Of all the wood-engravings executed in Italy in the fifteenth century, none can compare in excellence with those in the HYPNEROTOMACHIA POLIPHILI (Dream of Poliphilo) printed in Venice, by Aldus, in 1499.[4] There are, in all, one hundred and ninety-two subjects, of which eighty-six relate to mythology and ancient history, fifty-four are pictures of processions and emblematic figures, thirty-six are architectural and ornamental, and sixteen vases and statues. They have been attributed to many different artists, the most probable of whom is Carpaccio. The subject of the 'Hypnerotomachia' has been described as a 'Contest between Imagination and Love'; it is a curious medley of all kinds of fable, history, architecture, mathematics, and other matters, seasoned with suggestions which do not reflect credit on the moral perceptions of its author, a Dominican monk, named Francesco Colonna. An enthusiastic admirer of this book thus poetically describes it: 'There is, perhaps, no volume where the exuberant vigour of that age is more clearly shown, or where the objects for which that age was impassioned are more glowingly described. {43} [Illustration: POLIPHILO IN THE GARDEN _From 'Hypnerotomachia Poliphili,' printed by Aldus at Venice in 1499_] The romantic and fantastic rhapsody mirrors every aspect of nature and art in which the Italians then took delight--peaceful landscape, where rivers flow by flower-starred banks and through bird-haunted woods; noble architecture and exquisite sculpture, {44} the music of soft instruments, the ruins of antiquity, the legends of old mythology, the motions of the dance, the elegance of the banquet, splendour of apparel, courtesy of manners, even the manuscript, with its cover of purple velvet sown with Eastern pearls--everything that was cared for and sought in that time when the gloom of asceticism lifted and disclosed the wide prospect of the world lying, as it were, in the loveliness of daybreak.' But it is more on account of the beauty of the cuts than the poetry of the author that this book has been so much admired and so frequently reprinted. Our illustration shows us where Poliphilo in his dream visits a bevy of fair maidens in a garden. These nymphs are not very beautiful, but, though they have such high waists, remark how gracefully their figures are drawn, and look at the action and the drapery of the damsel running away. The engraving is, without doubt, an exact facsimile of the artist's drawing; the lines are clear and crisp, and are evidently the work of a practised hand. The drawing of the gateway and trees is simply conventional. We are sorry that we have not room for more of the illustrations of this remarkable work.