alemannia,  14th  cent., 

Lat.,  6,  f.  17  b. 
Coninck  de  Merckem,  —  de,  Chevalier,  owned,  in  1833- 

1856,  MS.  5. 
Conti  di  Segni,  Lotario  de',  v.  Innocent  III. 
Corbiere,  Jacques  Joseph  Guillaume  Pierre,  Comte,  French 

Minister  of  the  Interior,  &c.  (d.  1853),  signature,  4, 

f.  1. 
Corser,  Thomas,  F.S.A.,  owned,  in  1870,  MS.  7. 

Deguileville,  Guillaume  de,   Les  Trois  Pelerinages,  circ. 

1400,  7. 
Du  Cange,  Sieur,  v.  Du  Fresne,  Charles. 
Du  Fresne,  Charles,  Sieur  Du  Cange  (d.   1688),  owned 

MS.  4. 

Eltman,  Reiner,  owned,  in  1562,  MS.  6. 
Engravings,  coloured,  inserted  in  a  Dutch  Horae,  1 5th  cent., 
10. 

George,  S.,  Hymn  to,  circ.  1500,  Lat.,  13,  f.  140. 
Gregory  I,  S,  Pope,  Prayer  attributed  to,  circ.  1500,  Lat., 

13,  f.  126. 
Prayers  indulgenced  by,  15th  cent.,  Lat.,  11,  ff.  234  b, 

282  b. 


Guicherit,    Maximiliaan    Anne   's   Gravesande,   of    Delft 
(d.  1 831),  owned  MS.  10. 

Hattert,  Van  den,  of  Gelderland,  Arms  of(?),  15th  cent., 

9,  f.  211. 
Heber,  Richard,  owned,  early  19th  cent.,  MS.  7. 
Henricus  de  Alemannia,  Augustinian  friar,  Commonitorium 
directivum  simpliciumvolentiumconfiteri,  14th  cent., 
6,  f.  17  b. 
Heraldry : 
Arms  of  D.  von  Moers,  15th  cent.,  6,  f.  i. 
Romei,  15th  cent.,  12,  f.  34. 
Van  den  Hattert  (?),  15th  cent.,  9,  f.  211. 
Van  der  Heuvel(?),  15th  cent.,  9,  f.  119  b. 
Van  Lockhorst,  15th  cent.,  9,  ff.  29  b,  73  b,  112  b, 

156,  158,  174  b,  214  b,  238. 
unidentified,  13th  cent.,  i,f.  108;  2,  f.  313;  1 8th  cent., 
8  (stamped  on  back). 
Heuvel,  Van  der,  Arms  of  (?),  15th  cent.,  9,  f.  119  b. 
Horae,  v.  Liturgies. 
Humiliate  Nuns,   Horae  of,  late   15th  cent.,  Lat.  (/tat. 

rubrics  and  prayers),  1 1. 
Huth  Library,  book-plate  of,  1-13. 

Hymns  on  the  Passion,  to  the  Holy  Face,  &c,  circ.  1500, 
Lat.,  13,  ff.  32,  123,  &c. 

Illuminations.      Dutch.      Apocalypse ;     miniatures,    arc. 
1400,  8. 
Horae;    initials,   borders,  and  coloured   engravings, 
15th  cent,  ro. 
English.      Psalter;    miniatures,   initials,    borders,   late 

13th  cent,  3. 
Flemish.     Bible  History ;  pen-and-ink  drawings  touched 
with  gold,  15th  cent,  9. 
Horae;  miniatures,  initials,  borders,  circ.  1500,  13. 
French.   Bible;  miniature-initials  and  borders,  1 3th  cent, 
1,  2. 
Romance  of  Merlin ;   miniatures,   initials,   borders, 

early  14th  cent,  4. 
Apocalypse ;    miniatures,  initials,  border,  early  14th 

cent,  5. 
Lea  Trois  Pelerinages ;  initials,  borders,  and  drawings 
touched  with  colour,  circ.  1400,  7. 
German.     Speculum   Humanae  Salvationis;    coloured 
drawings,  late  14th  cent,  6,  ff.  21  b-54  b. 
Coloured  drawing,  15th  cent.,  6,  f.  1  b. 
/talian.     Horae;  miniatures,  initials,  borders,  late  15th 
cent.,  11. 
Petrarch ;  miniatures,  initials,  borders,  late  1 5th  cent., 
12. 
Innocent  III,  Pope  (Lotario  de'  Conti  di  Segni),  De  Con- 

temptu  Mundi,  14th  cent,  6,  f.  56. 
Interpretationes   Hebraicorum  nominum,    13th   cent,    2, 
f.  361. 

Jerome,  S.,  Prayers  to,  and  in  commemoration  of,  15th 
cent,  Lat.,  11,  f.  272  b. 


117 


Jesus  Christ : 

Hymns  on  the  Passion  and  to  the  Holy  Face,  circ.  i 500, 

Lat^  13,  ff.  2,  123. 
Pelerinage  de  J£sus  Christ,  by  G.  de  Deguileville,  circ. 

1400,  7,  f.  199. 
Prayer  on  the  Seven  Words,  15th  cent.,  arc.  1500,  Lai., 
u,t»jib;  13,  f.  20*. 
John,  S.,  Baptist,  Prayer  to,  15th  cent,  La/.,  it,  f.  284  b. 
John,  S.,  Evangelist,  Scenes  from  the  life  of,  arc.  1400,  8, 

ff.  1-3  b,  45b-47b. 
Joseph  of  Arimathaea,  Romance  of,  14th  cent.,  Fr.,  4,  f.  1. 

I-eck,  River,  in  Holland,  Note  of  flood,  1536,  9,  f.  379. 
I^eobonus,  S.,  Collect  and  Secrets  for  his  day,  14th  cent., 

Lat.,  5,  f.  44  b. 
Lincoln,  Psalter  executed  at(?),  13th  cent.,  3. 
Liturgies : 
Latin.    Psalter,  13th  cent.,  3. 

Home  of  Humiliate  Nuns  :  Hal.  rubrics  and  prayers, 

late  15  th  cent,  11. 
Horae,  Rome  use,  arc.  1500,  13. 
Dutch.     Horae,  Utrecht  use,  15th  cent,  10. 
Lockhorst,  Van,  of  Utrecht,  Arms  of,  15th  cent,  9,  ff.  29  b, 

73b,  112b,  156,  158,  174b,  214b,  238. 
Lord's  Prayer,  Expositions  of,  14th  cent,  Lat.,  6,  f.  16  b. 
I.otario  de'  Conti  di  Segni,  v.  Innocent  III. 
Ludolph  of  Saxony,  v.  Speculum  Humanae  Salvationis. 

'  Master  of  the  Berlin  Passion,'  Engravings  by,  15th  cent, 

10,  ff.  17  b,  27  b,  &c. 
'  Master  of  the  Dutuit  Agony  in  the  Garden,'  Engraving 

by,  15th  cent,  10,  f.  154  b. 
'Meister  mit  den  Blumenrahmen,'   Engravings  by,   15th 

cent,  10,  ff.  94b,  nob,  123  b. 
Merlin,  Romance  of,  14th  cent,  Fr.,  4,  f.  18  b. 

Mesnil, ,  Signature,  1763,  5,  f.  i. 

Moers,  Dietrich  von,  Archbishop  of  Cologne,  Arms  of, 

15th  cent,  6,  f.  i. 

Nyvelt,  Van  Zuylen  van,  v.  Zuylen. 

Paris,  Jesuits'  College  (College  de  Clermont)  owned,  in 

1 8th  cent,  MS.  5. 
Pelerinages,  Les  Trois,  v.  Deguileville,  Guillaume  de. 


Petrarca,  Francesco,  Sonetti,  Canzoni  and  Trionfi,  15th 

cent,  12. 
Petrus  Comestor,  Extracts  from  his  Historia  Scholastica, 

15th  cent,  Flemish,  9. 
Philip  IV,  King  of  France,  Prayer  indulgenced  at  request 

of,  arc.  1500,  Lat.,  13,  f.  35  b. 
Poetry,  v.  Deguileville,  Guillaume  de. 
Hymns. 

Petrarca,  Francesco. 
Speculum  Humanae  Salvationis. 
Prayers,  various,  15th  cent,  Lat.  and  Hal.,  11,  ff.  214  b- 

287  b. 
Psalms,   Exposition  of  the,  by  R.   Boysselli,   1358,  Lat., 

6,  f.  2. 
Psalter,  v.  Liturgies. 

Remy  of  Auxerre  (?),  Interpretations  Hebraicorum  nomi- 

num,  13th  cent,  2,  f.  361. 
Rhine,  River,  Note  of  flood  at  Schalkwijk,  1536,  9,  f.  379. 
Romance  of  Merlin,  &c,  14th  cent,  Fr.,  4. 
Romei,  of  Ferrara,  Counts  of  Bergantino  (1462),  Arms  of, 

15th  cent,  12,  f.  34. 

St.  Mihiel,  abbey  of,  Verdun  diocese,  owned,  in  1 7th  cent, 

MSS.  1,  2. 
Salem  al.  Salmansweiler,  Abbey  of,  in  Baden,  owned,  in 

1 80 1,  MS.  11. 
Schalkwijk,  in  Holland,  Note  of  flood  at,  1536,  9,  f.  379. 
Schlecht,  Robert,  Abbot  of  Salem,  1801,  n,  f.  288  b. 
Sebastian,  S.,  Hymn  to,  arc.  1500,  Lat.,  13,  f.  128. 
Seven  Words,  v.  Jesus  Christ. 
Sixtus  IV,  Pope,  Prayer  indulgenced  by,  1480,  Lat.,  11, 

f.  285  b. 
Speculum  Humanae  Salvationis,  by  Ludolph  of  Saxony  (?), 

late  14th  cent.,  6,  f.  20  b. 

Thomas  Aquinas,  S.,  Prayer,  circ.  1500,  Lat.,  13,  f.  130. 

Upton,  Robert  de,  Obit  of,  circ.  1300,  3,  f.  5  b. 
Utrecht,  Horae  of  the  use  of,  15th  cent,  Dutch,  10. 
Notes  of  deaths  and  burials  at  and  near,  16th  cent, 
Dutch,  9,  ff.  379-381. 

Vandevelde,  J —  F — ,  owned,  in  1796,  MS.  5. 

Zuylen  van  Nyvelt,  Van,  family  of,  Notes  of  deaths  and 
burials,  16th  cent,  9,  ff.  379-381. 


Il8 


II.    INDEX  TO  SUBJECTS  OF   MINIATURES 


[The  references  are  to  the  manuscripts  and  folios.] 


Aaron,  budding  rod,  6,  f.  29. 

receives  victims  and  offerings,  9,  ff.  99,  108,  109,  m, 
116,  117,  131  b. 

tomb  of,  9,  f.  164. 

washes  his  hands  before  the  altar,  9,  f.  119b. 

and  Miriam,  rebuked  by  God,  9,  f.  156. 
Abel,  murder  of,  3,  f.  9 ;  6,  f.  37. 

sacrifice  of,  9,  f.  17. 
Abimelech,  death  of,  9,  f.  235. 
Abishag  brought  to  David,  1,  f.  170. 
Abner,  burial  of,  6,  f.  45  b. 
Abraham  and  Abimelech,  9,  f.  39. 

and  Melchizedek,  6,  f.  35  ;  9,  f.  29  b. 

drawn  by  God  from  Ur,  6,  f.  50. 

offers  up  Isaac,  9,  f.  39  b;  13,  f.  14  b. 

sacrifice  of,  consumed  by  fire  from  heaven,  9,  f.  31. 

vision  of  the  bosom  of,  7,  f.  139. 

welcomes  the  three  angels,  9,  f.  33  b. 
Absalom,  death  of,  6,  f.  44. 
Accalon  fights  with  Arthur,  4,  ff.  195  b,  205  b. 
Achan,  stoning  of,  9,  f.  212. 
Achior  bound  to  a  tree,  6,  f.  38  b. 
Adam  and  Eve : 

Adam  naming  the  animals,  9,  f.  1 2. 

Birth  of  Eve,  6,  f.  a  1  b  ;  9,  f.  9  b. 

Marriage,  6,  f.  22. 

Eve  and  the  serpent,  6,  f.  22. 

Fall,  3,  f.  9 ;  6,  f.  22  b ;  9,  f.  13  b. 

Allegorical  vision  of  the  Fall,  7,  f.  199. 

Expulsion  from  Paradise,  3,  f.  9 ;  6,  f.  22  b ;  9,  f.  15  b. 

Adam  delves,  Eve  spins,  3,  f.  9 ;  6,  f.  23. 

