7b 
 
 86-B 
 
 26125 
 
1^0 
 
A 
 
 CATALOGUE 
 
 OF 
 
 WHICH HAVE BEEN ENGRAVED 
 
 AFTER 
 
 MARTIN HEEMSKERCK, 
 
 OR RATHER, 
 
 AN ESSAY TOWARDS SUCH A CATALOGUE. 
 
 BY 
 
 THOMAS KERRICH, M.A. 
 
 LATE PRINCIPAL LIBRARIAN TO THE UNIVERSITY 
 OF CAMBRIDGE. 
 
 CAMBRIDGE: 
 
 Printed by J. Smith, Printer to the University; 
 
 FOR J. RODWELL, 46, NEW BOND STREET, 
 LONDON. 
 
 1829 
 
THE Gtliy CENTER 
 
ADVERTISEMENT. 
 
 The following pages are published at the 
 desire of their deceased Author, with the hope 
 that they may be the means of introducing to 
 a more extended notice in this country the 
 works of an Artist, who has been styled ''the 
 Raphael of Holland;" and to whose Designs 
 some of his most distinguished successors have 
 been considerably indebted. 
 
 It is necessary to observe, that Holland has 
 given birth to two other Painters of the same 
 name, viz. Egbert Heemskerck and his son; 
 in order to prevent the odium attached to their 
 revolting productions from being accidentally 
 transferred to those, which are the subject of 
 the present Catalogue. 
 
 The Original of the Memoir prefixed to the 
 work is contained in Van Mander's "Lives of 
 Painters of the German and Flemish Schools," 
 first published in the year 1604; and is believed 
 to be the earliest general account, now extant, 
 of this once celebrated Master. 
 
CONTENTS. 
 
 Page 
 
 Life of M. Heemskerck 1 
 
 Authors^ who have noticed him ]6 
 
 Adversaria 18 
 
 Disciples of M. Heemskerck 21 
 
 Portraits of M. Heemskerck 22 
 
 Engravers of the prints after his designs 23 
 
 Publishers of those prints 24 
 
 CATALOGUE. 
 
 Prints from both the Testaments (1) 
 
 from the Old Testament (8) 
 
 from the New Testament (43) 
 
 Prayers, Parables, Emblems and Allegories (66) 
 
 Fable (101) 
 
 History, &c (104) 
 
 Landscapes (Il6) 
 
 Addenda (121) 
 
THE LIFE 
 
 OF 
 
 MARTIN HEEMSKERCK, 
 
 TRANSLATED FROM THE DUTCH OF VAN MANDER, 
 By 
 
 ♦ 
 
 It is a well-known fact, that the most insig- 
 nificant places are frequently hrought into notice 
 by giving birth to famous Painters: for instance, 
 in what corner of the civilized world is the 
 little village of Heemskerck in Holland not 
 celebrated as the spot whence Martin derived 
 both his name and origin, having drawn his 
 first breath there in the year 1498? His father, 
 Jacob Willemsz Van Veen, was a Farmer, but 
 he, even in his earliest years, shewed a strong 
 inclination to Painting, and first received some 
 little instruction in that art at Haerlem, from 
 Cornelius Willemsz ; the father of Lucas and 
 Floris, who both completed their studies at Rome 
 and other cities in Italy, and became painters 
 of eminence. 
 
2 
 
 The old man, probably from the idea that 
 this profession would not aflPord his son a suffi- 
 cient maintenance, took him home from thence 
 and endeavoured to accustom him to ploughing 
 and other occupations in the farm ; but with 
 very little success, as he was exceedingly pro- 
 voked at being thus torn from his first and 
 favourite employment. One evening, while on 
 his return to the house from milking the cows 
 with a pail full of milk upon his head, he pur- 
 posely struck it against the bough of a tree and 
 spilled all its contents : his father was so enraged 
 at this, that he pursued him with a stick; upon 
 which Martin resolved to keep out of his way 
 for that night, and, accordingly, slept in a hay- 
 stack. The next morning his mother furnished 
 him with a knapsack and a little money, and 
 he travelled through Haerlem to Delft, where 
 he put himself under John Lucas, with whose 
 instruction he improved so rapidly in drawing 
 and painting, that he soon attracted the public 
 attention. 
 
 It was just about this time that John Schorel 
 Was so celebrated for the new manner, he had 
 brought with him from Italy : Martin was par- 
 ticularly pleased with it and, leaving Delft for 
 Haerlem, became his scholar. Under this noted 
 painter he arrived at such a degree of excellence, 
 that it was extremely difficult to distinguish his 
 works from those of his master : indeed he made 
 
3 
 
 such progress, that Schorel at last dismissed him 
 from his house, as it was generally thought, from 
 jealousy of his rising talents. 
 
 After this event he resided with Peter John 
 Fopsen, at the house where Cornelius Van Beren- 
 stein formerly lived, and there painted several 
 things ; amongst others, figures, the size of Life, 
 of (Apollo and Diana* as) the Sun and Moon 
 upon a bedstead in a back-room, and in another 
 room those of Adam and Eve rather smaller, but 
 (as it is said) after living models. The wife of 
 this Peter John Fopsen had a high opinion of 
 his merit and would not suffer him to be known 
 by merely the humble title of Martin ; but desired 
 those who enquired for him to give him that of 
 "Meester" Martin. When he left this house, 
 he went to lodge with Justus Cornelisz, a Gold- 
 smith, who lived in the outskirts of Haerlem. 
 
 Martin painted a great number of pictures pre- 
 viously to his going to Rome; but there is one, 
 of which I ought to give a particular account, viz. 
 the altar-piece that he presented to the Painters 
 of Haerlem on the occasion of his departure thi- 
 ther. The subject of it is their Patron Saint, 
 employed in taking the portrait of the Virgin 
 with the Child upon her lap : it is a very excel- 
 lent work ; the figures are wonderfully like reality 
 
 * Sol et Luna" in the original. 
 A 2 
 
4 
 
 and stand out well in the manner of Schorel, but 
 the Outline is, like his, somewhat abrupt and sharp. 
 The countenance of Mary, the Maid-mother, is 
 extremely charming, and her attitude graceful ; 
 the infant too is very engaging: he has thrown 
 an Indian garment over her knees in incompa- 
 rably neat and elegant folds. St. Luke (whose 
 face is the portrait of a Baker, who sate for it) 
 is represented as earnestly attentive to the work 
 before him : his figure is very fine, particularly 
 the left hand that holds the pallet, which appears 
 absolutely to come out from the pannel. Behind 
 the Saint is a Poet or, at least, a man whose 
 head is crowned with Ivy : I think it probable, 
 that Martin meant this figure to be a portrait of 
 himself; but, whether he intended to hint, that 
 he was inclined to Poetry as well as Painting, 
 and that a Painter ought always to be endowed 
 with the fancy of a Poet, or that he considered 
 the history, he had here depicted, to be fabulous, 
 I cannot determine. In addition to these figures 
 there is another, of an Angel with a lighted Torch 
 in his hand, very well finished. In my opinion 
 there are in none of his works more beautiful 
 countenances than those in this picture : he has 
 also displayed great skill in the Perspective of 
 the room ; as well as in the representation of a 
 Parrot in a cage, under which, upon the wall, 
 he has painted a sealed Letter: on this letter 
 are inscribed the following lines. 
 
5 
 
 ^JTot ttn ntemortt 10 tjt^e tafel gtgtt^m 
 Fan ifHarten ^etm&l^ittU | trie fi^eft gttsyvatf^t \ 
 ^S^ev eevm atica^ f^etft f^ij *t tetfvt^ytn 
 Bu0 gtmtm ge^tllm f^ttft t)u mttst tttfat^h 
 
 mogen 8em Hanli^tt | tij Uagt \ tii nacfit | 
 Uan |ijn tniltre gifte | Hie titer otaat prmnt: 
 Hu!9 tPiUen tutt tttrtren | mtt aUe on^e macl^t | 
 Bat gratie f^tm UJil jijn ontrtnt« 
 ^nno mumt v*^. XXXII. 10 \>oimt 
 
 " This picture is a remembrance from its painter, Martin 
 Heemskerck : he has here dedicated his labours to the 
 honour of St. Luke as a proof of his regard to his 
 associates in the profession, of which that Saint is 
 Patron. It presents itself as a motive for our 
 unceasing gratitude, and we will pray with unaffected 
 earnestness, that God's blessings may attend him. 
 
 Finished in the year of our Lord 1532, May SSd." 
 
 It is now in the custody of the Magistracy 
 of Haerlem, in the south room of the Prince's 
 Court, and is very much admired by connois- 
 seurs : it seems to have been finished, when he 
 was about thirty-four years of age on comparing 
 its date with that of his birth. 
 
 He then gratified the desire, he had long 
 entertained, of seeing the Antique and the works 
 of the great Italian masters by going to Rome, 
 and took with him letters of recommendation, 
 which procured him a place at the table of a 
 Cardinal, during his stay there. Far from spend- 
 
6 
 
 ing his time in dissipation with his countrymen, 
 he passed it in studying the Antique and the 
 works of Michael Angelo*, and in making accu- 
 rate sketches from the ruins and other rare relics 
 of ancient art, which are to he found in ahun- 
 dance in that city: indeed he was constantly 
 employed in this manner, when the weather was 
 favourahle. One day, whilst he was from home 
 at his usual occupation, an Italian acquaintance 
 went secretly to his lodgings, and cutting the 
 canvas out of two straining frames took it away 
 with him together with a trunk full of his hest 
 drawings. Martin, on his return, was extremely 
 chagrined at the loss, and having some suspicion 
 of this Italian he charged him with the theft 
 and recovered his property : heing however of a 
 timid disposition he, from dread of the effects 
 of this man's revenge, hurried away from Rome 
 after a residence of scarcely three years, and 
 returned to the Netherlands, taking home with 
 him a large collection of excellent drawings and 
 a well-furnished purse. On his arrival at Dord- 
 recht, whither he had brought a letter from a 
 young friend of his at Rome to his father, the 
 Landlord of an Inn there (at this day the Anchor 
 Brew-house, hut then a cut-throat place, where 
 
 * N. B. The Last Judgment of M. Aiigelo was not 
 opened till Christmas day IS^l : it was probably hardly 
 begun, when Heemskerck left Rome. 
 
T 
 
 travelling Merchants and others were secretly 
 murdered), he was invited to stay at the house 
 to meet Peter Jacohs, a great admirer of the 
 Arts, who wished much for the pleasure of his 
 company : he had however found a vessel just 
 ready to sail, and left the town the same even- 
 ing — most fortunately for him as it afterwards 
 appeared; for, when the character of the house 
 was investigated, a great pit was discovered in 
 it filled with dead bodies. One of this Inn- 
 keeper's daughters resided at Venice with Hans 
 or John Van Kalker, a young Painter of some 
 celebrity, and was* brought before the Magis- 
 tracy there as an accomplice in the murders 
 committed at her father's house : she made a 
 full avowal of all she knew upon the subject, 
 and added that, as her natural feeling of affec- 
 tion to her parent would not allow her to lay 
 an information against him, she had been obliged 
 to leave her home to avoid witnessing the scenes 
 of bloodshed, which it constantly presented ; upon 
 which she was acquitted and discharged. 
 
 Heemskerck was now again fixed in his own 
 country, and was found to have made consider- 
 able alterations in his manner (after Schorel) 
 during his absence ; but in the opinion of some 
 of the best judges he had not improved it, except 
 
 * Apparently at the request of the Lords of Dordrecht. — 
 Note by De Jongh. 
 
8 
 
 in one particular that his Outline was more 
 graceful than before, and less hard and abrupt. 
 On one of his pupils telling him, that it was 
 said, he painted better when he took Schorel for 
 his model, than he had done since he had been 
 at Rome, he replied, " My son, I then did not 
 know what I was about " There is an instance 
 of this change in his style in the two doors for the 
 altar of the Woollen-drapers, which adorn the Hall 
 of the before-mentioned Prince's Court. On the 
 interior are the Nativity of Christ and the Ado- 
 ration of the Magi, and in these there is much 
 decoration most delicately executed; in the per- 
 sons of the three Kings he has introduced his 
 own portrait and those of two of the commonalty. 
 On the exterior is the Annunciation, the coun- 
 tenances in which are very fine and are after the 
 Life : it should be observed, that the skirts of 
 the Angel's robe, which are of purple and fall 
 in curious folds, were painted by Jacob Rau- 
 waerdt, who then lived with him as, I think, 
 I have heard him say. This work is a sufficient 
 proof of Martin's merit and of his great ability 
 for the representation of minute objects, and con- 
 tradicts that well-known maxim, which he fre- 
 quently repeated; that 
 
 Every painter, who is anxious to be eminent, avoids 
 architectural and other embellishments." 
 
9 
 
 One may indeed perceive here traces of a 
 studied attention to the objects, which are purely 
 ornamental : the image of the Angel, for instance, 
 who stands upon a polished marble floor, is re- 
 flected from it with as much brilliancy as if it 
 had been ice. 
 
 Martin was the author of many of the great 
 works in our churches : in the old church at 
 Amsterdam the two doors to Schorel's altar-piece 
 of the Crucifixion are by his hand ; on the interior 
 of which are several circumstances relative to the 
 Passion and Resurrection of our Saviour ; and on 
 the exterior, figures very well executed in imitation 
 of bronze — as are also the high-altar-piece, in the 
 great church at Alcmaer, of the Crucifixion, with 
 its two doors, exhibiting on the inside our Saviour's 
 previous sufferings, and on the outside the history 
 of St. Lawrence — a variety of pieces at Delft, 
 both in the old and new church; in St. Agatha's, 
 an altar-piece of the Adoration of the Magi, with 
 one King appearing in the principal picture and 
 another on each of the two doors, and so arranged 
 that they form one group ; on the outside is 
 painted the Destruction of the Israelites by ser- 
 pents, in clear-obscure; for this extraordinary 
 performance he received a pension of a hundred 
 guilders, a sort of property he was particularly 
 fond of — also two doors for the high altar in 
 the church of Eerstwoude (in the four northern 
 
10 
 
 chases) in North Holland; which contain on the 
 interior, in different compartments, the Life of 
 Christ, and on the exterior that of St. Boniface 
 — and the high-altar-piece in the church of Me- 
 demhlic. For the Lord of Assendelft he painted 
 the Resurrection and Ascension of our Saviour, 
 as doors to an altar-piece; and they are now in 
 that nobleman's private chapel, in the great church 
 at the Hague. 
 
 It would be impossible to enumerate all the 
 altar-pieces, monumental pictures, and portraits, 
 &c. from his pencil, for he worked diligently, 
 constantly, and expeditiously. I must, however, 
 select, as worthy of particular notice, a most 
 astonishing painting, which exhibits the four 
 ends of man — death, judgment, eternal life, and 
 hell. In this piece is seen a vast multitude of 
 naked figures, each expressing in the countenance 
 and by the attitude distinct emotions, arising 
 either from the agonies of death, the joys of 
 heaven, or the pangs of hell. He painted this 
 for Jacob Rauwaerdt, who had been his pupil, 
 and was one of the greatest encouragers of art 
 of his day. Rauwaerdt paid him for it by count- 
 ing out double gold ducats to him, till he expressed 
 himself satisfied with the amount, which was very 
 considerable. I have twice seen (first at Paul 
 Kempenaer's and afterwards at the house of JVIel- 
 chior Wyntges,) an oblong picture by hini of a 
 
11 
 
 Bacchanalian Feast : it represents a group of naked 
 bloated figures thrown into the lascivious attitudes 
 used by the ancient heathens at those festivals. 
 Of the fine display of his knowledge of ordonnance 
 in this work a good idea may be formed from 
 the prints, which have been engraved after it : it 
 is, I think, the best piece he painted after his 
 return from Rome. Arnold Van Berenstein has 
 a Saint Christopher by his hand, introduced into 
 a landscape which gives the spectator a magni- 
 ficent prospect of distant country. In addition 
 to these, his nephew, James Van der Heck, at 
 Alcmaer has several portraits of him in oils^ 
 taken by him at different periods during the latter 
 part of his life ; and they are very fine specimens 
 of his powerful drawing and delicacy of touch. 
 
 In short, Heemskerck was at home in every 
 style, but particularly expert in the naked figure, 
 though occasionally a little censurable for adhering 
 too much to the meagre and dry manner of the 
 Flemish school; and for permitting a species of 
 mild expression to break forth in his countenances, 
 which, as I have frequently remarked, tends to 
 throw an air of insignificance over an artist's 
 works. He understood thoroughly the doctrine 
 of ordonnance, and has furnished nearly the whole 
 world with the productions of his inventive genius : 
 his works also contain more than a sufficient tes- 
 timony to his having been well acquainted with 
 the rules of architecture. 
 
12 
 
 The number^ of prints after Heemskerck is 
 almost infinite: for the curiously allegorical sub- 
 jects of some of them he was indebted to the 
 suggestions of that ingenious philosopher, Theo- 
 dore Volkertsz Cuerenhertf (or Cornhert). He 
 did not execute them himself, but had several 
 copper-plate engravers at work, whom he supplied 
 with neatly hatched drawings in pen and ink^ 
 which were remarkable for their freedom and 
 correctness : one of these was the above-named 
 Theodore Volkertsz Cuerenhert, a man endued 
 with such quickness of apprehension, judgment, 
 and readiness of hand, that he was equal to any 
 undertaking within the capacity of a single in- 
 dividual. He etched and engraved several things : 
 the delicate prints of the Acts of the Emperor :|: 
 are by his hand, with the exception of that (which 
 represents the Capture of the King of France) 
 by Cornelius Bos. 
 
 Notes by De Jongh. 
 
 * The Burgomaster S. Van Huls had 648, therefore Le 
 Comte is under a mistake, when he estimates them at less 
 than 580 : see his " Cabi?iet d' Architecture, Peinture, S^c'' 
 Tom. III. p. 28^. 
 
 t " Dirck Volkertsz Koornhart" was born at Amsterdam 
 in the year 1522, and lived several years at Haerlem, where 
 he followed the profession of a Secretary and Notary; he 
 died at Gouda in the year 1590: the most remarkable cir- 
 cumstances of his life may be found in the Memoir prefixed 
 to his Theological and other works, which have been pub-' 
 lished in 3 vols, folio. 
 
 X Charles V. 
 
13 
 
 Some time after his return from Rome, when 
 he was quite an old bachelor, Martin married 
 Mary, daughter of Jacob Koning, a very young 
 and pretty girl; and there was a comedy acted 
 at the theatre in honour of the wedding. She 
 died in child-bed about a year and a half after 
 their marriage. It was three or four years sub- 
 sequent to this event, that he painted the before- 
 mentioned two doors to the picture of the Murder 
 of the Innocents by Cornelius Cornelisz, in the 
 Prince's Court at Haerlem. Martin afterwards 
 entered into a second marriage, with an old maid 
 who was more indebted for her power of charming 
 to the gifts of fortune than to either her beauty 
 or good sense, and so extremely fond of the pro- 
 perty of others, that she bought several things 
 for the household without paying for them, and 
 found others ere they were lost — to the great 
 mortification of her husband, who entreated her 
 not to disgrace him, and made his neighbours 
 honourable compensation for their losses. 
 
 Two and twenty years, and indeed till his 
 death, he was " Kerkmeester*" at Haerlem : but, 
 when that city was besieged by the Spaniards in 
 the year 1572, he retired, with the permission 
 of the council, to Amsterdam, and took up his 
 abode with Jacob Rauwaerdt. 
 
 * Qu. Director of the Reformed Church ? 
 
14 
 
 He was naturally ceconomical and pusilla- 
 nimous; and was so timid, that once, during a 
 review of the Fusileers, he climbed up to the top 
 of the church-tower to look at them from the 
 battlements, under the notion that that was the 
 only situation, from which he could see them 
 securely. From the apprehension that he should 
 be reduced to poverty in his old age he, to the 
 day of his death, carried a considerable sum of 
 money in gold crowns sewn up in his clothes. 
 
 When Haerlem fell into the hands of the 
 Spaniards, they got possession of many of his 
 works under the pretence of wishing to purchase 
 them and send them to Spain ; and, besides, 
 almost all his best pictures were destroyed in the 
 shameless Iconoclasma; so that there are but very 
 few to be found in this country at the present day. 
 
 Being a man of property and without children, 
 Martin bequeathed a great portion of his wealth 
 to charitable uses. Amongst other legacies of 
 this kind was the income of a piece of land 
 as an annual wedding-present to a young couple, 
 on condition they were married at his grave : 
 and this has been complied with ever since. He 
 erected a Pyramid or Obelisk of blue stone over 
 his father's grave in the church-yard of Heem- 
 skerck, on which are an Effigy of his father, an 
 Inscription in Latin and Dutch, and the figure 
 of a Child standing upon human bones with its 
 right foot on a scull, and leaning against a burn- 
 
15 
 
 ing- torch : this monument, on which the words 
 "cogita mori" are very conspicuous, seems to be 
 dedicated to immortality. Below are his arms ; 
 on the dexter side half a Spread Eagle, on the 
 sinister a Lion, and in the hase of the scutcheon 
 a naked arm Winged, with a Pen or Pencil in 
 the hand and the elbow resting upon a Land- 
 Tortoise — probably in allusion to the maxim of 
 Apelles, " That men should neither be idle, nor 
 overload their minds with too much employment." 
 For the repair of this monument he set apart 
 in his will the income of a portion of land, de- 
 siring that, in case of its decay, the legacy might 
 lapse to his nearest relations. 
 
 After having advanced the Art in a very 
 high degree during his career, Martin arrived at 
 its close on the first of October 1574, at the 
 age of 76 : consequently he lived two years less 
 than his father. He lies buried at Haerlem, in 
 the chapel on the north side of the great church, 
 but has left behind him a reputation, which can 
 never die as long as the Art receives its meed 
 of admiration from mankind. 
 
16 
 
 AUTHORS, 
 
 who have written about M, Heemsherch expressly ^ 
 or mentioned him incidentally » 
 
 Tiudovico Guicciardini 15 — 
 Philip Galle 
 
 merely mentions him. 
 
 in the Frontispiece to his 
 " Inventiones Heemskerki- 
 anae."' 
 
 Vasari 1568 calls him ^mskycv and enu- 
 
 merates Prints after him, in 
 his life of Marc Antonio. 
 
 Lomazzo 1585 speaks of having seen in a 
 
 private collection some ad- 
 mirable pieces by him and 
 other Flemish Painters of 
 the time, in which the trans- 
 parent colours had been used 
 with very great judgment. 
 Cap. 9. 
 
 Scribanius I6l0 merely mentions him in his 
 
 enumeration of the great 
 Painters of Antwerp and 
 the rest of Belgium. 
 
 Verses under his Portrait by Hondius. 
 
 "Quae regio Hemskerki Batavi non plena laboris?'' 
 
 and three other lines, which refer only to the beau- 
 tiful "turres" and ruins, with which we know he 
 was fond of adorning his pictures. 
 
17 
 
 1683 transcribes almost entirely from Van 
 Mander, and adds little or nothing 
 to what he had told us. 
 
 1666 seems to have no perception of his 
 merit, and only talks of his chari- 
 table bequests and the brass cross 
 upon his tombstone. 
 
 16.. has merely trahscribed from former 
 writers, adding some little circum- 
 stances for which he had probably 
 no authority : he makes Heems- 
 kerck's father a builder of village 
 cottages, and not a farmer; who, 
 when he had no work, was employed 
 by the peasants in whatever they 
 wanted to have done — such as milk- 
 ing their cows, &c. : his having had 
 Arms, which his son had carved 
 upon his monument, must induce 
 us to think he was not in so very 
 low a station — 'tis true, a man of 
 good family may be in indigence. 
 I think Baldinucci was inclined to 
 make Heemskerck's origin as low 
 as possible, that his rise might 
 appear the greater and the more 
 striking. 
 
 I699 tells us nothing new except the 
 story of Heemskerck''s remarkable 
 stupidity in his youth, which ap- 
 pears to be entirely without found- 
 ation. 
 
 1702 ^^^^ ^^y^ Heemskerck is 
 unexceptionable, but he adds little 
 or nothing to the stock of know- 
 ledge already in every body'*s hands 
 B 
 
18 
 
 concerning him. He makes the 
 change in his manner by his resi- 
 dence in Italy to consist in its being 
 " plus coulante et plus libre que 
 celle des Pais-bas/' Tom. II. p. 212. 
 
 Descamps ... 1753 follows Van Mander, and takes his 
 account almost entirely from him — 
 and copies him pretty well and fairly. 
 
 D'*Argenville...l762 has left his history as he found it, 
 but speaks of him as a Painter with 
 more judgment than many of the 
 other authors. 
 
 ADVERSARIA. 
 
 D'Argenville in his Life of Cigoli (Tom. I. 
 p. 177.) tells us, that he was accused of having 
 taken the picture, that he painted for St. Peter's 
 in Rome, from Martin Heemskerck, and that he 
 was obliged "de repeindre un nouveau tableau." 
 If this was really the case, it should seem, the 
 accusation was just. 
 
 D'Argenville also says (p. 79.) many Prints 
 have been engraved after him, and amongst them 
 " une Bacchale" painted after his return from 
 Italy : does he allude to either of the prints 
 mentioned in the Catalogue? 
 
