The Project Gutenberg eBook of Geofroy Tory, by Auguste Bernard, translated by George B. Ives.

The inscription 'An. 29,' at the top of the portrait, indicates that it was engraved in the same year that the book was printed; for Théodore de Bèze, born at Vezelay June 24, 1519, completed his twenty-ninth year in 1548, the date of the dedicatory epistle of this book, which the author addressed to his teacher, Melchior Volmar. 'Vale. Lutetiæ, VII. cal. Iul. qui dies est mihi natalis.' The mark of Conrad Bade, also signed with the Lorraine cross, is on the first page of this book, which was finished on July 15, 1548. 'Lutetiæ, Roberto Stephano, regio typographo, et sibi, Conradus Badius excudebat, idibus Julii M. D. XLVIII.' It was shortly after, in this same year, that Théodore de Bèze, on recovering from a severe illness, withdrew to Geneva, and abjured 'the papacy, as he had sworn to God to do at the age of sixteen.' The portrait has been reproduced on copper; there is a copy of the reproduction in the collection of Tory's work at the Bibliothèque Nationale.

Quarto of 199 pages. Paris, 1549. This book is a faithful copy of the manuscript of the same work, preserved in the Bibliothèque Nationale.[396] It is embellished with beautiful letters in grisaille with criblé background, and with portraits of the ten dukes of Milan who figure in the manuscript. These portraits, all marked with the Lorraine cross, are faithful reproductions of those in the manuscript, but on a smaller scale. Following is a list of the portraits, taken by Paulus Jovius from originals which existed in his day and of which he gives, in each case, the place where it may be found:—

There is a French translation of this book, printed in 1552 by Charles Estienne (Robert was then in exile at Geneva), with the same plates. As for the Latin version, it was reprinted several times, in different places, with engravings on copper copied from those of Robert Estienne's edition.

This book, of 38 leaves, consists of two parts: the 'Entrée du roi,' of 28 leaves, and the 'Entrée de la reine,' in which the pagination is repeated, but with different signatures. The privilege, dated Chantilly the last day of March, 1548 (1549 new style), grants to Roffet the sole right to have printed and to offer for sale during one year 'the treatise which is to be written concerning the recent, joyful entrée,' etc.

There were two editions of this book, or, at all events, there are some copies with additions to the second part—after folio 34. There are also copies with the imprint of Jean Dallier. A list of the engravings follows:

1. A portico, above which we see Hercules holding, bound together by the ears (by means of a chain issuing from his mouth and representing eloquence), a wood-chopper, a soldier, a priest, and a noble (folio 4). I can find no mark on this piece, but it is a reproduction of the Gallic Hercules of 'Champ fleury.'

4. An obelisk on a rhinoceros (folio 11). The cross is under the left foot of the rhinoceros.

6. A triumphal arch surmounted by three nude men, one of whom holds a standard (folio 15).

7. A large vaulted hall, on the ceiling of which are H's and D's (folio 16). The cross is in a portico at the left.

8. A mounted man, armed (folio 19). The cross is in the horse's harness, on the breastplate, a little below his mouth.

9. A triumphal arch, with two pillars (one on each side) surmounted by a man on horseback (folio 38). The cross is on the left-hand pillar.

10. A portico with two openings, separated by a pillar against which rests the statue of a woman standing on books (folio 39 verso).

11. A large plate, representing the façade of a palace with three porticos (folio 40).

Of these eleven plates only four are signed; but all of them must have come from Tory's workshop, for the style is the same. The absence of the signature may be explained by the haste with which the engravings were executed in order that they might appear at the opportune moment.

I cannot refrain from quoting M. Renouvier's remarks on the engravings in this book, which, for lack of information, he attributed to Jean Cousin.