Mourning  for  Abel,  6,  f.  45. 
Ahasuerus  enthroned,  1,  f.  273  b. 
Amos  herding  sheep,  2,  f.  163. 
Andrew,  S.,  martyrdom  of,  3,  f.  12  b. 
Angel  and  devil  lead  soul  to  judgement,  7,  f.  1  r  1  b. 

guardian,  leads  soul  by  the  hand,  13,  f.  182. 

guards  entrance  to  heavenly  Jerusalem,  7,  f.  1  b. 

of  Death,  13,  f.  no. 
Angels  and  devils  take  possession  of  souls,  7,  f.  1 79  b. 

relieve  souls  in  purgatory,  7,  f.  137  b. 
Antipater  shows  his  wounds  to  Caesar,  6,  f.  53  b. 
Antony,  S.,  temptation  of,  13,  f.  133  b. 
Ape,  n,  ff.  61  b,  149  b. 
Apocalypse,  illustrations  of  the,  5  ;  8. 
Apollonia,  S.,  having  her  teeth  extracted,  13,  f.  147. 
Archbishop  blessing  Arthur,  4,  f.  73  b. 
Ares  the  cowherd,  4,  f.  1 50. 
Ark  of  the  Covenant,  6,  f.  30  b. 

adored  by  priests,  13,  f.  88. 

borne  by  priests,  9,  f.  209. 

carried  across  Jordan,  6,  f.  33. 
Arthur,  birth  and  adventures  of,  4,  ff.  66-224. 
Asenath,  9,  f.  61  b. 
Asks'  figures  engraved  on  tombs,  7,  f.  163  b. 


Astyages,  vision  of,  6,  f.  23  b. 

Augustine,  S.,  helps  pilgrims   into   heavenly   Jerusalem, 

7.  f-  *• 

Augustus,  v.  Octavian. 
Avarice,  7,  ff.  74,  75. 


Babel,  Tower  of,  6,  f.  52  b ;  9,  f.  26  b. 

Babylon,  fall  of,  5,  ff.   24  b,   33  b,  35  b,   36 ;  8,  ff.  28  b, 

36  b. 
Balaam  and  the  angel,  6,  f.  24 ;  9,  f.  166 ;  13,  f.  67. 

and  Balak,  9,  f.  167  b. 
Balaain  and  Balaan,  4,  ff.  105  b-142. 
Baptism,  v.  Rites. 
Barbara,  S.,  disputing  with  her  father,  13,  f.  145  b. 

martyrdom  of,  13,  f.  146. 
Barim,  the  strong  tower,  6,  f.  27. 
Baruch,  2,  f.  nib. 
Battle  scenes,  4,  ff.  53,  112;  9,  ff.  69  b,  92  b,  158,  165, 

174  b,  214  b,  244  b. 
Bel  and  the  dragon,  6,  f.  33  b. 
Benaiah  slays  lion,  6,  f.  47  b. 
Benedict,  S.,  at  weighing  of  monk's  soul,  7,  f.  1 28  b. 

helps  pilgrims  into  heavenly  Jerusalem,  7,  f.  2  b. 
Bezaleel  gilds  staves,  9,  f.  117b. 
Bishop,  7,  ff.  5  b,  8,  n  b,  13,  18,  41  b. 
Blaise,  Merlin's  friend,  4,  ff.  23  b,  30  b,  45  b,  50  b. 
Blasphemer  stoned,  9,  f.  141  b. 
Brazen  serpent,  9,  f.  164. 

Cain,  sacrifice  of,  9,  f.  17. 

slays  Abel,  3,  f.  9 ;  6,  f.  37. 
Caleb  and  Joshua  bring  grapes  from  Canaan,  6,  f.  41; 

9,  f.  156  b. 
Calendar-illustrations,  v.  Months ;  Zodiac 
Candlestick  of  the  Temple,  6,  f.  31. 
Catafalque,  13,  f.  179. 
Catherine,  S.,  of  Alexandria,  3,  f.  13  ;  10,  f.  181  b  ;  13,  ff. 

142  b,  143  b. 
Ceremonies,  v.  Rites. 
Charity,  7,  ff.  18,  102  b. 
Chastity,  7,  f.  103. 

Triumph  of,  12,  f.  50. 
Chivalry,  usages  of : 

Challenge,  4,  f.  86  b. 

Duels,  4,  ff.  87,  142,  205  b. 

Knights  jousting,  3,  f.  14  b;  4,  f.  163  b. 
Choristers,  v.  Monks. 
Christopher,  S.,  13,  f.  137  b. 
Codrus,  self-sacrifice  of,  6,  f.  43. 
Coronation,  3,  f.  35. 

Creation,  Days  of,  1,  f.  5  ;  3,  f.  8  b ;  9,  ff.  5  b,  6,  7  b. 
Cross,  the,  13,  f.  32. 

adoration  of,  13,  f.  193. 
Cyrus  building  the  Temple,  1,  f.  239  b. 


119 


Dancing: 

David,  6,  f.  43  b. 

Israelites,  round  golden  calf,  9,  f.  112. 

Peasants,  to  bagpipe,  13,  f.  76. 
Daniel  in  the  lions'  den,  2,  f.   144;   6,  f.  47  (fed   by 

Habakkuk). 
Darius  and  Apame,  6,  f.  39  b. 
David  and  Abishag,  1,  f.  170. 

and  Bathsheba,  6,  f.  1  b. 

and  fool,  1,  f.  306. 

and  Goliath,  3,  f.  14  b;  6,  f.  34. 

crowned  by  Christ,  1,  f.  299  b. 

cursed  by  Shimei,  6,  f.  40. 

envoy  of,  outraged  by  Hanun,  6,  f.  40. 

in  water,  appealing  to  God,  1,  f.  309. 

offered  water  from  Bethlehem,  6,  f.  30. 

playing  on  bells,  1,  f.  313  b ;  3,  f.  89. 

playing  on  harp,  1,  f.  294  b;  13,  f.  67. 

pointing  to  his  lips,  and  devil,  r,  f.  302  b. 

praying,  3,  f.  105  b ;  n,  f.  82  ;  13,  f.  1 10  (Death  Angel). 

Saul  casts  javelin  at,  6,  f.  37. 

scorned  by  Michal  for  dancing,  6,  f.  43  b. 

slays  bear  and  lion,  6,  f.  34. 

slays  800  at  once,  6,  f.  36. 

Tower  of,  6,  f.  27. 
Death,  as  old  woman  with  scythe  and  coffin,  7,  f.  109. 
Deguileville,  Guillaume  de,  7,  f.  1. 
Detraction,  7,  ff.  67,  71b. 

Devil,  1,  f.  302  b;  3,  ff.  10,  13,  13  b;  s,  ff.  35,  37  b,  39; 
6,  ff.  47  b,  48 b  ;  7,  ff.  93,  in  b,  179  b,  235  b,  236  ; 
8,  ff.  40  b,  41  b,  42  b ;  13,  ff.  109  b,  133  b  (as  finely 
dressed  woman),  135  b,  146. 
Dispensations,  Old  and  New,  3,  f.  119  b. 
Doctrine  licking  a  soul  into  shape,  7,  f.  164  b. 
Dominican  carried  to  hell,  5,  f.  37  b. 
Dove  returning  to  ark,  9,  f.  23. 
Drusiana,  baptism  and  resuscitation  of,  8,  ff.  1,  45  b. 

Ecclesiasticus,  author  of,  2,  f.  27  b. 

Ehud  slays  Eglon,  6,  f.  48. 

Eleazar  and  elephant,  6,  f.  43. 

Elijah  at  Ahaziah's  deathbed,  1,  f.  187  b. 

translation  of,  6,  f.  52. 
Elimelech  and  Naomi  with  their  children,  1,  f.  134. 
Elkanah  praying,  1,  f.  137. 
Enoch  and  Elias,  5,  ff.  18,  19 ;  8,  ff.  16  b,  17  b. 
Envy,  7,  ff.  67,  71b. 
Erasmus,  S.,  martyrdom  of,  11,  f.  37. 
Esau,  9,  f.  46  b. 

Escalibor,  Arthur's  sword,  4,  f.  195  b. 
Esther,  1,  f.  273b;  6,  f.  54. 
Eve,  v.  Adam  and  Eve. 

Evilmerodach  hacks  his  father's  corpse  in  pieces,  6,  f.  44. 
Ezra  sprinkles  altar,  1,  f.  244  b. 

Fame,  Triumph  of,  is,  £  67  b. 

Fawns,  n,  f.  137  b. 

Fear  of  God,  7,  f.  101  b. 

Fiddler,  3,  f.  89. 

Flattery,  7,  f.  60  b. 

Fool,  in  rags,  admonished  by  sage,  3,  f.  60  b. 

with  club  and  ball,  1,  f.  306. 
Fountain,  sealed,  6,  f.  24. 
Francis,  S.,  helps  pilgrims  into  heavenly  Jerusalem,  7,  f.  2  b. 

Gabriel,  7,  ff.  206,  206  b,  208. 

v.  Mary,  the  Blessed  Virgin. 
Garden,  hanging,  6,  f.  26. 
Gate,  shut,  6,  f.  25. 
Gavain,  4,  ff.  155,  160. 
George,  S.,  13,  f.  139  b. 
Gideon  and  the  fleece,  6,  f.  28  ;  9,  f.  230  b. 

stratagem  of,  9,  f.  232. 
Gifflet  fights  the  knight  of  the  forest,  4,  ff.  86  b,  87. 
Gluttony,  7,  f.  83. 


God  the  Father,  1,  f.  53;  2,  f.  156  b;  3,  ff.  14  b,  60  b, 
105  b ;  4,  f.  12  ;  s,  ff.  6  b-8  b,  19  b ;  6,  ff.  50,  53, 
S3  b ;  7,  f.  220  b ;  8,  ff.  5  b,  10  b,  19  b;  9,  ff.  1 1  b, 
31,  39  b,  127,  154  b,  156;  13,  ff.  142,  146. 

Golden  calf,  worship  of,  9,  ff.  in,  112. 

Grace-Dieu,  7,  ff.  3-109  passim. 

Grail,  the  holy,  4,  f.  12. 

Graveyard,  13,  f.  151. 

Gregory,  S.,  Mass  of,  13,  f.  125  b. 

Habakkuk  feeding  Daniel,  6,  f.  47. 

with  loaves  and  jug,  listening  to  angel,  2,  f.  173. 
Haggai,  2,  f.  176. 
Haman  hanged,  1,  f.  273  b. 
Hannah  praying,  r,  f.  137. 
Hare  and  hound,  5,  f.  1. 
Hawk  on  fist,  r,  f.  137  ;  13,  f.  5  b. 

swooping,  r,  f.  5. 
Hawking,  3,  f.  4. 

Hell,  Harrowing  of,  4,  f.  18  b;  6,  ff.  46  b,  49  b;  10, 
f.  183  b. 

torments  of,   3,  f.  13b;    7,  ff.   133b,   147-154;    13, 
f.  109  b. 
Heresy,  7,  f.  93  b. 

Holy  Ghost,  as  dove,  3,  f.  14  b  ;  13,  f.  46. 
Hosea  and  Gomer,  2,  f.  156  b. 
Hunting  scenes,  1,  f.  5  ;  4,  f.  193. 
Hur  strangled,  6,  f.  37  b. 

Idleness,  7,  ff.  53  b,  58,  59  b,  60. 

Ignorance,  7,  ff.  223,  223  b. 

Infirmity,  7,  ff.  106,  107  b. 

Innocents,  massacre  of,  v.  Jesus  Christ. 

Irish  knight,  damsel  kills  herself  over  corpse  of,  4,  f.  102  b. 

Isaac,  birth  of,  9,  f.  38. 

carries  wood  for  his  own  sacrifice,  6,  f.  40  b. 

sacrifice  of,  9,  f.  39  b;  13,  f.  14  b. 
Isaiah  enthroned,  pointing  to  his  prophecy,  13,  f.  103. 

sawn  in  two,  2,  f.  51  ;  6,  f.  42. 
Israelites,  1,  ff.  31  b,  67  b,  89,  121 ;  9,  ff.  78  b-2 48  passim, 

crossing  Jordan,  6,  f.  33. 

fed  with  manna,  6,  f.  34  b  ;  9,  f.  91  b. 

led  by  Moses  out  of  Egypt,  6,  f.  49  b. 