 He tells us too, that Oct. Voenius painted a 
 Triumph of Bacchus in competition with Heems- 
 kerck: but as Heemskerck died 1574, when O. 
 Voenius could be, at most, only about eighteen 
 
19 
 
 years of age, this can hardly be true. He seems 
 to have made up this blundering ' tale from a 
 passage in Sandrart (p. 279), which he appears 
 to have misunderstood. I think, Sandrart means 
 to say, it was a feast of Bacchus which he copied 
 from Heemskerck : he says, whilst Voenius was 
 with the Archd. Albert at Brussels, "varia ela- 
 borabat opera pulcherrima, inter quae potissimum 
 celebratur festum aliquod Bacchi, quod juxta pro- 
 totypum Hemskerkii disposuerat," which, he adds, 
 still remains with a Dominus de W^yntges at 
 Middleburg. 
 
 Descamps and Sandrart both speak of the high 
 opinion, he had, of the works of John Mostaert, 
 in their Lives of that Artist ; and Descamps 
 tells us, that he was so fond of a picture of the 
 Resurrection of Lazarus, although it was only a 
 copy after an original by Albert Van Oudwater, 
 that he was never satisfied with looking at it. 
 
 If what Mr. De Piles tells us were true, that 
 M. Angelo was so pleased with one of Heems- 
 kerck 's Prints, that he had a mind to colour it, 
 it would clearly be one of the greatest honours, 
 that could possibly have been done him : but I 
 much suspect, it is all a mistake, for he quotes 
 Vasari for it, in whose book I can find no such 
 thing. Vasari says (in the Life of M. Antonio), 
 that M. Angelo, when he was very young, was 
 so much taken with a print of St. Antony beaten 
 by Devils, by " Martino dAnversa," that he had a 
 
 B 2 
 
20 
 
 mind to colour it, meaning by Martino d*Anversa 
 Martin Schon ; and De Piles has supposed him 
 to mean Martin Heemskerck. 
 
 It is very difficult to determine, whether 
 Heemskerck Engraved or Etched plates him- 
 self: 
 
 Sandrart certainly affirms, that he did etch some 
 
 plates himself, or rather practised etch- 
 ing, " caeterum methodo quoque uteba- 
 tur elegantissima tarn calamo delineandi, 
 quam aere roso exhibendi quaepiam.*" 
 
 Basan says the same, " II a grave a Teau forte 
 
 quelques-unes de ses Compositions ; " 
 and he has, accordingly, put him into 
 his Dictionary of Engravers. 
 
 Gori Gandellini is of the same opinion, and says (Tom. 
 
 II. p. 136.) " Intaglio ad acqua forte 
 con buon gusto, e maniere elegante, Sec.'"* 
 
 Van Mander... certainly asserts, that he did not en- 
 grave any thing himself ; and he is the 
 oldest author, I can find, that talks 
 about it. 
 
 Le Comte clearly affirms, that he did engrave, and, 
 
 as it appeared to him, " avec beaucoup 
 de genie." Tom. III. p. 272. 
 
 If Joan Galle is to be trusted, it is quite clear, that 
 M. Heemskerck did etch some of his 
 own designs, for having got at least 
 three of the plates of the History of 
 Judith and Holof ernes into his hands 
 he engraved upon the first of them (the 
 Interview of Holofernes with Achior) 
 '^Heemskerck invent et fecit:'''' I mean. 
 
21 
 
 of course, the upright prints of that 
 story. The Painter's mark, which 
 remains, I think was there before. 
 
 • DISCIPLES OF M. HEEMSKERCK. 
 
 Cornelius of Gouda. See Baldinucci and Van Mander, in 
 their Lives of Jan Swart, and Des- 
 camps, Tom. I. p. 107- Edit. 1753. 
 
 Philip Galle Guicciardini says, he was of Haer- 
 
 lem, Lat. Edit. p. 90 ; and Van 
 Mander, that he was a pupil of 
 Cuerenhert. 
 
 Jacob Rauwaerdt. 
 
 His own Son See Descamps, in' his Life of Albert 
 
 Van Oud water. 
 
 G. DA. V An Artist, who painted seven pic- 
 
 tures of the seven Planets, now in 
 the possession of — Mason, Esq. at 
 Norwich. If he were not his Scho- 
 lar, he at least imitated him very 
 closely ; they are not good enough 
 for us to suppose they can be by 
 Heemskerck, but they are very like 
 his pictures, have all his faults, and 
 resemble him particularly in being 
 totally destitute of Chiaro-oscuro. 
 
 GerardusGroningus. Of this man I can find no account, 
 but I have seen fifty prints of the 
 Life of Christ after him by Phil. 
 Galle, which I thought very much 
 in the style of Heemskerck — also 
 a work intitled " Divinarum Nup- 
 
tiarum Conventa et Acta 1573." 
 " Gerardus Groningus delineavit;" 
 67 Prints. 
 
 N. B. If Groningus mean here only that the 
 Artist was of Groningen, it is possible, he might 
 be the same person that painted the above-named 
 pictures of the seven Planets, and we might inter- 
 pret the mark Gerard DA Vries ; for Groningen 
 was, I think, at that time clearly included in 
 Friesland — but see Lod. Guicciardini, p, 229. 
 French Edit. 1568. 
 J — . 
 
 PORTRAITS OF MARTIN HEEMSKERCK. 
 
 1. The Portrait of Martin Heemskerck by Philip 
 Galle, in the Frontispiece to the little book 
 called Inventiones ex utroque Testamento," 
 is the oldest we have, and, I apprehend, the 
 most authentic*: indeed it is the foundation 
 of all the rest. 
 
 2. One in the Set of Portraits of Flemish Painters 
 published by Henry Hondius, taken from that 
 by Galle ; but the engraver has endeavoured to 
 strengthen the character, and has in some mea- 
 sure altered it : he has also added more of the 
 figure. 
 
 S. Sandrart's is taken from that of Hondius, most 
 miserably — the character spoiled, and made 
 quite foolish. 
 
 * That in the present volume is a copy from this. 
 Note by the Editor, 
 
23 
 
 4. That in D'Argenville is also copied from Hon- 
 dius'. 
 
 5. Descamps has given us one so execrably bad 
 that it is not easy to say, whether it be taken 
 from that of Hondius or that of Sandrart. 
 
 6. That by Ladmiral, in the new Edition of Van 
 Mander, (2 Vols. 8vo. Amst. 1764), is also 
 copied from Hondius'. 
 
 ENGRAVERS 
 
 OF THE PRINTS AFTER M. HEEMSKERCK's DESIGNS. 
 
 Qu. Hemskerck himself? 
 Cornelius Bos, in the year 1546. 
 Hieronimus Cock. 
 
 D. V. Cuerenhert, according to Martin, as early as 
 
 the year 1543. 
 Herman Muller. 
 Phil. Galle, in the year 1570. 
 Theod. de Brij, in the years 1596 and 1627. 
 
 C. de Jonge. 
 Bart. Dolendo, in the year 1629. 
 C. V an. Sichem. 
 Prenner. 
 Meohel. 
 
 I. W. of the Set of prints of the Lord's Prayer. 
 in Pigage's DusseldorfF Gallery. 
 
24i 
 
 PUBLISHERS 
 
 OF THE PRINTS AFTER M. HEEMSKERCK's DESIGNS. 
 
 ^ ( Heemskerck himself? 
 ID. V. Cuerenhert? 
 Hieronimus Cock. 
 Goltzius. 
 P. Galle. 
 Gerard de Jode. 
 Theod. Galle. 
 Joan. Galle. 
 Visscher. 
 J. Boel. 
 Hendike, 
 Clem, de Jonge. 
 Wilh. Engleb. Koning. 
 
CATALOGUE. 
 
 BIBLE. 
 
 SETS OF PRINTS 
 
 FROM BOTH 
 
 Twenty-one Prints (each 5 in. 1, 2, or 
 3 lines high, by 7 in. 9, or 10 lines wide); 
 or, with a Frontispiece (rather larger) in which 
 is a Portrait of the Painter, twenty-two prints ; 
 by Phil. Galle. 
 
 The original Title calls them " clades'' or 
 Disasters of the Jewish Nation, in an inscription 
 within the lower part of the print. A later edition 
 
 has "INVENTIONES HEEMSKERKIAN^ EX UTRO- 
 
 QUE TESTAMENTO," engraved at the top ; and in 
 this the numbers on the prints are all altered : and 
 lastly, a new Title to each was engraved, in the 
 top of it. 
 
(2) 
 
 The Subjects and Numbers in these Editions 
 as follows : 
 
 Later 
 Edits, 
 
 1. Frontispiece. 
 
 5 in. 7 lines high, by 7 in. near 11 lines 
 wide. 
 
 This print consists of broken Statues 
 and Ruins, with a Painter drawing 
 after them, and an Architect standing 
 by them and conversing with him : in 
 the middle is a Pedestal of such a co- 
 lumn as those of Trajan and Marcus 
 Antoninus, with a recess cut in one of 
 its faces, in which is a colossal Bust of 
 Heemskerck, of an enormous size in re- 
 spect of the figures ; and on another is 
 fastened a paper with his mark, and an 
 inscription telling us his name, and 
 that he was the Apelles of the age, in 
 which he lived, and the father of In- 
 vention, "alter no0tri ^aetttU ^pellt^^ 
 in^enttonum iJater " Heemskerck is 
 named as the Inventor of this print; 
 are we to suppose him the Designer of 
 his own portrait also? it is very fine. 
 
 2. Noah''s first Sacrifice. 
 
 3. Noah uncovered. 
 
 4. The Tower of Babel. 
 
 5. Destruction of the Tower of Babel. 
 
( 3 ) 
 
 1st. Later 
 Edit. Edits. 
 
 5. 6. Destruction of Sodom. 
 
 6. 7. Lot and his Daughters. 
 
 7. 8. Destruction of Jericho. 
 
 8. 9. Achan and his Family stoned, and Ai burnt. 
 9- 10. Ai destroyed, and her King hanged. 
 
 10. 11. Burial of the King of Ai. 
 
 11. 12. Destruction of the Philistines by Samson. 
 
 12. 13. Burial of Samson. 
 
 13. 14. Zimri's burning of the Palace in Tirzah, 
 
 and himself in it. 
 
 14. 15. Israel divided between Omri and Tibni. 
 
 15. l6. Destruction of the House and Images of 
 
 Baal, by Jehu. 
 
 16. 17. Jehu adores the Golden Calves : date 1569. 
 
 17. 18. Plunder of the Temple, by the Chaldeans 
 
 under Nebuchadnezzar. 
 
 18. 19. Destruction of the Temple, by Nebuzar- 
 
 adan, his General. 
 
 19. 20. Adoration of the Shepherds. 
 
 20. 21. Adoration of the Magi. 
 
 21. 22. Destruction of the Temple and Jerusalem, 
 
 by Titus. 
 
 The Impressions, which have the Numbers 
 within the print, are the earliest; though I have 
 seen some without any Number, but I believe, 
 they are very rare, and may be considered as 
 Proofs. 
 
(4) 
 
 Those, which have the Numbers at the bottom, 
 under the print (in the Exergue), are later and 
 much retouched ; and altered, so as, in some sort, 
 to improve the Chiaro-oscuro ; and the Sky in 
 general made darker. The Numbers also are not 
 the same with those in the original Edition. 
 Lastly, new Titles were engraved in the upper 
 part of the prints themselves ; and these are still 
 worse impressions. None of the Editions have 
 any date. 
 
 It is very desirable to have early impressions of 
 these prints. 
 
 The Ten Commandments. 10 Prints, by 
 Herman MuUer. 
 
 Each 7 in. 9 lines high, by about 9 in. 9 lines 
 wide. 
 
 1. First and Second Com. The Golden Calf. 
 
 2. Third Com. I do not understand the Subject 
 
 of this. 
 
 3. Fourth Com. Story of the Man, that gathered 
 
 sticks upon the Sabbath-day. He is repre- 
 sented here as riving wood. 
 
 4. Fifth Com. Noah drunk, and uncovered, with 
 
 his son Ham ridiculing him. 
 
 5. Sixth Com. Cain slaying Abel. 
 
 6. Seventh Com. David and Bathsheba. 
 
 7. Eighth Com. Story of Achan. Josh. vii. 
 
(5) 
 
 8. Ninth Com. The Elders accusing Susanna. 
 
 I Joseph and Potiphar''s wife. 
 Men tampering with a Servant, 
 loosing an Ass, leading off an 
 Ox, &c. 
 
 " H, Muller fecit'' is upon the fifth and tenth 
 prints, and his mark (^) on the ninth. 
 
 In the earliest Editions of these prints there is 
 (" Cock,'' or) "i?. Cock excud'' upon each: they are 
 usually rather rough, and printed with coarse ink. 
 
 Those with " Phil'. Galle exc," are later, but, 
 I think, clearer and better printed : in this Edition 
 there is a reference, in the lower part of each print, 
 to the passage of Scripture, from which the subject 
 of it is taken. 
 
 Those with " Th. Galle excud:" are later 
 still. 
 
 In Joan. Galle's Edition, which seems to be 
 the last, PRECEPT VM 1. % ko,. is engraved in the 
 upper part of the prints ; but he has put his own 
 name as the Publisher {excud.) on the first only : 
 and in the first, above, is " decem pr^cepta 
 
 DECALOGI." 
 
 The Eight Beatitudes. 8 Prints, hy Herman 
 Muller. 
 
 Each about 7 in. 8 lines high, by 9 in. 8 or 
 9 lines wide. 
 
 1. BEATI PAVPERES SPIRITV." 
 
 Job receiving the ill-news of all his misfortunes. 
 
(6) 
 
 2. " BEATI MITES." 
 
 Dispute of Miriam and Aaron with Moses, 
 about his wife, a Cu shite woman, (v. an 
 Ethiopian). Numb. xii. 
 
 N. B. In the late impressions of this plate the 
 face of the Almighty, which appears in the Glory 
 in the Tabernacle ; and his figure in the clouds 
 communing with Moses upon the mountain, in the 
 background, are expunged; and Hebrew Letters 
 put in their place. 
 
 3. BEATI aVI LVGENT." 
 
 Mary Magdalen washing Christ's feet, in the 
 House of the Pharisee. 
 
 4. " BEATI aVI ESVRIVNT ET SITIVNT IVSTI- 
 
 TIAM." 
 
 Simeon with the Child : or the Presentation in 
 the Temple. 
 
 5. " BEATI MISERICORDES."" 
 
 Tobit burying the Dead, feeding the Hungry, 
 clothing the Naked, and visiting the Cap- 
 tives. 
 
 6. " BEATI MVNDO COEDE." 
 
 The Annunciation. 
 
 7. " BEATI PACIFICI.'"* 
 
 Abigail before David. 
 
 8. " BEATI, QVI PERSECVTIONEM PATIVNTVR.'' 
 
 The Stoning of St. Stephen. 
 
(7) 
 
 The Engraver's name, " Herman MuUer. Sc, 
 Jecit,'' is upon the first and fourth plates ; and 
 his mark, "/j^ Fec", on the sixth and seventh. 
 C. Visscher's Edition is late, and the impressions 
 are weak ; and the prints are numbered a second 
 time, in the Exergue, underneath. 
 
 Good Women of the Old Testament 6 Prints. 
 
 1. Jael 
 
 2. Ruth 
 
 3. Abigail 
 
 4. Judith 
 
 5. Esther 
 
 6. Susanna 
 
 See Vasari's Lives of Painters, 
 Tom. II. p. 310. 4to. Fior. 1568. 
 (in that of Marc Antonio). 
 
 Good Women of the New Testament. 2 Prints. 
 " Martini Petri eoccud. ad insigne aurci fontis.^'' 
 
 1. " MARIA MATER DEI." 
 
 A single whole figure, in a Landscape; with 
 Ruins and the Flight into Egypt in the 
 distance. Under it. 
 
 <c Virgo Dei ■ tahella capit.'''* 
 
 2. Mary Magdalen. 
 
(8) 
 
 OLD TESTAMENT. 
 
 FALL OF MAN. 
 
 Temptation ofl^Y^ Martinus Heem- 
 
 sherck 1548, Maijr 
 
 9 in. 8. lines high, hy 7 in. 6 lines wide. 
 
 She is standing hy Adam, who is sitting on a 
 stone, and embracing her with his left arm ; whilst 
 she receives the apple from the Serpent, who is 
 twisted round the tree, and presents it to her. In 
 the distance are the Deity forming Eve, an Ele- 
 phant, an Unicorn, &c. 
 
 There is no mark of the Engraver upon it. 
 
 Adam and Eve hy Cuerenhert. 
 
 9 in. 8 lines high, hy 7 in. 6 or 7 lines wide. 
 The Engraver's mark is upon it, and 51 under 
 that mark; and above it is that of the Painter 
 ( ), but smaller than usual. 
 
 Adam and Eve driven out of Paradise — by the 
 same, as I judge, but there is no mark upon it of 
 the Engraver. 
 
 About the same size. 
 
 The Angel is upon a Cloud, and has his wings 
 upon his Head and Ancles like Mercury. The 
 sword seems to take fire from its motion in the air. 
 
 The Painter's name is upon it: Qu. En- 
 graved by himself? 
 
(9) 
 
 Cain and Abel. See the Ten Commandments, 
 Plate 6. 
 
 Noah uncovered. 
 About 9 in. 6 lines high, by about 7 in. 9 lines 
 wide. 
 
 Neither names, nor marks upon it. Qu. 
 A Copy? 
 
 History of Noah. 6 Prints. 
 
 Each 7 in. 7 lines high, by 9 in. 7 or 8 lines 
 wide. 
 
 1. The Building of the Ark. 
 
 2. Noah with his Family and the Animals going 
 
 into the Ark. 
 
 3. The Deluge. 
 
 4. Noah, &c. coming out of the Ark. 
 
 5. Noah''s first Sacrifice. 
 
 6. Noah uncovered. 
 
 There are several Editions of these prints. 
 
 1. With Cock excud.''''; these are the first, 
 
 but the printing is too rough ; in this edition 
 there is no name of the Engraver. 
 
 2. With " Golt%ius eoocude.'''' \ and Upon each of 
 these is engraved ''Cor. Cart, fee.''''; I suppose, with 
 a view to raise their Value ; but there seems no reason 
 to believe, that he really did them. These are well 
 printed and this is, upon the whole, the best edition. 
 
 N.B. — There are impressions with " Cor. Cort. fee.''"' 
 only, without any name of the Publisher ; and these 
 are very good. 
 
 3. With " ^isscher ewc.''^; the plates were now 
 got into Holland, where they took great liberties with 
 
 C 
 
( 10 ) 
 
 them. The form of the Ark, in all of them, is altered, 
 and it is more shaded : the figure of the Deity is re- 
 gularly taken out, wherever it was found (viz. in the 
 first, fourth, and fifth prints), and the Holy Name 
 (I suppose, it is) in Hebrew letters put in its place : 
 and the background, with the Sun and the Rainbow, quite 
 altered in the fifth print. 
 
 Noah Uncovered. See the Ten Commandments, 
 Plate 4. 
 
 History of Abraham. Number of Prints 
 uncertain. 
 
 Each 9 in. 8 to 10 lines high, by 7 in. 6 to 9 
 lines wide ; that is, about the same size with the 
 prints of Adam and Eve. 
 
 1. God appearing to Abraham, and the Circum- 
 
 cision of Ishmael. 
 Neither names, nor marks upon it. 
 
 2. Abraham, and Melchisedek. 
 
 No. "2" and the Painter's name only upon it. 
 
 3. Abraham and Isaac. 
 
 The common subject : the Angel is here a 
 Cherub (head and wings). 
 
 4. Abraham, and the Angels. 
 
 " Martinus Heemskerck Inventor.'*'' 
 
(11) 
 
 These prints have no name of the Engraver, 
 but they seem to be by Cuerenhert. 
 
 History o/* LoT. 4 Prints. 
 
 Each 9 in. about 8 lines high, by 7 in. from 
 7 to 8 lines wide. 
 
 1. Lot entertaining two Angels. 
 
 2. Men struck blind, at Lot's door. 
 
 3. Lot's departure from Sodom. 
 
 4. Lot and his Daughters. 
 
 These prints have no name of the Engraver; 
 but the Painter's name is, at length, with I.V. 
 on the two first, 1. F. on the third, and no names 
 or letters at all upon the fourth. They are not 
 good, and appear to be copies. 
 
 History of Isaac. 
 
 1. Abraham swearing his Servant. 
 
 About 9 in. 9 lines high, by about 7 in. 8 lines 
 wide. Painter's name only, " 1549," and 
 No. "1" upon it. 
 
 2. Abraham's Servant and Rebekah at the well. 
 " 1549," but no name of Engraver upon it. 
 
 3. Rebekah giving drink to Abraham's Servant. 
 Painter's name only and No. " 3" upon it. 
 
 4. Rebekah receiving the Bracelets from Abra- 
 
 ham's Servant. 
 Painter's name only and "1549" upon it. 
 
 c2 
 
( 12 ) 
 
 5. Abraham'*s Servant communing with her father, 
 
 Bethuel. 
 
 Painter's name only and " 1549" upon it. 
 
 6. Rebekah returning with Abraham's Servant. 
 Painter's name only upon it. 
 
 7' Meeting of Isaac and Rebekah. 
 
 " 1549," but no name of Engraver upon it. 
 
 8. Marriage-Feast of Isaac and Rebekah. Qu. 
 Laban's Feast.? — Gen. xxiv. 54. 
 
 Cuerenhert's mark, with M inventor,'''' upon 
 it: very fine. 
 
 History of Jacob. Number of Prints uncertain. 
 
 Each about the same size with the Adam 
 and Eve, and by the same Artist. These Prints 
 are numbered. 
 
 1. Esau selling his Birth-right, " 1549." 
 
 2. Isaac blessing Jacob. 
 
 3. Jacob's Dream, or Jacob's Ladder. 
 
 4. Jacob setting up a Pillar. " 1549." Gen. xxviii. 18. 
 
 5. Jacob and Rachel. " 1549." Gen. xxix. 10. 
 
 6. ? Laban searching for his Images. "1549." 
 
 It is numbered 5. 
 
 7. 
 
 8. Meeting of Jacob and Esau. 
 
 9. 
 10. 
 11. 
 12. 
 
 13. Jacob's Return. " 1549- 13." 
 
 N.B. — This may be No. 6 or 7- 
 
( 13 ) 
 
 Story of Dinah and Shechem. 4 Prints, by 
 Herman MuUer, 
 Each 7 in. 8 lines high, by 9 in. 9 lines wide. 
 The Engraver's name upon the first only. 
 
 1. Rape of Dinah. 
 
 2. Hamor and Shechem communing with Jacob 
 
 and his sons. 
 
 S. Circumcision of Hamor and Shechem, &c. 
 
 4. Dinah brought home by Simeon and Levi, after 
 the slaughter of Hamor and Shechem, and all 
 the males of their city. — This is a fine thing. 
 
 G. de Jode's Edition is late. 
 Visscher's is much later. 
 
 History of Joseph. 6 Prints, hy Cuerenhert. 
 
 Each about 9 in. 9 or 10 lines high, by about 
 7 in. 8 lines wide. 
 
 1. Joseph telling his Dream. Fine. 
 
 No name of the Engraver. 
 
 2. Joseph enquiring for his brethren of a certain 
 
 man, who told him they were in Dothan. 
 Gen. xxxvii. 15, l6, 17- Fine. 
 This is the real subject of the picture : the figures 
 in the background are a continuation of the story. 
 
 " ^Luerenhert fecit 1550." 
 
 3. Joseph and Potiphar's Wife. Fine. 
 
 The names of both Painter and Engraver, at 
 length, upon it, with "1549." 
 
 4, 
 
( 14 ) 
 
 5. Joseph interpreting Pharaoh's Dream, Fine. 
 Names of both Painter and Engraver, at length, 
 
 upon it. 
 
 6. Finding of Pharaoh''s Cup in Benjamin's sack. 
 Names of. both Painter and Engraver upon it. 
 
 These prints are numbered. 
 
 History of Judah and Tamar. 4 Prints, by 
 Herman Muller. 
 Each about 7 in. 7 lines high, by from 9 in. 
 9 lines to 10 in. 2 lines wide. The Engraver's 
 mark is upon each. 
 
 1. Judah and Tamar. 
 
 He is sitting with her, and giving her a bracelet: 
 she has already got his staff. 
 
 2. Judah sending her the Kid by his friend, the 
 
 Adullamite. 
 
 3. Tamar brought . to execution, producing his 
 
 signet, bracelets, and staff. 
 
 4. Birth of Pharez and Zarah. 
 
 Those with J. Boel excu. on the first plate 
 are late impressions. Those with A/isscher on the 
 same are still later ; and in this Edition a reference 
 is added under the right-hand corner to the text 
 of Scripture, from which the subject of each is 
 taken, and part of the inscription under the last 
 is obliterated. 
 
 History of Judah and Tamar. Perhaps hy 
 the Painter himself. 
 
 1. Judah and Tamar. Fine. 
 
 9 in. 6 lines high, by 7 in. 6 lines wide. I believe, 
 etched by the Painter himself : " only 
 upon it. 
 
