cum religiofo tripudio plaudendo &iubilando, Quale erano le Nymphe Amadryade,& agli redolenti fiori le Hymenide, riuirente, faliendo iocunde dinanti&da qualúq; lato del floreo Vertunno ftricto nella fron te de purpurante &meline role,cumel gremio pieno de odoriferi & fpectatiffimi fiori,amanti la ftagione del lanofo Ariete, Sedendo ouante foprauna ueterrima Veha,da quatro cornigeri Faunitirata, Inuinculatide ftrophie denouelle fronde, Cum la fua amata & belliffima moglie Pomona coronata de fructi cum ornato defluo degli biodiffimi capigli,pa rea ello fedéte,& a gli pedi dellaquale una coctilia Clepfydria iaceua,nel le mane tenente una ftipata copia de fiori & maturati fructi cum ímixta fogliatura Præcedétela Veha agli trahenti Fauni propinq; due formofe Nympheanfignane, Vnacú uno haftile T rophæo gerula, de Ligoni-Bi denti.farculi.& falcionetti, cu una ppendéte tabella abaca cu tale titulo.

INTEGERRIMAM CORPOR.VALITVDINEM,ET STABILER OBVR, CASTASQVE MEMSAR. DELI TIAS, ET BEATAM ANIMI SECVRITA

6. Florence, Antonio Miscomini, about 1495. Bonaventura. Devote meditatione sopra la passione del nostro Signore.

With woodcuts of the Raising of Lazarus, Entry into Jerusalem, Last Supper, Agony in Gethsemane, Betrayal and other incidents of Christ's Passion.

7. Florence, for Piero Pacini, 26 July 1508. -Federico Frezzi, Bishop of Foligno. El Quatriregio del decorso della vita

humana.

Most of the Florentine illustrated books were small quartos, the majority of them with only a single cut on the first page; the three notable exceptions which have been preserved are the folio editions of the 'Epistole ed Evangelii,''Morgante Maggiore,' and the present work, a tedious poem emulating Dante's 'Divina Commedia.' There is reason to believe that this edition of 1508 was preceded by one now lost printed in the fifteenth century.

Case XXI.

FRENCH BOOK-ILLUSTRATIONS

1. Paris, for Antoine Vérard, 1492.-L'Art de bien vivre et de bien mourir.

One of the best illustrated of the books published by Antoine Vérard (see Case vi. 9). It consists of four parts (1) L'art de bien viure; (2) L'art de bien mourir ; (3) Le traicte des paines d'enfer et de purgatoire; (4) Le traicte de l'aduenement de antechrist, des quinze signes precedens le jugement general de dieu et des ioyes de paradis.

2. Paris, Jean Du Pré, 1489.-Heures a lusaige de Rome.

Most of the border-pieces in this edition are of the nature of the 'Biblia Pauperum,' and a list of them at the beginning of the book is headed 'Cest le repertoire des histoires et figures de la Bible, tant du vieilz testament que du nouueau, contenues dedens les vignettes de ces presentes heures imprimees en cuyure,' from which we learn that the illustrations were cut in relief on copper instead of wood. This early edition by Jean Du Pré influenced the arrangement of Books of Hours for many years.

3. Paris, Philippe Pigouchet, 1501.-Horae ad usum Sarum.

Pigouchet finished printing his first Book of Hours 1 December 1491, and throughout his career devoted himself almost exclusively to the production of these Prayerbooks, most of the editions from his press being published by Simon Vostre. After using his first set of illustrations in several editions, Pigouchet introduced a second in 1496, and gradually made individual changes in this, till it reached its highest excellence in editions of about the date of that here shown.

4. Lyons, Johann Trechsel, 29 August 1493. -Guidonis Juvenalis in Terentium familiarissima interpretatio cum figuris unicuique scænæ præpositis.

Woodcuts were more used in the earlier incunabula printed at Lyons than in those of Paris, but these primitive pictures, though always quaint and sometimes vigorous, are very rude and sometimes very badly cut. Trechsel's

Terence, on the other hand, is one of the best illustrated of the early editions of the Latin classics.

5. Lyons, for Boninus de Boninis, 20 March 1499.-Officium beate Marie virginis ad usum Romane ecclesie.

One of the very few illustrated Horae printed at Lyons.

I

6. Lyons, Melchior and Gaspar Trechsel, 1538. Les simulachres & historiees faces de la Mort. The woodcuts by Hans Lutzelburger after designs by Holbein.

Pen-copies of these designs were in existence as early as 1527, and the woodcuts must have been made earlier than this if, as is believed, Lutzelburger was dead in 1526. Both thus belong to Holbein's Basel period.

7. Lyons, Melchior and Gaspar Trechsel, 1539.-Historiarum Veteris Testamenti Icones ad vivum expressæ. The woodcuts mostly by Hans Lutzelburger after designs by Holbein.

These woodcuts also had been in existence for several years before they were published by the Trechsels at Lyons.

8. Paris, Olivier Mallard, 1542.—Horæ in laudem_beatissime virginis Mariæ ad usum Romanum. With designs by Geoffroi Tory.

Tory, who was born at Bourges about 1480, was at once a scholar, a printer, and an illustrator, and after a visit to Italy embodied some of the latest Italian ideals in French books almost before they can be traced in Italy. He produced four sets of designs for Horae, the first for an edition of 1525 of which the Museum has a fine copy in a valuable binding, a smaller set in the same style on I October 1527, a rather unsuccessful one later in the same month, and these little cuts, which first appeared in February 1529, without borders.

9. Paris, Denis Janot [1540].—Guillaume La Perrière. Le Théâtre des Bons Engins, auquels sont contenus cent Emblèmes.

During his brief career Denis Janot was a notable promoter of book-illustration at Paris.