Jacob,  story  of,  9,  ff.  46  b-68. 

ladder,  6,  f.  5 1  b  ;  9,  f.  48. 

mourning  over  Joseph's  coat,  6,  f.  44  b. 
Jael  kills  Sisera,  6,  f.  49  ;  9,  f.  229. 
James,  S.,  2,  f.  325  ;  13,  ff.  135  b,  136. 
Jephthah  sacrifices  his  daughter,  6,  f.  26. 
Jeremiah  and  seething-pot,  2,  f.  77. 

lamenting,  2,  f.  108  b. 
Jericho,  storming  of,  9,  f.  211. 
Jerome,  S.,  r,  f.  1 ;  11,  f.  56 ;  13,  f.  227  b. 
Jerusalem,  heavenly,  7,  ff.  1  b-2  b. 
Jesse-tree,  2,  f.  2 15  ;  3,  f.  14  b;  6,  f.  24  b. 
Jesus  Christ : 

Nativity,  3,  f.  9  b  ;  6,  f.  28  b  ;  7,  f.  214  b  ;  10,  f.  46  b  ; 
11,  f.  36  b;  13,  f.  75  b- 

Angels  adore  Infant  Christ,  13,  f.  188. 

Angel  and  Shepherds,  3,  f.  9  b  ;  7,  f.  215  b  ;  13,  f.  79  b. 

Adoration  of  the  Magi,  3,  f.  10  ;  6,  f.  29  b  ;  7,  f.  217  ; 
10,  f.  50  b  ;  1 1,  f.  43  b  ;  13,  f.  83  b. 

Presentation,  6,  f.  30  b;  7,  f.  216b;  10,  f.  54  b;  11, 
f.  49  b;  13,  f.  87  b. 

Flight  into  Egypt,  6,  f.  31  b ;  7,  ff.  218  b  (opposed  by 
Old  Law),  225,  225  b  (idols  fall) ;  1 1,  f.  55  b  (angel 
leads  ass). 

Massacre  of  the  Innocents,  3,  f.  10  (devil  prompts 
Herod) ;  13,  f.  91  b. 

with  Doctors,  11,  f.  61  b. 

explains  His  three  days'  absence  to  Mary,  7,  f.  229. 

Baptism,  6,  f.  32  b  ;  7,  f.  234  b;  11,  f.  81  b. 

Temptation,  6,  f.  33  b ;  7,  ff.  235  b,  236. 

Cana  marriage- feast,  7,  f.  230. 


120 


Jesus  Christ  {continued) : 

with  Apostles,  7,  f.  237. 

Feeding  the  Five  Thousand,  7,  f.  249. 

Raising  of  Lazarus,  7,  f.  251  ;  13,  f.  150  b. 

Entry  into  Jerusalem,  3,  f.  10  b  ;  7,  f.  252. 

Last  Supper,  6,  f.  34  b  ;  7,  f.  253  ;  13,  f.  124  b. 

Washing  the  disciples'  feet,  7,  f.  254  b. 

Agony  in  the  Garden,  7,  f.  255  b;  1 1,  ff.  103  b,  255  ;  13, 
f.  15- 

Arrest,  soldiers  falling  back,  6,  f.  35  b. 

Kiss  of  Judas,  3,  f.  10  b ;  6,  f.  36  b  ;  7,  f.  256  b ;  10, 
f.  94  b;  n,  f.  75  b. 

before  Annas  and  Caiaphas,  3,  f.  n. 

Mocked  and  buffeted,  3,  f.  11  ;  6,  f.  37  b  ;  ro,  f.  103  b  ; 
13,  f.  20  b. 

Judas  returns  the  thirty  pieces,  7,  f.  258  b. 

before  Pilate,  10,  f.  107  b;  13,  f.  22  b. 

Scourged,  3,  f.  11 ;  6,  f.  38b ;  7,  f.  259;  13,  f.  23b. 

Crowned  with  thorns,  6,  f.  39  b. 

Bearing  the  cross,  6,  f.  40  b ;  7,  f.  260  b ;  10,  f.  1 10  b  ; 
11,  f.  121  b;  13,  f.  25. 

Nailed  to  the  cross,  3,  f.  nb  (Longinus,  Stephaton, 
Centurion,  &c);  6,  f.  41b;  10,  f.  114b;  13, 
f.  191. 

Crucifixion,  r,  f.  5  ;  6,  f.  42  b ;  7,  f.  261  b ;  1 1,  f.  130  b  ; 
13,  ff.  39  b,  203  b. 

Longinus  pierces  side,  6,  f.  43  b ;  13,  f.  26  b. 

Deposition,  4,  f.  2  b ;  6,  f.  44  b;  7,  f.  266  b. 

Dead  Christ  borne  by  Joseph  and  Nicodemus,  with 
Mary  and  John,  13,  f.  28. 

Lamentation  for  Christ,  10,  f.  119  b  ;  13,  f.  240  b. 

Entombment,  6,  f.  45  b;  7,  f.  267;  io,  f.  123b;  n, 
f.  137  b  (Mary  and  John  only,  at  foot  of  cross) ;  13, 
f.  29  b. 

Harrowing  of  Hell,  6,  ff.  46  b,  47  b,  49  b ;  10,  f.  183  b. 

Resurrection,  3,  f.  12  ;  6,  f.  50  b. 

Angel  and  Three  Maries  at  empty  tomb,  13,  f.  206. 

Noli  me  tangere,  3,  f.  12  ;  13,  f.  148  b. 

Appears  to  the  Three  Maries,  7,  f.  267  b. 

Ascension,  2,  f.  337  b ;  3,  f.  12  ;  6,  f.  51b;  7,  f.  271  ; 
13,  f.  209  b. 

Carries  lost  sheep,  6.  f.  52. 

Child-Christ  derides  Ignorance,  7,  f.  223  b. 

Child-Christ  offered  by  Mary  to  God  the  Father,  7, 
f.  220  b. 

Crowns  David,  1,  f.  299  b. 

Dismisses  Old  Law  and  promotes  New,  7,  f.  233. 

Enthroned,  blessing,  3,  f.  8  b. 

Face  of,  on  white  cloth,  1 1,  f.  75  b. 

Five  Wounds  of,  13,  ff.  33-34. 

Head  of,  11,  f.  81  b  ;  13,  f.  32  b  (crowned  with  thorns 
and  rayed). 

In  glory,  showing  Wounds,  13,  f.  32. 

Intercedes  with  the  Father,  6,  f.  53  b. 

Pilgrimage  of,  7,  ff.  199-275. 

Vanquishes  devil,  6,  f.  47  b. 
Joab  slays  Abner,  6,  f.  36  b. 

Joachim,  conception  of  Mary  announced  to,  6,  f.  23  b. 
Job  scourged  by  his  wife  and  Satan,  6,  f.  39. 

with  wife  and  friend,  1,  f.  281. 
Joel,  2,  f.  160  b. 

John,  S.,  Baptist,  7,  f.  229  b ;  11,  f.  44  ;  13,  f.  127. 
John,  S.,  Evangelist : 

Scenes  from  life  of,  8,  ff.  1-3  b,  45  h-47  b. 

Seated,  book  in  hand,  2,  ff.  330,  332. 

Writing,  with  eagle,  2,  f.  266 ;  13,  f.  132. 
Jonah  and  whale,  2,  f.  167  ;  6,  ff.  46,  51. 
Joseph,  bones  of,  exhumed,  9,  f.  86. 

cast  into  pit,  6,  f.  46. 

scenes  from  life  of,  9,  ff  57  b-68. 
Joseph  of  Arimathaea,  4,  ff.  11  b,  12,  17  b;  13,  f.  28. 
Joshua,  1,  f.  108. 

Sun  stands  still  for,  9,  f.  214  b. 

v.  Caleb. 
Josiah  feasting,  1,  f.  252. 
Jubal  playing  the  harp,  6,  f.  41  b. 


Judah  and  Tamar,  9,  f.  59. 

Judas  Iscariot  returns  the  thirty  pieces,  7,  f.  258  b. 

Jude,  S.,  2,  f.  332  b. 

Judgement,  Last,  3,  f.   13  b;    5,  f.  39  b;    6,  f.  54  b;    8, 

f.  42  b  ;  10,  f.  154  b  ;  13,  f.  109  b. 
Judgement  of  souls  after  death,  7,  ff.  in  b-128  b. 
Judith  slays  Holofernes,  1,  f.  266  ;  6,  f.  48  b. 
Justice  accuses  Pilgrim's  soul,  7,  f.  119. 


King,  2,  f.  176;  3,  f.  48. 

Korah,  Da  than,  and  Abiram,  9,  ff.  160,  160  b. 

Lamech  beaten  by  his  wives,  6,  f.  39. 

Landscape,  with  portico,  &c,  12,  f.  44. 

Latria,  with  horn,  organ,  and  psaltery,  7,  f.  103. 

Laurence,  S.,  martyrdom  of,  13,  f.  142. 

Law,  Old,  succumbs  to  New,  7,  ff.  218  b,  233,  233  b. 

Law,  tables  of,  given  to  Moses,  9,  ff.  94  b,  lit. 

Leodegan,  Merlin's  embassy  to,  4,  f.  147. 

Levite  claims  his  concubine,  9,  f.  243. 

Life  of  Man,  Pilgrimage  of,  7,  ff.  1-109. 

Lot  escapes  from  Sodom,  6,  f.  50. 

Loth,  King  of  Orkney,  marriage  of,  4,  f.  63  b. 

Love,  Triumph  of,  1 2,  f.  33  b. 

Lucifer,  fall  of,  6,  f.  21  b. 


Magi  adore  the  star,  6,  f.  29  b. 

v.  Jesus  Christ. 
Malachi,  2,  f.  182. 
Manna,  6,  f.  34  b ;  9,  f.  91  b. 
Margaret,  S.,  emerging  from  dragon  and  scourging  a  devil, 

Mark,  S.,  2,  f.  233  b. 
Marriage,  v.  Rites. 
Mary,  the  Blessed  Virgin  : 

Conception  of,  announced  by  angel,  6,  f.  23  b. 

Birth  of,  6,  f.  24  b. 

Presentation  of,  6,  f.  25  b ;  10,  f.  17  b. 

Annunciation,  3,  f.  9  b;  6,  f.  27  b;  7,  ff.  206  b,  208; 
10,  f.  37  b;  n,  f.  1. 

with  Joseph,  7,  f.  211. 

Marriage,  6,  f.  26  b  ;  10,  f.  27  b. 

Visitation,   7,  f.    210  b;    10,  f.   42  b;    13,  ff.  66  b,  67 
(sitting  in  a  room  with  Elizabeth). 

Mourning  over  the  dead  Christ,  13,  f.  240  b. 

Death  of,  n,  f.  149  b. 

Coronation,  3,  f.  119b;  10,  f.  61  b;  13,  f.  97  b. 

and  Child,  2,  f.  17;   3,  f.   14  b;   6,  f.  31b  (Egyptian 
image) ;  7,  f.  88  ;  1 1,  f.  1  b  ;  13,  ff.  50,  102  b. 

Intercedes  with  Christ,  6,  f.  54. 

Offers  the  Child  to  God  the  Father,  7,  f.  220  b. 

Reading  a  book,  1 1,  f.  205  ;  13,  f.  54. 

Tramples  on  devil,  6,  f.  48  b. 
Mary  Magdalene,  S.,  13,  ff.  148  b,  149. 
Mattathias  beheads  idolater,  2,  f.  184  b. 
Melchizedek  and  Abraham,  6,  f.  35  ;  9,  f.  29  b. 
Memory,  Pilgrim's  servant,  7,  ff.  40,  42  b,  47  b,  73. 
Mercy,  7,  ff.  107  b,  202  b. 
Merlin,  life  of,  4,  ff.  23-202  b. 
Messenger  with  letter,  2,  f.  202. 
Micah,  2,  f.  168  b. 

Michael,  S.,  fighting  dragon,  5,  f.  20  b  ;  8,  f.  20  b. 
Moab,  King  of,  sacrificing  his  son,  6,  f.  42. 
Molten  sea,  6,  f.  32  b. 
Monks  chanting,  1,  f.  317  ;  3,  f.  103  b. 
Months,  occupations  of,  3,  ff.  2-7  b  ;  13,  ff.  1  b-13. 
Morgain,  Arthur's  enemy,  4,  ff.  199,  209,  224. 
Moses  and  burning  bush,  6,  f.  27  b ;  9,  f.  76. 

as  bishop,  7,  ff.  n  b,  13,  41  b. 

as  child,  breaks  Pharaoh's  crown,  6,  f.  32  ;  9,  f.  75. 

leads  Israelites  out  of  Egypt,  6,  f.  49  b. 

offers  sacrifice,  r,  f.  53 ;  9,  ff.  127,  128. 

scenes  from  the  life  of,  9,  ff.  73  b-205. 

with  Israelites,  1,  ff.  53,  67  b,  89. 