( 15 ) 
 
 2. Hirah, the Adullamite, with the Kid ; and two 
 other men. 
 About the same size. 
 
 3. 
 
 5. Birth of Pharez. Very fine. 
 
 9 in. 9 lines high, by 7 in. 8 lines wide. 
 
 No. "5" and the Painter's name only upon it. 
 
 6. Birth of Zarah. 
 
 9 in. 3 lines high, by 7 in. near 4 lines wide. 
 " /Vf only upon it : by the Painter himself. 
 
 Joseph and Potiphar's Wife. See the Ten 
 Commandments^ Plate 9. 
 
 The Twelve Patriarchs. 12 Prints^ by 
 Dirck Cuerenhert, 
 
 Each from 7 in. 6 to 8 lines high, by 10 in. 
 8 to 10 lines wide. The Engraver's mark, or his 
 name at length, is upon each; and the date "1550" 
 is on the first, the ninth, and the last. 
 
 1. Judah crowned, and holding a Sceptre; by 
 
 him are a Lion and a Statue of Jupiter. 
 
 2. Reuben sitting upon a Hog; and by him a 
 
 fountain with Statues of Venus and 
 Cupid, &c. 
 
 3. Simeon with a Cat and a Statue of Juno ; he 
 
 is seated, and has a drawn Sword in 
 his hand. 
 
 4. Levi ...sitting upon a Bear, with a Mitre at 
 
 his feet and near him a Group, of a 
 woman piercing a man through with 
 a lance. 
 
(16) 
 
 5. Zebulun. ...sitting, and making a Net; a Dolphin 
 
 at his feet, and a Statue of Neptune, 
 in the sea, by him. 
 
 6. Issaehar. ... sitting upon the ground, and leaning 
 
 on an Ass ; a Statue of Atlas by him. 
 
 7. Dan. sitting; in the distance is a cumbent 
 
 Statue of Paris, and, nearer us, a 
 Horseman thrown by a Serpent'^s biting 
 his horse's heel: another Serpent in 
 the foreground. 
 
 8. Gad. with a Leopard and a Statue of Mars. 
 
 This Statue would alone be sufficient 
 to prove Martin's great acquaintance 
 with the works of Michael Angelo. 
 The figure of Gad is left-handed. 
 
 9. Asher... ... .he is milking a Goat; by him are a 
 
 Cornucopiae and a Statue of Ceres. 
 
 10. Naphtali . . . . with a Stag and a broken Statue of 
 
 Mercury, 
 
 11. Joseph with a Bow in his hand and a Quiver 
 
 upon the ground : by him are a Lamb 
 and a Statue of Minerva; but Heem- 
 skerck has made her hold a Victoriola, 
 like the common antique figure of 
 Roma, from which I should conceive 
 he certainly must have copied it, by 
 mistake. The Sky is full of Stars. 
 
 12. Benjamin... by him are a Wolf tearing a Lamb, and 
 
 a Statue of a very strange Idol com- 
 posed of a winged Serpent with three 
 female heads and breasts. Against the 
 pedestal of this Idol leans th6 trunk of 
 a broken Statue. 
 
 These are very fine things. The first impres- 
 sions of them have no date, or name of either 
 
(17) 
 
 Painter or Engraver ; and the distant parts and 
 weaker shades are extremely delicate and tender. 
 In those, which have the names, these are all 
 retouched and strengthened ; which gives a heavi- 
 ness and disagreeable monotony to the whole. This 
 may be observed particularly in comparing the 
 different impressions of the eighth and tenth, the 
 Gad and Naphtali. 
 
 Cuerenhert has done nothing superior to these : 
 I do not doubt their being his. 
 
 The Golden Calf. See the Ten Commandments^ 
 Plate 1. 
 
 The Sra%en Serpent, 
 
 8 1 in. high, by 13^ in. wide. No name of the 
 Engraver, but that of the Painter only upon it. 
 
 It is on the wrong light — outrageous drawing ; 
 but capitally grand. Some of the attitudes seem 
 to be hardly within the powers of the human 
 frame — but just possible: e.g. that of the man 
 with the halbard kneeling on one knee. The 
 views and fore-shortenings great and masterly. 
 The outline in general very incorrect, and charged 
 beyond all bearing; and, in many places, uncom- 
 monly hard. The figures are all naked and 
 ostentatiously anatomical. I have no guess at 
 the Engraver : it is most like Cuerenhert, but 
 yet I think it is not by him. Heemskerck had 
 M. Angelo's Picture of the same subject in his 
 
(18) 
 
 mind, when he designed this : can it be by 
 Cornelius Bos? 
 
 Balaam and the Angel, by Cuerenhert 
 
 10 in. 11 lines high, by 16 in. 9 lines wide. 
 
 "SC'', Hieronymus Cock excude : 1554. cum 
 gratia 8^ privilegio per An: 6." 
 
 A later Edition has "Theodoris Galle excuditJ' 
 
 This is one of the most important prints of 
 the whole work : both the figures are fine : that 
 of the Angel in the air, flying by his own power 
 without any wings, is admirable. 
 
 It is evident, that Rubens was much indebted 
 to this figure of Balaam ; in some of his Hunting- 
 pieces especially. 
 
 Jael and Siseiia. / believe by Cuerenhert, 
 
 9 in. 8 lines high, by 7 in. 6 lines wide. 
 
 No name of either the Painter or Engraver 
 upon it ; only ^^judit 4 ca.'' This seems to belong 
 to the same set of prints with the Adam and 
 Eve, &c. 
 
 History o/* Gideon. 6 Prints. Qu. the Engraver? 
 
 Each 7 in. 6 or 7 lines high, by 9 in. 8 or 9 
 lines wide. " H. Cock exc'' 
 
 1. The Angel appearing to Gideon. 
 
 2. Destruction of the Altar of Baal, and the build- 
 
 ing of an Altar to the Lord. 
 
 3. Story of the Dew and the Fleece of wool, with 
 
 a figure of the Lord appearing to Gideon. 
 
( 19 ) 
 
 4. Reduction of Gideon's army, by the different 
 
 modes in which his men drank of the water. 
 
 5. Army of the Midianites surprized and destroyed 
 
 by Gideon. 
 
 " Martinus hemskerck inventor anno 1561."" 
 
 6. Ear-rings and other spoils of the Midianites 
 
 brought to Gideon by the Israelites, to make 
 of them an Ephod. 
 
 Visscher's Edition of these prints is very late, 
 and the third is much altered ; the figure of the 
 Almighty is taken out, and a Glory, with the 
 Hebrew Word in it, put in its place. 
 
 History of Samson. 6 circular Prints, by 
 Phil. Galle, 
 
 From 10 in. to 10 in 5 lines in diameter. 
 " Hieron Cock excr 
 
 1. The Sacrifice of Manoah and his wife; with 
 
 the departure of the Angel. 
 
 2. Samson and the Lion. 
 
 3. Marriage of Samson. 
 
 4. Samson and the Philistines ; with the fountain 
 
 from the jaw-bone, the burning of the corn, 
 and the gates of Gaza. 
 
 5. Samson and Delilah. 
 
 The usual subject of the cutting off his hair. In 
 the background they are putting out his eyes. 
 
 6. Samson pulling down the Pillars. 
 
 The Edition with " Theodor, Galle exc^ is 
 later; and the impressions are feeble sometimes, 
 but better printed than H. Cock's. 
 
(20) 
 
 N. B. There are copies of the two last prints, 
 viz. the cutting off Samson's hair and his pulling 
 down the pillars, but with great variations, in a 
 folio Latin Bible. Franc. 1566. p. 113 and 114: 
 they are Wood-prints marked " S F," which, I 
 suppose, means Sigismond Feyrabend. We have 
 them again in a little book of prints to the Bible 
 by Hans Bocksperger, jun\ and Jost Amman, 
 long 4*° or 8^°. Franckfort. 1569. The book 
 consists of sixty-two leaves only, and the prints 
 (114 in number) are each 3 in. 3 lines high, by 
 about 6 in. wide. There are, besides, three much 
 larger prints of a different kind which are folded. 
 Tit. ''Mmm mtliuf^e jFigurm*' 
 
 There are also several imperfect pieces of large 
 Tapestry taken from these designs, but with 
 considerable alterations, in the old seat of the 
 Pettiwards, at Putney, 
 
 Samson and Delilah. inventor and DC 
 
 Je. judi 16." 
 
 9 in. 8 lines high, by 7 in. 7 lines wide. 
 
 Saul meeting the Men near Mount Tabor 
 and at RacheVs Sepulchre: date 1549- / think, 
 by Cuerenhert, 
 
 10 in. 11 lines high, by 16 in. 6 lines wide. 
 
 This seems to be meant as a Companion to 
 the Balaam. 
 
 No name of either Engraver or Publisher. 
 
(21) 
 
 History of David. 10 Prints. 
 
 Each 7 in. 7 to 8 lines high, by 9 in. 7 to near 
 9 lines wide. 
 No name of Engraver. 
 
 1. Samuel anointing David. 
 
 2. David bringing presents from his father to 
 
 King Saul. 
 
 3. Jesse sending David to the Camp with a present 
 
 to the Captain, under whom his other three 
 sons served. 
 
 4. David's Brethren relating to him Goliath's 
 
 challenge. 
 
 5. David armed before Saul. 
 
 6. David meeting Goliath. 
 
 7. David cutting off Goliath's head. 
 
 8. David before Saul, with Goliath's head in his 
 
 hands. 
 
 9. Triumph of Saul and David, after the slaughter 
 
 of the Philistine. 
 
 10. Saul and David — the common subject. 
 There are many Editions of these Prints. 
 
 1. Hieron. Cock excudit — these are generally very 
 
 rough : his name is on the first. 
 
 2. By Theodore Galle — these are better printed ; 
 
 and this is perhaps the best edition of all: 
 his name is on the first. 
 
 3. By Joan. Galle — he has taken out the names 
 
 of both Cock and Heemskerck in the first 
 plate, and, in the place of them, has put a 
 Cartouch with a Title, 
 
 " Davidis m Regem-^Epiniriu acclamat.'''' 
 
( 22 ) 
 
 4. A still later edition, by the same Joan. Galie, 
 has a reference, at the bottom of each print, 
 to the Verse as well as the Chapter, from 
 which the subject is taken. 
 
 The impressions of this edition are bad ; and the 
 plates all retouched and spoiled — at least the latest 
 are. 
 
 Stori/ of David and Nabal. 5 Prints. 
 
 Each 9 in. 7 or 8 lines high, by 7 in. 7 to 9 
 lines wide. 
 
 No name of Painter, Engraver, or Publisher ; 
 but certainly from Heemskerck. They are very 
 poorly executed. 
 
 1. David sending his messengers to Nabal. 
 
 " Meemskerck inventor.'*'' 
 
 2. Nabal receiving the message. 
 
 3. David commanding his servants to arm them- 
 
 selves, and destroy Nabal and all that he had. 
 
 This is plainly the Adlocutio of the Roman 
 Coins : the young man buckling his sv^rord-belt 
 is evidently taken from M. Angelo. — See his 
 famous Cartoon. 
 
 4. The young man telling Abigail, NabaFs wife, 
 
 of their danger ; and her preparations in 
 order to pacify David, which is, in fact, 
 the subject of the Picture. 
 
 5. Abigail on her knees before David. " J. 
 
 Golt%ius excud.'''' 
 
 These seem to be Copies, like the four of the 
 History of Lot. 
 
( 23 ) 
 
 David and Bathsheba. See the Ten Com- 
 mandments. PL 6. 
 
 Sto?'y of Tamar and Amnon. 6 Prints, by 
 Phil Galle. 
 
 Each about 7 in. 8 lines high, by 9 in. 9 
 lines wide. " jEjT. Coch excud. 1559" upon the 
 first print. 
 
 1 . Jonadab giving council to Amnon ; Amnon's 
 
 pretended Sickness, and David's Visit to him. 
 
 2. Tamar, his half-sister, nursing him. 
 S. Rape of Tamar. 
 
 4. Tamar turned out of his house by Amnon. 
 
 5. Tamar, in distress, complaining to her brother 
 
 Absalom. 
 
 6. Murder of Amnon, at Absalom's Sheep-shearing. 
 John Galle's Edition is late, and retouched. 
 
 History of Solomon. Dubious Prints. 
 
 The anointing of Solomon at Gihon. 
 
 10 in. high, by 7 in. 9 lines wide. 
 
 Tit. Solomon regno inauguratury 
 
 No names of either Painter, or Engraver ; but 
 certainly from Heemskerck. 
 
 Solomon and the Queen of Sheba. No name of 
 the Engraver. 
 
 9 in. 1 line high, by 14 in. 10 lines wide. It 
 appears to be by Cuerenhert. Date 1549- 
 
( 24 ) 
 
 This is a very considerable composition: there 
 are sixteen or seventeen figures in it, besides others 
 of whom we see but little. 
 
 Solomon and the Queen of Sheba. 
 9 in. 94 lines high, by 7 in. 9 lines wide. 
 No name of either Painter or Engraver upon it. 
 
 She is presenting a Flower to the King, with 
 her left hand ; and there is a vase full of money, 
 standing upon the step of his throne, before her. 
 
 There is so much of Heemskerck in this print, 
 that it could not well be omitted. 
 
 Solomon and the Queen of Sheba. 
 
 A Copy of the last print but one, of the same 
 size but reversed. 
 No name of the Engraver: ''Petri de Nohi- 
 lihus Formis,^^ 
 
 The Copyist has taken the liberty to alter 
 some of the Habits, and calls it Anthony and 
 Cleopatra. 
 
 Tit. " Cleopatra — Munera offerV 
 It seems to be an Etching. 
 
 History of the Disobedient Man of God, from 
 Judah. Number of Prints in the set uncertain. 
 
 Each about 9 in. 9 lines high, by 7 in. 8 
 lines wide. 
 
(25) 
 
 The Old Prophet of Bethel finding the Man of 
 God under an Oak. 
 
 Four Dutch verses under it. 
 
 The Man of God eating bread with the Old Pro- 
 phet, at Bethel. 
 
 Four Dutch verses under it. 
 
 Death of the Man of God, by a Lion. 
 
 Ahab and Elijah. 4 Prints. 
 Each 7 in. 7 lines high, by 9 in. 7 or 8 lines wide. 
 
 1. Elijah proposing to Ahab that the God, who 
 
 answered by fire, should be taken for God. 
 
 2. The Sacrifice to Baal ; and his Priests dancing 
 
 round their Altar. 
 
 3. Elijah''s Sacrifice. 
 
 4. Slaughter of BaaPs Priests, by Elijah at the 
 
 brook Kishon. 
 
 Those with " Th. Galle excud:' on the first 
 plate are of a later Edition. 
 
 Storij of Ahab and Naboth. 6 Prints. 
 
 Each from 7 in. 7 to 9 lines high, by 9 in. 
 8 to 10 lines wide. " H. Cock excud.'" 
 
 1. Ahab upon his bed grieved, and Jezebel com- 
 
 forting him and undertaking to get him pos- 
 session of Naboth's Vineyard. 
 
 2. Jezebel sealing the Letters with the King's Seal. 
 
 3. Naboth falsely accused by two Witnesses. 
 
 D 
 
( 26 ) 
 
 4. Naboth stoned. 
 
 5. Elijah delivering the anger of the Lord to 
 
 Ahab in the Vineyard of Naboth ; and " he 
 rent his clothes." 
 
 6. Jehu — and the death of Jezebel. 
 
 H. Cock's Edition is the first. 
 
 The Edition by Joan. Galle is later; the plates 
 retouched, and a Cartouch added in the lower part 
 of the first with a Title, 
 
 " Naboth cum—prcBceps data.'''' 
 
 N. B. There are Copies of these six prints 
 of Naboth, of the same size and the same way 
 with the Originals, published by Visscher, but 
 without any name of the Engraver. They differ 
 in some things from the Originals ; for example, 
 in the fourth plate the ray of light, which descends 
 from heaven upon Naboth, is left out. As to Out- 
 line these copies seem to be accurate enough ; but 
 upon the whole they are but very poor things. 
 
 Elisha receiving Elijah's Mantle. 
 
 See Landscapes. 
 
 Athaliah. 4 Prints hy Herman Mutter, 
 
 Each from about 7 in. to 7 in. 2 lines high, by 
 7 in. 7 or 8 lines wide. 
 
 1. Athaliah destroying all the seed royal, except 
 Joash. 
 
 :2. Joash, after having been hid in the Temple six 
 years, is produced, by Jehoiada the High- 
 
( 27 ) 
 
 priest, to the Army and the Captains of the 
 Guard. 
 
 3. Jehoiada anointing J oash ; Athaliah rending 
 
 her clothes, and her death. 
 One of the Soldiers is ramming his Musket. 
 
 4. Destruction of the House of Baal, with the 
 
 death of Mattan priest of Baal. 
 One of the Guards has two Pistols slung behind 
 him. 
 
 In Gerard de Jode's Edition the plates are 
 worn, and the impressions weak. In this edition 
 the prints are numbered, in the Exergue, at the 
 bottom. 
 
 Visscher's Edition is still later. 
 
 N. B. In the last Editions there is a refer- 
 ence, under each print, to the particular passage of 
 Scripture, from which the subject of it is taken. 
 In this (Visscher's) Edition the Numbers are re- 
 moved into the Print itself ; and in their place is 
 engraved the reference. 
 
 History of Jo si ah. 8 Prints hy Phil, Galle. 
 
 15 . . 
 
 Each 7 in. 7 or 8 lines high, by 9 in. 10 lines 
 wide. 
 
 The Engraver's name is upon the sixth print. 
 The inscriptions under them are by Hieronymus 
 Varlenius. 
 
 1. Shaphan, the Scribe, reading the book of the 
 Law before Josiah, who rends his clothes. 
 D 2 
 
( 28 ) 
 
 2. The book of the Law read before the people, 
 
 in Jerusalem. 
 
 3. Destruction of the House of Baal ; and the 
 
 slaughter of his Priests. 
 
 4. Josiah taking away the Horses, which the 
 
 Kings of Judah had given to the Sun, and 
 burning the Chariots. 
 
 Heemskerck seems to have forgotten, that 
 he had represented these horses as statues in 
 the last print, and has made one of them kick- 
 ing here, after it is pulled down. 
 
 5 Josiah destroying the Temples of Ashtaroth and 
 Chemosh. 
 
 6. Josiah burning dead men's bones upon the Altar 
 
 of Jeroboam, but sparing the Sepulchre of 
 the Man of God. 
 
 7. The Priests of the High Places slaughtered, 
 
 upon their Altars. 
 
 8. Josiah's solemn Passover. 
 
 Joan. Galle's Edition of these prints is very 
 late ; and he has altered the first plate by effacing 
 the inscription, w^hich was in the lower part of it, 
 informing us, that Varlenius wrote those under 
 each of the prints ; and putting a Cartouch in its 
 place with a Title to the whole work in it, 
 
 " Josias ReoD Juda Dni resUtiiUy 
 
 There are Copies of these prints, of the same size 
 and the same way with the Originals ; " C. Viss- 
 cher excud'' 
 
( 29 ) 
 
 History of Esther. 8 Prints ,..hy PhiL Galle, 
 
 Each 7 in. 7 lines high, by about 9 in. 8 lines 
 wide. 
 
 1. Esther crowned by Ahasuerus, King of Persia. 
 
 2. Mordecai overhearing the Treason of Bigthan 
 
 and Teresh, two of the King's Chamberlains, 
 and discovering it to Esther ; and Esther tell- 
 ing it to the King. 
 
 3. Ahasuerus giving his Ring to Haman, with 
 
 commission to destroy the Jews. 
 
 4. Esther preparing to intercede for the Jews ; and 
 
 Mordecai lamenting. 
 
 5. Esther before Ahasuerus. 
 
 6. Ahasuerus, when he could not sleep, consulting 
 
 the records by night, and finding that Mor- 
 decai's services had not been rewarded. 
 
 7. Ahasuerus consulting with Haman what should 
 
 be done to the man^ the King delighted to 
 honour ; and Mordecai riding on the King's 
 Horse, attended by Haman. 
 
 8. Queen Esther accusing Haman, at her Banquet; 
 
 and his Execution. 
 
 Joan. Galle's Edition of this work is late; some 
 of the plates had been retouched (the second and 
 eighth particularly), and in the first a Title is en- 
 graved upon the lowest step of the Throne, " his- 
 
 TORIA HESTERIS ET ASSVERI, MARDOCH^I ET 
 
 AMONis — Esther ii. 17 and, under each of the 
 rest, is added a reference to the text of Scripture. 
 
 Copies of these prints, of the same size and the 
 same way with the Originals ; " "^isscher excud:' 
 
{ 30 ) 
 
 There is a Copy of the fifth print (Esther before 
 Ahasuerus), in Visscher's Bible, with alterations 
 and some figures put into it taken from the sixth 
 print. 
 
 Mordecai discovering the Treason of the two Cham- 
 berlains to Esther. 
 
 4 in. 4 lines high, by S in. 4 lines wide. 
 
 Over it " Koniginne Esther ... 335." 
 
 A Wood-print copied from the figures in the dist- 
 ance, on the sinister side of plate 2 : at the back of 
 it (Page) " 376, Het leven van de Heylighe," the 
 running title, and under it German letter-press. 
 Mordecai lamenting. 
 
 Of the same size and form as the last. 
 A Wood-print, copied from the figures in the 
 distance of the fourth plate. 
 
 History of Job. 8 Prints hy Phil, Galle. 
 
 Each from 7 in. 7 to 9 lines high, by 9 in. 7 or 
 8 lines wide. 
 
 The inscriptions under them are by Hadrianus 
 Junius. On the seventh print is the date, " 1563," 
 which may relate to either the designing or the en- 
 graving. 
 
 There is no name of the Engraver upon them, 
 but they are by Phil. Galle. 
 
 N. B. His mark is on PI. 2. 
 
 1. Job sacrificing for the Sins of his Children. 
 
( 31 ) 
 
 2. The Sons of God presenting themselves before 
 
 the Lord, and Satan with them. 
 
 3. Job fallen upon the Earth, at the news of his 
 
 numerous calamities. — This is very fine. 
 
 4. Satan presenting himself before the Lord, a se- 
 
 cond time, and obtaining leave to afflict Job 
 with diseases. 
 
 5. Job smitten with sore boils. 
 
 He does not, as the Scripture has it, scrape 
 himself with a potsherd, but the painter makes 
 Satan scrape him with a hoe. On the dexter 
 side of the picture, further off. Job's wife is 
 taunting him ; and Satan is in the air, flying. 
 
 6. Job sitting with his three friends and his wife. 
 
 This is another very fine thing. 
 
 7. Job sitting upon the Dunghill ; and, in another 
 
 place, casting ashes vipon his head. Further 
 off is the Sacrifice of seven bullocks and seven 
 rams, offered up by Job and his three friends. 
 
 In this print are two different figures of the 
 Almighty. Ch. xlii. 7, &c. 
 
 8. Job in prosperity, and his friends bringing him 
 
 Presents. 
 
 The first Edition has " H. Cock excr 
 The next Edition, I know, of these prints is 
 that by The.Galle; his name and "exc." are upon 
 the first print only. Joan. Galle's Edition is much 
 later : a Cartouch is added in the upper part of 
 the first print with a Title, Job diaholo—rursu 
 henedicitur ;" and " had. ivn.", at the end of the 
 inscription, is taken out ; and a reference is added 
 
( 32 ) 
 
 under each to the text of Scripture, from which its 
 subject is taken. 
 
 Job receiving the news of all his Misfortunes ; — 
 see the eight Beatitudes. 
 
 Story of Shadrach, Meshach, and Abed-nego. 
 4 Frints hij Phil Galle—^' 1565''— Bafi. iii. 
 
 Each 7 in. 8 lines high, by 9 in. 8 lines wide. . 
 
 1. Shadrach, Meshach, and Abed-nego accused, to 
 
 Nebuchadnezzar, of not having obeyed his 
 commandment. 
 
 2. They are brought before him, and sent to the 
 
 fiery Furnace. 
 
 Large Copy on wood, reversed, pub. 1816, by 
 R. Z. Beck. 
 
 3. They are cast into the Furnace. 
 
 4. Nebuchadnezzar astonished at seeing them un- 
 
 hurt and accompanied by a fourth person in 
 the flames. 
 
 Large Copy on wood, pub. 1816, by R. Z. Beck. 
 
 In Joan. Galle's Edition the plates are all mi- 
 serably retouched and spoiled ; and he has added a 
 Cartouch in the upper part of the first with a Title, 
 
 ** Sidrach^ Misack, et Abdenago — inde educuntiirr 
 
 History of Nebuchadnezzar: — number of 
 Prints in the set uncertain. 
 
 1. 
 2. 
 
 3. 
 4. 
 
(33) 
 
 5. Nebuchadnezzar " No. 5." 
 
 6. Nebuchadnezzar in Penitence ... *' No. 6." 
 About 11 in. 3 lines high, by 7 in. 11 lines wide. 
 
 Stori/ of Jonah. 4 Prints ... % Phil. Galle. 
 
 Each 7 in. 8 lines high, by 9 in. 7 or 8 lines 
 wide. 
 
