Prohemium cujusdam incipit novæ compilationis;

Cujus nomen et titulus est speculum humanæ salvationis.

But the expository matter, at the foot of the different plates, is in two columns. Of the first edition, Heinecken has copied the first plate, not very accurately as many bibliographers have remarked; and of the second edition he has given a fac-simile of the last plate. The engraving, which faces this page, is a fac-simile of the first plate of the earliest edition, with eight lines (four in each column) of the explanatory text; it has been exactly traced from the copy that was in the late Mr. Willett's fine collection of early printed books, (No. 2345) and was purchased by Mr. Singer at his sale for the sum of £315.

The specimen referred to is divided into two compartments, separated (as all the other plates are) by a small pillar: that on the left hand exhibits the fall of Lucifer and his angels; in the centre is represented the Son of God, denouncing vengeance against his rebellious subjects, while the angels who retained their allegiance are thrusting them headlong down to hell, whose jaws are widely distended to receive them; horror and anguish are depicted in the countenances of the fallen spirits who are delineated in the most grotesque attitudes imaginable. It might almost serve (if so grave a subject would admit of it) as a caricature illustration of the sublime description which Milton has given (Par. Lost, book VI. vv. 745-856) of the defeat and precipitation of Satan and his angels into the bottomless abyss. Beneath this compartment is inscribed Casus Luciferi.

In the right hand compartment is represented the creation of Eve who is springing out of Adam's side, and is apparently receiving her instructions from the lips of her Creator. The inscription beneath this compartment is, Dominus creavit homines ad imagines et similitudines suas. The verses beneath in two columns, are illus trative of the general subject of the work. They are as follow: Incipit Speculum humanæ Saluacionis,

In quo patet casus hominis et modus reparacionis.

In hoc speculo potest homo considerare

Quam ob causam creator omnium decrevit hominem creare.

Mulier autem in paradiso est formata,

De costis viri dormientis est parata.

Deus animem ipsam quo damno supra virum hominem stavit
* * * * ena1in loco voluptatis plasmavit.

The preceding specimen and remarks apply to what is reputed to be the first edition, the date of which is not known, but was probably between 1440 and 1457: the second Latin edition differs from it only in having the whole of the explanatory text printed with fusile types, exactly resembling those employed for part of the letter-press of the first edition.

Of the translations into other European languages, the most celebrated is the Flemish: two editions of this are extant, both in folio;

! The original is unintelligible.

and the second differs from the first, chiefly in having the explanatory letter-press of plates 45 and 46 printed with a smaller type. Meerman has given a fac-simile of the first Flemish edition (vol. ii. tab. 3), which he fruitlessly endeavours to prove to have been executed by Coster. It is copied with better success than Heinecken's engraving of the first Latin edition, but still inadequately represents the work. A copy of this first Flemish edition was purchased by Messrs. Longman and Co. at the sale of Mr. Willett's library, for £252. It is now in the possession of Earl Spencer.

That in the

A few words will suffice for the other versions. German language has been printed several times: the most antient edition is in folio, in which the Latin text accompanies the translation; Heinecken has given fac-similes of the two first plates or vignettes. It is without date, printer's name, and place, but with the characters of Gunther Zainer who printed at Augsburg, about the year 1471. Another equally rare German edition, but without the Latin text, was printed at Basle, by Bernard Richel, in 1476, folio. Of the French translation, an edition was printed at Lyon in 1483, folio, and afterwards at Paris, in folio, without date, by Nicholas Desprez for Jean Petit. The Royal Library at Paris possesses a copy of the first Latin edition of this work. Lambinet mentions other copies that were in the possession of different public libraries, before the Revolution in France. See his Recherches, pp. 70-74. Heinecken's Idée d' Estampes, pp. 432—478.

7. DIE KUNST CYROMANTIA.

Hartlieb.

The Chiromancy of Dr.
Folio.

THIS work is in the German language, and comprises 24 leaves printed on both sides from wooden blocks, except the first and last which are blank. It is in three numbers, marked at the bottom with the letters (a. b. c.), each containing four sheets or eight leaves. At the beginning and end of the book there is a single leaf, containing the title above given, and followed with an ornament. The date of 1448 am Fritag nach conceptionis Marie virginis, which appears at the beginning, must refer to the time when the work was composed or designed: it was afterwards engraved at Augsburg by Jorg. Schaff, as appears by the words iorg schabff zu augspurg, which are to be found at the end. Daunou places it among the works executed subsequently to the year 1457. Three fac-similes are given by Heinecken. See his Idée d' Estampes, pp. 479–482. Daunou, Analyse des Opinions, p. 14.