121 


Musical  instruments : 
Bagpipe,  13,  f.  76. 
Bells,  1,  f.  313  b;  3,  f.  89. 
Guitar,  9,  f.  90 ;  13,  f.  54. 
Harp,  1,  f.  294b;  4,  f.  185;  6,  f.  41  b;  9,  ff.  90,  in  j 

>3.  ff-  54,67.  no- 
Horn,  organ,  psaltery,  7,  f.  103. 
Pipes,  11,  f.  204  b. 
Trumpet,  3,  f.  13  b;  5,  ff.  12-15  b;  7.  f-  »'3b;  8.  ff- 

11  b-i4b,  19  b;  9,  f.  232;  13,  f.  109  b. 
Violin,  3,  f.  89 ;  9,  f.  90. 
Various,  9,  f.  90. 

Naaman  bathing,  6,  f.  33. 

Nahum,  2,  f.  171. 

Naomi,  1,  f.  134  5  6,  f.  45. 

Nature,  opposed  to  Grace-Dieu,  7,  ff.  14,  17  b. 

complains  to  Joseph,  7,  f.  213. 
Nebuchadnezzar's  dream,  6,  ff.  32,  42  b. 
Nicholas,  S.,  13,  f.  141. 

Niviene  with  Merlin,  4,  ff.  178,  179  b,  185,  186,  200,  202  b. 
Noah  entering  the  ark,  9,  f.  21. 

Dove  returns  to,  9,  f.  23. 

Dove  and  raven,  6,  f.  23. 

Mocked  by  Ham,  6,  f.  38 ;  9,  f.  25. 

Obadiah,  2,  f.  166. 
Obedience,  7,  ff.  102  b,  105  b. 
Occupation  and  Idleness,  7,  f.  53  b. 
Octavian  and  the  Sibyl,  6,  f.  29 ;  13,  f.  80. 
Og,  King  of  Bashan,  death  of,  9,  f.  165. 
Old  Age,  7,  ff.  106,  107  b. 
Onuphrius,  S.,  1  r,  f.  204  b. 
Ostrich  frees  her  imprisoned  chick,  6,  f.  47. 

Pandragon  and  Uter,  4,  ff.  42,  45  b. 
Parables : 

Ten  pounds,  6,  f.  54  b. 

Vineyard  let  to  wicked  husbandmen,  6,  f.  41. 
Passover,  6,  f.  35  ;  9,  f.  85  b. 
Patriarchs,  1,  f.  204  b. 
Paul,S.,  2,  ff  281,  300b,  307,310,  3ii,3i3,3i4b,3i5b; 

.       5.  (■  i- 

baptizing,  2,  f.  308  b. 

blessing  a  martyr,  2,  f.  305. 

in  bed,  2,  f.  295  b. 

in  prison,  2,  ff.  303,  315. 

saying  mass,  2,  f.  288. 

martyrdom  of,  3,  f.  12  b. 
Peacock,  n,  f.  149  b. 
Pelerinages,  Les  Trois,  7. 
Pellinor  with  Arthur,  4,  f.  152  b. 
Penance,  with  hammer,  rod,  and  besom,  7,  f.  18. 
Penitence,  hedge  of,  7,  f.  57. 

Pilgrim  bathes  in  tears  of,  7,  ff.  91,  91  b. 
Pentecost,  3,  f.  12;  6,  f.  52  b;  7,  f.  275;  10,  f.   127  b; 

"t*  131;  13.  f-  45  b. 
Peter,  S.,  2,  ff.  326  b,  328  b;  10,  f.  180  b. 

martyrdom  of,  3,  f.  12  b. 
Petrarch,  Trionfi,  12. 

and  Iaura,  12,  f.  58. 
Pharaoh's  army  drowned,  9,  f.  89. 

butler,  6,  f.  28  b ;  9,  f.  60  b. 
Pheasant,  1 1,  f.  49  b. 
Phinehas  slays  Zimri  and  Cozbi,  9,  f.  169. 
Pilgrim,  v.  Pelerinages,  Les  Trois. 
Plagues  of  Egypt,  9,  ff.  80  b-84. 
Pride,  7,  f.  60  b. 
Procession,  ecclesiastical,  7,  f.  9. 
Purgatory,  7,  ff.  ,35,  ,37b,  i5S. 

Souls  mounting  to  heaven  from,  7,  f.  131  b 
Putti,  11,  f.  17;  ij. 


Quails,  Israelites  catching,  9,  f.  155  b. 


Rachel,  burial  of,  9,  f.  55  b. 

Rahab,  9,  f.  208. 

Reason  helps  Pilgrim,  7,  ff.  10-52. 

Rebekah,  with  Eliezer,  6,  f.  28 ;  9,  f.  42  b. 

with  Jacob,  9,  f.  46  b. 
Rites  and  Ceremonies : 

Baptism,  2,  f.  308  b ;  7,  f.  5  ;  8,  f.  1. 

Censing  altar,  5,  f.  12  b;  8,  f.  n  b;  9,  f.  128b. 

Coronation,  3,  f.  35. 

Funeral,  4,  f.  68  ;  9,  ff.  40  b,  55  b,  205. 

Libation,  9,  f.  54  b. 

Marriage,  4,  f.  63  b ;  6,  f.  26  b ;  7,  f.  8 ;  10,  f.  27  b. 

Mass,  2,  f.  288;  7,  f.  13;  13,  f.  125  b. 

Mosaic,  various,  9,  ff.  82-162  b. 

Passover,  6,  f.  35  ;  9,  f.  85  b. 

Procession,  7,  f.  9. 

Reconciliation  of  husband  and  wife,  9,  f.  149  b. 

Redemption  of  kinsman's  claim,  9,  f.  248. 

Sacrifice,  1,  ff.  53,  219  b;  9,  ff.  17,  31,  52,  82,  &c. 

Sprinkling  altar,  r,  f.  244  b. 

Tonsure,  7,  f.  8. 

Washing  hands  at  altar,  9,  f.  119  b. 
Rude  Entendement,  7,  ff.  42  b-43  b. 
Ruth  gleaning,  9,  f.  247. 

redeemed  by  Boaz,  9,  f.  248. 

Sabbath-breaker  stoned,  9,  f.  159. 
Saints,  group  of,  13,  f.  185. 
Salisbury,  battle  of,  4,  f.  53. 
Samson,  birth  of,  9,  f.  238. 

rends  lion,  6,  f.  48. 

slays  Philistines  with  ass's  jawbone,  6,  f.  35  ;  9,  f.  239  b. 

breaks  open  city-gates,  6,  f.  50  b. 

mocked  by  his  enemies,  6,  f.  38. 

death  of,  9,  f.  240  b. 
Samuel,  dedication  of,  6,  f.  31. 
Sarah,  burial  of,  9,  f.  40  b. 
Satan  and  his  nets,  7,  f.  93. 
Saul  casts  a  javelin  at  David,  6,  f.  37. 

execution  of  slayer  of,  1,  f.  155. 
Sea  full  of  corpses,  7,  f.  92  b. 
Sea-monster,  n,  f.  204  b. 
Sebastian,  S.,  martyrdom  of,  13,  f.  128. 
Shamgar  slays  Philistines  with  ploughshare,  6,  f.  36. 
Sheba,  Queen  of,  offers  gifts  to  Solomon,  6,  f.  30 ;    1 3, 

f.  84. 
Shechem,  death  of(?),  9,  f.  69  b. 
Ship  of  Religion,  7,  f.  100  b. 
Sinai,  Mount,  God  gives  the  Law  on,  6,  f.  53. 
Sins,  the  Seven  Deadly,  7,  f.  86  b. 
Sisera,  death  of,  9,  f.  229. 
Skeleton,  standing  in  graveyard,  13,  f.  151. 
Skull,  11,  ff.  r3o  b,  138;  13,  f.  151. 
Sobriety,  7,  f.  102  b. 
Sodom,  destruction  of,  9,  f.  35  b. 
Solomon,  2,  ff.  1,  13,  19  •  3,  f.  14  b. 
offering  a  sacrifice,  1,  f.  219  b. 
with  Queen  of  Sheba,  6,  f.  30 ;  13,  f.  84. 
Soul,  Pilgrimage  of,  7,  ff.  111-179^ 
Speculum  Humanae  Salvationis,  6,  ff.  21  b~54b. 
Spies,  v.  Caleb  and  Joshua. 
Stephen,  S.,  stoning  of,  3,  f.  12  b. 
Stone,  rejected,  set  up  as  head  stone,  6,  f.  51. 
Stoning  of  blasphemer  and  sabbath-breaker,  9,  ff.   141  b, 

»59- 
Synderesis,  the  worm  of  conscience,  7,  ff.  120,  121  b. 

Table,  golden,  6,  f.  25  b. 

Temple  of  Solomon,  6,  f.  25. 

Tetramorph,  2,  f.  115  b. 

Thomas  Aquinas,  S.,  13,  f.  130. 

Thomas,  S.,  of  Canterbury,  murder  of,  3,  f.  13. 

Three  Children,  the,  in  furnace,  6,  f.  46  b. 

Tintagel  castle,  4,  f.  58  b. 

Tobias  and  Sara,  marriage  of,  6,  f.  26  b. 

Tobit  blinded,  1,  f.  260  b. 


122 


Tomyris  beheads  Cyrus,  6,  f.  49. 

Tonsure,  7,  f.  8. 

Tops,  children  whipping,  13,  f.  46. 

Tor,  at  Arthur's  court,  4,  ff.  150,  163  b,  169. 

Travelling-wagons,  9,  f.  66  b. 

Treason,  7,  ff.  67,  71  b. 

Trees,  green  and  dry,  in  purgatory,  7,  f.  155. 

Tribulation,  7,  ff.  97,  99  b. 

Trinity,  the,  1,  f.  3*1 ;  3,  f.  119b;   7,  ff.  203  b,  206 ;    10, 

f.  67  b;  13,  f.  lit. 
as  three  suns  conjoined,  13,  f.  124. 
Triumphs  of  Love,  Chastity,  and  Fame,   1 2,  ff.  33  b,  50, 

67  b. 
Truth,  7,  f.  203  b. 
Tubal-cain  forging,  6,  f.  41  b. 
Tumbler,  female,  3,  f.  89. 

Urien,  4,  ff,  120  b,  209. 

Uter,  4,  ff.  42,  45  b,  55  b,  58  b. 

marriage  of,  4,  f.  63  b. 

funeral  of,  4,  f.  68. 


Venus,  7,  f.  83. 
Veronica,  S.,  13,  f.  123. 

with  Vespasian,  4,  f.  8  b. 
Vertigiers  crowned,  4,  f.  32. 

with  Merlin  at  falling  tower,  4,  f.  38  b. 
Vespasian,  cure  of,  4,  f.  8  b. 

disputes  with  Jews,  4,  f.  1 1  b. 
Virtues  personified,  7,  f.  102  b,  &c. 

Weighing  of  soul,  7,  f.  1 28  b. 
Widow  of  Zarephath,  6,  f.  53. 
Winchester  castle,  4,  f.  42. 
Wrath,  7,  f.  71  b. 

Ygerne,  courtship  and  marriage  of,  4,  ff.  58  b,  63  b. 
Youth,  7,  ff.  95  b,  97. 
Yvain,  4,  f.  209. 

Zacharias  and  angel,  2,  f.  245  b. 

Zechariah,  2,  f.  177  b. 

Zephaniah,  2,  f.  174  b. 

Zodiac,  signs  of  the,  3,  ff.  2-7  b;  13,  ff.  2-13. 


>*J 


s    3 


III.     INDEX   TO    PRINTED    BOOKS 


[The  references  are  to  the  numbered  entries  of  the  books.'] 


Alcali,  first  edition  of  Cervantes'  'Galatea '  printed  at,  36. 

Amyot,  Jacques,  Bishop  of  Auxerre,  Angell  Daye's  version 
of  '  Daphnis  and  Chloe  '  from  the  French  of,  37. 

Apollonius,  King  of  Tyre,  'The  Patterne  of  painefull 
Aduentures,'  containing  the  history  of  the  strange  acci- 
dents that  befell  unto  him,  printed  by  V.  Sims  about 
1 594  for  the  Widow  Newman,  43. 

'  Arigo ',  translator  of  the  Ulm  edition  of  Boccaccio's 
'  Decamerone ',  15. 

Ars  Memorandi  per  figuras  Euangelistarum,  14. 

Augsburg,  '  Spiegel  menschlicher  Behaltnis,'  printed  about 
1478  by  Anton  Sorg  at,  19. 