 1. Jonah fleeing from the presence of the Lord to 
 
 Joppa, in order to go to Tarshish. In the 
 distance he is thrown over-board. 
 
 2. He is cast on shore, by the great Fish. 
 
 3. Jonah at Nineveh ; the King, the beasts, flocks 
 
 and herds, and all the people fasting, and 
 covered with sackcloth and ashes. 
 
 4. Jonah sitting under the Gourd. Date " 1566." 
 
 Jonah sitting under the Gourd. See Land- 
 scapes. 
 
 Jonah sitting in the Sun, on the E. side of 
 Nineveh. See Landscapes. 
 
 History of Tobit. 10 Prints Qu. the 
 
 Engraver? 
 
 Each 7 in. 7 or 8 lines high, by 9 in. 6 to 
 8 lines wide. 
 
 " H. Cock excr 
 
 1. Tobit^s blindness — his Feast of Pentecost— 
 
 his burying the dead, alms, and clothing the 
 naked. 
 
 2. His dispute with his wife, Anna, concerning the 
 
 Kid ; and her industry. 
 
(34) 
 
 S. Azarias (the Angel Raphael) and young To- 
 bias taking leave of Tobit, to go to Rages in 
 Media — Tobit giving his son a letter to 
 Gabael — and the departure of Tobias and 
 the Angel, in the distance. 
 
 4. Tobias taking the Fish out of the river Tigris — 
 
 and, in the distance, his opening the Fish for 
 the Liver, &c. 
 
 5. RaguePs reception of Tobias, at Ecbatane. 
 
 6. Marriage of Tobias and Sara, daughter of Ra- 
 
 guel and Edna. 
 
 7. Tobias burning the Liver of the Fish — the 
 
 departure of Ashmodeus, the evil spirit that 
 ; troubled Sara — Sara and Tobias at prayers : 
 
 and, in the distance, Raguel making a grave. 
 
 8. Tobias and his wife leaving her father and 
 
 mother, to go home to Tol)it. 
 
 g. Return of Tobias. 
 10. Departure of the Angel. 
 
 Theo. Galle's Edition is very late; and, at 
 length, a Cartouch was engraved in the top of the 
 first plate with a Title, 
 
 " TohicE esGccBcatio et sospes reducitur 
 
 but there are impressions of the print without it, 
 yet still of Theodore Galle's Edition. 
 
 H. Cock's Edition, I believe, is the first and 
 best. 
 
 History of Tobit. Wood Prints, — ill executed. 
 
 Each about 9 in. 4 lines high, by 7 in. 3 or 
 4 lines wide. 
 
 Qu. Adumbrated by the Painter himself? 
 
(35 ) 
 
 Tobias and Azarias taking leave of Tobit, who is 
 blind. 
 
 This is very fine. 
 Tobias taking the Fish out of the river Tigris. 
 N. B. In these prints the Angel (as Azarias) 
 has no wings. 
 
 Tobias and Sara praying, and the Angel burning 
 the Liver in the Chimney. 
 
 N. B. The Bride is crowned with Roses. 
 The Anointing of Tobit's eyes. — "/)^" 
 Departure of the Angel. 
 
 Story of Judith and Holofernes. 8 Prints, 
 hy Phil Galle, " 1564." 
 
 Each 7 in. 7 or 8 lines high, by 9 in. 8 or 9 
 lines wide. 
 
 1. Achior, Captain of the Ammonites, before Holo- 
 
 fernes, Nebuchodonosor's General — Achior 
 led towards Bethulia and his being left 
 bound, in the distance. 
 
 2. Achior loosed by the Israelites, and brought 
 
 into Bethulia, — and Achior speaking to the 
 people of that City, in the distance. 
 
 3. Judith addressing the Ancients of Bethulia. 
 The City is well defended with Cannon. 
 
 4. Judith preparing to go to the Enemies' Camp — 
 
 her departure and arrival at the Camp, in the 
 distance. 
 
 5. Judith presented to Holofernes. 
 
 In the background she is sitting with him at the banquet. 
 
 6. Judith cutting off the head of Holofernes. 
 
 In the distance is her arrival at the Gate of Bethulia. 
 
(36) 
 
 N. B. The fact is not represented in the com- 
 mon way, but Judith is alone with Holofernes in 
 the tent, as the story says she was ; and her maid 
 is waiting without. 
 
 7. The Head of Holofernes shewed to the people of 
 
 Bethulia. 
 
 Judith is standing on a suggestum with the head in 
 her hands, and Achior is fallen down upon his knees 
 before her. The text says, he saw the head in a 
 man's hand and fell down on his face. This is a 
 justifiable liberty in the painter : in Tindal's Bible it 
 is told nearly as here represented. 
 
 8. Holofernes'' body found dead and headless, by 
 
 Bagoas. 
 
 The confusion in the Assyrian army and their flight 
 — in the distance is the head of Holofernes, hung out 
 over the Gate of Bethulia. 
 
 The first Edition of these Prints is by Hieron 
 Cock. 
 
 Theodore Galle published them again. 
 
 Joan. Galle's Edition is still later ; in the first 
 print a Cartouch is engraved in the lower part 
 with a Title, 
 
 " Holofernes ohsidio liber at 
 
 and at the end of the inscription, under each print, 
 is a reference to the passage of the History, from 
 which it was taken. 
 
 Story of Judith and Holofernes ; number of 
 Prints in the Set uncertam. 
 
 These are rough Etchings, but have prodigious 
 merit : if it could be ascertained, that Heemskerck 
 
(37) 
 
 ever etched any of his designs himself, I should 
 think some of these, if not all, were by his own 
 hand. 
 
 Achior before Holofernes. 
 
 " M " upon it with " Indignatus Holofernes dixit 
 ad Achior. Cap. 6.''"' "iVb. 1." ''Joan. Galle eoocudit,''^ 
 and " * Heemskerck invent et fecit.'''' 
 
 9 in. 6 lines high, by 7 in. 6 lines wide. 
 
 Judith presented to Holofernes. 
 
 She is upon her knees ; attendants are holding his 
 Helmet and Shield, and his Fauchion lies upon the 
 ground, at his feet. 
 
 Seven figures: no names or marks. 
 
 9 in. 2 lines high, by 7 in. 6 lines wide. 
 
 Judith feasting with Holofernes. 
 
 9 in. 5 lines high, by 7 in. 6 lines wide. 
 
 No names or marks of either Painter or Engraver. 
 Fine and, perhaps, by himself. 
 Judith cutting off Holofernes"* head. 
 9 in. 4 lines high, by 7 in. 6 lines wide. 
 
 '' Percussit his ejus. Cap. 13." "No. 2." 
 
 No names or marks. 
 Judith and her maid putting the head into a bag. 
 9 in. high, by 7 in. 6 lines wide. 
 Neither names nor marks : by himself, I think. 
 Flight and slaughter of the Assyrian army. 
 
 * Added by Joan. Galle. 
 
( 38 ) 
 
 The Head of Holofernes is seen hung out from 
 the wall of Bethulia. 
 
 No names. Query, by himself? 
 N. B. There are several Hyperboles in this print. 
 
 The following print does not belong to this 
 set ; it is of neater workmanship than the former, 
 and appears to be by Cuerenhert ; but there are 
 no names upon it. 
 
 Judith cutting off Holofernes' head. 
 9 in. 7 lines high, by 7 in. 6 lines wide. 
 
 History of Susannah. 6 Prints. 
 About 7 in. 6 lines high, by 9 in. 7 or 8 lines wide. 
 
 1. Susanna and the elders; ''Car. Colla. exc. 1563." 
 
 2. Susanna accused by the Elders. 
 
 3. Susanna led to be put to death, but met by 
 
 Daniel. 
 
 4. The Elders examined by Daniel. 
 
 5. The Stoning of the Elders — 1563" — the No. 
 
 backwards "5." 
 
 6. Susanna and her husband returning thanks to 
 
 God. 
 
 One Edition of these prints has " Car. Colla, 
 excii^ on the fourth and fifth print. 
 
 On an earlier ''Phil. Galle exc. 1563.'^ 
 H. Cock's Edition, I believe, is the first ; 1563. 
 
 History of Susanna. No. of Prints in the 
 Set uncertain — as it seems, hy Cuerenhert. 
 
 About 9 in. 8 lines high, by about 7 in. 
 9 lines wide. 
 
( 39 ) 
 
 1. Susannah and the Elders. 
 
 2. Susannah accused by the Elders. 
 
 3. The Elders examined by Daniel. 
 
 N. B. These are very considerable things. 
 
 History/ of Susanna. 6 Circular Prints men- 
 tioned by Vasari. 
 
 Daniel in the Lions' Den, in a Landscape. 
 11 in. 5. lines high, by 16 in. 3 lines wide, or 
 nearly so. 
 
 Its form is irregular. 
 " M, Heemsherch Invents No name of Engraver 
 or Publisher. 
 
 Tit. " Angelus ex Judea draconem. Dan. 14." 
 
 The Angel is in the air, bringing HaTbbacuc 
 upon Clouds. 
 
 There is so much of Ruins, and Buildings, 
 and distance in this print, one knows not whether 
 to call it a History-piece or a Landscape : Stori- 
 ated Landscape? It is not one of the things that 
 support the credit of the painter. Yet the figure 
 of Daniel has considerable merit, though much 
 that is not very like Heemskerck. The Engraver 
 is quite new to me. 
 
 History ofBrn. and the Dragon. 10 Prints. 
 
 1. Daniel speaking before Cyrus. 
 
 2. Cyrus shewing his God, Bel, to Daniel, and the 
 
 quantity of provisions daily consumed by him. 
 
 3. Daniel strewing Ashes in Bel's Temple ; and 
 
 the King sealing the door. 
 
( 40 ) 
 
 4. The Priests of Bel, with their wives and child- 
 
 ren, eating and drinking in Bel's Temple. 
 
 5. Daniel discovering the fraud of BePs priests to 
 
 Cyrus. 
 
 6. Destruction of Bel and his Temple. 
 
 7. Destruction of the Dragon. 
 
 8. Daniel in the Lions' Den, with the Angel bring- 
 
 ing in Habbacuc. 
 
 9- Daniel taken up out of the Den of Lions. 
 
 10. Daniel's accusers cast into the Den, and de- 
 voured by the Lions. 
 
 EDITIONS. 
 
 1. The first Edition of these prints is by Hieron. 
 Cock, 1565. 
 
 2. Another by Theod. Galle ; and in this his 
 name is upon each print. 
 
 3. Another by Joan. Galle; and in this there 
 is a Cartouch engraved, in the lower part of 
 the first print, with a Title, 
 
 " Daniel Belum protegente educitur'' 
 
 I should think, the prints were engraved by 
 Phil. Galle. 
 
 Heliodorus driven out of the Temple: 
 2 Mace. iii. 
 
 A very large Print: I think, by Cuerenhert^ 
 but it has not his name. 
 
 14| in. high, by 211^ in. wide. 
 
( 41 ) 
 
 In the middle, at the bottom, " Martinus 
 
 Hemsk " imperfect in the only impression, 
 
 I have seen, which was in Mr. Cosway's collection. 
 
 It contains above thirty figures, is a capital 
 print, and fully supports Heemskerck's character. 
 The Terrible Horseman has the Fulmen of Jupiter 
 in his hand ; and the High Priest is in the habit 
 of a modern Bishop (nearly). 
 
 The group of Heliodorus and his attendants^ 
 the Terrible Horseman and two Angels (seven 
 figures in all), are upon a higher level than the 
 figures in the middle distance, below, and are 
 much nearer the eye : that of Heliodorus himself, 
 is too big for the rest, and the two Angels ridicu- 
 lously too small : they appear to be females. One 
 of them has two common Schoolmaster's Rods*, 
 and the other a Flagellum of four lashes. The 
 Ark of the Covenant, the Candlestick of seven 
 Branches, and the Architecture (particularly on 
 this side of the picture), are all well managed, 
 and wonderfully grand : and so are the High 
 Priest, Onias, kneeling at the Altar, together 
 with his seven attendants f. 
 
 * Raphael's Angels have the same Schoolmaster's JRods 
 in their hands. 
 
 t The Priests prostrated themselves before the Altar in 
 their Priest's Vestments. 2 Mace. ch. iii. v. 15. 
 
( 42 ) 
 
 The four figures above, upon the Dado at the 
 basement of the Pillars, are also in a great style ; 
 but all that triangular group of nine Women and 
 three Children, standing and kneeling upon the 
 Floor of the Temple, is of little merit ; and na 
 way interesting*. 
 
 N.B. The Painter, by surrounding the Terrible 
 Horseman and his two companions with a Cloud 
 (upon the ground) has distinguished them from 
 the figures merely human, and suggested their 
 being persons of a superior order, and just de- 
 scended from above. 
 
 N. B. This is one of the finest things, that 
 Heemskerck or perhaps any body else ever made, 
 but it must be considered as built upon Raphael's 
 famous picture of the same subject: particularly, 
 the admirable disposition of the Ark, the Candle- 
 stick, the Altar and the Priests, and the back- 
 ground in general; and great part of the Helio- 
 dorus are borrowed from him : as are also one or 
 two of the principal of the Women. The Horse 
 and Horseman are his own, but their place in the 
 Composition is Raphael's. 
 
 * I suppose, they are meant to imitate or refer to the 
 General Supplication mentioned 2 Mace. ch. iii. v. 15, 19- 
 
( 43 ) 
 
 NEW TESTAMENT. 
 ^ 
 
 The Four Evangelists. 4 Prints, hy 
 Philip Galle. 
 
 6 in. 1 line high, by 8 in. 8 to 10 lines wide. 
 Not numbered 
 
 1. St. Matthew — the Angel holds his Ink and a 
 
 book, in which he is writing. 
 
 2. St. Mark — his right foot rested upon the 
 
 Lion ; he is without a beard. 1562. 
 S. St. Luke — he has no beard, and is here repre- 
 sented as a Physician ; the Bull is in the 
 distance. 
 
 4. St. John. 
 
 The first Edition is by Jerom. Cock, 15621: 
 the date is on the print of St. Mark. There is 
 an account of each Evangelist, in letter-press, 
 underneath. 
 
 The Edition with "P. Galle f. and excud:' is later. 
 Those with " Th. Galle excudr are later still. 
 
 Ijife of St, John Baptist. Number of Prints 
 uncertain. 
 
 About 9 in. 6 lines high, by 7 in. 3 lines wide. 
 
 No names of either Painter or Engraver: 
 possibly from Heemskerck, but certainly Copies. 
 1. The Angel appearing to Zacharias. 
 E 2 
 
(44) 
 
 2. The Birth of St. John Baptist. 
 
 3. 
 
 4. 
 
 5. 
 
 6. 
 
 7. St. John Baptist pointing out Christ. 
 
 8- 
 
 9. 
 
 10. Decollation of St. John Baptist. 
 
 Life of St. John Baptist. 6 Prints, hy 
 Ph, Galle. 1564. 
 
 7 in. 5 to 6 lines high, by about 10 in. 3 lines wide. 
 
 1. The Angel appearing to Zacharias. 
 
 2. The Birth of St. John Baptist — and Zacharias 
 
 writing his name. 
 
 3. St. John preaching in the wilderness. 
 
 4. St. John baptizing Christ. 
 
 5. Herod''s Feast, and the Daughter of Herodias 
 
 dancing. 
 
 6. St. John Baptist beheaded; and his head^given 
 
 to the Daughter of Herodias. who carries it 
 to her mother. 
 
 In Joan. Galle's Edition the impressions are 
 weak: the date, 1564, which was upon the first 
 and the last, is taken out; and a Cartouch is 
 engraved, in the lower part of the first print, with 
 
 a Title, " aS'. Joannis Baptists ortus juhet 
 
 prcecindi : " and on one of the steps to the Altar 
 
 is "vita S. IOANNIS BAPTIST-ffi." 
 
( 45 ) 
 
 Life of St. John Baptist. 10 Prints. 
 Each 9 in. 6 lines high, by 7 in. 3 lines wide. 
 
 These may possibly be from Heemskerck, but 
 they are certainly Copies. 
 
 In Mr. Lloyd's collection, in 1824: the set 
 was not complete. 
 
 Herod'*s Cruelty : hy Cuerenhert. 
 
 Above 16 in. 2 lines high, by more than 22 in. 
 3 lines wide. 
 
 "Z). Cuerenhert fecit 155-:" the print, I saw, 
 was cut. 
 
 This print is one of the most capital ; but in 
 point of execution it is inferior. It has much 
 the air of a Copy, and is on the wrong light. 
 
 There are above forty figures, and the largest 
 we have in any of his prints except that of St. 
 Paul baptizing at Ephesus ; and they are all quite 
 naked and left-handed. 
 
 St. John baptising Christ. " 1549." 
 
 About 8 in. high, by 11 in. wide. 
 
 I am not certain of the measures of this print, 
 as the impression of it, I have, appears to have 
 been cut: it is very slightly engraved. There are 
 an Angel and a figure sitting on a stone, behind 
 the figure of St. John ; and several figures in the 
 distance, on the other side, which I do not at pre- 
 sent understand. Christ is represented kneeling. 
 
(46) 
 
 The engraving of the trees in this print, is 
 very singular. I should think it is by Cuerenhert, 
 but there is no name of the Engraver. 
 
 Qu. May it not be by Heemskerck himself? 
 
 Adoration of the Magi. 
 
 7 in. 7 lines high, by 10 in. wide. 
 
 "P. Galle fr " Coch Excur 
 
 The Annunciation. Qu. By Cuerenhert ? 
 9 in. 9 lines high, by 7 in. 6 lines wide. 
 Painter's name only and No. "3" upon it: fine. 
 The Adoration of the Shepherds. 
 About the same size as the last. 
 
 Painter's name only upon it : fine. 
 The Widow's Mite. 
 
 About 9 in. 9 lines high, by about 7 in. 6 lines 
 wide. 
 
 " M. H." only upon it : 1 think, etched by the 
 Painter himself: fine. 
 
 Ministry of Christ. 24 Prints. 
 
 Each 9 in. 6 to 10 lines high, by 7 in. 5 to 
 near 8 lines wide. 
 
 These prints must be considered *:as merely 
 slight, rough sketches. Many of them are etched 
 with uncommon freedom, and one would suspect 
 by the Painter himself: the style of drawing is 
 charged and almost extravagant, but they are full 
 of invention, and are quite original. They have, 
 in general, Heemskerck's name only, or his Initials, 
 or his Mark; but in a few instances ''Inventor^' 
 
(47) 
 
 or " Invent'' is added. What is not by Heems- 
 kerck's own hand in these prints must, clearly, be 
 ascribed to Cuerenhert ; but there is no name of 
 an Engraver to any of them. 
 
 These prints are not numbered — at least, the 
 old impressions of them are not. 
 
 Christ and the Woman of Samaria. 
 
 The well is very curious, and ornamented with 
 Telievos like the famous antique brought into 
 England by Mr. Townly, now in the British 
 Museum. Heemskerck is called here " Inventor^' 
 and the print appears to be by Cuerenhert. I 
 think, however, it may be by Heemskerck himself. 
 
 Christ and the Woman, who was cured of the issue 
 of blood, touching his garment. 
 
 This seems to be by the Painter's own hand : 
 indeed, I think, it is the most certainly so of any. 
 
 Christ and the Woman of Canaan. Matt. ch. xv. 
 V. 25, &c. 
 
 This seems to be by his own hand. 
 
 Christ's Entrance into Jerusalem. 
 
 Many of the people carry Palms. Zaccheus 
 puts a Crown of Laurel upon Christ's head : this 
 is quite a new thought. 
 
 The Painter's name only upon it. Qu. Etched 
 by himself? 
 
 Christ driving the buyers and sellers out of the 
 Temple. 
 
(48) 
 
 There is some outrageous drawing and fore- 
 shortening in this print. The figure of Christ 
 lamentably bad. 
 
 " M. Heemskerck invent Qu. By himself? 
 
 Mary Magdalen washing Christ's feet, in the House 
 of the Pharisee. 
 
 " Martinus Heemskerck Inventor^ 1548." By 
 himself, and very fine. 
 Last Supper. 
 
 Painter's name at length ; and 1 think it is 
 etched by himself : fine. 
 
 Christ washing the Apostles' feet. 
 
 By his own hand^ I should think : his name is 
 upon it, at length, and nothing more. There are 
 some things in this (Air and Attitudes particularly) 
 strikingly fine. 
 
 Christ praying in the Garden. 
 
 This is very fine. The Painter's name upon it 
 and nothing else. Qu. By his own hand ? 
 
 Christ betrayed. 
 
 There is a great deal worthy of praise in this 
 print : the figure of Christ has vast dignity, and 
 the style of drawing in most of the other figures 
 is very grand ; particularly, that of Malchus which 
 Rubens has condescended to copy, with but little 
 alteration, in the man possessed lying upon the 
 ground, in his famous picture of the Miracles of 
 St. Ignatius, for the High Altar in the Jesuits' 
 church at Antwerp — now in the Emperor's collec- 
 tion at Vienna. 
 
(49) 
 
 The Painter's name upon it and nothing else. 
 Qu. By himself? 
 
 Christ before the High Priest. 
 
 In this Invert r is added after the Painter's 
 name. Qu. By himself? 
 
 The High Priest is a modern Christian Bishop 
 of the Painter's own time. 
 
 Christ before Pilate ; (Qu. the first time 
 
 Pilate is standing on a suggestum, with a 
 Wand (or rather a Switch) in his left hand. 
 There is a grand figure sitting, with two boys, 
 in the dexter base, in the foreground. 
 
 The Painter's name upon it, in the same form 
 as in the print of the Widow's Mite. 
 
 Christ mocked. 
 
 This is a very strange thing indeed ; but still 
 we must allow, it has originality to recommend it, 
 and a greatness of style in the drawing. 
 "i)[f. Heemskerck'' only upon it. Qu. By himself? 
 
 Christ brought before Pilate. 
 
 The subject is treated in a way perfectly new. 
 There is a striking air of greatness throughout the 
 whole piece ( Tabula) ; except, unfortunately, in 
 the head of Christ himself, which is the only bad 
 thing in it. 
 
 M, Heemskerck'' only upon it. 
 
 Christ before Herod. 
 
 In this also the head of Christ is so very bad 
 and so rudely executed, as to destroy the whole 
 
( 50 ) 
 
 effect of the Picture ; which is, otherwise, exceed- 
 ingly fine. 
 
 " M. Heemsherch'' only upon it. By his own 
 hand. 
 
 Qu. Flagellation? 
 N. B. The center helow the bottom of the Picture. 
 
 The Crowning of Christ with Thorns. 
 
 In the same grand style of drawing. We may 
 remark, that most of the figures are characteristic 
 of the Master. 
 
 N. B. The center of the picture is helow the 
 bottom of it, out of the Tabula, 
 " M. H." only upon it : it is by his own hand. 
 Ecce Homo. 
 
 This has the same merit ; but the countenance 
 of the Christ again dreadfully savage, and the 
 worst part of the picture. 
 
 " M. H." only upon it. By his own hand. 
 
 Pilate delivering Christ to the Jews, and washing 
 his hands. 
 
 This is a prodigiously fine thing — and the 
 subject is treated in a different manner from what 
 I have ever seen before. 
 " M. H." only upon it. Qu. By his own hand ? 
 N. B. The Perspective is violent — Eye too 
 near ; and the centre taken very near the bottom 
 of the Picture. 
 
 Christ bearing his Cross. 
 
 "M. H." only upon it. 
 
( 51) 
 
 Christ on the Cross, between the Thieves. 
 The Descent from the Cross. 
 
 No names or marks upon it. 
 
 Hell. 
 
 The Resurrection. 
 
 Seven figures in all : Christ rises from the 
 Earth, as if it were the Ascension: the Tomb 
 (a modern altar tomb) is, still, closed and has 
 three seals upon it unbroken. One of the Soldiers 
 seems to be striking at Christ with the head of a 
 Halberd. 
 
 The style of drawing in this print is very 
 great ; but the countenance of the principal figure 
 is so lamentably inferior, as to make it a disgrace 
 to the whole composition. The figures are left- 
 handed : one of them is asleep. 
 
 Only the Painter's name, at length, upon it. 
 Qu. By himself? 
 
 Christ and the two Disciples at Emmaus. 
 
 In the distance are the two Disciples, before 
 Christ joined them ; and again, afterwards : in 
 the foreground are a dog and a cat. 
 
 " M. H." only upon it. 
 
 This does Martin very little credit : but, still, 
 I think it is etched by his own hand ; and a good 
 deal is attempted. 
 
 N.B. There are small Copies of many of these 
 prints, cut in wood: they are of an 8vo. size 
 and are published in a Flemish New Testament. 
 
(52) 
 
 Antwerp. 1646. folio. They are by Christopher 
 Van Sichem, only seventeen in all, the same way 
 with the Originals and each less than in. high, 
 by nearly 3^ in. wide. Heemskerck's mark or his 
 name abbreviated (W^ or Miem Jn) is upon each 
 of them except the first and second. The subjects 
 are 
 
 1 . The Last Supper : but I cannot trace Heems- 
 
 kerck in this print. 
 
