of the opposite side where there is sufficient room for it..

There seems to have been a design to have engraved the initial letter in the same manner, as there is room left for it; but the space may have been left for illumination. The same appears at the Prologue to the second Canticle of the Purgatorio, and at the first verse of the first Canto. The same likewise seems to have been intended for the Prologue, if not for the first Canto. of the Paradiso.

It is most likely that Baldini or Botticelli engraved plates for all the Cantos; as he seems, by Vasari's account of him, to have been whimsical, it is very likely that he did not work fast enough for the printer, who not choosing to stay longer, worked off the two first which were finished, and left room for the rest, which probably were afterwards printed separately; and no one has ever thought it worth while to collect the whole together, and in all probability they may never be compleated in one copy.

This copy in the Cracherode Collection has nine plates, but one is a duplicate.

. M. Heineken in the third volume of the Dic tionnaire des Artistes, under the article Botticelli, gives an account of nineteen vignettes.

M. De Brienne had a copy of this edition with nineteen vignettes and sixteen pen drawings in the same style. See the Catalogue of his Li

brary, P. 11, N. 11. Itwas sold at Paris in 1792, and is now in the Bibliotheque Nationale *..

Mr. R. Wilbraham has a copy with nineteen vignettes.

Lord Spencer, in 1792, purchased a copy of this edition, which has also nineteen vignettes, of which, two are pen drawings.

Mr. Fountaine, of Narford Hall, in Norfolk, has also another copy with nineteen vignettes.

The following extract on the subject is from Audefreddi Spec. Historico. Crit. Ed. Ital. Sæc. xv. p.. 288.

Nonnulla exstant exemplaria in quibus præter duas priores figuras in ipsis voluminis chartis impressas, (quas nulli exemplari deesse unquam observavi) sexdecim vel septemdecim aliæ figuræ ejusdem rationis ac priores duæ, in fronte sequentium canticorum Inferni, in quibus congruum spatium vacuum pro iis capiendis relictum fuit, (quod et factum fuit in fronte non modo aliorum canticorum inferni sed et Purgatorii, et Paradisi) agglutinatæ non autem in ipsis operis foliis impressæ cernuntur. Primum ex his vidi Romæ in Bibliotheca Vaticana, duo Florentiæ, alterum in Maliabecchiana, alterum apud cl virum doctorem de Marchis, quartum Romæ in bibliopolio Mich. Ang. Barbiellini: quod exem

See also a minute description of this particular copy in Laire's Index Librorum, Vol. 11. p. 40.

plum

plum superioribus annis a Laerio comparatum fuisse pro Bibliotheca Brienniana audivi.

Ha

figuræ aeri incisæ sunt, et peritiorum judicio satis eleganter delineate. Non est nostri instituti de iis sermonem habere: videri tamen possunt quæ de iisdem disseruerunt Bottarius NELLE LETTERE PITTORICHE et Heineckenius in opere inscripto: IDEE GENERALE D'UNE COLLECTION COMPLETE D'ESTAMPES. Alibi monuimus figuras quæ ornant montem S. Ant. Bettini et ipsas aeri incisas, totum quadriennium figuras Dantis præcessisse. Exstabat olim hujus editionis exemplum ab initio ad finem ab excellentissimo Pictore Michaele Angelo Bonarotio mirifice delineatum nec minus eleganter illuminatum; quod dum mari Romam adveheretur naufragio periisse, narravit mihi olim cl. Præsul Bottarius.

An imperfect copy of this scarce book sold at Dr. Monro's sale for six guineas and a half. It had eight plates, and appears to have been the property of our Charles the First.

The Pinelli copy sold for eighteen guineas, and was bought by Mr. Tighe.

Concerning this book the reader may refer to Hoym's Cat. p. 184. De Bure, 3324. Valliere, 3563. Pinelli, vol. 4. no. 1913.

409. 4. p. n. 300.

Maittaire, p. 419.

Panzer, p.

In 1805, Messrs. Payne and Mackinlay had a superb copy of this edition, with nineteen vignettes, for which they demanded fifty guineas. Earl Spencer gave 100 guineas for his copy.

DE

DE BURE.

THE curious collector of books will not be displeased to see a few inaccuracies of this excellent Bibliographer corrected, and a few deficiencies filled up.

In the second volume of his "BIBLIOGRAPHIE INSTRUCTIVE, No. 5649, he describes LAS OBRAS DE DON BARTOLOMEO DE LAS CASAS, printed at SEVILLE, POR SEBASTIAN TRUGILLO, Y JACOMO CROMBERGER, in 1552. He represents this most curious and remarkably scarce book, as containing only five traits of the truly christian and benevolent author.

But the genuine edition, of which there is a fine copy in the Cracherode Collection, contains eight tracts. The three not mentioned by DE BURE, are these which follow:

6 Pedayo de una carta y relacion. Sine anno. 7 Avisos y reglas para los confessores. Sevilla, por Trugillo, 1552.

8 Principia quædam ex quibus procedendum est in disputatione ad manifestandam et defendeudam justitiam Yndorum. Impressum Hispali in edibus Sebastiani Trugilli. Sine anno.

It may not perhaps be known to every collector of books, that there are two editions of this work, one of which is a counterfeit, having the

same

same date, and being printed in the same form. But they may easily be distinguished, as the first and genuine edition is printed in gothic cha

racters.

Bibliographie Instructive: Belles Lettres. No.

3581.

OPUS QUOD DICITUR: RECOLLECTORIUM: EX GESTIS ROMANORUM, ET MORALIZATUM CUM PLURIBUS APPLICATÍS HISTORIIS, FABULIS, &c. Impr. Gouda, per Gerardum Leeu, Anno Domini, 1480. in fol.

Of this very scarce and curious work, De Bure calls this the first book, but it is the second. See the catalogue of the Crevenna Library, No. 791, and the catalogue Raisonné de M. Crevenna. Vol. 6. p. 312.

No. 4096. Belles Lettres as before.

CABBALA DEL CAVALLO PEGASEO, com l'agiunta del' Asino Cilenico, descritta da Gior dano Bruno Nolano. In Parigi, Baio, 1585, in

8vo.

De Bure expresses a doubt, whether any such book as this is to be found, but there is certainly a copy in the library of M. Hoblin: see his catalogue, No. 2001.

No. 4030. LUCIANI SAMOSATENSIS OPERA OMNIA, GRÆCE. Florentiæ, anno 1496, in fol.

This is the first edition of Lucian, of which there is a magnificent copy on vellum, in the Duke of Marlborough's Library at Blenheim.

No.