B.,  S.,  cuts  designed  for  his  'Trauayled  Pilgrime'  used 

in  Munday's  '  Banquet  of  Daintie  Conceits  ',  38. 
Bandello,  Matteo,  Brake's  '  Romeus  and  Iuliet '  derived 

from,  through  the  French,  34. 
Barclay,  Alexander,  translator  of  Gringore's  '  Chasteau  de 

labour',  29. 
Batallier,  Jean,  reviser  of  J.  de  Vignay's    translation  of 

the  '  Legenda  Aurea',  16. 
Bermudas,  'the  Hand   of  Deuils   otherwise  called   Ber- 

moothawes,'  English  ships  wrecked  on,  49. 
Bible — Old  Testament,  French  abridgement  of,  '  Le  viel 

testament  de  la  Bible,'  17. 
Bliss,  Philip,  his  copy  of  Daye's  '  Daphnis  and  Chloe ',  37. 
Blockbook,  'Ars  Memorandi,'  14. 
Blockbook,  early  Dutch,  cut  up  and  used  in  Veldener's 

'  Geschiedenis    van    het    heylighe   Cruys ',    20 ;    early 

Italian,  blocks  from  used  in  the  Venice  1487  '  Medita- 

tione  sopra  la  Passione  del  Nostra  Signore ',  23. 
Blundeston,  L,  Googe's  '  EglogS  '  sent  to  press  by,  35. 
Boaistuau,  Pierre,  Brake's  '  Romeus  and  Iuliet '  translated 

from  Bandello,  through  the  French  of,  34. 
Boccaccio,  Giovanni,  first  German  version  of  the  '  Decame- 
rone', printed  by  Zainer,  about  1473,  at  Ulm,  15. 
Bollifant,  Edmund,  Smith's  'Chloris',  1596,  printed  by,  45. 
Bonaventura,  Saint,  '  Meditatione  sopra  la  Passione  del 

Nostra  Signore  fundate  sopra  sancto  Bonaventura,'  see 

Meditatione 
Bookseller's  Shop,  woodcut  of,  28  (cut  1). 
Broke,  Arthur,  the  'Tragicall  Historye  of  Romeus  and 

Iuliet'  by,  printed  in  1562  by  R.  Tottell,  34. 
Bure,  J.  J.  de,  l'atne\  his  copy  of  the  Lyon  1499  'Danse 

Macabre',  28. 
Busby,  John,  part-publisher,  1592,  of  '  Rosalynde ',  40. 
Buyer,  BartheMemy, '  Legende  doree '  of  Jacobus  de  Voragine, 

printed  by  G.  Le  Roy  for,  16. 

C,  T.,  i.  e.  T.  Creed,  Shakespeare's  '  Merry  Wives  of 

Windsor ',  1 602,  printed  by,  48. 
Caly,  Robert,  '  Interrogatories  to  Churchwardens '  printed, 

April,  1558,  by,  33. 
Cambridge,  Giles  Fletcher's  '  Licia  or  Poemes  of  Loue ' 

printed  by  J.  Legate  about  1593  at,  41. 
Castell  of  Laboure,  translated  by  Alex.  Barclay  from  the 

French  of  P.  Gringore,  Pynson's  edition  of,  29. 
Caxton,  William,  '  Dictes  or  Sayengis  of  the  Philosophres  ' 

printed  by,  in  1477,  at  Westminster,  18 ;  French  original 

of  his  '  boke  of  Eneydos ',  21 ;   French  original  of  his 

'Charles  the  Crete',  22. 


Cervantes  Saavedra,  Miguel  de,  first  edition  of  his  'Galatea', 
printed  in  1585  at  Alcali  by  J.  Gracian  for  B.  de 
Robles,  36. 

Chalmers,  George,  his  copy  of  the '  Phoenix  Nest ',  42. 

Charlwood,  John,  Munday's  'Banquet  of  Daintie  Conceits' 
printed  in  1588  by,  38;  English  '  Hypnerotomachia ' 
printed  in  1592  by,  39. 

Chertsey,  Andrew,  translator  of  the  '  Flower  of  the  Com- 
mandments of  God ',  30. 

Churchwardens,  Interrogatories  to,  April,  1558,  see  Interroga- 
tories. 

Codeca,  Matheo  di,  '  Meditatione  sopra  la  Passione  del 
Nostra  Signore'  printed  in  1489  at  Venice  by,  24. 

Colin  Clout,  see  Spenser,  E. 

Colonna,  Ascanio,  first  edition  of  Cervantes'  '  Galatea ' 
dedicated  to,  36. 

Colonna,  Francesco,  translation  of  part  of  his  'Hypneroto- 
machia',  by  R.  D.,  published  in  1592  by  S.  Waterson, 

39- 
Colwell,  Thomas,   B.   Googe's   '  Eglogs,   Epytaphes  and 

Sonettes'  printed  in  1563  by,  35. 
Complainte  de  l'Ame  damn£e,  see  Danse  Macabre. 
Corser,  Thomas,  his  copy  of  Daye's  '  Daphnis  and  Chloe ', 

37  ;  of  Munday's  '  Banquet  of  Daintie  Conceits  ',  38. 
Creed,  Thomas,  see  C,  T. 
Culembourg,  see  Kuilenburg. 

D.,  R.,  translator  of  the  'Hypnerotomachia',  1592,  perhaps 
Robert  Dallington,  39. 

Dallington,  Robert,  see  D.,  R. 

Daniel,  George,  his  copy  of  the  '  Summoning  of  Everyman ' 
(John  Skot,  c.  1530),  32;  of  Brake's  'Romeus  and 
Iuliet'  (Tottell,  1562),  34;  of  Munday's  'Banquet  of 
Daintie  Conceits ',  38  ;  of  Griffin's  '  Fidessa ',  44 ;  of 
Smith's 'Chloris',  45;  of  Shakespeare's  1597  'Richardll', 
46  ;  of  Shakespeare's  1597  '  Richard  III ',  47  ;  of  Shake- 
peare's  1602  'Merry  Wives  of  Windsor',  48;  of  the 
volume  of  Ballads,  50. 

Danse  Macabre  (including  Danse  Macabre  des  Femmes, 
Trois  morts  et  trois  vifs,  D^bat  du  corps  et  de  Time, 
Complainte  de  l'Ame  damnee),  printed  by  G.  Marchant 
in  1492  at  Paris,  25  sq. ;  printed  by  Mat.  Huss  in  1499 
at  Lyon,  28. 

Daphnis  and  Chloe,  see  Longus. 

Daye,  Angell,  '  Daphnis  and  Chloe '  translated  by,  37. 

Death,  Dance  of,  see  Danse  Macabre. 

Debat  du  corps  et  de  l'ame,  see  Danse  Macabre. 

Devereux,  Robert,  Earl  of  Essex,  translation  of  the  '  Hyp- 
nerotomachia',  1592,  dedicated  to,  39. 

Devils,  Island  of,  see  Bermudas. 

Diets  or  Sayings  of  the  Philosophers,  see  Caxton,  William. 

Donning,  John,  Customer  and  J  urate  of  Rye,  the  '  Patterne 
of  painefull  Aduentures  '  dedicated  to,  43. 

Dorlandus,  Petrus,  his  '  Elckerlijk '  translated  as  the 
'  Summoning  of  Everyman ',  32. 

Du  Pre\  Jean,  edition  of  the  '  Roman  de  la  Rose '  printed 
by,  about  1494,  at  Paris,  27. 

Elizabeth,  Queen,  the  'Shepherds'  Holiday',  interlude  in 
'  Daphnis  and  Chloe ',  introduced  by  Angell  Daye,  in 
her  honour,  37. 


124 


England,  first  dated  book  printed  in,  18. 

Essex,  William,  Griffin's  '  Fidessa  '  dedicated  to,  44. 

Everyman,  see  Summoning  of  Everyman. 

Farmer,  Richard,  Dr.,  his  copy  of  Smith's  '  Chloris ',  45. 

Fidessa,  see  Griffin,  B. 

Fierabras,  le  roman  de,  printed  at  Lyon,  5  July,  [1485  ?],  by 

G.  Le  Roy,  22. 
Fletcher,  Giles,  his  '  Licia  or  Poemes  of  Loue '  printed  about 

1593  by  J.  Legate  at  Cambridge,  41. 
Flower  of  the  Commandments  of  God,  printed  in  15 10  by 

W.  de  Worde,  30. 
France,  first  French  book  printed  in,  16. 

G.,   T.,  i.  e.    Thomas   Gubbin,   part-publisher,    159a,   of 

Lodge's  '  Rosalynde ',  40. 
Gaignat,    L.    J.,    his    copy   of   the   Lyon    1499    'Danse 

Macabre ',  28. 
Gates,  Sir  Thomas,  return  from  Virginia,  49. 
Germany,  blockbook  '  Ars  Memorandi '  printed  in,  14. 
Geschiedenis  van  het  heylighe  Cruys,  printed  by  J.  Vel- 

dener,  6  March,  1483,  at  Kuilenburg,  20. 
Googe,  Barnabe,  his  '  Eglogs,  Epytaphes  and  Sonettes ' 

printed  in  1563  by  T.  Colwell  for  R.  Newbery,  35. 
Gospels,  blockbook  to  aid  memory  of  their  contents,  see 

Ars  Memorandi. 
Gracian,    Juan,    first     edition    of   Cervantes'   ■  Galatea ' 

printed  by,  36. 
Griffin,  Bartholomew,  his  '  Fidessa  '  printed  by  the  Widow 

Orwin,  1596,  for  Matthew  Lownes,  44. 
Gringore,  Pierre,  the  '  Castell  of  Laboure ',  translated  from 

the  French  of,  printed  about  1505  by  Pynson,  29. 
Gubbin,  Thomas,  see  G.,  T. 

Hatton,  Sir  William,  Daye's '  Daphnis  and  Chloe '  dedicated 

to,  37- 
Hundred  Merry  Tales,  undated  edition  of,  printed  by  John 

Rastell,  31. 
Hunsdon,     Henry    Carey,    Baron,    Lord    Chamberlain, 

Lodge's  'Rosalynde'  dedicated  to,  40. 
Huss,   Mathieu,    '  Danse   Macabre '   printed   in    1499   at 

Lyon  by,  28. 
Hypnerotomachia,  see  Colonna,  F. 

Interrogatories  to  Churchwardens,  by  the  Commissioners 
of  Philip  and  Mary,  printed  April,  1558,  by  R.  Caly,  33. 
Island  of  Devils,  see  Bermudas. 

Jacobus  de  Voragine,  first  edition  of  his  '  Legenda  Aurea ' 

in  French,  printed  18  April,   1476,  by  G.  Le  Roy  for 

B.  Buyer,  at  Lyon,  16. 
Jeffes,  Abel,  Lodge's  '  Rosalynde '  printed  in  1592  by,  40. 
Jesus  Christ,  '  Meditatione  sopra  la  Passione  del  Nostra 

Signore,'  see  Meditatione. 
Johnson,  Arthur,  Shakespeare's  '  Merry  Wives  of  Windsor ' 

published  in  1602  by,  48. 

Kuilenburg,    'Geschiedenis    van    het    heylighe    Cruys,' 
printed  6  March,  1483,  by  J.  Veldener  at,  20. 

I-aing,  David,  his  copy  of  Caxton's  '  Diets  or  Sayings  of  the 

Philosophers ',  18. 
\a  Marche,  Olivier,  cuts  designed  for  English  version  of 

his  '  Chevalier  I  >elibere '  used  in  Munday's  '  Banquet  of 

Daintie  Conceits ',  38. 
Legate,  John,  Giles  Fletcher's  '  Licia  or  Poemes  of  Loue ' 

printed  at  Cambridge  about  1593  by,  41. 
Le  Roy,  Guillaume,  books  printed  at  Lyon  by,  '  Legcndc 

doree'  (1476),  16;  Me  Vicl  Testament  de  la  Bible"  (c. 

'477).  >7  i  'liurc  des  Eneydes  '  (1483),  21 ;  '  Fierabras' 

(5  July,]  1485?]),  22. 
I^eubing,   Heinrich,  possibly  the  'Arigo'  who  translated 

Boccaccio's  '  Decamerone ',  15. 
Licia  or  Poemes  of  Loue,  see  Fletcher,  G. 


Lodge,  Thomas,  his   'Rosalynde'  printed,  1592,  by  A. 