 2. Christ praying in the Garden. 
 S. Christ betrayed. 
 
 4. Christ before the High-Priest. 
 
 5. Christ before Pilate. 
 
 6. Christ before 
 
 7. Christ before Herod. 
 
 8. The Flagellation. 
 
 9. Christ mocked. 
 
 10. Christ crowned with Thorns. 
 
 11. Ecce Homo. 
 
 12. Pilate washing his hands. 
 
 13. Christ bearing his Cross. 
 
 14. The actual Crucifixion. 
 
 15. Christ on the Cross between the two Thieves. 
 
 16. The Descent from the Cross. 
 
 17. The Descent into Hell. 
 
 18. The Resurrection. 
 
 N. B. We have these eighteen prints again, in a 
 Life of Christ in Dutch, 8vo. Amst. 1648; together 
 with seventeen others of the same size or nearly 
 
(53) 
 
 80 taken from Heemskerck's Acts of the Apostles, 
 and seven from his prints of the Lord's Prayer; 
 but all very much altered to bring them into an 
 upright form. These seventeen prints are also in 
 the New Testament, Ant. 1646, small folio ; and 
 sixteen from Heemskerck's Acts of the Apostles. 
 
 N. B. Van Sichem has allowed himself to take 
 great liberties in all these copies. 
 
 Christ praying in the Garden. 
 
 7 in. 8 lines high, by 9 in. about 8 lines wide. 
 Under it " Proocima—grumiy 
 
 The Flagellation. 
 
 The Crowning with Thorns. 
 
 Christ bearing his Cross. 
 
 The Crucifixion. 
 
 They are actually nailing Christ to the Cross. 
 
 Under the print " In Cruce dimanat apertis''' 
 
 Christ upon the Cross, between the Thieves. "1565." 
 
 Mary Magdalen at the foot of the Cross, 
 kissing Christ's feet. 
 
 Longinus piercing his side, and a Soldier 
 breaking the legs of one of the Thieves. 
 
 Under the print " Flumen ague eocpiat <mi/n,eis. 
 Hadr. Jun^ 
 
 N. B. These six prints are a part of a Set : 
 they are all of the same size with the first. 
 
 Christ on the Cross, between the Thieves : hy 
 Cnerenhert. 
 
( 54 ) 
 
 Arched at the top : about 14 in. 8 lines high, 
 by 9 in. 9 lines wide. 
 
 In the foreground are Soldiers casting dice for the 
 Garments and the Virgin fainting supported by St. John 
 and the holy women. Mary Magdalen is kneeling at 
 the foot of the Cross ; and further off are Pilate, the 
 High Priest, Longinus, &c. on horseback. 
 
 It is more like the hand of Herman Muller, 
 than that of Cuerenhert. 
 
 N. B. The figure of Christ has scarce any 
 outline at all. 
 
 This print has a narrow Border all round ; and 
 under it is 
 
 " Crede deum salvus eris^ 
 
 The Acts of the Apostles. 17 Prints, 
 hy Phil. Galle. 
 
 This was the last work of Heemskerck ; and 
 he left it unfinished, having executed only seven- 
 teen of the drawings. 
 
 Prints from sixteen of them were published in 
 1575 (the year after his death) by Philip Galle, 
 the Engraver of them, himself ; and dedicated by 
 him to Jacobus Hauwaerdt of Amsterdam, formerly 
 Heemskerck's Pupil, at whose house a great part 
 of the Designs was made, when the Painter took 
 refuge with him during the siege of Haerlem in 
 the years 1572 and 1573. 
 
( 55 ) 
 
 The work was afterwards finished by Joann. 
 Stradanus, who designed a Frontispiece and seven- 
 teen History-pieces, which, together with one more 
 by Heemskerck and a Portrait* of Stradanus, made 
 a book of thirty-six prints in all. This also was 
 published by Philip Galle, and re-dedicated to 
 Rauwaerdt. 
 
 The Frontispiece is composed of Architecture, 
 and contains the following Title, upon a tablet 
 surrounded by St. Peter and St. Paul standing, 
 one on each side, and ten of the other Apostles 
 with St. Luke, the Patron of Painters, sitting 
 above and below it. 
 
 "ACTA APOSTOLORVM" 
 
 " ELEGANTISS. MONOCHROMATIS A DVOBVS 
 
 " pbiestantiss. pictorib. belgis svm- 
 ''mo artificio delineata : a marti-'" 
 "no hemskerchio harlemensi nempe," 
 " qvi ea inchqaverat, et lohanne stra-" 
 " dang brvgensi, qvi ea absolvit." 
 
 Then follow the name of the Editor and, under 
 the print, the Dedication. 
 
 * This Portrait is by Joan. Wierix; a small Oval sur- 
 rounded with emblematical figures of Painting, Architecture, 
 &c. like those of the Artists in Vasari; and the rest of the 
 plate is filled up with Arabesques and other ornaments, to 
 make it of a size to fit the book. 
 
(56) 
 
 *'d. iacobo ravwardo svmmo pictvr^ admiratori" 
 "amico svo philippvs gall^vs. d. d. 
 
 loannes Stradan?. Inuentor." 
 
 The numbers of all the prints, except the first, 
 were now altered, on account of the additions. 
 
 1st 
 Edit. 
 
 Other 
 Edits. 
 
 
 1. 
 
 1. 
 
 Election of St. Matthias. 
 
 
 2. 
 
 Stradanus' Descent of the Holy Ghost. 
 
 2. 
 
 3. 
 
 Descent of the Holy Ghost. 
 
 
 A. 
 
 Ot. X CLCX ytLKZaXjilLlliJL civ, e> Cl LlodXclil. 
 
 
 o. 
 
 Ol. X wtCl UdL/l/lZillli^ Cll/ tl CX UocUdXl. 
 
 5. 
 
 6. 
 
 St. Peter and St. John at the Beautiful Gate 
 of the Temple. 
 
 6. 
 
 7. 
 
 The death of Sapphira. 
 
 7. 
 
 8. 
 
 St. Peter and St. John healing the sick. 
 
 8. 
 
 9- 
 
 The Apostles delivered out of Prison by an 
 Angel. 
 
 9. 
 
 10. 
 
 St. Stephen before the High Priest and the 
 Council. 
 
 
 11. 
 
 The Burial of St. Stephen. 
 
 10. 
 
 12. 
 
 The Apostles laying on of hands, at Samaria. 
 
 11. 
 
 13. 
 
 St. Philip and the Angel. 
 
 12. 
 
 14. 
 
 St. Philip baptizing the Eunuch. 
 
 13. 
 
 15. 
 
 The Conversion of St. Paul — or rather, 
 St. Paul blind led to Damascus. 
 
 His actual conversion is seen in the distance. 
 
 14. l6. St. PauFs Escape from Damascus. 
 
 15. 17. Eneas healed of the Palsy by St. Peter. 
 
 16. 18. St. Peter raising Tabitha. 
 
( 57 ) 
 
 1. The original first Edition, by Phil. Galle, 
 consisted, as I have said, of sixteen prints only ; 
 for that of the Burial of St. Stephen appears to 
 have been wanting. The following Dedication 
 was printed in letter-press under the first plate. 
 
 " D, lACOBO RAVWARDO SVMMO PICTVR^ 
 ADMIRATORI" 
 
 " AMICO SVO PHILIPPVS GALL^VS" 
 
 a jgTsi qiiidem plurimum deheam tibi, mi D.''^ 
 Ravwarde, oh amicitice nostrce vetustatem et amo-'' 
 " rem singularem, quo mecum erga picturam es prcB-'''' 
 " ditus, tameti non tarn ided tibi htinc libellum '''* 
 mittendiim esse duxi, quam qndd hunc communem'''' 
 " nostru et artis magistrum et amicum, in vitce sucB^'' 
 ^'Jine^ miseriis obrutum, propria sede domoqiie com-'*'* 
 " muni calamitate pulsum atque ejectum^ in tuam'''' 
 " domum benigne susceperis^ humaniterque et liber-'''' 
 aliter tractaris. ubi etiam major em horum Aposto-''"' 
 " licorum actuum partem tanto artijicio delineavit.''^ 
 " Quapropter non potui committer e quin hunc tibV 
 inscriberem ac dedicarem. te oro, ut benigno animo'" 
 suscipias, et pro tuis tueare ac defendas. Vale'''' 
 Antverpice xviii Augusti m.d.lxxv.'*' 
 
 The earliest impressions of these prints have 
 only a reference, under each, to the Text of Scrip- 
 ture from which the subject of it is taken ; and 
 nothing more : 
 
 2. But, afterwards, a short account of it in 
 Latin was added. 
 
 3. In the increased or complete Edition all 
 the letters were taken out, and four Latin verses 
 
 F 
 
(58) 
 
 engraved under each print. This edition was 
 also published by Phil. Galle himself. 
 
 4. Another Edition is by Theodore Galle, 
 son of Philip, of the complete book. 
 
 5. Another, later, by Joan. Galle, who erased 
 the Dedication to Ravwaerdt, under the Frontis- 
 piece, and engraved four Latin verses in its place ; 
 
 " (7^ Christus sonar enty 
 
 The impressions of this Edition are weak. 
 
 6. Another by Visscher, retouched and 
 spoiled, and the numbers all changed; they look 
 like copies. 
 
 There are Copies of sixteen of these prints 
 (made uprights), on wood, by C. Van Sichem in 
 a Flemish or Dutch Testament, Ant. 1646, folio, 
 p. 225—241. 
 
 There are also Copies of these prints together 
 with those, which were added after Stradanus 
 (including the Frontispiece), the same way and 
 of the same size with the Originals: see Nic. 
 Visscher's " Den grooten Figuer — Bibel, Alcm. 
 1646. long folio, printed by Symon Cornelitz. 
 
 N. B. A second Title, in a Frontispiece to 
 this book, has 
 
 " Theatrum Biblicum per Nicholaum Johanis 
 Piscatorem Anno 1650'' upon an Altar, by which are 
 Moses and Aaron, David, and another figure veiled. 
 
( 59 ) 
 
 Story of St. Peter and St. John healing the 
 lame man, at the Beautiful Gate of the 
 Temple. 6 Prints. By Phil. Galle. 
 
 Eacli 7 in. 6 to 9 lines high, by 9 in. 7 to 10 
 lines wide. 
 
 1. St. Peter and St. John are, here, going into the 
 
 Temple ; and St. Peter is taking the lame 
 man by the hand, as he does in Raphael's 
 Cartoon : Heemskerck has also brought in a 
 second cripple, as he has done. 
 
 2. The lame man accompanying St. Peter and 
 
 St. John in the Temple, with his crutches 
 under his arm. In the distance we have 
 him again, and St. Peter and St. John 
 instructing the people. 
 
 JTeemskerck seems here, to have considered 
 the Temple as much such a thing as a modern 
 Christian Church, and has covered the floor 
 with flat Grave-stones. 
 
 3. The Priests and Sadducees laying hands on 
 
 St. Peter and St. John. 
 
 4. St. Peter and St. John before the High Priest 
 
 (Annas) and the Council. 
 
 The lame man, with his crutches under his 
 arm, is still with them. 
 
 5. St. Peter and St. John dismissed with threats. 
 
 The man, whom they had healed, is still 
 with them. 
 
 6. St. Peter and St. John relating what had hap- 
 
 pened to them, to their friends. 
 
 The first Edition of these prints was by Jerom. 
 Cock, 1558. 
 
( 60 ) 
 
 The second (Philip Galle's) Edition is later. 
 Afterwards the names of both the Engraver 
 
 and the Publisher were effaced. 
 
 Nic. Nelli's Edition, Ven. 1571, is very bad. 
 
 Qu. Are not the prints of this edition Copies? 
 
 B. There are Copies of these prints, of the 
 
 same size, but reversed. 
 
 The Descent of the Holy Ghost. 
 Bart. Dolendo /6c^#.1629." — " ^isscher eoocudehat^ 
 
 This is a singular composition : in total defiance 
 of decency and probability all the figures, except 
 that of the Virgin, are represented naked or nearly 
 so. Heemskerck, possibly, meant in this piece to 
 display his knowledge of the Human figure and 
 his skill in Anatomy: even in that view, it does 
 not do him much credit. I will only observe, it 
 is one of the largest prints, that have been en- 
 graved from him, and that it was done many years 
 after his death. 
 
 Under it is an Inscription in Dutch. 
 " En als die dagen wt te spreken. Actor. 2 cap.'''' 
 
 The Conversion of St. Paul. 
 10 in. 2 lines high, by 15 in. 2 lines wide. 
 It appears to be by Cuerenhert, but there is 
 no name of the Engraver upon it. 
 
 This is another ample display of Heemskerck's 
 immense powers and, also, of his unaccountable 
 absurdities. We may conceive, why he made the 
 
( 61 ) 
 
 figures naked, as he evidently meant an exhibi- 
 tion of his talents : but to represent two of the 
 men brandishing their enormous swords at our 
 Saviour is more ridiculous than any thing ever 
 seen before. The drawing of the Christ is glorious, 
 and the figure is grand but too much agitated : 
 that of St. Paul is very fine, and he is nobly 
 blind and stupified. 
 
 For the man catching the horse Heemskerck 
 had the example of both Raphael and Michael 
 Angelo ; but what business can the naked child 
 possibly have here? The figures are left-handed; 
 and it is on the wrong light. St. Paul's sealed 
 Commissions are in a modern Lawyer's round 
 tin box. 
 
 Conversion of St. Paul. 
 
 See the Acts of the Apostles, No. 13 ; in the 
 later Editions, No. 15. 
 
 St. Paul hn2)ti%ing at Ephesus. 
 
 Martiniis Hemsk. inVentor,''^ "Cock ew&iid. L553." 
 
 No name of the Engraver. 
 13 in. 1 line high, by 15 in. 11 lines wide. 
 The figures here are naked, as they are in the 
 Descent of the Holy Ghost ; but this a very supe- 
 rior work, and a much more considerable print on 
 all accounts. 
 Under it 
 
 " TAVLVS EPHESI IN AVGVKAT. Acf. If)."' 
 
( 62 ) 
 
 St. Paul is sitting, which is singular. 
 These are the largest figures we have in any 
 print from Heemskerck. 
 
 The Fall of Babylon, hy PhiUp Galle, 1569- 
 9 in. 3 lines high, hy 16 in. wide. 
 
 The suhject is taken from the hook of Reve- 
 lations, Chap. 18, where a mighty Angel casts a 
 stone, like a milstone, into the sea. 
 
 This is a very line print, most delicately 
 engraved. 
 
 The impressions with " Joan. Galle excudit 
 Antverpice'' are late. 
 
 Under it are six Latin verses. 
 *' AssyricB Babylon- miserantur acerham.'"' 
 
 George Draudius mentions this print, and 
 mistakes it for a hook (p. 1032), as it seems. 
 
 Copy on wood by C. Van Sichem — Flemish 
 Testament, Ant. 1646. folio, p. 456. 
 
 Last Judgment. 
 17 in. high, hy 22 in. 11 lines wide. 
 I think, by Cuerenhert ; but there is no name 
 of either Painter or Engraver. 
 
 This is capital ; and, I believe, the largest 
 print we have after Heemskerck. 
 
The Christ is solemn and sublime ; the figure 
 of the Virgin delicious ; but that of St. John is 
 too violent, and his intercession by far too peremp- 
 tory. The figures below are a magnificent, not 
 to say ostentatious, display of the Painter's abso- 
 lute, unbounded dominion over the human figure : 
 he could do with it whatever he pleased, and 
 exhibit it in every attitude and every view, of 
 which it is capable ; and with the utmost ease. 
 On any other ground I am afraid it would be 
 extremely difficult to account for the attitudes of 
 all this multitude of people, or to tell why any of 
 them are doing what we see them do. What 
 Condivi (p. 36.) says of M. Angelo's Last Judg- 
 ment is as fully applicable to this picture 
 
 that the Artist " espresse tiitto quel, die cVun 
 corpo liumano pub far Varte della pittura, non 
 lasciando indietro atto, o moto alcunor I will only 
 add, that the figures appear to be left-handed: 
 Christ gives the blessing with his left hand. 
 
 Qu. Can this print be a Copy : the Design 
 clearly is reversed ; but it is upon the right light. 
 
 LiUst Judgment. 
 7 in. 8 lines nearly high, by 11 in. 7 lines wide. 
 No name of the Engraver. " H. Code excudeT 
 Under it some Latin verses 
 viB NFNQVAM CAVSA BONi^^ by Dominick Lampson. 
 
 Another Print of the same Design, the same 
 way, same size, and published by the same II. Cock 
 
( 64 ) 
 
 "1564. 9;" but with different verses or inscrip- 
 tion " Sic Ergo FIAT DEVS." 
 
 This print is^ I think, inferior to the other. 
 
 Last Judgment, hy Cuerenhert, " 1552." 
 9 in. 8 lines high, by 7 in. 6 lines wide- 
 Under it a Dutch inscription: 
 
 " Comt ghi Vermale dlde.^' 
 
 There is a figure upon this, which makes me 
 suspect, that it may be No. 1. of a set. 
 
 N. B. In this composition Christ is sitting 
 alone, upon the Clouds, without either the Virgin 
 or St. John Baptist ; and on the Earth are only 
 three considerable figures, lying in the foreground: 
 the rest are all in the distance. The whole seems 
 to be reversed. 
 
 The Globularity of the Earth is very strongly 
 marked. 
 
 Tke Jour Ends of Man. 4 circular Prints, 
 Diameter of each rather more than 8 in. 6 lines, 
 J. Death. 
 
 This is very fine ; and would, alone, be suffi- 
 cient to set Heemskerck high, as a History-painter. 
 
 2. Judgment. 
 
 3. Hell. 
 
 Powerful drawing — but there are things in this 
 print too ludicrous, and too gross and foul to be 
 defended. 
 
 4. Heaven. 
 
 Date, '^1569," in it. 
 
( 65 ) 
 
 There is no name of the Engraver to any of 
 these prints, but, I believe, they are by Philip Galle. 
 
 " Th. Galle excud'' is upon the first print, 
 in one Edition. 
 
 Joan. Galle's Edition is later: in the first print, 
 at the top, is put " qvatvor hominvm novis-'* 
 " siMA, MORS," in the second " ivdicivm," in 
 the third "infernvs," and in the fourth "ster- 
 na GLORIA." 
 
 N. B. I do not know that these four plates 
 were ever retouched; and all the impressions, I 
 have seen, were sufficiently good. 
 
 The Trinity; figures to the knee, by 
 J. Matham, 1602. 
 
 Arched at the top; 11 in. 10 lines high, by 
 8 in. 8 lines wide. 
 
 The Father represented as an old man with a 
 long beard, in a cope, and with the Pope's Triple 
 Crown on his head, has the dead body of Christ 
 sitting on his lap ; and above it, in the air, is 
 the Holy Dove. 
 
 In the Spandrils " Cum privil. Sa. Ccb. M. M. 
 Heemskerck pinxit. J. Maetharn sculp, et eoccud. 
 Anno l602." 
 
 This was engraved from a Picture, long after 
 Heemskerck's death, and by a man, who (however 
 able he might be as an Artist) was quite incapable 
 of comprehending his style. Heemskerck is en- 
 tirely lost in this print. 
 
(66) 
 
 TRAYERS, PARABLES, EMBLEMS 
 AND ALLEGORIES. 
 
 The Lord's Prayer. 8 Prints. 
 
 Each about 7 in. 9 lines high, by 9 in. 7 to 
 10 lines wide, 
 
 1. " Pater noster, Sec."" 
 
 Above, in the clouds, are the three persons 
 of the Trinity ; and Below, the seven works of 
 Mercy. 
 
 N. B. 1 can find but six of them: that of bury- 
 ing the dead seems to be omitted. 
 
 2. " Adveniat regnvm TVVM, &C.'*'' 
 
 The Devil is sitting on a Terrestrial Globe, 
 and holding mankind in chains; and the Deity 
 is coming in the clouds, I suppose, to drive 
 him off it. 
 
 3. " Fiat volvntas tva, Sec.'"* 
 
 Christ is bearing his Cross, and a number of 
 people are taking up theirs and following him : 
 the Father is in Heaven. 
 
 4. " Panem kostrvm, &c." 
 
 A Clergyman is preaching in a modern Pulpit, 
 to a Congregation in a common Chiirch ; and 
 at the altar is a Priest administering the Sacra- 
 ment, and, what is remarkable, he is giving botli 
 tlic AVafer and the Cup. In the distance, on the 
 
( 67 ) 
 
 spectator's right hand, is a man sitting at a 
 common meal and saying grace over it. 
 
 5. " Et dimitte nobis, &c." 
 
 In the foreground are three men praying to the 
 Father, who is in Heaven ; further, the repent- 
 ant Prodigal kindly received by his father; and, 
 further still, a man obliterating the account of 
 a miserable debtor, who stands trembling before 
 him, and another unchaining a prisoner. 
 
 There are some exquisitely fine things in this 
 print. 
 
 6, «^Ne nos, &c." 
 
 In the clouds are a most execrable figure of 
 the Almighty, and Angels, as usual, with the 
 instruments of the Passion : below, three men 
 praying, and three women given up to Pride, 
 Lust, and Avarice, with a Devil behind each of 
 them, all standing. 
 
 7- " Sed libera nos a malo, &C.''"' 
 
 Here each of the men, who prayed (in the 
 former print), is attended by a guardian Angel 
 with a long two-handed sword : and the three 
 women are overthrown and tormented by the 
 Devils, who watched behind them (in the last 
 print). 
 
 8. " QVONIAM TVVM EST REGNVM, fcc." 
 
 Heaven, with the Trinity, &c. 
 
 The Father, crowned with the Pope's Tiara 
 or Triple Crown, is sitting upon a Celestial 
 Globe, with the Son dead on his lap ; the Holy 
 Dove in a Glory, above; and, round him, winged 
 heads of the four beasts, Emblems of the four 
 Evangelists. 
 
( 68 ) 
 
 Upon the clouds are multitudes of Patriarchs, 
 Saints, and Cherubs ; and Angels are every- 
 where flying with musical instruments in their 
 hands. 
 
 EDITIONS. 
 
 With ''Phil. Galle excudebaV on the first 
 print only : this I take to be the first Edition. 
 
 With " Car el Collart excudehaV on the first 
 print; and on the sixth this mark I. W., which, 
 I should suppose, means Joan. Wierix. 
 
 In Visscher's Edition of these prints, which 
 I take to be very late, the figure of the Almighty 
 is every where effaced; and the Holy Name, in 
 Hebrew letters, put in place of it. In the last 
 print all the persons of the Trinity are taken out, 
 together with the Celestial Sphere that the first 
 and second persons sat on ; and a smaller and 
 Terrestrial Globe, and the Holy Name with F, S, 
 and P put in their place : and in the fourth print 
 the Altar, Candles, Altar-piece, Statues of the 
 Apostles against the Pillars of the Church, and 
 the Priest giving the Host to the people are all 
 effaced; and a Table, with a Calvinist Minister 
 giving both the Bread and the Cup, is inserted. 
 The Coat of Arms also, up against a Pillar, near 
 the Preacher is added : the tablet, before, was a 
 chasm. This plate is retouched, as is also the 
 first ; the other six are not. 
 
 At the bottom of each print is added " Matt, 
 6. 9," &c. to " 6. 13." 
 
(69) 
 
 Story of jyiYY.^ and Lazarus. ^Prints, 
 hy Cuerenhei t. 1551. 
 
 Each 9 in. 6 to near 8 lines high, by 7 in. 
 7 lines wide. 
 
 The prints are not numbered ; so one cannot 
 easily tell of how many the set consists. 
 
 1. Lazarus at the Rich-man's Gate, with the Dogs 
 
 licking his sores — the usual subject: very fine. 
 
 2. The Death of the Rich-man : very fine. 
 
 3. The Burial of the Rich-man. 
 
 A great gaping mouth receives him, in which 
 are devils. 
 
 4. Dives in Hell. 
 
 The same size with the former or nearly so. 
 The Painter's name only upon it. 
 
 The Wise Virgins. 
 About 9f in. high, by 12 in. wide exactly. 
 
 Every stroke in this Etching is evidently that 
 of a man working from his own Ideas. 
 
 N. B. In the steps and architecture it is plain, 
 he used the ruler. 
 
 On it Martinus Heemskerck InVentor^\ The 
 only impression I have ever seen (Octr. 1825) is in 
 my own possession ; it has been cut at the top, 
 but I think not much. 
 
 The Bridegroom is a King, in a Corona Spicata 
 which is surrounded by a Garland, in the front of 
 which is a Rose. He receives the five Virgins on 
 
(70) 
 
 the steps, and is introducing them into his Palace. 
 In the background, in the sinister chief is the 
 marriage feast, very slightly sketched; and, near 
 it, a view of distant mountains and buildings, 
 touched in so very lightly as to be rather hinted 
 at than expressed. The Bridegroom is the worst 
 part of the picture. 
 
 Parable of the King who made a Supper, 
 6 Prints. 
 
 Each 7 in. 6 to 7 lines high, by 9 in. 8 lines 
 to 10 in. 2! lines wide. 
 
 Cuerenhert's mark is upon two of them, but 
 they are not in his usual style; they are much 
 more like the works of Herman Muller. 
 