WE Conclude this account of the Books of Images, already perhaps too much protracted, by a brief notice of a work which belongs to the same class, though executed about 100 years afterwards. It is the celebrated work, Teurdaneths*, which for nearly three centuries has been the constant theme of admiration and study among artists and bibliographers. Its title is as follows:

* Referred to, from p. 341, supra.

Die Geuerlichten und einsteils der geschichten des loblichen streyt-paren und hockberumbten helds und ritters herr Teurdancths. i. e. The high feats of arms and perilous adventures of the illustrious, celebrated and warlike hero and knight, Teurdancths. Nurem berg, printed by Hannsen Schonsperger, 1517; falio.

This work is an allegorical poem, relative to the nuptials of the emperor Maximilian I. (under the concealed name of the knight Teurdancths) with the princess Maria of Burgundy: it is written in Teutonic verse, and is by some bibliographers ascribed to the emperor himself, while others attribute it to Melchior Pfintzing, one of his chaplains. The work is ornamented with 118 wood-cuts engraved by Hans Sibald or Hans Scheiffelein, which appear as clear and fresh as if they had just come from the hands of the artist. The characters of the letter-press are of extraordinary size and beauty, and are decorated with bold flourishes inter-twined together, and which appear to singular advantage in beautiful German writing. The paper is large, the margin ample, and the ink of a fine deep black colour. So uncommonly beautiful is the execution of Teurdancths, that it is a question among bibliographers, whether the book is not wholly xylographic: The late M. Camus most fully investigated this point, and the result of his researches is, that the volume is executed with moveable types, and is one of the finest specimens of early typography extant *.

The pages of this work are not numbered; but it has signatures a—z and A—P.z, forming 38 numbers or gatherings of eight leaves each, except those marked d, i, o, r, v, z, C, F, I, M, O, which have but six, and signature P which contains only seven leaves. Possessors of the book ought to find at the end eight separate leaves with the signature of A. containing a history of this romance and an index.

A copy of this typographical curiosity is in the Imperial Library at Vienna, on vellum, splendidly illuminated: another of equal beauty was (perhaps still is) in the Vatican Library. The Royal Li brary at Paris also possesses a copy. In this country, the Hunterian Museum has a superb copy on vellum of the edition of 1517; it was purchased by Dr. Hunter at Dr. Askew's sale for 217. A copy on paper at Mr. Tutet's sale (No. 480) brought 57. 7s. 6d. A copy of this edition is also in the possession of Mr. Douce.

A second edition of the Adventures of Teurdancths was executed at Augsburg, in 1519, folio; though in less request than the first edition, it is nevertheless exceedingly beautiful and almost of equal rarity. The same plates and characters were employed for this edition, which is printed exactly page for page. Mr. Douce likewise possesses a copy of this edition. See further concerning the present work, De Bure's Bibl. Instr. (Belles Lettres) tom. i. pp. 728-734. Lambinet, Recherches, pp. 77-80. Koehler's Disquisitio de inclito libro poetico Teurdancths, Altorf. 1737, svo, or 4to,

* Memoires de l' Institut. tome iii. (Class of Literature and the Fine Arts), pp. 170-211. M. Camus has illustrated his elaborate disquisition with three fac-similes.

Nuremberg, 1790; which last edition has the addition of a specimen of a glossary illustrating obscure Teutonic expressions.

Beside the Adventures of Teurdancths, Maximilian I. caused to be engraved, after the designs of Albert Durer and John Burgkmair, a fête which he had planned, and in which his whole family were to pass in review: Stabius, the imperial historiographer, was the director of it. The work consists of 79 pieces, and is called in Germany Triumpf-Wagen, or the Chariot of Triumph. only are known to be extant: one is in the Imperial Library at Three copies Vienna; another in the Royal Library at Stockholm; the third was in the possession of M. Mariette, and was purchased by the Duc de la Valliere for 1000 livres (437. 15s.)

No. II.