Jeffes  for  T.  G.  and  J.  Busby,  40. 
London,  books  printed  at,  29-35,  37~4°t  42-5°- 
Longus,   'Daphnis  and    Chloe,'  translated   through   the 

French  by  Angell   Daye,   printed  in   1587  by  Robert 

Waldegrave,  37. 
Lorris,  Guillaume,  and  Meung,  Jean  de,  see  Roman  de  la 

Rose. 
Lovelace,  William,  Reader  of  Gray's  Inn,  Googe's  '  Eglogs ' 

dedicated  to,  35. 
Lownes,  Matthew,  Griffin's  '  Fidessa  ',  1596,  published  by, 

44- 
Ludolphus  de  Saxonia,  'Speculum  humanae  Saluationis' 

attributed  to,  19. 
Luttrell,  Narcissus,  his  copy  of  G.  Fletcher's  'Licia  or 

Poemes  of  Loue ',  41 ;  of  Smith's  '  Chloris ',  45. 
Lyon,   incunabula  printed  at,    '  Legende   doree'  (1476), 

16;  'le  Viel  Testament  de  la  Bible'  (c   1477),    17; 

•liure  des  Eneydes'  (1483),  21;   'Fierabras'  (5  July, 

[1485  ?]),  22  ;  '  Danse  Macabre'  (1499),  28. 

MacCarthy,  Count,  his  copy  of  the   1499  Lyon  '  Danse 

Macabre',  28. 
Marchant,   Gui,    '  Danse   Macabre '   printed  at   Paris   in 

1492  by,  25  sq. 
Meditatione  sopra  la  Passione  del  Nostra  Signore  fundate 

sopra  sancto  Bonaventura,  printed  at  Venice  in  1487  by 

Geronimo  di  Sancti,  23  ;  in  1489  by  Matheo  di  Codeca, 

24. 
Memory,  Art  of,  see  Ars  Memorandi. 
Merry  Wives  of  Windsor,  see  Shakespeare,  W. 
Meung,  Jean  de,  see  Roman  de  la  Rose. 
Mollineux,  the  Lady,  Giles  Fletcher's  '  Licia  or  Poemes  of 

Loue  '  dedicated  to,  41. 
Munday,    Anthony,  his  'Banquet   of  Daintie  Conceits' 

printed  in  1588  by  J.  Charlwood  for  E.  White,  38. 

Newbery,  Ralph,  Googe's  'Eglogs,  Epytaphes  and  Sonettes ' 

printed  in  1563  by  Colwell  for,  35. 
News  from  Virginia,  see  Rich,  R. 
Newman,  Widow,  '  The  Patterne  of  painefull  Aduentures  ' 

published,  about  1594,  by,  43. 
Newport,  Christopher,  his  return  from  Virginia,  49. 

Orwin,  Widow,  Griffin's  'Fidessa ',  1596,  printed  by,  44. 

Paris,  'Danse  Macabre'  printed  by  G.  Marchant  in  1492 

at,  25  sq. ;  '  Roman  de  la  Rose '  printed  by  J.  Du  Pre, 

c  1494,  at,  27. 
Park,  Thomas,  his  copy  of  Smith's  '  Chloris ',  45. 
Pattern  of  Painful   Adventures,  see  Apollonius,  King  of 

Tyre. 
Phoenix   Nest,  edited   in    1593   by   R.  S.  of  the   Inner 

Temple,  Gentleman,  see  S.,  R. 
Printing  Press,  first  printed  representation  of,  28  (cut  1). 
Pynson,  Richard,  the  '  Castell  of  Laboure '  printed  about 

i5<>5  tyi  a9- 

Rastell,   John,   his   undated   edition   of   the    'Hundred 

Merry  Tales  ',31. 
Rice,  Rev.  John  Morgan,  his  copy  of  Munday's  '  Banquet 

of  Daintie  Conceits ',  38. 
Rich,   R.,  his    '  Newes  from  Virginia'  printed  by  Edw. 

Allde  in  16 10,  49. 
Richard  II,  The  Tragedie  of,  see  Shakespeare,  W. 
Richard  III,   Rising  to   the  Crown  of  Richard   III,  see 

Fletcher,  G.,  Licia  or  Poemes  of  Loue ;  The  Tragedie 

of,  see  Shakespeare,  W. 
Rivers,  Antony,  Earl   of,  the  '  Diets  or  Sayings  of  the 

Philosophers'  translated  by,  from  the  French,  18. 
Rivoli,    Due   de,  his  copy  of   Du    Pr^'s   edition  of  the 

'  Roman  de  la  Rose ',  27. 
Robles,   Bias  de,   first  edition  of   Cervantes'  'Galatea' 

printed  for,  36. 
Roman  de  la  Rose,  edition  of,  printed  about  1494  by  Jean 

Du  Pre  at  Paris,  27. 


125 


Romeus  and  Juliet,  Tragical  History  of,  see  Broke,  A. 
Rosalynde,  see  Ixxige,  T. 

Royal  Society,  first  edition  of  Cervantes'  '  Galatea    from 
the  library  of,  36. 

S.,  R.,  of  the  Inner  Temple,  Gentleman,  the  '  Phoenix 

Nest ',  printed  by  J.  Jackson,  1593,  edited  by,  42. 
Sancti,  Geronimo  di,  '  Meditatione  sopra  la  Passione  del 

Nostra  Signore '  printed  in  1487  at  Venice  by,  23. 
Scott,  John,  see  Skot 
Shakespeare,  William, his  'King  Richard  II'  printed  in  1597 

by  V.  Sims  for  A.  Wise,  46;    his  'King  Richard  III' 

printed  in    1597  by   V.  Sims   for   A.   Wise,  47;    his 

*  Merry  Wives  of  Windsor '  printed  in  1602  by  T.  C.  for 

A.  Johnson,  48. 
allusions  by,  to  the  '  Hundred  Merry  Tales  ',  31 ;  to 

the  '  still  vext  Bermoothes ',  49. 
books   used    by,    Brake's    'Tragicall    History e   of 

Romeus  and  Iuliet ',  34  ;  Lodge's  '  Rosalynde ',  40 ;  the 

'  Patterne  of  painefull  Aduentures ',  43. 
Shepherds'  Holiday,  interlude  in  Daye's  version  of '  Daphnis 

and  Chloe '  in  honour  of  Queen  Elizabeth,  37. 
Sims,  Valentine,  the  '  Patterne  of  painefull  Aduentures ' 

printed  about  1594  by,  43  ;  Shakespeare's  '  Richard  II ' 

and  '  Richard  III ',  1597,  printed  by,  46,  47. 
Skot,  John,  the  'Summoning  of  Everyman  '  printed  by,  32. 
Smith,  William,  his  'Chloris'  printed  in  1596  by  E.  Bolli- 

fant,  45. 
Sorg,   Anton,   '  Spiegel   menschlicher   Behaltnis '   printed 

about  1478  at  Augsburg  by,  19. 
Speculum  humanae  Saluationis,  see  Spiegel  menschlicher 

Behaltnis. 
Spenser,  Edmund,  Smith's  '  Chloris '  dedicated  to,  45. 
Spiegel  menschlicher  Behaltnis,  edition  of,  printed  about 

1478  at  Augsburg  by  Anton  Sorg,  19. 
Steinhowel,   Heinrich,    not   the    '  Arigo '    who   translated 

Boccaccio's  '  Decamerone',  15. 
Summoning  of  Everyman,  translated  from  the  '  Elckerlijk ' 

of  P.  Dorlandus,  printed  about  1530  by  J.  Skot,  32. 
Sykes,  Sir  M.  M.,  his  copy  of  Smith's  '  Chloris  ',  45. 

Ten  Commandments,  see  Rower  of  the  Commandments  of 

God. 
Teonville,  Jean  de,  see  Tignonville,  Guillaume  de. 
Tignonville,  Guillaume  de,  Caxton's  '  Diets  or  Sayings  of 

the  Philosophers'  translated  from  the  French  of,  18. 


Topcliffe,  Richard,  Munday's  '  Banquet  of  Daintie  Con- 
ceits '  dedicated  to,  38. 

Tottell,  Richard,  his  1562  edition  of  Brake's  'Romeus and 
Iuliet ',  34. 

Trois  morts  et  trois  vifs,  see  Danse  Macabre. 

Tunes,  names  of  in  Munday's  '  Banquet  of  Daintie  Con- 
ceits '  ('A  Breuiate  of  the  Notes  of  the  Ditties  '),  38. 

Twine,  Lawrence,  the  romance  of  Apollonius  translated  by 
as  the  '  Patterne  of  painefull  Aduentures ',  43. 

Ulm,  German  translation   of  Boccaccio's  '  Decamerone ' 

printed  at,  15. 
Utterson,  Edward  Vernon,  his  copy  of  the  '  Patterne  of 

painefull  Aduentures ',  43. 

Veldener,  Jan,   '  Geschiedenis   van   het   heylighe   Cruys ' 

printed  at  Kuilenburg,  6  March,  1483,  by,  20. 
Venice, '  Meditatione  sopra  la  Passione  del  Nostra  Signore ' 

printed  at,  1487,  by  Ger.  di  Sancti,  23  ;  another  edition, 

1489,  by  M.  di  Codeca,  24. 
Vignay,  Jean  de,  translator  of  '  Legenda  Aurea ',  16. 
Vincent  de  Beauvais,   '  Speculum   humanae  Saluationis  ' 

wrongly  attributed  to,  19. 
Virgil,  French  romance  '  le  liure  des  Eneydes  compile  par 

Virgile'  printed  by  G.  Le  Roy,  30  Sept.  1483,  at  Lyon, 

21. 
Virginia,  Rich's  '  Newes  from  ',  49. 

Waldegrave,  Robert,  Daye's  version  of '  Daphnis  and  Chloe' 
printed  in  1587  by,  37. 

Waterson,  Simon,  English  version  of  '  Hypnerotomachia ' 
published  in  1592  by,  39. 

Westminster,  Caxton's  '  Diets  or  Sayings  of  the  Philoso- 
phers '  printed  at,  18. 

White,  Edward,  Munday's  '  Banquet  of  Daintie  Conceits ' 
published  by,  38. 

Wise,  Andrew,  Shakespeare's 'Richard  I  Land  'Richard  III', 
1597,  published  by,  46,  47. 

Worde,  Wynkyn  de,  '  Flower  of  the  Commandments  of 
God  '  printed  in  15 10  by,  30. 

Wynne,  Mr.,  his  copy  of  Smith's  '  Chloris  ',  45. 

Yemeniz,  Eugene,  his  copy  of  the  1499  'Danse  Macabre',  28. 

Zainer,  Johann,  German  translation  of  Boccaccio's  '  Deca- 
merone' printed  about  1473,  at  Ulm,  by,  15. 


126 


IV.     INDEX   TO    BALLADS 

[The  references  are  to  ike  numbered  entries  of  the  ballads, .] 


Against  Rebellious  and  false  Rumours,  by  Thomas  Bette, 
i57o,  3& 

Allde,  Edward,  printed  by,  51. 

Allde,  John,  printed  by,  5,  6,  9,  17,  19. 

Alls,  Death  and  the  Five,  48. 

Antwerp,  Capuchins  at,  47. 

Askel,  Leonard,  printed  by,  8. 

Avenon  (called  'Avenet'),  Lady  Mayoress,  wife  of  Sir 
Alexander,  died  1570,  Epitaph  on,  by  John  Phillip,  36  a. 

Awdeley  (alias  Sampson),  John,  '  the  Wonders  of  Eng- 
land,' by,  1  ;  'a  godly  ditty  against  all  Traytours,'  by,  28. 

—  ballads  printed  by,  1,  21,  26,  28. 

B.,  H.,  '  The  true  discription  of  a  Childe  with  Ruffes,' 

1566,  by,  17. 
B.,  R.,  '  Exhortation  to  such  as  write  in  Metres,'  by,  35. 
Babylon,  there  was  a  man  in  (Constancy  of  Susanna),  72. 
Barker,  John,  '  Balade  declaryng  how  neybourhed  loue, 

and  trew  dealyng  is  gone,'  by,  4  ;    '  true  description  of 

a  monsterous  Chylde,'  by,  12  ;  '  the  Plagues  of  Northom- 

berland,'  by,  32. 
Bartholomew,  St.,  Massacre  of,  46. 
Beccles,  Lamentation  of,  for  its  burning  on  St.  Andrew's 

Eve,  1586,  by  T.  Deloney,  52  ;  by  D.  Sterne,  53. 
Bette,  Thomas,  '  Agaynst  Rebellious  and  false  Rumours,' 

i57o.  by,  38. 
Bible, '  A  Proper  New  balad  of  the  Bryber  Gehesie.    Taken 

out  of  the  fourth  booke  of  Kinges  the  .v.  Chapter,'  18  ; 

*  a  godly  Ballad  declaring  by  the  Scriptures  the  plagues 

that  haue  insued  whordome,'   19 ;   the  Destruction  of 

Sodom  and  Gomorrah,  41 ;   a  pleasant  posy  gathered  in 

the,  by  John  Symon,  1572,  45. 
Blackwall,  William,  printed  by,  63,  64. 
Brewer  and  Cooper,  61. 
Bristol,  the  Merchant's  Daughter  of,  62,  63. 
Bull,  '  the  braineles  blessing  of  the,'  37. 