'I will, however, mention in this place the "Entrée de Henri II à Paris" in 1549, because it is the chef-d'œuvre of French wood-engraving, and because I know of no one to whom it can with more reason be attributed than to the Sénonais master.[397] If he did not work for the court, he may very well have been employed upon works for the city. Those which were executed to commemorate the coronation of Queen Catherine de Medici are of a manner of composition and a style that belong only to him. The Gallic Hercules, made in the likeness of the late King François I, with the four estates of the realm chained to his mouth; the fountain surmounted by statues of the Seine, the Marne, and Good Fortune; the triumphal arch bearing a Typhis, whose face strongly resembles that of the "rex triumphans"; and, lastly, the figure of Lutetia nova Pandora "clad as a nymph, with her hair falling over her shoulders and drawn about her face, kneeling on one knee with wondrous grace"; and all the other details which the artist painted, as happening in the streets through which the procession passed, and which he included by way of narrative, are in the refined manner of the French school. The drawing is pure and full of delicacy, and the engraving so skilfully handled that one cannot believe it to be by a different hand. It would seem that none but a sculptor could, within such narrow limits, have set in relief those interesting faces, designed those graceful figures, and arranged those draperies; and that sculptor—who could it have been if not the author of the mausoleum of Admiral Chabot, the French artist who best represented the two sides of art,—detail and strength, compression and grandeur, gothicism and the Renaissance?'[398]

While agreeing with M. Renouvier that these plates were drawn by Jean Cousin, we may well, it seems to me, attribute the engraving of them to Tory's workshop.

Large quarto, divided into signatures of two sheets, a to y (the k, probably because that letter was lacking in the font used, is represented by an l and a z joined together), or 22 signatures of 8 leaves, making 176 leaves; printed in red and black.

This volume corresponds in all respects with the one issued by Simon de Colines in 1543 [399]; but the Chaudières (Simon de Colines's successors) have removed a French inscription which appeared below the third plate (the Angelic Salutation) in the edition of 1543; and they have removed all the dates inscribed in the borders of that edition. These dates are: 1536, which appeared in large figures in a cartouche at the foot of the border of folio b 4 of the edition of 1543; 1537, in a cartouche at the foot of the sixth plate (the Annunciation to the Shepherds); and 1539, in two small cartouches at the top of the border of folio a 2; so that all the cartouches are empty in this edition of 1549.

I know of only two copies of this edition, one belonging to M. Kühnholtz, the learned librarian of the Faculty of Medicine of Montpellier, the other offered for sale at Claudin's bookshop in 1860. This last copy, in a state of perfect preservation, is still in its original binding, with S's barré, and small tortoises (tortues) in wreaths of olive. These are the allusive [400] arms of the Tourteron family near Attigny. There is also, on one of the fly-leaves at the front of the book, a large tortoise coloured from life, on a red ground, in a green olive wreath; and at the four corners a monogram of an I and two G's, the initials of the original owner's baptismal names. The volume afterwards belonged to J.-F. Corel du Clos, priest and canon, who wrote his name on the title-page and pasted his arms, engraved on copper, in an empty space at the foot of folio h 3 verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, in whose library it remained doubtless until the Revolution.

A large folio of more than 600 leaves, printed at Paris by François Girault. The privilege, in the name of Sertenas, bookseller, is dated October 1, 1549. It was issued evidently while the printing was in progress, for it is impossible that the volume was made in a month and a half.

On the first page is the fine frontispiece of the Dream of Poliphilus, above which is the mark of Jacques Kerver. There is but one way to explain this fact, and that is to assume that Kerver was the printer of the book. It may be that there are copies in his name. In that case he may have furnished the border, which was left in all the copies.

On the second leaf is the representation of the 'Ymage de nostre Dame de Verdun,' with the Lorraine cross. The Virgin, seated, has in her right hand a flower, and in the left the Child Jesus, holding in his left hand the globe surmounted by a cross. The Virgin's feet rest on a winged dragon. Below her is a man kneeling, with his coat-of-arms before him. Presumably it is the author of the book.

After folio cccli, which concludes the first volume, comes the second volume, the pagination of which follows on. The title-page of this volume, while it is set in the border of the Poliphilus, differs slightly from that of the first. It reads thus: 'Second volume des antiquités de la Gaule Belgique et de plusieurs principautez contenues en icelle, extraites soubs les vies des evesques de Verdun, par M. Richard de Wassebourg.... On les vend à Paris, en la gallerie du Palais, par Vincent Sertenas, libraire audit lieu. Et aussi, se vend en la cité de Verdun.' On the verso is the engraving described above. The Lorraine cross is under the dragon's tail.

