6*. HISTORIA SEU PROVIDENTIA VIRGINIS MARIAE: EX CANTICO CANTICORUM. Folio.

This is called by Heinecken 'l'ouvrage le plus gothique de tous les autres.' But although, as the same bibliographer observes, it differs from the preceding in style, design, and engraving,' it is not therefore the more barbarous and rude: on the contrary, it is upon the whole very greatly superior to the generality of books of this description.

Heinecken has copied the fac-similes of the first two cuts, which were published in the Merkwürdiges Wien (the Curiosities of Vienna') after a perfect copy of the work in the collection of Count Pertusati of Milan: but these cuts being executed on an extremely reduced scale, the fac-similes do not convey a sufficiently correct idea of the originals. The ensuing representations or embellishments, inserted in the list of cuts contained in this copy, are faithfully given on the same scale as the originals. But it may be worth noticing that, according to Heinecken's account, the present copy may be considered a posterior impression of the work; and not the original edition executed in Germany: yet the arguments preponderate as much in favour of, as against, the priority of this impression.

The subsequent or Dutch edition, according to Heinecken, (from Meerman's description of the same) commences with a line printed in the German language, by way of title-page: the present has no such distinction. The Dutch edition has, in the 10th cut, lower compartment (being the xxth according to the ensuing list), sixteen trees; the first or German edition has but ten;-the present contains only nine. On the 12th cut, upper compartment,* there are three sheep in the Dutch edition, and only two in the German :-the present has three sheep and a goat; forming the 8th cut; or the xvth according to the ensuing arrangement. In the 14th cut, upper compartment, there are eighteen roses on the coverlid, in the second or Dutch edition; and only fourteen in the first or German one :- - the present has eighteen. But this copy contains the entire XVI whole cuts, or XXXII compart

impression. Heinecken notices a second edition, different from the present one, by having the plates on one side only; with a ms. date of 1472, subscribed by a possessor of the book at Nuremberg, in the same year.

* In the ensuing list, each cut is divided into two. There is, in fact, an upper and lower division upon every leaf; and these divisions may be safely called distinct cuts

ments; whereas the Dutch has but ix. It will be seen, therefore, from this description, that the present copy partakes, in part, of the characteristics of the Dutch edition; but is, in other respects, different from either. If barbarity of execution be a criterion of the second or Dutch impression, and sharpness and neatness of the more ancient one, this copy may be safely classed among the most ancient impressions

extant.

For the sake of those who may come into the possession of fragments of this very rare volume, I subjoin fac-similes of three of the smaller groups, and a description of the principal objects in each impression. The first inscription' always means the one on the left hand.

IMPRESSION.

I. A group of four women: one crowned, and encircled with a glory; the other, encircled with a glory only: the first representing the VIRGIN MARY, the second the CHURCH: behind them is a label, with the following motto: 'Osculetur me osculo oris suo quia meliora sunt vbera tua vino:' Before them is another label with the following inscription, 'Veni in ortum meum soror mea sponsa messui uurram meum cum aromatibus meis.' To the right is a field, in which are men, habited like monks, threshing and gathering corn: See Heinecken, p. 374.

II. The Virgin within a flame of glory: three women to the left, one to the right: two inscriptions.

III. A group of four women, distinguished as before: two inscriptions: the first Trahe,' &c.

IV. Three women sitting, a fourth standing at a distance, with
her right hand elevated. Two inscriptions: the first En
dilectus,' &c.

V. Three women following the Virgin, who has a radiated crown:
Two inscriptions: the first Qualis.'

VI. The Church sitting, with the Virgin (always represented with the radiated crown) asleep, having her head in the lap of the former. Three women kneeling at a distance. Some deer in the back ground. One inscription: Adiuro vos,' &c.

VII. The Virgin and Church sitting, and eating grapes. A vineyard in the back-ground. Three women, apparently

IMPRESSION.

curtseying to the right, with elevated hands. Two inscriptions: the first beginning- Erunt verba,' &c.

VIII. The Virgin, in the back-ground, within a walled or castellated garden: a fountain in the centre. Four armed angels upon the ramparts. To the left, in the fore-ground, the Church. Before the portal, to the right, a winged angel, having a cross on her head. Two inscriptions: first' Ortus conclusus,' &c.

IX. The Church presenting a lily with her left hand. The Virgin about to receive it-her right hand gently elevated. Three attendants accompany her. Two inscriptions: the first 'Dilectus meus,' &c.

X. To the left, three women standing, prettily grouped. To the right, the Virgin asleep with her head upon the lap of the Church. Two inscriptions: the first Pulchre sunt,' &c.

XI. The Virgin, within a garden fenced by hurdles, plucking fruit, and offering it, in a basket, to the Church. Two inscriptions: the first Que habitas,' &c.

XII. To the left, the Virgin, in bed, reclining upon her right hand: on each side of her, a figure holding a cup or canister, with, apparently, a flame in the centre. At the bottom of the bed, a figure stooping, holding up her left hand. Five scrolls with inscriptions above them. These fill what may be called the first compartment of the picture. To the right, two angels armed, the one with a bow and arrow, the other with a sword and shield, upon a rampart: beneath, the Virgin holding up her right hand, touching the top of the rampart: a scroll over her. Above, the Church seated in a chair; the whole within a glory, supported by four angels.

XIII. The Church, the Virgin, and two attendants, all within a garden fenced by hurdles. Two inscriptions: the first Descendi in ortum,' &c.

XIV. To the left, the Church: to the right, the Virgin about to open the door: she seems to have just risen from her bed: behind, three attendants. Two inscriptions: the first 'Aperi in,' &c.

IMPRESSION.

XV. The Church, with a staff within her right hand. At a little distance, the Virgin. Two attendants to the right. Two inscriptions: the first beginning Judica in,' &c.

XVI. The Virgin seated: an attendant on each side, standing, with hands closed. Two inscriptions: the first beginning with 'Annua mea,' &c.

XVII. The Virgin and Church embracing. A castle to the right. Two inscriptions: the first Quis videt,' &c.

XVIII. The Church and Virgin seated upon the same seat: each holding a cup-a dove, with outstretched wings, standing upon the centre of it. To the right, is a group, represented by the following fac-simile.

There

The ensuing inscription is over them, "Commedi faicum cum melle meo bibi vinum meum cum lacte meo.' is also an inscription over the Virgin and the Church.

IMPRESSION.

XIX. The Virgin in the centre. Two small figures kneeling behind her; two upright figures, the one with a flame, the other with a pitcher, before her; water is running from the pitcher upon the ground.

XX. To the left are two winged angels, looking at the Virgin elevated by an eagle-of which latter, the following is a facsimile; representing a composition that may remind the reader of similar attempts in the Jupiters and Ganymedes of future artists.

To the right are three attendants kneeling, with raised hands. Two inscriptions: the former beginning' Que est ista,' &c. Nine trees are in the background.

XXI. The Virgin, with two attendants, to the left. The Church to the right. Two inscriptions: the former, Ecce dilecto meo,' &c.

XXII. The Virgin with two attendants coming out of a door; the former points to our Saviour upon the cross, upon a hill in the back ground. An angel is over the house from which the three figures issue. Two inscriptions: the first 'Qui pulchre.'

XXIII. The Church, Virgin, and three attendants. An angel in the