BRIEF NOTICE OF WORKS

Printed on Paper of different Colours*.

(Referred to, p. 72.)

Accum.-A System of Theoretical and Practical Chemistry, by Fredrick Accum. London, 1803, 2 vols. 8vo.

Of this edition, there are a few copies printed on paper made from STRAW: one of them is in the library of the Surry Institution. Apuleii Metamorphoses, Paris, Renouard, 1796. 3 vols. 18mo. One copy of this edition was taken off, on pink paper; a few on fine Dutch paper. The rest of the edition is on vellum paper.

Psyches et Cupidinis Amores. Paris, Renouard, 1796. 18mo. Six copies on pink paper, and one on vellum : the whole edition consists of only 90 copies.

Bandello.--Le Novelle del Matt. Bandello. Londra (Livorno), 1791. 9 vols. 8vo.

An entire and correct edition of a very rare antient work, by M. G. Poggiali. There is one copy on blue paper and one on vellum. Bell.-Traité théorique et pratique des ulcères, traduit de l'anglois de Benjamin Bell, par M. Bosquillon. Paris, 1803. 8vo. One copy is extant on pale pink paper.

Bembo.-Della istoria Viniziana di Pietro Bembo, dalui volgarizzata, libri dodici, secondo l'originale pubblicati da Jac. Morelli. Venezia, 1790, 2 vols. 4to.

A few copies of this edition, which like all the productions of the celebrated bibliographer Morelli is very excellent and in great estimation, are on blue paper, and some on large paper.

*From M. Peignot's Repertoire de Bibliographies Speciales, with some additions. A few articles only are given, which are likely to be found in

commerce.

Berquin.-Ouvres complettes de Berquin, par A. A. Renouard.

Paris, an X-1803. 17 vols. 12mo. on vellum paper with 205 engravings.

Of this elegant edition, M. Renouard has taken off three copies on pink paper. Bertrand-Quinquet.-Traité de l'imprimerie (par Bertrand-Quinquet, imprimeur). Paris, chez l'auteur, an VII. 4to. with plates.

Two copies of this work were taken off on pink vellum paper, which the editor and publisher advertised at 120 francs, each copy. See this work noticed supra, p. 473.

Betzi, ou l'Amour comme il est. Paris, Renouard, 1803. 18mo. M. Renouard took off four copies on pink paper, and one on vellum, enriched with an original design of le Barbier.

Biblia sacra Hebraica, sine punctis. Antverpiæ, Plantin, 8vo.

A copy of this Bible on yellow paper, sold for 19 livres at M. Renouard's sale in 1804.

Boccacio. Il Decamerone di Gio. Boccacio. Londra (Livorno), 1789,90. 4 vols. 8vo. with portrait.

An excellent edition, printed under the care of Sig. Gaetano Poggiali, who took off one copy on blue paper and one on vellum. Bossuet.-Discours sur l'histoire universelle, Paris, Crapelet, 1796. 4 vols. 8vo.

A copy on blue paper was in the library of the late M. Duziés of

Salins.

Discours sur l'histoire universelle. Paris, Renouard, an XI. 1803. 4 vols. 18mo or 12mo.

M. Renouard, the editor, struck off one copy on pink paper, of each of these sizes.

Boufflers.-Œuvres du Chevalier de Boufflers. Londres (Paris), 1786.

12mo.

A copy of this work, on different specimens of coloured paper, sold from M. Mirabeau's library in 1792 for 50 livres. Peignot mentions another copy of this book in 2 vols. 18mo. Londres, on pink paper. Boze.-Le livre jaune, contenant quelques conversations ou disputes de mots, abus de termes, contradictions, double entente, faux sens, sur les logomachies (ascribed to M. de Boze). Basle, Paris,

1748. 8vo.

The whole impression of this work was confined to 30 (M. Brunet states 50) copies, which were struck off on yellow paper. By some bibliographers it is ascribed to M. Bazin.

Camus.-Histoire du Polytypage, &c. Paris, an X. 8vo.

Four copies on pink paper. This work has already been noticed, p. 475, supra.

Caraccioli.-Le livre à la mode, ou le livre vert (par M. de Caraccioli). A verte-feuille de l'imprimerie du printmes, au perroquet, l'année nouvelle. 1759. sm. 8vo.

This work is printed in green. A new edition was published in