Folio, roman type, Paris, Estienne Groulleau, 1549. There are copies also with the imprint of Longis, and others with that of Sertenas.

This volume contains numerous engravings, large and small; but only 31 of them are different, many being repeated once, twice, or thrice. Three are signed with the Lorraine cross, as follows:—

Folios 5 verso, 64 verso, 89 verso, and 183. Vessels manned by soldiers. A woman stands near the shield of him who seems to be in command.[401]

Folio 46. A knight armed cap-à-pie standing in the recess of a portico. His right foot is hidden by a sort of altar whereon are the names of Madanil, Bruneo, Agradiis, and Amadis.[402]

Folio 48. Bird's-eye view of a château which has been besieged, at whose gate stands a warrior accompanied by a horse and a dog; he is parleying with the keeper of the gate, who stands at the top of the entrance tower. This last plate is a superb folio.

Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and black. One of the engravings, on leaf 113, representing the Sacrifice of David, is signed with the Lorraine cross. The others are not signed, but are absolutely in the same style; they are: the Annunciation, folio 38 (repeated on 105), and the Resurrection of Lazarus, folio 133.[3]

Small octavo, 1550. On the first page are the arms of Cardinal Hippolyte d'Este, Bishop of Autun, signed with the Lorraine cross.[403]

This fine volume, printed by Pasquier Letellier for the bookseller Vincent Sertenas, for whom Tory had engraved a mark, contains fifty engravings in the text. A single one is signed with the Lorraine cross: it is found on folio 137 verso, and represents a lion fawning upon a woman who sits beside a fountain.

There are copies of this book in the names of other booksellers—Étienne Groulleau, Jean Longis, etc.; but the privilege is in the name of Sertenas.[404] At the end of the volume is a note to the reader by Letellier. 'Dear reader,' he says, 'if you have noticed, on reading this book, the common orthography changed in some words, even as to the double letter, which is not pronounced according to the true French method, think not that that is of my doing, but that it accords with the earnest recommendation of the author.'

This missal is embellished, on the title-page, with a cut signed with the Lorraine cross, and representing Saint Peter and Saint Paul, patron saints of the Abbey of Cluny. This cut appears in other parts of the book, where we find also the two large cuts hitherto described (page 214) as included in the Missal of Paris, of 1539, published by order of Jean de Bellay. We find also a Saint John Baptist, with the Paschal Lamb under his left arm, and pointing to it with his right hand. This cut, which is signed in two different places, is on folio 49 of the second part. It is of quarto size.

The book is in two parts, paged separately. The two large engravings are on folios 116 and 117 of the first part. At the end of the Missal proper, which is followed by a few other leaves, are these words: 'Ex officina chalcographica matrone clarissime Iolande Bonhomme, vidue industrii viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, anno D. millesimo quingentesimo quinquagesimo, idib. septembris.'

There are several copies of this book in the Bibliothèque Nationale. In two of them the miniaturists have substituted for the date 1538, printed on one of the large cuts, the dates on which they coloured it—1559 and 1567, respectively. It is well to call attention to such details as these, which may give rise to mistakes.

We also find in the Cluny Missal the unsigned drawings to which I have previously referred [405] and which are in the Paris Missals of 1539 and 1559.

Sixteenmo, in signatures of 8 leaves. The work is in two parts; the first has 168 numbered leaves, signatures A to X; the second part has only 32 leaves, signatures A to D. Roman type, double columns, printed in red and black. On the recto of folio 168 of the first part, at the foot, are these words: 'Parisiis excudebat Stephanus Mesviere in ædibus Vindocimis, ex adverso collegii Becodiani.—1550.' And on the last leaf of the second part: 'Cy finent ces presentes Heures a l'usaige de Romme, en latin et en françoys, nouvellement imprimées à Paris, par Estienne Mesviere, demourant a l'hostel de Vendosmes, devant le college de Boncourd.—M. D. L.'