 1. Preparation of the Supper; and the King send- 
 
 ing out his Servant. In the foreground is 
 an Ox killed and beheaded. 
 
 2. I have bought a piece of ground, and must 
 
 needs go and see it. 
 
 '']Xioor7ihert sculpsit:' " 1559. 0. 23.'" 
 
 3. I have bought five yoke of Oxen, and I go to 
 
 prove them. 
 
 " BlC sculpsit.'" 
 
 4. I have married a wife, and, therefore, I cannot 
 
 come. 
 
 ^'^S^ornhert sculpsit anno, 1558." 
 
 5. The servant bringing the poor, and the maimed, 
 
 and the lialt, and the blind to the Supper. 
 
 *'BC sculpsit:'' 
 
( 71 ) 
 
 6. The King reprimanding the man, wlio came to 
 the Supper without a wedding garment. 
 
 Qu. Why does this man carry a Mound; and 
 what means the Armillary Sphere in the top of the 
 print ? 
 
 These prints are curious for the Costumi in 
 them, if on no other account ; the servant always 
 carries a Trumpet, when he goes to invite the guests, 
 and wears his master's hadge upon his breast. 
 This is usually an Armillary Sphere in a Scutcheon, 
 but in the first print it is a Cross, 
 
 EDITIONS. 
 
 1. ' H. Cock excud, 1562." Qu. 1569 ? 
 
 2. " Th. Galle excucl^ — this Edition is later; 
 Cock's name is effaced, but Th. Galle's is engraved 
 on the first, second, fifth, and sixth plates only. 
 
 3. " Joan. Galle excT — in this Edition there 
 is a Cartouch engraved in the upper part of the 
 first print with a Title in Latin, and the plates 
 are all miserably retouched. 
 
 Parable of the Prodigal Son. 6 Prints, 
 by PhiL Galle, 1562. 
 
 Each 7 in. 7 to 8 lines high, by 9 in. 7 to 10 
 lines wide. 
 
 1 . The Prodigal Son leaving his father ""s house. 
 
 He sets out at sun-rise, on horse-back. 
 
 2. He is rioting with Harlots. 
 
(72) 
 
 3. He is eating with the Swine. 
 
 In the distance two other parts of his history 
 are represented. 
 
 4. The Return of the Prodigal Son. 
 
 In the foreground he is upon his knees, and 
 his father is embracing him — further off, servants 
 are new -clothing him. 
 
 5. The Fatted Calf. 
 
 In the background, feasting and dancing. 
 
 6. The Elder son remonstrating with his father. 
 
 N. B. I think, the early impressions are not 
 numbered. 
 
 The Edition of these prints with " H. Cock 
 e.xc'\ I believe, is the first: they are dated "1562!." 
 
 Th. Galle's Edition is later. 
 
 John Galle's Edition is still later, and worse. 
 
 Prodigal Son, upright- Wood-prints. 
 
 Each about 9 in. 6 lines high, by about 7 in. 
 2 lines wide. 
 
 Qu. Adumbrated by the Painter himself? 
 
 The Prodigal Son living luxuriously with Harlots. 
 
 He is sitting with one of them on his knee, 
 who has a music-book open upon her lap, and 
 embraces him with her right arm ; another is 
 fiddling; and an old woman has stolen his purse. 
 His bonnet is upon the floor, at his feet ; and 
 before them stands a table with grapes, &c. In 
 the background we see him turned out naked. 
 
(73) 
 
 This is extremely clever indeed, although it is 
 wonderfully slight, and coarsely executed : the airs 
 of two or three of the heads are admirably graceful. 
 
 No name or mark of either Painter or Engraver 
 upon it ; but it is certainly by Heemskerck, and 
 does him honour. I think, Heemskerck drew this 
 upon the Block; that is, he adumbrated himself 
 for the wood-cutter. 
 
 The Return of the Prodigal. 
 
 Only four figures, and a head seen over the shoulder 
 of one of them, of no great consequence in the com- 
 position. 
 
 This has Heemskerck's mark (f^) and is a 
 work of great merit, notwithstanding the rudeness 
 of its execution. 
 
 I think, this was also adumbrated by the 
 Painter himself. 
 
 G 
 
(74) 
 
 Story of the Good Samaritan. 
 Number of Prints in the Set uncertain, 
 Qu. By the Painter himself? 
 Each about 9 in. 6 lines high, by about 7 in. 
 7 lines wide. 
 
 1. The woimded man lying naked and half dead 
 under a tree. 
 
 The Thieves are seen in the background 
 departing with the spoil. 
 
 2. 
 
 3. The Samaritan carrying the wounded man upon 
 
 his own own beast. 
 He leads the Horse ; on which the wounded 
 man lies in a very awkward position. 
 
 4. The Samaritan giving the Host two pence, and 
 
 going to mount his horse and leave the Inn. 
 He wears large Frick-spurs, and has a Gun 
 slung at his back ; the habit of the Host too is 
 extraordinary. 
 
 In the background they are carrying the 
 wounded man into the Inn. 
 
 On this print is " 4 M, Heemskerck 1549 
 
 I think, it is engraved by Cuerenhert : it is a work 
 
 of great merit, and the costumi are very curious. 
 
 Parable of the Unmerciful Servant. 
 Number of Prints in the Set uncertain : perhaps, 
 Etched by the Painter himself. 
 The Unmerciful Servant before the King. " Matt. 
 18ca. ... 1549.''' 
 
 9f in. high, by 15 in. wide barely. 
 This consists, chiefly, of seven figures, of which 
 the King is, clearly, the worst ; the rest are fine- 
 
( 75 ) 
 
 We have here the old liberty of representing 
 several parts of the story in the same tabula. First, 
 the Unmerciful Servant is on his knees, before the 
 King ; next, he is seizing his fellow-servant by the 
 throat ; and in the distance is his second appear- 
 ance before his Lord; fourteen figures in all, or, 
 taking in four exceedingly small ones in the back- 
 ground, eighteen. 
 
 There is no exhibition of Heemskerck's greatest 
 talents in this work. It is on the wrong light: 
 the figure of the King is intolerably bad, the upper 
 part of it especially ; and the head is detestable. 
 
 Parable of the Unmerciful Servant. 
 Number of Prints uncertain ... % Cuerenhert, 
 Each 9 in. 11 lines to 10 in. 1 line high, by 
 7 in. 6 to 7 lines wide. 
 
 No name of the Painter upon them. 
 
 1. His Lord (here a King) forgiving the Unmer- 
 
 ciful Servant his debt of ten thousand Talents. 
 " BJE F " Dominus servo condonat x 1 x " 
 
 2. The Unmerciful Servant taking his fellow-ser- 
 
 vant by the throat. 
 H. Cock ea^cudebat. 1554." " At ille — prefocat X x" 
 
 S. The Unmerciful Servant before the King. 
 " PJils Galle eaccudr 
 
 4. The Unmerciful Servant delivered to the Tor- 
 mentors. 
 
 " Pills Galle eoDCudr 
 
 I have no authority for ascribing this work to 
 
 Heemskerck. 
 
 G 2 
 
(76) 
 
 Parable of the Unmerciful Servant. 4 Prints, 
 
 Each 4 in. 2 to 4 lines high, by 5 in. 4 to 5 
 lines wide ; inclusive of the ornaments, which are 
 printed with it. 
 
 1. The Lord (or King) forgiving the Unmerciful 
 
 Servant his debt of ten thousand Talents. 
 
 2. The Unmerciful Servant taking his fellow-ser- 
 
 vant by the throat, who owed him an hundred 
 Pence only. 
 
 3. He is brought again before his Lord. / 
 
 4. He is delivered to the Tormentors. 
 
 There is no name of either Painter or Engraver 
 upon these prints ; and, in all probability, Heem- 
 skerck had nothing at all to do with them : pos- 
 sibly Cuerenhert may be the author of them entirely. 
 They are usually printed with Borders of animals, 
 flowers, and ornaments; and in the late impressions 
 a Title is engraved in the Cartouch under each — 
 but in the earlier impressions it is blank, or a Title, 
 in letter-press printing, is pasted upon it. 
 
 Christ the Good Samaritan. 4 Prints ... % 
 Herman MuUer. 1565. 
 
 Each 7 in. 6 to 8 lines high, by about 9 in. 
 8 lines wide. 
 
 This seems to be an application of the Parable 
 of the Good Samaritan to the Salvation of man by 
 Christ. 
 
 1. The naked man here means Mankind, or Man 
 in general ; and " Cvpido" " Volvptas," 
 and "Error" the Robbers, who have stripped 
 him^ and are wounding him cruelly. 
 
( 77 ) 
 
 Large Copy on wood, the same way, published 
 by R. Z. Becker. Gotha. 1808. 
 
 2. Moses and Aaron (the Jewish Law and Cere- 
 
 monies), neither inclined nor able to assist 
 him, are put for the Priest and Levite. 
 
 Large Copy on wood, reversed, published by 
 R. Z. Becker. Gotha. 1816. 
 
 3. Christ's Blood, shed upon the Cross, healing his 
 
 wounds : Christ's Blood is put for the Wine 
 and Oil. 
 
 4. Christ, risen from the dead, confiding to St. Pe- 
 
 ter, Prince of the Apostles (the Host), two 
 books of the Christian *Law and Doctrines 
 (the two pence), to furnish whatever more 
 may be wanted for his perfect cure ; that is, 
 his final Salvation. 
 
 Christ the Light of the World ... % Phil. 
 
 Galle. "1564." 
 
 7 in. nearly 8 lines high, by 9 in. 8 lines wide. 
 
 Christ, with his Apostles, is standing in the 
 Temple and sending forth rays of light, which the 
 Jewish Doctors, Scribes, &c. cannot bear. 
 
 The Temple is a modern Church, and the floor 
 is covered with flat Grave-stones, upon many of 
 which are armorial bearings. 
 
 Triumphs of Patience. 8 Prints ... hy Cue- 
 renhert. 
 
 Tit. " PATiENTi^ TRIUMPHUS" in the lower 
 part of the print, within. 
 
 * Qu. The Gospels and Epistles? 
 
( 78 ) 
 
 N.B. In Joan. Galle's Edition this Title is 
 taken out, and a Cartouch is engraved in its place 
 with the same title in different letters, and " ele- 
 
 GANTISSIMIS IMAGINIBVS EXPRESSVS" added. 
 
 Each 7 in. nearly 2 lines high, by 10 in. 1 line 
 wide. 
 
 The Engraver's mark is upon each print. 
 
 1. Triumph of Patience herself. 
 
 She is sitting upon a Cubical stone*, on a Car 
 with three wheels drawn by " desiderivm" and 
 " SPES and " fortvna" with a broken wheel 
 follows it, as a Captive. Patience has her usual 
 attribute, the Anvil with a Heart and three 
 Hammers, and carries a Banner, on which is a 
 Rose amongst Thorns. 
 
 2 of Isaac. 
 
 He is riding upon a Camel, and carries a 
 Banner, on which is a Fetter-lock : the Camel 
 draws a small round Altar upon wheels, on 
 which are placed a Goat, a Vase smoking, and 
 a Sword. In the distance is Abraham, about to 
 Sacrifice his son Isaac. 
 
 3 of Joseph. 
 
 He is riding on a Bull: Potiphar's wife 
 (" zephirach") and Envy follow him as Cap- 
 tives. In his Banner is a Bee-hive with a Bird 
 sitting upon it, I think, a Phoenix : this I do 
 not understand. In the background are the Sun 
 
 * On this stone are " Jnv . D Coornhert fecit/' which 
 letters are taken out in the late impressions, but not perfectly ; 
 they may still be traced with a Glass. 
 
 N. B. In the distance is a Ship in a Storm. 
 
( 79 )• 
 
 and Moon, and his brothers taking him out of 
 the pit and selling him to the Ishmaelite Mer- 
 chants. 
 
 4. Triumph of David. 
 
 He is riding on a Lion, and leads King Saul 
 and Shimei prisoners. In the distance is the 
 combat of David and Goliath. On his Banner 
 is a Bridle. 
 
 The Saul is a very fine figure. 
 
 5 of Job. 
 
 He is almost naked, riding upon a Tortoise, 
 and leads captives his wife, his three friends, 
 and the Devil. The figure of his wife is won- 
 derfully fine. In his Banner are a winged 
 Heart, a pair of Scales, a flaming Sword, and 
 a Mound: the meaning I do not comprehend. 
 In the distance Job is sitting on the ground with 
 his three friends, and his wife who is standing 
 and taunting him : his Buildings are all on fire, 
 his Cattle dead, &c. 
 
 6 of Tobit. 
 
 He is riding upon an Ass; with " CcBca 
 Faupertas''^ (a poor blind old man with a dog) 
 and his wife carrying the Kid and a basket of 
 work, led as prisoners. On his Banner is an 
 ornamented Fountain between four Flints, with 
 two Fusils (Steels) to each, in allusion, I sup- 
 pose, to his industry. In the distance we have 
 him again, burying the dead. 
 
 7 of St, Stephen. 
 
 He is in the habit of a Deacon and riding 
 upon an Elephant : his persecutors with stones 
 in their hands are following him as Captives, 
 attached to the Elephant by ropes. On his 
 
(80) 
 
 Banner is a woman sitting with a child in her 
 arms, and four other children by her. In the 
 clouds are the Almighty in the triple crown, and 
 Christ holding his cross. 
 
 8. Triumph of Christ. 
 
 Christ nearly naked, after his Resurrection, 
 with a Crown of Glory (a radiated crown with 
 stars upon the spikes) is sitting on a Rainbow 
 and a Globe, placed upon a Chariot with four 
 wheels drawn by Lambs ; and leads Sin and 
 Death, the Devil, and the World as Prisoners. 
 The four angles of the Car are ornamented with 
 the Emblems of the four Evangelists, as heads 
 only ; and upon his Banner are the Instruments 
 of his Passion and five heads of Priests, Doctors, 
 Pharisees, &c. — Sin is represented as a deformed 
 Monster, made up of the parts of various 
 animals ; the World as a Woman, nearly naked, 
 with a Mound upon her head ; Death, as usual, 
 with a Dart ; and the Devil has a strange hook 
 with three claws to it. In the distance we have 
 Christ again, — -bearing his Cross, upon the 
 Cross, and his Ascension. 
 
 One Edition has " H. Cock exmdr I think, 
 the earliest impressions have not the Engraver's 
 mark on them ; but I am not sure. 
 
 Theodorus Galle's Edition is later, and the 
 Engraver's mark is imperfectly obliterated. 
 
 Those, that have the Painter's name at length, 
 are late. Joan. Galle's Edition is very late. His 
 name is on the first print only; and there is a 
 Cartouch with the Title engraved in the lower part 
 of it*. The plates were now much retouched; and 
 
 ^ N. B. The first Edition has the Titles but no Cartouch. 
 
( 81 ) 
 
 they had in vain attempted to improve the Chiaro- 
 oscuro in them ; and the names of both the Painter 
 and Engraver were generally erased. 
 
 There are small Copies of these prints, each only 
 2 in. 9 lines high, by in. wide, in the " Philo- 
 sophia Practica" — small 4to. or 8vo. published by 
 Jac. Zetta or Zetter Franc : 1644. 
 
 The Six Triumphs of Petrarch. 6 Prints, 
 hy Phil. Galle, 
 
 Each 7 in. high, by about 10 in. 2! lines wide. 
 
 1. Triumph of Cupid. 
 
 He is standing on a blazing Altar, upon a 
 Car drawn by four Horses and adorned with 
 flaming Hearts, and a Bow and Quiver. He is 
 preceded by " Ovid," " Tibullus," and other 
 Poets, and accompanied by " Pyramus" and 
 " Thisbe,'' " Hercules," " Solomon," &c. 
 " Jupiter" sits upon the Car, I think, as a 
 Captive. 
 
 2 of Chastity (" Pudicitia:') 
 
 She is sitting on a Car drawn by Unicorns 
 with Cupid bound, sitting before her. The 
 four wheels of her Car are adorned with Bees. 
 " Scipio" and " Joseph" walk before ; " Su- 
 sanna" and "Judith," and Continentia'^ and 
 " Temper antia'''' on each side : and a Company 
 of Virgins, all carrying Palms, follows. 
 
 S of Death. 
 
 He is sitting on a Car with three wheels, 
 which are armed with hooks like a Catharine 
 wheel ; the Spokes are bones, and the Nave of 
 each a scull : the Rim is also adorned with 
 
( 82 ) 
 
 sculls, and the Car itself with cross-spades. 
 He is drawn by Bulls, and is driving furiously 
 over all mankind. In the background are Hea- 
 ven and Hell. 
 
 4. Triumph of Fame. 
 
 She has two Trumpets, and sits on a Car 
 drawn by two Elephants; and is attended by 
 the Heroes and Philosophers of antiquity, Alex- 
 ander, Caesar, Plato, Cato, &c. 
 
 5. of Time. 
 
 He is sitting, with his Crutches, on a Car 
 with four wheels, which are all Dial-plates and 
 have hands to them ; and it is ornamented with 
 Hour-glasses, a Sun-dial, and a Balance. It is 
 drawn by Stags or Harts, and before and on 
 each side of it the four Seasons, personified, are 
 running : in the distance every thing is in ruins, 
 and the Moon is setting. 
 
 6 of Christ. 
 
 He is not in a Triumphal Car, but is sitting 
 (in Heaven) upon the four Animals, Emblems of 
 the four Evangelists; and is surrounded by 
 Saints and Angels. Below are Cupid, Pudi- 
 citia. Death, Fame, and Time overthrown and 
 dead ; and in the distance, the Sun and Hell. 
 
 The good impressions of these prints have no 
 name of the Publisher upon them ; so I apprehend, 
 it was Philip Galle himself. 
 
 In Joan. Galle's Edition of them there is a 
 Cartoueh with a Title engraved in the upper part 
 of the first print; and the plates are all utterly 
 spoiled by retouching, or I might say re-engraving. 
 
( 83 ) 
 
 There are small Copies of these prints (2! in. 
 9 lines high, by in. wide) in Zetta's " Philoso- 
 phia Practica," small long 4to. or 8vo. Franc. 1644. 
 
 The Vicissitude of Human Things. 8 Prints. 
 
 V. " Circulus Vicissitudinis Rerum Humanarum." 
 See M.de. Vos. 
 
 1. The World. (" Mundusr) 
 
 It is represented by a transparent Globe (or 
 rather Mound,) within which we see the seven 
 Personages, whose Triumphs are the subjects of 
 the seven following prints. This is placed upon 
 a pedestal, on a Car with four broken wheels, on 
 the corners of which sit the four Elements per- 
 sonified : it is drawn by two winged horses 
 named Night and Day; and Time is the Driver. 
 Above are the four Winds. 
 
 2. Riches. (" Opulentia.^'') 
 
 She is sitting with a Crown and Sceptre, with 
 Money-bags, strong Chests, &c. about her, upon 
 a Car drawn by Fraud and Rapine (horses), 
 driven by " Dolus,'''* and accompanied by 
 "Usura;' "Libido;' " Proditio;'' Vana Lee- 
 titia;'' and " Vance Voluptates^' some of them 
 curiously characterized: and between her feet 
 sits her daughter. Pride. 
 
 3. Pride. 
 
 She is in a Car driven by " Contemptus 
 the horses " Pertinatia,'''' and " Curiositas :'''' 
 " Jactantia^'' " Inobedientia,'''' and " Derisio''' 
 are walking by the side of the Car, and upon it 
 sits a Peacock ; at her feet. Envy. 
 
( 84 ) 
 
 4. Envy. 
 
 Her Car is adorned with Serpents ; ''•Bellum'^ 
 sits at her feet, and " Livor^'' drives ; the horses 
 are " Calumnia''' and " Detractio.'''' " Malevo- 
 lentia,'''' " Perturbatio,'''' and " Inquietas''' run 
 by her side. 
 
 This print is dated " 1564." 
 
 N. B. The whole thing is Perturbation. 
 
 5. War. 
 
 A figure hke Mars, with a drawn Sword in 
 his right and the Fulmen in his left hand, sits 
 upon a Drum, on a Car adorned with Signa 
 Militaria, armour, and weapons of various 
 kinds. * Humilitas''^ is on her knees between 
 his feet, and " Furor " drives : the horses are 
 " Vastitas " (Devastation) and Perditio,'''' 
 " Riooa,'''' Blasphemy, and Famine walk by the 
 Car ; and it is followed by a multitude of 
 Captives and a Carriage filled with plunder: 
 and over these is written Crudelitas.'''* In 
 the distance are " Perditio''' and a town on fire. 
 
 6. Want, ("Inopiar) 
 
 Upon a miserable shattered waggon, covered 
 with matting, driven by " Torpor;'''' and her 
 two starved emaciated horses are named 
 " Debilitas'''' and ^gritydo^ By her side 
 walk " Fragilitas,'''' Patience, and Slavery 
 
 Servitus:') 
 
 * The figure is so named in the print, but it should be 
 J?iopia. 
 
(85) 
 
 7. Humility. 
 
 She is sitting with a Sheep-hook in her left 
 hand and a divided Heart in her right ; Fear 
 is her driver, and her two horses " Modestia''' 
 and Mansuetudo " Paa?" sits at her feet, 
 and her Car is attended by the three Christian 
 virtues, Faith, Hope, and Charity. 
 
 8. Peace. 
 
 Her Car is adorned with Corn and Fruits : 
 her daughter " Opulentia'''' sits at her feet ; 
 " Amor'''' drives, and the horses are " Utilitas'''' 
 and " Concordia : Truth, Diligence, and 
 Justice walk by her side. In the distance are 
 a man at plough and people employed in other 
 useful occupations. 
 
 N. B. Each of the Cars (or Chariots) has four 
 wheels, and is drawn by two horses only. 
 
 1. Hieronimus Cock's Edition seems to be 
 the first; "1564." 
 
 2. Theodore Galle's Edition is later. 
 
 3. Joan. Galle's Edition is still later; the 
 plates miserably worn out and retouched; and 
 there is a Car touch added, in the bottom of the 
 first, with this long inscription, 
 
 " Temporis vices et diver sitas, Opulentice, superhicB, 
 belliy inopicB triumphus, JllicB, comites, et effecta, 
 Humilitatis et pads triuphus, hona^ comoday 
 
 N. B. " J, GalW is upon the first five prints 
 only. 
 
 There are small Copies of these eight prints 
 (each 2 in. 9 lines high, by 4| in. wide) in the 
 
(86) 
 
 "Philosophia Practica," long small 4to. or 8vo. 
 published by Jacob Zetter or Zetta. Franc. 1644. 
 
 " Divitum misera sors.'' 6 Prints, hy Ph. Galle, 
 
 1563. 
 
 Each 7 in. 1 or 2! lines high, by 8 in. 10 or 11 
 lines wide. 
 
 1. Three men endeavouring to make a Camel 
 go through the Eye of a Needle ; and a Rich 
 man trying in vain to go in at the Strait Gate ; 
 beyond which, in the distance, we see the ascent 
 to heaven and Christ above, in the clouds. 
 
 The date "1563" is upon this. 
 
 2. Fortune, Labour, Diligence, Parsimony, Fraud, 
 Falshood, and Force ; the various modes of 
 acquiring wealth. 
 
 3. " Midas;' " Crcesus;' " Sylla;' " Crassus,'' 
 
 Lucullus,'''' and Pytheus persons famous 
 for their riches. 
 
 4. " Regina Pecuniae'* 
 
 In a garment powdered over with pieces of 
 Money, sitting upon a two- wheeled Car drawn 
 by Fear and Danger : her left hand on a Globe, 
 her right on the head of a Man ("Za^rocimMm"), 
 who is stabbing a heart. She is followed by 
 <• Pandemia^'' Folly, Envy, and Theft. 
 
 5. "Honor''' and ''Splendor:'" 
 
 Fame, in a garment covered over with Eyes, 
 is blowing Tongues out of a Trumpet. Further 
 off are four Parasites, (or Hangers-on) eating 
 and drinking at the cost of other men ; and 
 standing by Fame are two little naked figures, 
 which I do not understand. 
 
( 87) 
 
 6. Riches left behind, when we quit this world. 
 
 Death is stripping an Emperor, who is taking 
 off his Crown and laying down his Sceptre ; 
 his Mound and Sword are upon the ground 
 already; a naked young man is near him. The 
 Devil, as Charon, is ferrying three persons over 
 the Styx, and upon the bank of the river are 
 left all sorts of human possessions. In the 
 distance is Tartarus in flames. 
 
 The best impressions of these prints have no 
 Title, nor any name of Editor. 
 
 In Joan. Galle's Edition a Cartouch with a 
 Title is added, in the lower part of the first print ; 
 the date is taken out, and the plate retouched, 
 particularly in the distance beyond the Strait 
 Gate. 
 
 " datura,'' " Diligentia,'' ^c. 6 Prints, 
 
 About 7 in. 7 lines high, by about 9 in. 7 lines 
 wide. 
 
