The Gobbi, or hunchbacks, form a set of twenty-one engravings; and the set of the Gipsies, already alluded to, which was also executed at Nancy, was included in four plates, the subjects of which were severally--1, the gipsies travelling; 2, the avant-guard; 3, the halt; and 4, the preparations for the feast. Nothing could be more truthful, and at the same time more comic, than this last set of subjects. We give, as an example of the set of the Baroni, or beggars, Callot's figure of one of that particular class--for beggars and rogues of all kinds were classified in those days--whose part it was to appeal to charity by wounds and sores artificially represented. In the English slang of the seventeenth century, these artificial sores were called _clymes_, and a curious account of the manner in which they were made will be found in that singular picture of the vicious classes of society in this country at that period, the "English Rogue," by Head and Kirkman. The false cripple in our cut is holding up his leg to make a display of his pretended infirmity. [92] Meaume appears to be doubtful of the meaning of this word; a friend has pointed out to me the correction. It was the title of a song, so called because the burden was an imitation of the crowing of a cock, the singer mimicking also the action of the bird. When Bacchus, in Redi's "Bacco in Toscana," is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him "sulla mandola la Cucurucù," "on the mandola the Cucurucu." A note fully explains the word as we have stated it--"Canzone cosi detta, perchè in esse si replica molte volte la voce del gallo; e cantandola si fanno atti e moti simili a quegli di esso gallo." [Illustration: _No. 165. Smaraolo Cornuto.--Ratsa di Boio._] [Illustration: _No. 166. A Caprice._] [Illustration: _No. 167. The False Cripple._] Callot remained at Nancy, with merely temporary absences, during the remainder of his life. In 1628, he was employed at Brussels in drawing and engraving the "Siege of Breda," one of the most finished of his works, and he there made the personal acquaintance of Vandyck. Early in 1629, he was called to Paris to execute engravings of the siege of La Rochelle, and of the defence of the Isle of Rhé, but he returned to Nancy in 1630. Three years afterwards his native country was invaded by the armies of Louis XIII., and Nancy surrendered to the French on the 25th of September, 1633. Callot was required to make engravings to celebrate the fall of his native town; but, although he is said to have been threatened with violence, he refused; and afterwards he commemorated the evils brought upon his country by the French invasion in those two immortal sets of prints, the lesser and greater "Misères de la Guerre." About two years after this, Callot died, in the prime of life, on the 24th of March, 1635.