Canand,  J.,  'The  fantasies  of  a  troubled  mannes  head  ' 

and  'O  euill  tounges  ',  by,  15. 
Capuchins,  '  a  Newe  Secte  of  Friars,'  47. 
Chichester,  'discription  of  a  monstrous  chylde  borne  at,' 

1562,  8. 
Children,  monstrous,  7,  8,  12,  13,  17,  21. 
Clarke,  John,  published  by,  73,  74  a. 
Coles,  Francis,  published  by,  72,  73. 
Colman,  Nicholas,  published  by,  52,  53. 
Colwell,  Thomas,  printed  by,  18,  22,  23,  27,  30,  32. 
Complaint  vpon  Fortoun,  by  Robert  Seinpill,  49. 
Crow,  the,  sits  upon  the  wall  ('  Please  one  and  please  all '), 

by  R.  Tfarleton  ?),  60. 

D.,  John,   '  discription  of  a  monstrous  Chylde  borne  at 

Chichester,  1562,'  by,  8. 
Dance  and  Song  of  Death,  26. 
Death  and  the  Five  Alls,  48. 
Death,  the  Dance  and  Song  of,  26. 
Deloney,   Thomas,   the    Lamentation  of   Beccles,    1586, 

by,  5* 


Denmark,    'a    meruaylous    straunge    deformed     Swyne, 

farowed  in,'  40. 
Destruction  of  Sodom  and  Gomorrah,  41. 
Devil  Indicted  ('  O  Maruelous  tydynges '),  42. 
Dewes,  Garat,  published  by,  10. 
Ditty,  '  a  godly,  against  all  Traytours,'  by  John  Awdeley, 

28;    'as  pleasant  as  your  hart  can  wish  Shewing  what 

vnkindnes  befell  by  a  Kisse,'  67. 
Dorset,   Frances  Grey,  Marchioness   of,    'a   proper  new 

balad   in  praise  of  ray  Ladie  Marques '  (i.  e.  Frances 

Grey,  Marchioness  of  Dorset  ?),  by  William  Elderton,  23. 
Douglas,  James,  4th  Earl  of  Morton,  Sempill's  appeal  for 

(ane  Complaint  vpon  Fortoun),  49. 

Edinburgh,  printed  at,  49. 

Elizabeth,  Queen,  ballad  to,  by  R.  M.,  2  ;  portrait  of,  with 
verses  ('  Loe  here  the  pearle '),  n;  joyful  receiving  of 
by  the  Citizens  of  London,  12  Nov.  1584,  by  Richard 
Harrington,  5r. 

Elderton,  William,  'a  proper  newe  ballad  sheweing  that 
Philosophers  Learnynges,  are  full  of  good  warnynges,' 
by,  22  ;  'in  praise  of  my  Ladie  Marques,'  by,  23 ;  'a 
Newe  well  a  daye,'  by,  30  ;  '  Prepare  ye  to  the  Plowe,' 
by,  33- 

England,  'the  Kingdome's  Monster,'  1643,  71  ;  the  Won- 
ders of,  1559,  by  John  Awdeley,  1. 

Epitaph  '  on  the  Ladie  Maioresse ' ,  by  John  Phillip,  36  a. 

Exhortation  to  such  as  write  in  Metres,  by  R.  B.,  35. 

Fall  of  Rebels,  a  ballad  rejoicing  the,  31. 

Finkle,  Mark,  dwelling  beside  Charing  Cross,  monstrous 

pig  owned  by,  9. 
Fish,  marvellous,  taken  in  1569,  27. 
Fools,  the  xxv  orders  of,  by  Timothy  Granger,  34. 
Franklin,  James,  his  Farewell  to  the  World,  69. 
Freshwater,  '  description  of  a  monsterous  Chylde  borne  in 

the  parys  of,'  1564,  12. 
Fulwood,  William,  '  a  New  ballad  against  unthrifts,'  by,  6  ; 

'  the  Shape  of  ii.  M6sters,'  by,  9. 

Garter,  Bernard,  'dittie  in  praise  of  an  high  and  mightie 

Prince  '  (Thomas  Howard,  4th  Duke  of  Norfolk),  by,  14  ; 

'  Of  trust  and  triall '  and  a  '  Strife  betwenc  Appelles  and 

Pigmalion  ',  by,  1 5. 
Gehazi,  '  A  Proper  New  balad  of  the  Bryber  Gehesie,'  by 

George  Mell,  18. 
Gibson,  Leonard,  '  Leaue  Lightie  Ixnie  ladies,'  by,  36  n. 
God,    'Almightie  God    I    pray,'    1566,    by    Christopher 

Wilson,  16. 
God  a-mercy,  good  Scot  ('The  Subiects  Thankfulnewe '), 

1640,  70. 
Godhead,  Giles,  published  by,  ti. 
Godlif,  Francis,  published  by,  8. 
Gosson,  Henry,  published  by,  69. 
Granger,  Timothy,  '  the  xxv  orders  of  Fooles/  by,  34. 
Great  Horkesley,  see  Muche  Horkesleye. 
Grey,   Frances,    Marchioness  of  Dorset,  'a  proper  new 


127 


balad  in  praise  of  my  Ladie  Marques '  (i.  e.  Frances  Grey, 
Marchioness  of  Dorset  ?),  by  William  Elderton,  23. 

Griffith,  William,  printed  by,  12,  20,  24,  38. 

Grissell,  Patient,  68. 

Groom-porters'  laws  at  Maw,  55. 

Hampstead,  description  of  a  monstrous  Pig  farrowed  at, 

1562,  10. 
Harrington,  Richard,  the  joyful  receiving  of  the  Queen 

by  the  Citizens  of  London,  by,  1584,  51. 
Hastings,  Henry,  3rd  Earl  of  Huntingdon,  '  the  crie  of  the 

poor  for  the  death  of,'  1596,  64. 
Hawkins,   William,   Captain,  certain   of  his  men   call   a 

strange  fish  a  Shark,  27. 
Heywood,  John,  a  Ballad  against  slander  and  detraction, 

by,  5- 
How,  William,  printed  by,  25,  29,  31,  33,  40. 
Howard,  Thomas,  4th  Duke  of  Norfolk,  'dittie  in  praise 

of,'  by  Bernard  Garter,  14. 
Huntingdon,  Henry  Hastings,  3rd  Earl  of,  see  Hastings. 

I.,  A.,  'a  godly  Ballad  declaring  by  the  Scriptures  the 

plagues  that  haue  insued  whordome,'  1566,  by,  19. 
Irish,  cruel,  1643,  71. 

James,  Yarath,  published  by,  51. 

Jermin,  John  and  Helen,  parents  of  monstrous  child  born 
in  1566  at  Mitcham,  17. 

Johnes,  Richard,  printed  by,  17,  36  a,  36  b,  41,  45  ;  pub- 
lished by,  25,  29,  33,  40. 

Johnson,  James,  father  of  monstrous  child  bom  in  1564  in 
the  Isle  of  Wight,  1 2. 

Judges,  &c,  death  of  after  the  Lincoln  Assizes,  1590,  54. 

Kingdom's  Monster,  the,  1643,  71. 

kirkham,  Henry,  published  by,  31,  34,  39,  41,  58,  60,  61. 
Kirkham,  W.,  'Joyfull  Newes  for  true  Subiectes,'  by,  29. 
Kiss,  'what  vnkindnes  befell  by  a,'  67. 

lacy,  Alexander,  printed  by,  10,  13,  14,  15,  16,  34,  35,  37, 

39>  43>  44- 
ladies,  '  Leaue  Lightie  Loue  Ladies,'  by  Leonard  Gibson, 

36  B. 

—  '  Please  one  and  please  all,'  by  R.  T(arleton  ?),  60. 
lady,  Lady,  refrain  of  R.  M.'s  '  Newe  Ballade  ',  2  ;  of  the 

Constancy  of  Susanna,  72. 
lamentation  of  Beccles,  1586,  by  Thomas  Deloney,  52  ; 

by  D.  Sterne,  53. 
lant,  Richard,  printed  by,  4. 
Lee,  '  olde  syr  Iohn,  vycar  of,'  3. 
I>ekprevik,  Robert,  printed  by,  46,  49. 
Lightie  Loue,  Leaue,  by  Leonard  Gibson,  36  b. 
Lincoln  Assizes,  1590,  'a  mournfull  Dittie  on  the  death  of 

certaine  Iudges '  after  the,  54. 
Ixmdon,  joyful  receiving  of  the  Queen,  12  Nov.  1584,  by 

the  Citizens  of,  by  Richard  Harrington,  51. 

—  Oath  of  every  Freeman  of,  56. 

Lover  '  Extolling  his  Iadye,'  1568,  by  M.  Osborne,  20. 

M.,  R.,  '  a  Newe  Ballade '  ('  O  dere  Lady  Elysabeth '), 
by,  2. 

Maidstone,  '  the  forme  and  shape  of  a  Monstrous  Child 
borne  at,'  1568,  21. 

Marques,  '  a  proper  new  balad  in  praise  of  my  Ladie  ' 
(i.  e.  Frances  Grey,  Marchioness  of  Dorset,  or  Elizabeth 
Paulet,  Marchioness  of  Winchester),  by  William  Elder- 
ton,  23. 

Marsh,  Thomas,  printed  by,  7. 

Mary,  Queen  of  Scots,  46. 

Maudlin,  the  Merchant's  Daughter  of  Bristol,  62,  63. 

Maw,  the  Groom-porters'  laws  at,  55. 

Medici,  Catherine  dc,  46. 

Mell,  George,  '  a  Proper  New  balad  of  the  Brybcr  Gehesie,' 
by,  18. 

Mellys,  John,  'true  description  of  two  monsterous  chil- 
dren,' by,  13. 

Merchant's  Daughter  of  Bristol,  62,  63. 


Mere,  Marget,  mother  of  monstrous  child  born  in  1568 

at  Maidstone,  21. 
Metres,  Exhortation  to  such  as  write  in,  by  R.  B.,  35. 
Mills,  Robert,  published  by,  74  b. 
Mitcham,  'the  true  discription  of  a  Childe  with  Ruffes 

borne  in  the  parish  of,'  1566,  by  H.  B.,  17. 
Monstrosities,  7,  8,  9,  10,  12,  13,  17,  21,  40. 
Morton,   James  Douglas,  4th  Earl  of,   Sempill's   appeal 

for,  49. 
Muche  Horkesleye,  monstrous  child  born  in  1562  at,  7. 

Neville,  Charles,  6th  Earl  of  Westmorland,  his  rising,  28, 

29.  3°.  3ri  3*.  38- 
Newes, '  Joyfull,  for  true  Subiectes,'  by  W.  Kirkham,  29. 
Norfolk,  Thomas  Howard,  4th  Duke  of,  '  dittie  in  praise 

of,'  by  Bernard  Garter,  14. 
North  country,  Rebellion  of  1569  in  the,  28,  29,  30,  31, 

32.  38- 
Northumberland,  Plagues  of,  by  John  Barker,  32. 
Northumberland,  Thomas  Percy,  7th  Earl  of,  his  rising, 

28,  29,  30,  31,  32,  38. 
Norwich,  published  at,  52,  53. 

O  Maruelous  tydynges  ('  The  Devil  Indicted  '),  42. 
Oath  of  every  Freeman  of  London,  56. 
Osborne,  M.,  'a  Louer  Extolling  his  Iadye,'  1568,  by,  20. 
Other  thus  it  is  or  thus  it  should  be,  43. 

P.,  I.  [John  Phillip  ?],  ballad  on  '  a  meruaylous  straunge 
deformed  Swyne ',  by,  40. 

P.,  T.,  see  Pavier,  Thomas. 

Paris,  '  ballet  set  out  be  ane  fugitiue  Scottisman  that  fled 
out  of/  1572,  by  Robert  Sempill,  46. 

Passinger,  Thomas,  published  by,  74  a. 

Paulet,  Elizabeth,  Marchioness  of  Winchester,  'a  proper 
new  balad  in  praise  of  my  Ladie  Marques '  (i.  e.  Elizabeth 
Paulet,  Marchioness  of  Winchester  ?),  by  William  Elder- 
ton,  23. 

Pavier,  Thomas,  published  by,  65,  66,  67. 