 1. "Natural 
 
 Nature standing, suckling a child: in the 
 air hangs a Globe covered over with the imple- 
 ments of every Art, Science, and Trade; and 
 above it is an Eagle or a Phoenix flying. The 
 background is a Landscape with Cattle and 
 Ships, and a City and Mountains in the 
 distance. " 1572." " P. Galle eoccudehat:' 
 
 Under this print are some Latin lines, 
 " Ales^ ut a primis 
 
 duros cauta labor es.'' \ 
 
( 88 ) 
 
 2. The Union of ''Labor'' and " Diligentiar 
 
 " Timor Domini,'''' here represented as a 
 Jewish Priest, is performing the ceremony of 
 their marriage. Under the figures are written 
 " Spes,"" " Labor y''' " Timor Domini,'''' and 
 " Diligentia.'' 
 
 " Spes'' has an Ass by her, laden with all 
 sorts of instruments and a Cock upon his head ; 
 and is personified as a Woman with a winged 
 Heart between her breasts. 
 
 3. "Spes'" drawing, and 'Tides'" lifting "Labor'" 
 
 up to the top of a rock, on which " Justicia'''' 
 is seated between two women, one of whom, 
 on her right hand, holds a Crucifix, the other 
 is crowned with roses, and has a glorified 
 
 Heart in her right hand and a branch of 
 
 in her left. 
 
 4. " Diligentia" and " Labor'" with " Victus" and 
 
 " Amictus," represented as two Children, 
 between them, over whose heads are a Cornu- 
 copiae and a Fleece. 
 
 5. " Labor" and " Diligentia" feasting ; (it is 
 
 their marriage-feast). An Angel is crowning 
 each of them with a Garland, and the Viands 
 are served up by Appetite, Health, " Fir- 
 mitas,'" and Parsimony. 
 
 6. In this print, Christ is standing and holding 
 
 his Cross, with a Serpent, a Scull, and a 
 Globe at his feet ; and Charity is binding 
 " Labor'" (who is kneeling) to Christ with a 
 cord, which descends from heaven, through 
 a Glory in the Clouds. 
 
 By Labor, upon the ground, are his usual 
 attributes, the Spade with the Flints and Steels; 
 which last are placed upon his cap. 
 
( 89 ) 
 
 PoNTiFEX, Rex, and Plebs. 4 Prints. 
 7 in. about 7 lines high, by 9 in. 7 to 9 lines 
 wide. 
 
 1. The Almighty (or Christ) assigning to the King, 
 
 the Priest, and the People their respective 
 Duties. 
 
 The Deity is sitting in the middle, upon a 
 cloud, with Cherubims under his feet ; and on 
 each side are Angels with the instruments of the 
 Passion : on the ground are a Pope, an Em- 
 peror, and a Husbandman kneeling. 
 
 2. Office of the Priest. 
 
 This is a solemn Procession ; and a Pope 
 carries the Host in a Pix, under a Canopy borne 
 by four Deacons. 
 
 3. Office of the King. 
 
 An Emperor is sitting in Judgement on a 
 Culprit, and in the background are an Execution 
 and Armies marching ; to set forth the Civil and 
 Military duties of the Kingly office. 
 
 4. Office of the People. 
 
 Men are here employed in digging, plough- 
 ing, sowing, reaping, building, and making wine. 
 
 Virtus, Vinum, Rex, Fcemina. 4 Prints. 
 1. 
 
 2. 
 3. 
 
 4. 
 
 Christ separating the Heart of Ma:^ from the 
 things of this world. 
 " il^f. Heemsherck inVentor 1554:" no name 
 of the Engraver. 
 
 11 in. 6 lines high, by 8 in. wide. 
 H 
 
( 90 ) 
 
 A Man holds a Heart (with both his hands), 
 which is tied, by three Cords, to an imperial Crown, 
 a Woman, and a bag of Money contained in a 
 transparent Mound (i. e. a Globe with a Cross upon 
 it) ; and Christ, risen from the dead, is cutting these 
 cords with a flaming Sword. 
 
 Above the figure of Christ is the Holy Dove ; 
 over the other figure a Scroll with 
 
 " Ich ellender S^c. %u den Romeren 7 Cap.'''' 
 
 Allegory of placing Hope on Money. 4 Prints, 
 hy Cuerenhert 
 Each about 9 in. 8 lines high, by 7 in. 6 to 
 near 9 lines wide. 
 
 1. The Devil painting upon Man's Heart. 
 
 2. A winged Boy blinded, like Cupid, is kneeling 
 
 upon the top of a steep rock (with two bags 
 of Money by him), and is helping a man up 
 with a cord. 
 
 3. A Man, with the assistance of the Devil, setting 
 
 up a statue of Hope upon a bag of Money. 
 
 4. At the approach of Death this bag gives way, 
 
 and the Statue of Hope falls, of course. 
 
 On the ground is a broken Hour-glass. 
 The date " 1550" upon this. 
 These prints are but ill executed. 
 . N. B. They are copied very loosely in the 
 " Philosophia Practica," small 4to. or 8vo. Franc. 
 1644. by Zetta or Zetter*: the Man in all of them 
 is dressed in the fashion of the Artist's time, and 
 
 * It is written both ways. 
 
(91) 
 
 the form of the prints altered : the Originals are 
 upright, these are long. 
 
 Emblematical Single Figures, Qu. 12? Prints, 
 bij Cuerenhert. 
 
 Each from 8 in. to 8 in. 3 lines high, by 5 in. 
 4 to 5 lines wide. 
 i> 
 
 2. Qu. Religion ? 
 
 A Woman in a Corona spicata^ with stars, 
 a Mirror in her right hand, and a Crucifix in her 
 left, is sitting upon a cloud and treading the 
 Devil under her feet. Beneath, 
 
 " Previ mens dei misericordia efficit sui cognitionemy 
 
 3. Conscience. 
 
 A naked Man with a Rod and a Mirror. 
 Beneath, " Sui notitia horror es conscice Incutit.^^ 
 
 4. 
 
 5. Death. 
 
 A Heart in his right hand and an Arrow in 
 his left — merely a Skeleton. Beneath, 
 
 " Peccatorem mors procreat novum hominem ad 
 justiciam.'''' 
 
 6. 
 
 7. Faith. 
 
 A draped Female figure with a Cross and 
 a book open. 
 
 8. 
 
 A naked Man bearing a Cross and laying 
 hold of an Anchor. Beneath, 
 
 Tribulatio, et cruai spem ad salutem ostendit.^'' 
 
 * Badiata (spicata), and siellata ; a Celestial Crown. 
 H 2 
 
(92) 
 
 9. Hope. 
 
 Wings upon her head, an Anvil in her right 
 hand and her left upon a large Anchor. This 
 figure has considerable dignity : the Anchor too 
 has some pretensions to grandeur. Beneath, 
 " Spes roboratur patientia.'''' 
 
 10. A Man naked, with the exception of having a 
 
 Helmet on his head and some drapery hang- 
 ing from his arms : he has two Eyes upon 
 a Salver in his right hand, and a Torch in 
 his left, and is bearded. Beneath, 
 " Tolerantia in adversis adfert notionem dei^ 
 
 11. A Woman sitting on a flying Eagle in the 
 
 clouds, and holding a flaming Heart and the 
 Holy name. Beneath, 
 . " Charitas hinc virtutesque divince promanut.' 
 
 12. A Woman sitting with three Children in the 
 
 clouds, and holding upon two Chalices, one 
 in each hand, the Wounds of Christ. Beneath, 
 " In charitate vero Christi doetrina cernitur.''' 
 
 13. Christ standing naked, after his Resurrection, 
 
 and holding a Cross. Beneath, 
 
 Doetrina Christi unit hominem Christoy 
 
 Justitice Languor'' 
 2 in. 11 lines high, by near 4 lines wide. 
 
 Justice blinded, with her usual attributes, the 
 Sword and Scales, is falling backwards off* a horse, 
 who is kicking violently and has a Mound upon his 
 head. 
 
 This is the second print in De Brij's book of 
 Emblems. There is no name of the Designer, but 
 Heemskerck is written in every line of it. The 
 
( 93 ) 
 
 best impressions, of course, are those in the first 
 Edition of the book. 
 
 An Allegory of Human Life. 
 
 ''^uerenhert fecit 1549." 
 
 This is one of the largest and most important 
 prints of the whole work : the only impression of 
 it, I ever saw, is 16 in. 5 lines high, by 22! in. 
 5 lines wide, and has been cut in two of the edges ; 
 so it had been wider : part of the last figure of the 
 date and some letters at the bottom (the tops of 
 which remain) are lost. The Painter sets forth 
 the danger of exalted stations by making those 
 placed in them pass along a narrow Plank, from 
 one high rock to another, from which many Kings, 
 Bishops, &c. fall, and are fallen to rise no more ; 
 whilst those below, in humbler life, are reading, 
 dancing, singing, feasting, and amusing themselves. 
 
 This is another magnificent display of Heem- 
 skerck's vast abilities and complete knowledge of 
 the human figure : it is evident, he could draw it 
 readily in any view and in any attitude, he pleased ; 
 and in a superior style of grandeur. Exactness, 
 and even accuracy are out of the question ; he has 
 here assumed a station so far above all criticism on 
 such excellencies, that the very mention of them 
 would be ridiculous. There are near sixty con- 
 siderable figures in this print. 
 
( 94 ) 
 
 N. B. Below is a yawning Cavern, under- 
 ground, into which some of the figures are in 
 danger of falling ; which, perhaps, may he meant 
 for Oblivion. 
 
 Perhaps this is, upon the whole, Heemskerck's 
 greatest work — his Master-piece. The Engraver 
 too has done his best in this print. 
 
 Amongst the figures are two Popes: one of 
 them is safe over, and is standing by the Emperor, 
 quite at the extremity on the spectator's left ; the 
 other is very decrepid, and wears the Triple Crown 
 over a Fool's Cap. 
 
 A Man in a FooVs Hood, and a Woman with 
 Three Children (Charity ?) all overthrown by 
 a horse (they held by the halter) who breaks 
 away from tliem. This horse has a Terrestrial 
 
 Globe upon his back. " Eere sot noch 
 
 scenden^'' at the top. In the distance are 
 Ruins. It seems to be by Cuerenhert. 
 
 7 in. 7 lines high ; of the width I am uncer- 
 tain, as the impression, I have, has been cut. 
 
 No. "2." Another Print of a Horse with a Globe 
 upon his back, with Charity, &c.; by Cuerenhert 
 " 1550.'' 
 
 7f in. high, by 9f in. wide. 
 
 I suppose, this is a part of the same set with 
 the last. 
 
(95) 
 
 Ebrietas ; or the Effects of Drunkenness. 
 No name of the Engraver, but I think it is by 
 Cuerenhert. 
 
 4 in. 8 lines barely high, by nearly 7 in. wide. 
 
 I have called this " Ebrietas," because I know 
 
 not what other name to give it. 
 
 A Man crowned with Vine, but otherwise naked, 
 with a Back-sword in his hand, has overthrown a 
 female figure in a Helmet like Minerva; whose 
 right hand is on her Shield, upon the ground on the 
 Spectator's left, and in the other she has a book. 
 In the foreground, on the other side, is another 
 cumbent female with two faces like Janus ; that in 
 front young and with a bandage over its eyes, the 
 other old and bearded : she leans with her elbow 
 upon books, and holds a large folio in her right 
 hand. Beyond these figures is a Table with drink- 
 ing vessels, overturned. Under the print 
 
 " Bachique evtinguit memorem vim funditus humor, 
 Ingenio est prcesens pestis et atra lues.''^ 
 
 This is a work of great merit, on all accounts. 
 
 Another, which seems to be a Companion to 
 the last. 
 
 A naked Man crowned with Vine is standing be- 
 fore a Table, with his back to us and a pitcher in 
 his hand ; on his left is Bacchus sitting on a Tun, 
 and, further off, Venus and Cupid on his right 
 standing, quite naked. 
 
 The Seven Works of Mercy. 7 Pr'mts ... / think, 
 hy Cuerenhert, 
 
 About 9 in. 6 to 9 lines high^ by 7 in. 6 lines 
 wide. 
 
 A Dutch inscription under each print. 
 
(96) 
 
 1. Feeding the Hungry. 
 
 2. Burying the Dead. 
 
 3. Giving drink to the Thirsty. 
 
 No. " 3 " " M Inventor; no name of the Engraver. 
 
 4. Clothing the Naked. 
 
 5. Visiting the Sick. 
 
 6. Receiving the Strangers. 
 
 7. Delivering the Captives. 
 
 Three Women giving Bread and Drink to poor 
 men, women, and children. 
 
 ^ 7 in. 9 lines high, by 9 in. 9 lines wide. 
 
 The marks of both Heemskerck and Cueren- 
 hert, and No. " 5." 
 
 It seems to be one of the Works of Mercy, of a 
 different Set. It is very fine. 
 
 N. B. In the background, on the sinister side, 
 is a Woman clothing the naked : see the fourth 
 print under the head of Miscellanies." 
 
 The Seven Planets. 7 Prints, hy Herman 
 Muller, 
 
 7 in. 9 to 11 lines high, by 9 in. 10 lines wide. 
 The Deities belonging to each of the Planets 
 are represented in Chariots, in the clouds : and 
 below are set forth their supposed effects upon 
 mankind. 
 
 1 . Luna. 
 
 She carries a Moon in her hand, and is drawn 
 by two Virgins. Below are Sailors and Fisher- 
 men : all employed about the Water are born 
 under her influence ; and the inscription informs 
 us, they are subject to the Palsy. Above her 
 is the sign Cancer. 
 
(97) 
 
 Mercury. 
 
 He has his usual attributes, and is drawn by 
 two Cocks. Those born under him are Mathe- 
 maticians, Philosophers, Money-changers, Phy- 
 sicians, Painters, Sculptors, Musicians, &c. His 
 signs are Virgo and Gemini- 
 Venus. 
 
 She is drawn by Doves, and Cupid is with 
 her in her Car : her signs are Libra and Taurus. 
 Below are men and women enjoying themselves 
 in various ways ; caressing, singing and playing 
 on musical instruments, feasting, bathing, danc- 
 ing, &c. 
 
 Sol. 
 
 He is represented as a King in a rich robe, 
 with a radiated. Crown upon his head, and a 
 Sceptre in his hand with the Sun upon the top 
 of it : he is drawn by two Horses, and his Car is 
 ornamented with the Sun upon the back of it, 
 and Lion's heads on the forepart. His sign is 
 Leo. Below are men performing feats of Acti- 
 vity of various kinds — Posture-masters, Tum- 
 blers, Fencers, Wrestlers, people at Bowls, and 
 the like. 
 
 Mars. 
 
 He holds a drawn Sword and a Shield, and is 
 in a Car drawn by Wolves and loaded with 
 weapons. His signs are Scorpio and Aries. 
 Below are all the Calamities of War — Rape, 
 Murder, Rapine, Fire, and Devastation. 
 
 Jupiter. 
 
 He has the Fulmen and Eagle, as usual ; and 
 there is a man kneeling before him, in his Car, 
 and offering a cup full of money : he is drawn 
 by Peacocks. His signs are Sagittarius and 
 
(98) 
 
 Pisces. Below, a Pope is crowning an Emperor 
 and a Magistrate is sitting in a court of Justice. 
 In the distance, people are hunting a Stag. The 
 inscription makes those born under this planet 
 endued with all sorts of virtues. 
 
 7. Saturn. 
 
 He carries a Scythe, and is eating one of his 
 children ; a naked Boy is sitting before him, in 
 his Car, upon a Globe. He is drawn by a • 
 Griffin and a Dragon (or two Dragons, I know 
 not which to call them). His signs are Capri- 
 cornus and Aquarius. Below are Beggars and 
 Cripples, with a Priest and people relieving 
 them ; men in Prison and one in the Stocks ; 
 others with Hogs and at Plough, cutting wood, 
 &c. — and in the distance are Gallows and a man 
 hanged, and Wheels for dead bodies. 
 
 Men born under this planet are, according to 
 the inscription to this print, liable to the Dropsy, 
 Drowning, Poisons, and all sorts of disasters. 
 
 The first Edition of these prints is by Jerom 
 Cock. 
 
 Those with Theod. Galle exc^ are posterior. 
 
 Those with ''Joan. Galle'' are very much re- 
 touched, and the Engraver's name and mark are 
 every where obliterated. 
 
 The Four Temperaments. 4 Prints, hy . 
 
 H, Muller. 1566. 
 8 in. 1 to 2! lines high, by 9 in. 1 to 3 lines 
 wide. 
 
 Above, in the clouds, are the Heathen Deities 
 presiding over each of these Temperaments, and 
 their qualities below. 
 
(99) 
 
 1. " Sangvinei." 
 
 " Jupiter''' and " Venus^'' with Cupid and 
 the signs Libra, Gemini, and Aquarius. Below, 
 people courting, dancing, feasting, bathing, and 
 hunting. 
 
 2. " Cholerici.'" 
 
 " Mars^'' sitting in the midst of Fire, with 
 a great two-handed Sword and a Shield ; the 
 signs Aries, Leo, and Sagittarius are above ; and 
 below, men fighting and making armour, armies, 
 and devastation. 
 
 3. " Melancholici." 
 
 " Saturnus^'' as usual, with a Scythe and eat- 
 ing a Child. Below, Geometricians, a man with 
 a Quadrant, two others hanging themselves, &c. : 
 the signs are Taurus, Capricornus, and Virgo. 
 
 4. " Phlegmatici.'' 
 
 " Luna^'' with the signs Scorpio, Pisces, and 
 Cancer : the people below are occupied in fishing 
 and fowling; there are several Ships in the 
 distance. Date " 1566.'' 
 
 This is an earlier Edition than that by The- 
 odore Galle. 
 
 The Four Seasons. 4 Prints, hj Phil. Galle, 
 
 1563, 
 
 7 in. 7 to 8 lines high, by about 7 in. 9 lines 
 wide. 
 
 1 . Spring. 
 
 A Young Man with a Garland on his head, 
 a Quiver at his back, a Bow and Arrow in his 
 hand, and a Hawk upon his left fist. In the 
 
( 100) 
 
 foreground, fresh plants — and, further off, milk- 
 ing of cows, dressing vines, feasting in the open 
 air, &c. : Aries, Taurus, and Gemini above. 
 
 2. Summer. 
 
 A Man of mature age, almost naked, with 
 Ears of Corn in his hand. Behind him, the 
 summer occupations of clipping sheep, mowing, 
 reaping, &c. The signs Cancer, Leo, and 
 Virgo above. 
 
 3. Autumn. 
 
 A Man without Beard, crowned with Grapes 
 and Vine-branches ; clothed, and carrying a 
 Cornucopias well filled : in the Landscape, be- 
 hind, men ploughing, sowing, and harrowing — 
 butchers busy in slaughtering and cutting up 
 animals, and a vintage with people gathering 
 grapes and making wine. The signs are Libra, 
 Scorpio, and Sagittarius. 
 
 4. Winter. 
 
 An Old Man warmly clad, in pattins, with a 
 pot of fire and a staff in his hands ; in the back- 
 ground, on one side people warming themselves 
 by a good fire and feasting (at Christmas), on 
 the other Ice with men and women skaiting, 
 drawing a sledge, &c. 
 
 The Four Seasons. 4 Prints, Qu. by 
 Cuerenhert f 
 
( 101 ) 
 
 FABLE. 
 ^ 
 
 Triumph of Bacchus, bt/ Prenner. 
 
 3 in. 3 lines high, by 6 in. \ line wide. 
 
 It is the sixteenth plate of the " Prodromus," 
 or preliminary volume of the Vienna Gallery, 
 published by Prenner and Stampart, and was 
 engraved from a small picture in the Emperor's 
 Collection. 
 
 This is not the Bacchus of the Ancients, but a 
 huge fat fellow without a beard, half drunk, with 
 an immense Cornucopiae and a Jug in his hands, 
 sitting on a Car with four wheels and drawn by an 
 Ass. He is surrounded by Nymphs, Satyrs, Boys, 
 and Fauns, who are piping, tumbling, and playing 
 tricks before him in their march. One of them is 
 upon Stilts, which is very singular. 
 
 Heemskerck had very little to do with this 
 picture : it appears to be entirely Giulio Romano's, 
 and differs not considerably, except in form, from 
 his design engraved by Cornelius Bos in 1546. 
 That is long and narrow, like a Frize ; but, when 
 the Picture was to be executed, the painter thought 
 proper to make it shorter in proportion, and to give 
 more solidity to the Composition. He also left 
 out the most beastly and exceptionable parts, and 
 added three or four new figures. 
 
( 102 ) 
 
 Bos's print is only 11^ in. high, by 33^ in. 
 wide ; and there is a Copy of it, of the same size 
 but reversed. Theod. de Brij. has also copied it, 
 in little. 
 
 Qu. The Triumph of Bacchus ? &c. No name of 
 Engraver. 
 
 5 in. high, by 32 in. 3 lines wide. 
 There are twenty-six figures ; and the Com- 
 position is quite like a Frize. H. Hendike exc. 
 1610. 
 
 N. B. This is a very strange thing : it is 
 difficult to discover, what it represents ; I suspect, 
 it ought to be considered as an Allegory. 
 
 Cephalus and Procris. See Landscapes. 
 
 Hape of Ganymede. 4!to. no name. Dubious. 
 
 Hero and Leander. See Landscapes. 
 
 Mars and Venus surprised together hy Vulcan. 
 
 1 in. 5 lines high, by 21 in. near 4 lines wide. 
 
 This diminutive print is in the eighth plate 
 of Pigage's Gallery of Dusseldorff, No. 81. It 
 was engraved at Basle, 1776, under the direction 
 of Mechel, from a large Picture in that Collec- 
 tion, formerly attributed to Giulio Romano and 
 much admired. See the Catalogue by Colins, 8vo. 
 1756. p. 13, No. 61, where it is called ''piece 
 admirable^ Pigage makes its measures 5 ft. 1 in. 
 high, by 8 ft. 3 in. wide. 
 
 It is painted upon wood. 
 
( 103 ) 
 
 Pyramus and Thisbe. See Landscapes. 
 Venus and Cupid. " Clement de Jonge exc:" 
 
 7 in. 2 lines high, by 9 in. wide. 
 
 She is lying on the ground ; and Cupid is wounding 
 her breast with an Arrow. 
 
 I think, it is not from Heemskerck, although 
 his name is put to it. 
 
 On another Edit. " Wilh. Engelh, Koning. excud. 
 cum Previl. Amst.'''' 
 
 Vulcan and the Cyclops, with Venus and 
 Cupid. "6Bi546." 
 
 11 in. 5 lines high, by 15 in. wide. 
 Six figures in all. 
 
 No name of the Painter written, but it may be 
 read in every line of the Picture. 
 
 N. B. It is wonderfully like Giulio Romano, to 
 whom it is usually attributed ; and it may be his. 
 
 Democritus and Heraclitus. See Landscapes. 
 
( 104 ) 
 
 HISTORY, &c. 
 
 The Wonders of the World. 8 Prints, 
 hy Philip Galle. 
 Near 7 in. 10 lines high, by 10 in. to 10 in. 
 3 lines wide. 
 
 1 . Pyramids of Egypt. 
 
 In the foreground is a King sitting ; and in 
 the midst, in the air, above him is an Eagle 
 with a Slipper in her mouth. 
 
 "No. 1." In the Edition with the No. the 
 Statue, on the point of the Obelisk, is re-engraved ; 
 and not of the same, but larger dimensions. 
 
 2. Mausolaeum or Tomb of Mausolus, King of 
 
 Caria, at Halicarnassus. 
 
 In the foreground is Queen Artemisia pre- 
 senting a Cup to her Architect. " No. 6." 
 
 3. Temple of Diana at Ephesus. 
 
 In the foreground is a King conversing with 
 Architects and Artificers. 
 
 4. Walls and Hanging Gardens of Babylon. 
 
 In the foreground is Semiramis riding 
 (astride) and shooting an Arrow at a Lion. 
 " No. 7." 
 
 I think, it would be hardly possible to make 
 a worse Lion or a worse Horse. 
 
 5. Colossus of Rhodes. 
 
 In the foreground we have the head of the 
 Statue and part of one of its hands a second 
 time, with Artists at work upon them and a 
 man holding a Design. 
 This Statue was the work of Chares. " No. 4." 
 
( 105 ) 
 
 6. Ivory Statue of Jupiter Olympius, made by 
 Phidias for his Temple at Elis. 
 
 In the foreground are men Wrestling and 
 the Crowning of a Victor in the Olympic Games. 
 
 No. sr 
 
 6. Copy with variations, and two figures added 
 
 in the foreground. 
 
 This, although a Copy, is valuable. 
 
 7. Pharos of Alexandria — a sort of Light-house 
 
 built by Ptolemy Lagos, King of Egypt, 
 about three hundred years before Christ. 
 
 In the foreground he is sitting and convers- 
 ing with an Architect, who is shewing him a 
 Design. 
 
 8. Great Amphitheatre at Rome. 
 
 Heemskerck seems to have been particularly 
 fond of this building, and puts it here for the 
 eighth wonder of the w^orld. It was begun by the 
 Emperor Vespasian, and finished by his son, Titus; 
 and has been called the Coliseum, from a colossal 
 Statue of Domitian, which is said to have stood 
 near it. The Painter has given us one of the feet 
 of this statue in the foreground, with the Wolf 
 and the two Children, in relievo, upon the base 
 of it. 
 