This precious book, of which I know of but one copy, owned by M. Silvestre, author of 'Les Marques Typographiques,' contains many engravings. The principal ones are:

Folio	5 recto, Saint John writing his Gospel (signed).
	12 recto, Jesus at prayer in the Garden of Olives.
	33 recto, The Angelic Salutation (signed).
	47 verso, The Visitation (signed).
	56 verso, The Nativity of Jesus (signed).
	60 recto, The Annunciation to the Shepherds (signed).
	63 verso, The Adoration of the Magi (signed).
	67 recto, The Presentation in the Temple (signed).
	70 verso, The Flight into Egypt (signed).
	77 recto, The Coronation of the Virgin.
	89 recto, Jesus on the Cross.
	93 verso, The Descent of the Holy Ghost (signed).
	97 verso, The Penance of David (signed).
	109 verso, Job on the Dunghill.
	168 verso, Death (signed).

On the verso of the last leaf: 'Excudebat Parisiis, Thielmannus Kerver, in vico sancti Iacobi, sub signo Cratis.—M. D. L.'

Small octavo of 172 unnumbered leaves; signatures A to X of 8 leaves and Y of 4. Roman type, printed in red and black, with the small borders with birds, etc., used by Mallard in his Hours of 1541.[406]

Quarto of 338 leaves, plus one unnumbered leaf, on which are the words: 'Parisiis, excudebat Matthæus David, prid. calend. nov. [October 31] 1551.

On the title-page is David's mark, with the Lorraine cross. On the verso, a portrait of Le Duaren, in the shape of a medallion, also signed with the Lorraine cross. Encircling it, the legend: 'francisc. dvarenvs. jvrisc.[407]

The work opens with an epistle to Marguerite, Duchesse de Berry, and sister of François I. This letter, dated Paris, the Ides of June, 1550, is more properly a dedication, for in it Le Duaren mentions the death of Marguerite, which took place in 1549. He tells us, further, in the title of this epistle, that it was written before his return to Bourges, which he had been obliged to leave in 1547, as the result of a love-affair ('antequam Lutetia Parisiorum Avaricum Biturigum migrasset').[408]

This important work is embellished with a frieze engraved for Robert Estienne, and signed with the Lorraine cross,—a frieze which appears in the second volume of the works of Eusebius of 1544.[409] We also find therein several floriated letters signed with the Lorraine cross.[410] These are the E, the O, and the S of the medium alphabet,—for there are three alphabets of different sizes, all three formed by Renaissance arabesques. The largest is the one used in the folio Eusebius of 1544, which, consequently, was engraved for Robert Estienne; but it has no signature. The medium alphabet was, doubtless, engraved for Charles Estienne in this same year 1551, in which he began to conduct a printing-office. I cannot say whether any other letters of this medium alphabet bore the Lorraine cross, for they do not all appear in the book, but I am sure that the G has none. Of course, after Tory died, the artists employed in the establishment carried on by his widow had no reason to select the G rather than another letter.

I give some details concerning this valuable edition, of which M. Didot owned a copy annotated by Henri Estienne. The text of the first volume, printed in 1551, as stated in an imprint at the end (dated the 3d of the Nones of September), exhibits one of the letters mentioned above—the S (on folios 56 and 298). This volume received later a large title-page dated 1555, and a dedication, to the Cardinal de Lorraine, also dated 1555 (the 6th of the Kalends of March), on which we find the frieze of the Eusebius of 1544, signed, and bearing on a medallion Fame distributing wreaths.[411] The text of the second volume, also of 1551, as I discovered from an incomplete copy in the library at Montbrison (it has no final imprint, but on the title-page some one has added III by hand to the original numerals M. D. LI, so that it might correspond with the other copies), contains the three floriated letters signed with the Lorraine cross (folios 47, 122, 230, 313, 388, 398); we find also, on the title-page, dated 1554, Charles Estienne's small mark described later.[412] The text of the third volume was probably printed in 1552, but it has no final imprint. The title-page is dated 1555; it has the small mark with the Lorraine cross. The fourth bears on the title-page the date 1554, but it was not finished until 1555, as is shown by the final imprint (3d of the Kalends of March, 1555); the vignette of the title-page is unlike that in the second and third volumes, although of the same size, and has not the cross. The work did not appear until 1555, as is shown by the date on the title-page of the first volume, on which there is another larger mark, also without the cross.[413]

Duodecimo, red and black; signatures A to O. Tory's small border with decorations of birds. Plates of the Hours of 1541.[414]

At the end of the volume: 'Parisiis. Excudebat Stephanus Mesviere, in ædibus Vindocimis, ex adverso collegii Becodiani.'—1552.