Peele,  Stephen, '  The  pope  in  his  fury  doth  answer  returne,' 

by,  39-  ... 

Percy,  Thomas,  7th  Earl  of  Northumberland,  his  rismg,  28, 

29.  3°,  $h  3«.  38- 

Phillip,  John,  'Epitaph  on  the  Ladie  Maioresse,'  by, 
36  a  ;  on  Lord  Henry  Wriothesley,  2nd  Earl  of  South- 
ampton, 50  ;  ballad  on  '  a  meruaylous  straunge  deformed 
swyne  ',  perhaps  by,  40. 

Philosophers  Learnynges  are  full  of  good  warnynges,  by 
William  Elderton,  22. 

Pig,  monstrous,  9,  10,  40. 

Pinning  of  the  Basket,  by  T.  Rider,  58. 

Plagues  of  Northumberland,  by  John  Barker,  32. 

Please  one  and  please  all,  by  R.  T(arleton  ?),  60. 

Plumptre  (or  'Plomtrie'),  Sir  Thomas,  hanged  in  1569  at 
Durham,  30. 

Pope,  the,  '  in  his  fury  doth  answer  returne,'  by  Stephen 
Peele,  39. 

Posy,  a  pleasant,  gathered  in  the  Bible,  1572,  by  John 
Symon,  45. 

Prepare  ye  to  the  Plowe,  by  William  Elderton,  33. 

Priest  that  lost  his  nose,  3. 

Prince,  'dittie  in  praise  of  an  high  and  mightie,'  i.e. 
Thomas  Howard,  4th  Duke  of  Norfolk,  by  Bernard 
Garter,  14. 

Prisoners  in  Wood  Street  Counter,  appeal  of  the,  57. 

R.,  C,  'the  true  discripcion  of  this  marueilous  straunge 

Fishe,'  taken  in  1569,  written  by,  27. 
Rebels  of  1569,  28,  29,  30,  31,  32,  38. 
Rider,  T.,  the  Pinning  of  the  Basket,  by,  58. 
Robinson,  Robert,  printed  by,  52,  53. 
Rumours,  'Agaynst  Rebellious  and  false,'  1570,  by  Thomas 

Bette,  38. 

Saint  Andrews,  printed  at,  46. 

Saint  James',  Queen  Elizabeth  received  at  her  coming 
to,  51. 


128 


Sampson,  John,  see  Awdeley,  John. 

Saparton,  John,  his  Alarum,  25. 

Sect  *  of  Friars  called  Capichini,  a  Newe,'  47. 

Sempill,  Robert,  'ane  new  ballet  set  out  be  ane  fugitiue 

Scottisman  that  fled  out  of  Paris  at  this  lait  Murther,' 

I572>  by,  46;  'ane  Complaint  vpon  Fortoun,'  by,  49. 
Shark,  capture  of  a,  27. 
Singleton,  Hugh,  printed  by,  56. 

Slander  and  detraction,  ballad  by  John  Heywood  against,  5. 
Sodom  and  Gomorrah,  Destruction  of,  41. 
Southampton,  Henry  Wriothesley,  and  Earl  of,  epitaph  on, 

by  J.  Phillip,  50. 
Sterrie,  D.,  the  Lamentation  of  Beccles,  1586,  by,  53. 
Stevens,  George  and  Margery,  parents  of '  two  monsterous 

children ',  13. 
Subjects'  Thankfulness,  the,  1640,  70. 
Susanna,  the  Constancy  of,  72. 

Swanburne,  Bucks,  '  two  monsterous  children  '  born  at,  13. 
Swine,  'a  meruaylous  straunge  deformed,'  40. 
Symon,  John,  a  pleasant  posy  gathered  in  the  Bible,  1572, 

by,  45- 

T.,  R.  (Richard  Tarleton?),  'Please  one  and  please  all,' 

by,  60. 
T.,  T.   W.,  'a  mery  balade  how  a  wyfe   entreated  her 

husband  to  haue  her  owne  wyll,'  by,  44. 
Tarleton,  Richard,  '  Please  one  and  please  all,'  perhaps 

by,  60. 
Thackeray,  William,  published  by,  74  a. 
Thames,  Young  Lady's  Drowning  herself  in  the  (The  Fatal 

Virgin),  74  b. 
Titchfield  ('  Touchfeelde '),  the  Earl  of  Southampton  in- 
terred in  1581  at,  50. 
Titus  Andronicus,  the  Lamentable  and  Tragical  History 

of,  73- 
Tom  of  all  Trades,  74  a. 

Traitors,  a  godly  ditty  against  all,  by  John  Awdeley,  *8. 
Tunes: 

Apelles,  32. 

Behold  the  Man,  74  a. 

Blue  Cap  for  me,  70. 

Bragandary,  65. 

Damon  and  Pythias,  20. 

Forgive  me  if  your  looks  I  thought,  74  b. 

Fortune,  54. 

Fortune  my  Foe,  73. 

In  Summer  time,  61. 

King  Solomon,  18. 

Labandalashotte,  53. 

Lightie  loue,  36  b. 

My  Lord  Marquess'  Galliard,  22. 


Tunes  (continued) : 

New  lusty  gallant,  23. 

Pepper  is  black,  33. 

Please  one  and  please  all,  60. 

Que  passa,  '  the  firste  traces'  of,  2a. 

Susanna,  72. 

The  Black  Almain,  45. 

The  Black  Almain  upon  Scissilia,  38. 

The  Bride's  good  morrow,  68. 

The  Downright  Squire,  58. 

The  Earl  of  Bedford,  64. 

The  cxxxvii  Psalm,  28. 

The  Maiden's  joy,  62,  63. 

The  Nine  Muses,  41. 

The  Wanton  Wife,  66. 

Wigmore's  Galliard,  51. 

Wilson's^  5a. 

Unthrifts,  a  New  Ballad  against,  by  William  Fulwood,  6. 

Vere,  Thomas,  published  by,  72,  73. 

Vincent,  a   butcher,   father  of  monstrous  child  born   in 

1562  at  Chichester,  8. 
Virgin,  the  Fatal,  17 10,  74  b. 

W.,  T.  T.,  see  T.,  T.  W. 

Watkin's  Ale,  59. 

Watling  Street,  the  Widow  of,  65,  66. 

Well-a-day,  a  new,  by  William  Elderton,  30. 

Westmorland,  Charles  Neville,  6th  Earl  of,  his  rising,  28, 

29,  3°,  3',  3*,  3»- 

Whoredom,  '  a  godly  Ballad  declaring  by  the  Scriptures  the 
plagues  that  haue  insued,'  1566,  by  A  I.,  19. 

Widow  of  Watling  Street,  65,  66. 

Wife  entreats  her  husband  to  have  her  own  will,  44. 

Wight,  Isle  of,  '  description  of  a  monsterous  chylde  borne 
in,'  12. 

Wilson,  Christopher,  '  Almightie  God  I  pray  '  and  '  Some 
hope  you  see ',  by,  16. 

Winchester,  Elizabeth  Paulet,  Marchioness  of,  'a  proper 
new  balad  in  praise  of  my  Ladie  Marques '  (i.  e.  Eliza- 
beth Paulet,  Marchioness  of  Winchester?),  by  William 
Elderton,  23. 

Wolfe,  John,  printed  by,  54. 

Woltrop,  Cornells,  printed  by,  42. 

Wonders  of  England,  by  John  Awdeley,  1. 

Wood  Street  Counter,  appeal  of  the  prisoners  in,  57. 

Wright,  John,  published  by,  72,  73,  74  a. 

Wright,  William,  published  by,  54. 

Wriothesley  (or  Wrisley),  Henry,  2nd  Earl  of,  epitaph  on, 
1 581,  by  John  Phillip,  50. 


129 


V.    INDEX  TO  FIRST  LINES  OF  BALLADS 

[  The  references  are  to  the  numbered  entries  of  the  ballads .] 


A  Noble  Marques  as  he  did  ride  on  hunting 

A  Stock  of  flowers,  bedewed  with  showers 

A  trick  to  get  money  at  every  dead  lift    . 

Al  Mars  his  men  drawe  neere 

Al  myghty  God  Dooth  shake  his  Rod 

Al  true  English  Subiects  both  moste  and  leste 

Alas  my  harte  doth  boyle,  and  burne  with  in  my 

breste 

Amonge  manye  newes  reported  of  late    . 

Behold  the  touchstone  of  true  loue 

By  force  I  am  fired  my  fancie  to  write     . 

By  Fortune  as  I  lay  in  bed,  my  fortune  was  to  fynd 

Come  neere  good  Christians  all 

Farwell  vaine  World  whose  comforts  all  are  Cares 

For  mercy  Lorde,  with  one  accorde 

From  your  gold  and  siluer      .... 


Good  fellowes  must  go  learne  to  daunce 
Good  People  listen  and  you'll  find  . 

Helpe  nowe  ye  Muses  nyne,  powre  out  your  Noates 
of  woe 


I  Doe  csteme  your  kyndnes  much  . 

I  Read  how  Affrique  land  was  fraught 

If  that  you  list  now  merry  be  . 

In  all  Christendom,  Christes  Godspell  now  is  rad 

In  May  when  floures  swetely  smel    . 

Inconstant  warld  fragill  and  friuolous 

It  was  my  hap  of  late  to  heare 

1-adics  I  thinke  you  maruell  that 
Let  us  knowe  by  these  ugly  sights    . 
Loe  here  the  pearle         .... 
Looke  vp  my  Lordes,  and  marke  my  wordes 
Long  time  hath  sweet  England  injoy'd  her  peace 

Marke  well  the  effect,  purtreyed  here  in  all 

My  louing  good  neighbours,  that  comes  to  beholdc 

My  Mistris  sings  none  other  song    . 

Now  Katherine  de  Medicis  hes  maid  sic  a  Gyis 
Now  straunge  it  is,  to  men  of  age    . 


68 

45 
74  a 

25 

5 

29 

20 

3° 

62 

36  B 

15 

40 

69 
12 

26 

24 

74  b 


3  6a 

39 

13 
61 

42 
44 
49 
58 

23 

9 

1 1 

33 

7° 

48 
53 
67 

46 
4 


O  dere  Lady  Elysabeth,  which   art  our  right  and 

vertous  Quene 

O  England  looke  upon  this  monstrous  Thing  . 
O  God  of  thy  mercie  remember  the  poore 
Of  the  kind  Widdow  of  Watlingstreet 

Philosophers  learnings,  are  ful  of  good  warnigs 
Please  one  and  please  all  .... 

Preserue  thy  Seruaunt  Lord     .... 


Recounting  griefes  and  dolors  long  tyme  done 
Refrain  of  youth  thy  vain  desire 
Reioyce  with  me  ye  Christians  all    . 

Stay  a  while  with  paciece,  my  freends  I  you  pray 

The  beautifull  Widdow  of  Watling  streete 

The  golden  world  is  now  come  agayne     . 

The  Scripture  playne  doth  show  and  tell 

The  twelfe  day  of  Nouember  last 

There  was  a  maid  this  other  day 

There  was  a  man  in  Babylon 

These  newe  freshe  come  Friars  being  sprong  up  of 

late 

This  monstrous  shape  to  thee  England    . 

This  monstrous  world  that  monsters  bredes  as  rife 

This  picture  prest  in  paper  white     . 

To  such  as  write  in  Metres,  I  write 

True  tryall  touchyng  truth,  time  trimly  here  doth  trye 


Was  neuer  worlde  so  farre  from  orders  rule 
Was  not  the  Bryber  Gehezie    . 
Welcome  sweet  Maudlin  from  the  sea 
What  Rumores  now  are  raised  of  late 
When  date  of  (1553.)  was  expirde  ful 
When  God  for  synne,  to  plage  hath  met  . 
When  heapes  of  heauie  hap,  had  fild  my  harte 

full      .        . 
When  raging  louts  with  feble  braines 
When  that  the  Moone,  in  Northomberland 
Who  so  list  heare  of  a  wonderous  chaunce 
With  sobbing  sighes  and  trickling  teares  . 


right 


You  Noble  minds,  and  famous  Martial  wights 
You    noble   Peeres   refraine,  Your    courtly  sportes 
awhyle 


2 
7i 
64 
65 

22 
60 
28 

54 
'9 
3i 

34 

66 

43 

41 
5i 
59 
72 

47 
21 

7 

17 

35 
16 

37 
18 

63 
38 


14 
6 

3» 

3 
5* 

73 

5° 


I30 


z 

lOli 
B87 


British  museum 

Catalogue  of  the  fifty- 
manuscripts  &  printed  books 
bequeathed  to  the  British 
museum  by  Alfred  H.  Huth 


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