 He has represented the building in ruins, as it 
 was in his time, and, nearly, as it now remains. 
 In the center of it he has taken the liberty of 
 placing an enormous statue of Jupiter ; where, I 
 suppose, it is certain no such thing ever stood. 
 
 I 
 
( 106 ) 
 
 On the spectator's right hand is an Emperor on 
 horseback, meant probably for Titus or Vespasian; 
 but not at all like either of them. 
 
 EDITIONS. 
 
 1. In the first edition of these prints the 
 plates are not numbered ; four only have the name 
 of the Engraver, and there is no name of the 
 Publisher upon any of them. 
 
 2. Those with " Theod. Galle exc" are later, 
 and sometimes retouched ; and in this edition the 
 plates are numbered, but not in the usual order. 
 
 3. The plates were afterwards so much re- 
 touched, as to amount almost to re-engraving them. 
 
 There are Copies of these prints, of the same 
 size and the same way with the Originals. 
 
 N. B. I have here arranged the prints in what 
 I understand to be the order, in which they are 
 commonly placed, without attending to Theod. 
 Galle's numbers, in his later edition of them. 
 The numbers were added before the name of 
 Theodore Galle. 
 
 " Amphitheatrvm sive arena." 
 12 in. 6^ lines high, by 16 in. 9 lines wide^ 
 
 No name of the Engraver, but it seems to be 
 by Jerom. Cock. 
 
 This is another view of the Ruins of Vespa- 
 sian's Great Ampitheatre at Rome, with a modern 
 Bull-fight in it; and an enormous colossal statue of 
 
( 107 ) 
 
 Jupiter in the center, as before in the other print 
 where it is reckoned as the eighth wonder of the 
 world. This print is, every where, filled with 
 strange figures on horseback and on foot, in modern 
 habits and so completely different from Heems- 
 kerck's, that I can by no means believe them 
 to be his. 
 
 Under it, " tavriliorvm ad imitationem an- 
 
 TiaVORVM ROMANORVM IN THEATRIS EXHIBITORVM 
 GRAPHICA EFFIGIATIO." 
 
 EDITIONS. 
 
 1. "jET. Cock excudy 
 
 2» " Theodorus Galle excudr 
 A piece of Architecture, with many figures. 
 
 This seems to have been intended for a Com- 
 panion to the "arena;" and the figures^ appear 
 to have been designed by the same hand. 
 
 Dubious — no names of either Painter or 
 Engraver. 
 
 Nine Worthies. 3 Prints, hy Herman MuUer, 
 
 Each 7 in. 7^ to 9 lines high, by 9 in. 9^ to 
 lO^lines wide. 
 
 They are all on Horseback, except Alexander, 
 who rides upon an Elephant — three in each print. 
 
 1 . Three Jewish Worthies. 
 
 Joshua : the Sun in his banner. 
 David : Harps in his banner. 
 Judas Maccabasus : his banner is blank. 
 I2 
 
( 108 ) 
 
 2. Three Heathen. 
 
 iHector : banner, a Lion rampant with a 
 Battle-axe. 
 
 Alexander: banner, a Lion holding a Battle- 
 axe and sitting in a great chair. 
 
 Julius Caesar : banner, a spread Eagle with 
 two heads. 
 
 4. Three Christian. 
 
 King Arthur : banner, Seme of Flower-de- 
 Luces and Crowns. 
 
 Charlemagne: he has no banner, but holds a 
 naked Sword. On the Petril of his horse 
 there is a Scutcheon of Arms, viz. an Eagle 
 displayed (with two heads,) in an Ines- 
 cutcheon Austria (Or. an Eagle display'^d S.) 
 impaling France. 
 
 Godfrey of Bouillon : in his banner is a Jeru- 
 salem Cross (I take it to be) ; and on his 
 ♦ Helmet the Crown of Thorns, a plain Cross, 
 and two Scourges. 
 
 " iiZ". Cock excud'' on each print. 
 
 Joan. Galle's Edition is retouched : and in the 
 second print is engraved " dvces svb triplisi leoe 
 sELECTissiMi,'' making it the first print ; and the 
 background is made, all over, dark : and the prints 
 are all numbered, in the Exergue. 
 
 Hist, or Atchievements of Charles V. 12 PrinU, 
 by Cuerenhert. 
 
 Each from about 5 in. 7 lines, to 6 in. 3 lines 
 high, by from 8 in. 11 lines to 9 in. 2 lines wide. 
 
( 109 ) 
 
 1 . Frontispiece. 
 
 Charles V. with the Imperial Crown on his 
 head, a Sword in his right hand and the Mound 
 in his left, is sitting on a Throne, with an 
 Eagle at his feet, upon a Suggestum between 
 the Pillars of Hercules ; and upon the front 
 of it is a Scutcheon of the Arms of Austria. 
 Below — on one side stand the Elector of Saxony, 
 the Landgrave of Hesse, and the Duke of 
 Cleves ; on the other Pope Clement VII. and 
 Francis I. as prisoners, enclosed in two bands 
 which are held by the Eagle in her beak. The 
 Great Turk Solyman is at liberty, but is retiring 
 from the presence of the Emperor. 
 
 This allegory is clear and speaks for itself: 
 it gives us the subject of the work, to which it is 
 prefixed, and the invention is admirable. The 
 inscription too is judicious ; it furnishes the names 
 of the illustrious Personages represented, and 
 enforces the meaning of the print. 
 
 2. Francis I. taken prisoner at the Battle of Pavia 
 
 — 1525. 
 
 The Victory at Pavia was the first brilliant 
 atchievement of Charles' arms; and by it his great 
 rival, competitor, and most determined enemy was 
 in his power. 
 
 Heemskerck has not adhered to the circum- 
 stances of the fact, as related by historians. 
 
 3. The Taking of Rome ; or rather, the Death of 
 
 Charles Duke of Bourbon, at the taking of 
 Rome — 1527. 
 
( 110 ) 
 
 The taking of the first City of the world was 
 a great accession to Charles' fame. The Duke of 
 Bourbon's death was not an event for him to rejoice 
 at, and one does not see, why the painter should 
 make it the principal subject of his picture. 
 
 4. Pope Clement VII. besieged in the Castle of 
 
 St. Angelo — 1527. 
 He is summoned by a Trumpet to surrender. 
 To have had two such personages as Francis I. 
 and Clement both at his disposal must have been 
 extremely flattering to the vanity of Charles, and 
 must be reckoned amongst the Glories of his reign. 
 
 5. Charles V. obliging Solyman the Magnificent 
 
 to raise the Siege of Vienna, and to retire 
 out of Hungary — 1529, 
 
 This is not a plain History-picture : the Painter 
 meant no such thing — but merely to inform us, by 
 means of Picture, of the above-mentioned two 
 facts ; that the Power of Charles did oblige Soly- 
 man to raise the Siege of Vienna (1529), and did 
 force him to evacuate Hungary. In the second 
 instance Charles was actually opposed to Solyman, 
 and it was the first time he ever commanded an 
 army— 1532. 
 
 6. America. 
 
 The Subject of this Picture is the savage and 
 barbarous state of Life, from which the Inhabitants 
 of the New World were delivered by Charles' dis- 
 coveries and conquest; not any one transaction of 
 either him or his commanders — 1530. 
 
( 111 ) 
 
 7. Conquest of Tunis. 
 
 This was one of the Transactions, that really 
 crowned Charles with immortal glory. 
 
 The subject of the print is his Triumphal 
 Entry into Tunis, after having defeated Hayradin 
 Barbarossa and his numerous army — 1535. 
 
 This piece comes nearer the notion of a 
 History-picture than almost any other of the 
 twelve — I mean the representation of an Event as 
 it did, in fact, really take place. 
 
 There is a larger print made up from this, but 
 reversed and much altered, by a man of the name 
 of J. Lamo.-.with a Spanish inscription, " Toma 
 de la en la dicha Villa Ano 1535." 
 
 10 in. 4 lines high, by 14 in. wide. It is very bad. 
 
 8. Submission of William II. Duke of Cleves, 
 
 with his surrender of all his claims to the 
 Dutchy of Guelderland — 1543. 
 
 This was in the Emperor's Camp before Rure- 
 monde, and by it he acquired the last of the seven- 
 teen provinces, not yet in his possession. 
 
 The expression of Charles in this print agrees 
 with Robertson's account of his haughty deport- 
 ment upon this occasion. The Duke's presenting 
 the Arms and Banner of Guelderland acquaints 
 us with what we could not otherwise have known, 
 his resignation of his claims to that Dutchy ; and 
 the man following with the keys shews the imme- 
 diate surrender of the Towns, which had not before 
 submitted. 
 
( 112 ) 
 
 9. The Emperor'*s Camp near Ingolstadt, and the 
 
 arrival of Maximilian, Count de Buren, with 
 a reinforcement of fourteen thousand Flem- 
 ings — 1546. 
 
 The real subject of this print is the Emperor's 
 wisdom in disciplining his troops, conversing with 
 all the various nations, of which they were com- 
 posed, in their own language, and his steady per- 
 severance in not fighting ; by which the immense 
 army of the League of Smalkalde was dissipated 
 and ruined. The arrival of the Count de Buren 
 is only a secondary incident; but the author of 
 the inscription, who, we may suppose, was a 
 Fleming, has chosen to make it principal; as if 
 the Elector of Saxony and Landgrave of Hesse 
 had both fled and given up the war upon his 
 coming. 
 
 Charles is seen three times over in this print. 
 
 He never appeared greater than upon this 
 occasion. 
 
 10. The Elector of Saxony, John Frederick, sur- 
 
 rendering himself prisoner to the Emperor, 
 after having been wounded and defeated at 
 the Battle of Muhlberg- — 1547. 
 
 I suppose the man with the long beard, on 
 the Emperor's left hand, is the Duke of Alva: 
 he on his right is certainly his brother, Ferdinand. 
 
 Adriani (p. 220) describes this transaction well, 
 but not as it is here represented: he says, the 
 Elector was so fat and unweildy that he could not 
 
( IIS) 
 
 dismount without assistance, and that the Duke 
 of Alva, therefore, presented him to the Emperor 
 on horseback. (See L. d'Avila.) 
 
 11. Submission of the Cities of Germany. 
 
 The Magistrates or Deputies of these Cities 
 are on their knees presenting their keys to the 
 Emperor, who receives them sitting on his 
 Throne, in great pomp. 
 
 I should not take this for any one transaction : 
 after the army of the League of Smalkalde was 
 dispersed, Ulm, Augsburg, Francfort, and many 
 other Cities submitted to the Emperor ; and 
 numbers more, after the defeat of the Elector of 
 Saxony, at the Battle of Muhlberg. The Painter 
 only means to inform us, that they did so and sent 
 their keys in token of it. He did not trouble 
 himself at all about the manner or actual circum- 
 stances of their doing it ; and he must necessarily 
 bring them all into one picture, if he undertook 
 to represent the fact. 
 
 12. Submission of Philip, Landgrave of Hesse, at 
 Halle in Saxony — 1547- Robertson, Vol. III. 
 p. 113. Adriani, p. 225. 
 
 This was glorious to Charles as a triumph over 
 the last of his enemies in Germany — and we may 
 add, it was the last triumphant transaction of his 
 Life. I do not know what to make of this ; 
 whether to consider it as plain History, or as 
 an Allegorical Picture ; but I am inclined to r 
 think the latter. 
 
( 114 ) 
 
 The Emperor seems to be sitting here in his 
 utmost state, with all the seven Electors about 
 him ; perhaps intended to represent the whole 
 Empire, and so to mark the publicity of the Land- 
 grave's humiliation : and the Throne is composed 
 of the four Cardinal Virtues, personified. If the 
 Painter had meant a plain Historical picture of 
 the ceremony, as it really passed, he must have 
 brought in many other persons; the Duke of 
 Alva, Maurice of Saxony, the Marquis of Bran- 
 denburg, and Henry of Brunswick, &c. who, un- 
 doubtedly, were all present. 
 
 EDITIONS. 
 
 1. By Jerom. Cock. 1556. 
 
 2. " Ph. Galle excud'' — these are later. 
 
 3. ^' Charles de Mallery exc.'' 
 
 4. " Joan Boel exc'' 
 
 I cannot tell which is the last of these 
 two Editions ; both are bad, and, I 
 believe, the plates retouched: Joan 
 Boel's name is on the first plate only. 
 
 These plates are not strongly engraved, and 
 I have never seen any impressions of them so 
 good as to make me suppose them to be the first. 
 The best, I have met with, have not the inscrip- 
 tions and dates of the Subjects engraved, but 
 added underneath, in letter-press-printing — with, 
 sometimes, two copies of verses in Spanish and 
 
( 115 ) 
 
 in French. Afterwards the inscription and date 
 were engraved upon the plates themselves. The 
 third and fourth plates are numhered with small 
 Italic letters, and all the rest with Roman Capitals 
 very coarsely engraved : hut I have never seen 
 any impressions without these numbers. Van 
 Mander must certainly be wrong, in saying that 
 the taking of Francis I. prisoner (the second plate) 
 was engraved by Corn. Bos, and not by the same 
 person that did the rest : they are clearly all by 
 the same hand : and I do not see how we can 
 deny their being by Cuerenhert, as his mark is 
 upon the first and the fifth plates and his name, 
 at length, upon the sixth and seventh with the 
 date, 1555, upon the former. Their having been 
 attributed, as they are by Descamps, to Heems- 
 kerck's own hand seems to have arisen from his 
 having mistaken Van Mander's meaning, in the 
 obscure passage in his life of Heemskerck, which 
 does appear to have puzzled his translators very 
 much. It must be confessed, they are not like 
 Cuerenhert's other works : perhaps they may bear 
 more resemblance to those of Cornelius Bos ? 
 
(116) 
 LANDSCAPES. 
 
 Landscape, ivith Elisha receiving Elijah's 
 Mantle, by Phil. Galle. 
 Nearly 6 in. 4 lines high, by 12 in. 7 lines 
 wide. 
 
 The Painter has given us the Ruins of Vespasian's 
 Amphitheatre, with a Colossal Statue of Mercury in 
 the center, in the midst of the river Jordan. 
 
 The Impressions, with Joan. Galle excudit^' 
 
 are later. 
 
 , with Jonah sitting on the E. side of 
 
 Nineveh, hy Phil. Galle. 
 6 in. 7 lines high, by 11 in. 3 lines wide : dated 
 1564. 
 
 , with Jonah under the Gourd, by 
 
 Phil. Galle. 
 
 5 in. 4 lines high, by 10 in. about 1 line wide. 
 He is sitting by the river Tigris, under a Bridge. 
 
 There is a small picture in the Royal Collection 
 like this, at Hampton Court. 
 
 "iy. CocJc excudebat 1562:" those with " The- 
 odor. Galle exc.'' are later. 
 
 , with Cephalus, and Procris, by 
 
 Phil. Galle. 
 
 6 in. about 1 line high, by 12 in. 5 lines wide. 
 
 The early impressions have only " ^alle FeP 
 " Theodorus Galle excudit :''' these are later. 
 Those with " C de Mallery'' are later still. 
 
( 117) 
 
 Landscape, with Pyramus, and Thisbe, by 
 Phil, Galle. 
 
 6 in. 1 line high, by 12! in. 7 lines wide. 
 Names of Painter and Engraver only upon it. 
 Those with " Th. Galle excud^ are later. 
 
 , , with Hero, and Leander, by 
 
 mil. Galle, 
 
 6 in. near 3 lines high, by 12 in. 7 lines wide. 
 Names of Painter and Engraver only upon it : 
 
 dated " 1562." 
 
 We have the figure of Leander four times over. 
 Those, with " Th. Galle exc." are later. 
 
 , with Democritus and Heraclitus, 
 
 by Cuerenhert, 
 
 7 in. 6 lines high, by 10 in. S lines wide. 
 Within the border, only about 4 in. 4 lines 
 
 high, by about 7 in. wide. 
 
 The two figures are standing, with a Mound 
 between them on which lies a FooFs Hood. The 
 Border is ornamented with Emblematical Devices; 
 and above is " tempvs ridendi tempvs flendi:" 
 below are other inscriptions. 
 
 "COCK EXCUD. 1557." 
 
 Those with " Adri. Coll, excud,'' (i. e. Adrian 
 Collaert) are later. 
 
 The middle and principal part of this print is 
 copied on a smaller scale and reversed, in De Brij's 
 " Emblemata saecularia," 4to, Franc. 1596. It is 
 
(118) 
 
 No. 1. of that book, 3 in. 5 lines high, by 3 in. 
 9 lines wide. 
 
 Landscape and Ruins with St. Jerom in 
 
 Penitence. " CocJc fecit 155 z," " ttl ex,'' 
 
 8 in. 11 lines high, by 13 in. 9 lines wide. 
 
 St. Jerom is rather awkwardly introduced here, 
 for amongst the ruins are those of Vespasian's Am- 
 phitheatre and a statue of the River Tiber. If 
 St. Jerom'*s Penance was performed at all, it must 
 have been in Palestine. 
 
 This is the largest Landscape, I know of, after 
 Heemskerck, unless we reckon that with Daniel in 
 the Lions' Den. 
 
( ii9 ) 
 
 MISCELLANIES. 
 
 A JVoman, and a Pedlar or Merchant — hy 
 Cuerenhert^ 
 
 7 in. 1 line high, by 9 in. 7 lines wide. 
 
 It is No. 2. of a Set. 
 
 I have no guess what can be the Subject : the 
 Merchant has a spear, and a crooked Sword which 
 he wears on the wrong side, and a Pack at his back ; 
 the Woman is making purchases. 
 
 She is a fine figure ; there are two children stand- 
 ing by her, and in the background is a quay with 
 Ships and men unloading a Vessel. 
 
 At the bottom of the print is a Dutch inscrip- 
 tion 
 
 " Sy ist einem schiff den kramen gihty 
 
 A Supper. 
 
 About the same size. 
 
 Six figures at table and a woman putting on a 
 Dish : in the distance, people skaiting. Under it, 
 
 " ZunachV^ &c. 
 
 There is the No. " 3." upon this. 
 
 An Old Man crowned by a Young Woman. 
 
 About the same size. Under it, 
 
 " Ir man isf &c. 
 
 No name of either Painter, Engraver, or Pub- 
 lisher upon it. 
 
( 120 ) 
 
 A Woman giving Food to Beggars. 
 The same size. 
 
 No. "5," "/W," and "BC" upon it 
 
 Twelve figures and a Term : in the distance, on 
 the right, she is clothing the Naked consisting of 
 three additional figures : there are also four other 
 figures, still further off. 
 
 N. B. The figure most to the left is afflicted with 
 a Goitre. Under the print, 
 
 Sij heutet;'' &c. 
 
 " homo" with the three Theological Virtues and 
 a Cripple, 
 
 Painter's name upon it with " 1562." and 
 
 " H. Cock Excur 
 7 in. 8 lines high, by 9 in. 6 lines wide. 
 
( 121 ) 
 ADDENDA. 
 
 PRINTS KNOWN ONLY BY REPORT TO THE AUTHOR. 
 
 A Set of prints, (eight at least) of Fencers. 
 Another Set, (three at least) on the same sub- 
 ject. 
 
 N.B. These are Long, the former are Upright. 
 A party of people fighting. 
 
 The following, which are in the Collection in 
 the King's Library at Paris : — 
 
 A Print containing Jive subjects .^.by Phil. Galle, 
 
 In the centre, Moses holding the Tables of the 
 Law ; and, on each side of this, two small History- 
 pieces, viz. 
 
 1. The people worshiping before the Temple. 
 
 2. Christ turning the Money-changers out of the 
 
 Temple. 
 
 8. The Almighty and Moses on Mount Horeb. 
 
 4. The good Samaritan binding up the wounds of 
 the man, that fell among Thieves. 
 
 Above is 
 
 " DECALOGVS CVM ACERBISSIMIS PREVARICATOR VM 
 POENIS.'' 
 
 K 
 
( 122 ) 
 
 Solomon offering up his prayer for the grant of 
 wisdom. 
 
 No name or mark of either Engraver or Pub- 
 lisher upon it. 
 
 The Judgment of Solomon. 
 "I g" upon it. 
 
 Solomon building the Temple. 
 No names or marks of either Engraver or Pub- 
 lisher upon it. 
 
 Solomon praying at the feast of the Dedication of 
 the Temple. 
 
 Do Do. 
 
 Solomon's Idolatry. 
 
 "DC" ^PO^ it- 
 He is upon his knees before an Image, the legs 
 only of which are seen : there are six women on his 
 . right hand: his Crown and Sceptre are upon the 
 ground. 
 
 Job sitting naked with his wife and three friends. 
 " H Hondius'' upon it. 
 
 Story of Jonah. 4 Prints. 
 Each about 6 in. high, by 4 in. wide. 
 
 1. Jonah embarking to go to Tarshish. 
 
 2. Jonah cast on shore by the Whale. 
 
 He is swallowed up in the background. 
 
 3. Jonah preaching to the Ninevites. 
 
 4. Jonah sitting under the Gourd. 
 
 No names or marks of either Engraver or Pub- 
 lisher upon them. 
 
( 123 ) 
 
 Achior, Captain of the Ammonites, bound to a 
 tree — and the Israelites coming out of Bethulia to 
 loose him. 
 
 Coarse Etching — Qu. By Heemskerck himself? 
 No names of either Etcher or Publisher upon it. 
 
 The Annunciation. 
 
 Coarse Etching. — Qu. By Heemskerck himself? 
 No names or marks of either Etcher or Pub- 
 lisher upon it. 
 
 The Adoration of the Shepherds. 
 
 Do Do. 
 
 The Adoration of the Shepherds ^ 
 The Circumcision j 
 
 These two prints are poorly executed and have 
 no names or marks of either Engraver or Publisher 
 upon them. 
 
 The Adoration of the Magi ..." P. Galle fecit r 
 
 The Flight into Egypt. 
 
 A delicate Wood-print : no names or marks of 
 either Engraver or Publisher upon it. 
 
 Christ disputing with the Doctors. 
 " H. c " upon it. 
 
 The last Supper " Hi'' " N de Clerk eoocy 
 
 Judas is in front, holding the Purse behind him. 
 The Holy women at the Sepulchre. 
 An Etching. Qu. by Heemskerck himself? 
 No names or marks of either Etcher or Pub- 
 lisher upon it. 
 
( 124 ) 
 
 Passion of our Saviour. 23 Prints. 
 
 These are delicately executed, but have no 
 names or marks of either Engraver or Publisher- 
 upon them. 
 
 Each about 4 in. high, by 3 in. wide. 
 
 1. Christ bowing down under the moveable Plank 
 
 (here a Cross) of a Wine-press. 
 
 The blood is streaming from the five Wounds 
 into the Vat, in which he is standing: in the 
 framework of the press and round it are sen- 
 tences from Isaiah. 
 
 2. The Last Supper. 
 
 3. Christ washing the Disciples' feet. 
 
 4. Christ praying in the Garden. 
 
 5. Christ betrayed. 
 
 6. Christ led bound to the High Priest. 
 
 7. i^hrist before the High Priest. 
 
 8. Christ before Pilate. 
 
 9. Christ before Herod. 
 
 10. Christ Mocked. 
 
 11. The Flagellation. 
 
 12. The Crowning with Thorns. 
 
 13. The Ecce Homo. 
 
 14. Pilate washing his hands. 
 45. Christ bearing his Cross. 
 l6. The actual Crucifixion. 
 
 17- Christ on the Cross between the two Thieves. 
 
. (125) 
 
 18. The Descent from the Cross. 
 
 19. The Descent into Hell. 
 
 20. The Resurrection. 
 
 21. The Holy women at the Sepulchre. 
 
 22. Christ and the two Disciples at Emmaus. 
 
 23. The Ascension. 
 
 A Print, under which is " a soft answer turneth 
 away wrath" in Dutch. 
 
 It represents the interior of a room, in which are 
 a man in the act of drawing his sword, a woman on 
 her knees before him, and two children — one lying 
 upon the floor and the other running out at the door : 
 on the floor is the word " Strashurch.'''' 
 
 No names of either Engraver or Publisher 
 upon it. 
 
 Time, personified, in the clouds observing the various 
 pursuits of Mankind. 4 Prints. " G de Jode 
 excud.'''' 
 
 The Adoration of an Image of Isis. 
 
 It is placed on the back of an Ass, which a man 
 on foot is urging forward with a whip : there is a 
 Lamp burning before the Idol, and in its right 
 hand is a Globe with a small figure of Fame upon it. 
 
 This has no names or marks of either Engraver 
 or Publisher. 
 
 Truth and Justice. 
 
 Two female figures-— one has a Mirror, and a 
 Snake is twined round her right arm ; the other is 
 blindfold, and has a Sword in her right hand and 
 a pair of Scales in her left. 
 
 "6B" upon it 
 
( 126 ) 
 
 The Salvation of Man by Faith. 
 
 A female figure is covering a kneeling man with 
 a Shield, into which the Devil, seated on a Terres- 
 trial Globe, has fixed four fiery Arrows. 
 
 upon it. 
 
 Bacchus and Venus disputing for the right of 
 possession to a Drunken man. 
 
 No names or marks of either Engraver or Pub- 
 lisher upon it. 
 
GETTY CENTER LIBRARY 
 
 3 3125 00131 9322