Thirty-twomo; 45 signatures (a to z, A to Y) of eight leaves each, or 360 leaves in all. Only the first 350 are numbered; the last 10, containing the index, are without folios. Printed in very small roman type.

This book contains 120 engravings inserted in the text, and serving thus 'to illustrate,' as we should say to-day, or 'to express,' as the publisher says on the title-page, the Gospels and the Apocalypse. Those relating to the Apocalypse, 22 in number, are of earlier date than the others, and by another hand. Of those which illustrate the Gospels, many are signed with the double cross. Although several of them relate to subjects previously treated in the octavo Hours of 1527 and the sixteenmo Hours of 1529, the engravings, while they are of nearly the same size, are different none the less. A list of their titles follows:—

Folio	2 recto, St. Matthew writing his Gospel.
	3 verso, Adoration of the Magi.
	4 verso, The Flight into Egypt (signed).
	5 recto, Massacre of the Innocents (signed).
	5 verso, Baptism of Jesus.
	6 verso, Jesus carried up into a Mountain (signed).
	8 recto, Jesus bids Simon and Andrew to follow Him (signed).
	12 recto, Jesus curing the Paralytic.
	13 verso, Jesus expelling the Money-changers from the Temple (signed).
	16 verso, St. John in Prison (signed).
	18 recto, The Apostles pardoned by Jesus.
	20 recto, Parable of the Sower.
	26 verso, Jesus teaching.
	27 verso, Jesus driving out the Devils (signed).
	30 recto, The Mother and Brothers of Jesus (signed).
	31 recto, Jesus and the Ass.
	31 verso, Jesus entering Jerusalem.
	32 recto, Jesus cursing the Fig-tree.
	33 recto, Parable of the Reapers (signed).
	33 verso, The Vine-Dresser slaying the only Son.
	36 recto, Jesus likens Himself to the Hen.
	37 recto, Jesus arguing with the Doctors (signed).
	39 recto, Parable of the Virgins (signed).
	41 verso, The Lord's Supper.
	47 verso, St. Mark writing his Gospel.
	50 recto, The Apostles pardoned by Jesus (as on p. 18).
	52 verso, One does not hide the Light under a Bushel (signed).
	53 recto, Jesus expelling the Devils, which enter into the Swine (signed).
	56 recto, St. John's head borne by Herodias.
	57 verso, Jesus walking on the Water (signed).
	59 recto, The deaf and dumb Man (signed).
	59 verso, The Miracle of the Loaves.
	60 verso, Jesus curing a blind Man (signed).
	63 verso, Jesus blessing the little Children.
	69 verso, The Magdalen pouring Spices.
	75 verso, St. Luke writing his Gospel.
	77 recto, The Annunciation (signed).
	77 verso, The Visitation (signed).
	79 recto, The Nativity (signed).
	79 verso, The Annunciation to the Shepherds (signed).
	80 verso, The Circumcision (signed).
	81 verso, Jesus among the Doctors (signed).
	82 recto, St. John Baptist preaching (signed).
	83 recto, The Tree not bringing forth Fruits.
	84 verso, Jesus explaining the Writings in the Temple (signed).
	85 verso, Cure of Simon's Mother-in-law (signed).
	87 recto, Cure of the Paralytic (signed).
	88 verso, Jesus effecting Cures.
	90 recto, Jesus curing the Widow's Son (signed).
	97 recto, Jesus sends his Apostles forth to preach the Gospel.
	98 recto, Jesus discoursing to his Disciples.
	98 verso, Parable of the Good Samaritan (signed).
	100 verso, Jesus instructing a Woman (signed).
	101 recto, Jesus dining with a Pharisee (signed).
	107 verso, Return of the Prodigal Son.
	108 verso, The Rich Man in Flames and Lazarus in Abraham's Bosom.
	110 recto, Cure of the ten Lepers (signed).
	111 verso, The Shepherd and the Pharisee.
	112 recto, The Parable of the Camel.
	112 verso, Nicodemus on the Tree.
	118 recto, The Lord's Supper (as on p. 41).
	118 verso, Jesus in the Garden of Olives.
	122 verso, The Disciples at Emmaus.
	124 recto, The Ascension.
	125 verso, St. John writing his Gospel.
	126 verso, The Trinity.
	128 recto, The Marriage at Cana.
	128 verso, Jesus expelling the Money-Changers.
	131 recto, The Woman of Samaria.
	132 verso, Jesus curing the Son of a Wood-sawyer (signed).
	133 verso, The Pool (signed).
	134 recto, Jesus answering the Doctors (signed).
	135 verso, same as on p. 59.[415]
	137 recto, The Withered Hand.
	140 recto, The Woman taken in Adultery (signed).
	142 recto, Jesus leaving the Temple.
	142 verso, Jesus curing the blind Man.
	145 recto, Jesus in flight.
	146 verso, Resurrection of Lazarus (signed).
	147 verso, The Priests deliberating as to putting Jesus to Death (signed).
	150 verso, The Lord's Supper (as on pp. 41 and 118).
	155 verso, St. Peter cutting off Malthus's Ear.
	156 recto, Jesus before Caiaphas.
	157 verso, Jesus before Pontius Pilate.
	158 recto, The Scourging.
	158 verso, The Crown of Thorns.
	159 recto, Jesus beneath the Cross.
	159 verso, Jesus Crucified.
	160 verso, Jesus Entombed.
	161 verso, The Women going to the Tomb.
	162 recto, The Women announcing the Resurrection to the Disciples (signed).
	162 verso, The Magdalen takes Jesus for the Gardener.
	163 recto, The Ascension (signed).
	312 verso, St. John writing.
	321 verso, St. John receiving the Revelation.
	323 recto, Alpha and Omega.
	326 verso, A Throne erected in Heaven.

Then follow the engravings of the Apocalypse, impossible to describe, and in an entirely different manner. At the end of the book is an engraving of the Christ on the Cross, surrounded by rays of light.

There are many engravings in this book, but only one of them is signed with the Lorraine cross. That one is on folio 90 verso, and represents soldiers before a tower. It is reproduced in 'L'Histoire paladine,' folio, Étienne Groulleau, 1555, on folio 56 verso.

Octavo, printed by Maurice de la Porte's widow, 1553.[416] This edition of 'Les Amours' is embellished with a portrait of Muret, signed with the Lorraine cross, and bearing the inscription 'An. XXV,' which proves that it was engraved that same year, for Muret was born in 1526.[417] This portrait reappears, but without the inscription, in several other editions of Ronsard. I will mention particularly the quarto edition of his works, issued in 1567 by Gabriel Buon, successor to Maurice de la Porte's widow, and the folio issued in 1623 by Nicolas Buon, Gabriel's son.

There were two editions of this book, printed by Benoît Prevost, for Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and 1554. The copies in Corrozet's name bear his mark, signed with the Lorraine cross. There is a portrait of Belon signed with the cross at the end of the front matter in the edition of 1554. I have not seen it in any copy of the edition of 1553, which leads me to think that it had not then been engraved. And, in effect, the fact that the portrait attributes to Belon the age of thirty-six years seems to show that it was not drawn until 1554, as Belon is supposed to have been born in 1518. However that may be, the portrait appeared afterward in several other books by the same author, and particularly in his 'Histoire de la nature des oiseaux,' folio, 1555.

In this book we find, in addition to the portrait of Belon, seven cuts of birds, signed with the Lorraine cross. They are: the osprey, folio 96; the sea-gull, 169; the bustard, 238; the pullet, 252; the loriot, 295; the woodpecker, 304; the sparrow-hawk, 376. Some of the other engravings in the volume are signed with a white cross on a black ground.

This rare and curious volume is a quarto of 8 preliminary leaves, 166 leaves of text, and 2 of index unnumbered,—in all, 46 signatures. The privilege, which is printed on the verso of the title-page, is dated Saint-Germain-en-Laye, December 18, 1556. In the dedication, addressed to the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals of France, Thevet says that the country described by him maybe called the fourth part of the world, 'for that no one has as yet made explorations there, all geographers thinking that the world is limited to that which the ancients have described to us.'

There are 41 engravings in the text, not including borders, floriated letters, and Jean Bertrand's arms on the title-page. Of the 41, only seven are signed with the double cross; four of these represent scenes in the life of the American savage,—they are on folios 6 verso, 31 recto, 47 verso, and 151 recto; a fifth represents an extraordinary bird called pa (45 recto); and the other two, plants,—the pineapple (89 verso), and the cassava (113 verso). The last three appear in André Thevet's 'Cosmographie Universelle,' published in 1575, in two volumes, folio.[418] The others also appear in that work, but reëngraved on a larger scale, and without signature.

The seven engravings signed with the double cross cannot have been executed prior to 1556. For Thevet set out for the New World on November 4, 1555,[419] and remained there four months. So that it was not until the early months of 1556, at the earliest, that the engravings could have been executed. But, as the book did not appear until the beginning of 1558,[420] it may be that they were still in process of execution in 1557.

In the same year with the publication of Thevet's 'Singularités,' an octavo edition appeared at Antwerp, with the imprint of Christophe Plantin, and a privilege from the King of Spain, dated Brussels, April 20, 1558. The haste with which this reprint was prepared shows the interest with which the book was regarded. The woodcuts of the Antwerp edition are nothing more than wretched copies of those in the Paris edition. We find among them, however, in chapters 56, 58, 67, and 74, cuts of animals bearing the cipher of Jost Amman.

Duodecimo, 1556. Signatures A to M, and A to C vi. Border decorated with birds, with the small engravings of 1529. M. Niel owns a copy of this book bound with Tory's toolings. It has the Pot Cassé on the edges. Another copy, belonging to M. Portalis, is bound with the prayers (in French) described on page 219.

Folio, containing 61 large anatomical plates, several of which are signed with the Lorraine cross, and dated 1531, 1532, or 1533. This collection was reprinted in the same form, by the same publisher, in 1575.[421]

In the same year Perier published an edition of Durer's work in Latin, similar in every respect to the French edition. It is entitled 'De Symetria partium humanorum corporum.' I am unable to say which was printed first.

On the last leaf: 'Parisiis, excudebat Benedictus Prævotius, ad Stellam Auream, via Frumentello.'

Twenty-fourmo of 278 numbered leaves of text, and 20 unnumbered preliminary leaves; printed in red and black.

This little volume, printed in Greek and Latin, two columns on a page, was called to my attention by M. Lornier, barrister, of Rouen. Opposite the first page of text is a small engraving, signed with the Lorraine cross, representing the penance of David. David is on his knees, with a book before him and his harp at his right hand; he is gazing at God the Father, who is seen in the sky blessing him. Doubtless this engraving appears in other books of earlier date. It is 73 millimetres high by 55 wide.

ENGRAVINGS OF UNCERTAIN DATE.

A large plate, 35 centimetres in width by 27 in height, divided into two parts by a tree at the foot of which is Man, thus placed on the boundary of the two worlds. The tree bears only withered branches on the left side (the old alliance), whereas, on the right (the new alliance), it is green and flourishing.

In the compartment at the left we see Adam and Eve in the Garden of Eden. Eve is offering Adam the apple. Beneath them is the word 'peche.'[423] Lower still is a skeleton on a bier, with the words 'la mort' beneath. Above the Garden is Mount Sinai, whereon Moses is receiving the tables of the law; beneath, on the right, the 'terrestrial Jerusalem,' wherein are devout persons being devoured by serpents, with the serpent of brass in the midst, and above it the words, 'Similitvde de la ivstification.' Moses appears on the right; at the left, and a little lower, Hagar and Ishmael; lower still, the prophet pointing out to Man Jesus on the Cross at the right.

In the compartment at the right we see God standing on the terrestrial globe, with the words, 'Iervsalem celeste'; above, 'Mont Sion,' on which stands a woman's figure, with the words 'La Grace' over her head. An angel bearing a cross descends from Heaven (where are the words, 'Emmanvel Diev avec novs') amid rays of light which fall upon the woman. Lower, at the left, is another angel announcing the birth of Christ to the shepherds. Near by, at the right, the Christ on the Cross, with the words, 'nostre ivstice,' and the Paschal Lamb, with the words, 'nostre innocence'; below, Jesus coming forth from the tomb, with the words, 'nostre victoire'; still lower, at the left, St. John Baptist pointing out to Man the Christ on the Cross; the Forerunner is indicated by the words, 'Lenseignevr de Christ,' in a cartouche; above St. John are Sarah and Isaac.

In each of the compartments is a number of figures which apparently correspond to some vanished text.[424] There are eight in the one at the right and nine in the other. 'Man' is marked with a zero. I am unable to give the origin of this plate, which is in the Cabinet des Estampes in the Bibliothèque Nationale, and was for a long time attributed to Jean Cousin. It was M. Devéria who removed it from that artist's work and placed it with Tory's, whose double cross it bears, at the left, below the cartouche containing the words 'Lenseignevr de Christ.' I believe that it belongs in some large folio Bible; for I have seen the subject treated in a more or less summary fashion [425] on the title-pages of several Bibles, in French and other languages. I will mention particularly the following, all of which are in the Bibliothèque Nationale. (1) A French Bible, printed at Antwerp in 1530, by Martin l'Empereur; (2) A Bible in old Saxon, printed at Lubeck in 1533 by Ludowich Dietz (the same woodcuts reappear in an edition in Danish, issued by the same printer, at Copenhagen, in 1550); (3) A Bible in Latin, from the text of Erasmus, published in 1543 or 1544, with two engravings by Cranach; (4) A Bible in Flemish, printed at Antwerp in 1556. I will mention also Luther's Latin Commentaries ('enarrationes') on the Bible, printed at Nuremberg in 1555, with an engraving on the title-page dated 1552.

Whatever its source, this drawing was reproduced in 1562, on a large enamelled plate in tinted grisaille, attributed to Pierre Rexmond, enameller, at Limoges. The sketch for this plate was published in 1843, after a copy in the collection of M. Baron, in the volume entitled 'Meubles et Armes du moyen âge,' a large quarto, published by Hauser, dealer in prints on Boulevard des Italiens.[426] It is no. 127 in the collection. In this drawing the groups are arranged in chronological order, the circular form of the plate making it impossible to retain the arrangement of the engraving. But the various subjects and their respective inscriptions are identical, save for the errors in orthography with which the Limousin artist has besprinkled the latter. The two Jerusalems are separated by two trees, which, starting at the outer border of the plate, formed of Renaissance arabesques, join their heads at the centre, where there is a medallion containing the face of Marguerite de Valois, sister of François I.[427]

This subject has been treated also in a cameo now in the Bibliothèque Nationale, but in a very summary fashion because of the small size of the piece, which is only 57 millimetres in width by 72 in height. All the essential details of the engraving are reproduced. A description of this interesting cameo will be found under no. 317, in the 'Notice du Cabinet des médailles,' published by M. Chabouillet, one of the conservators of that priceless collection. It has been reproduced, too, in the collection of 'Mémoires de la Société des antiquaires de Morinie,' and the curious feature of the business is that the engraver has taken for his mark the arms of the city of Saint-Omer, which are the Lorraine cross.

This volume is an exact reproduction of the manuscript preserved at the Bibliothèque Nationale, which I have already described.[429] Although dedicated to Charles IX, the book was prepared for publication at a much earlier date. In fact, the author tells us, in the dedicatory epistle, that he had presented a copy to Henri II; indeed, it seems that he had it prepared for printing at the insistence of the King and Queen, who had promised 'to take care of the expenses.' This fact explains why almost all the portraits of the kings of France, from Clovis to François I, are signed with the Lorraine cross. These portraits are copied from the miniatures of the manuscript, but are on a smaller scale; furthermore they are in oval instead of square borders.

Du Tillet died in 1570, before he was able to carry out his project of printing this work. On August 10, 1578,[430] his heirs obtained a license to publish their 'late father's' work, which finally appeared in 1580; in fact, one part is dated 1579. They made use of the woodcuts bearing the Lorraine cross. Jean du Puys, the publisher,[431] added to the book some portraits which are not in the manuscript (among others those of Henri II and Charles IX), and which consequently do not bear Tory's mark.

Following is a complete list of the portraits contained in this volume, with indication of those not in the manuscript and of those signed with the Lorraine cross.