Not having seen the cuts in the edition of the Metamorphoses of 1509, I cannot speak, from my own examination, of the resemblance between them and those in the Hypnerotomachia; it, however, seems that Mr. Douce had noticed the similarity as well as Mr. Ottley: but even admitting that there is a perfect identity of style in the cuts of the above two works, yet it by no means follows that, because a few of the cuts in the Ovid resemble some copper-plate engravings executed by Benedetto Montagna, he must have designed the cuts in the Hypnerotomachia. As the cuts in the Ovid may, as Mr. Ottley himself remarks, have been used in an earlier edition than that of 1509, it is not unlikely that they might appear before Montagna’s copper-plates; and that the latter might copy the designs of a greater artist than himself, and thus by his very plagiarism acquire, according to Mr. Ottley’s train of reasoning, the merit which may be justly due to another. If Benedetto Montagna be really the designer of the cuts in the Hypnerotomachia, he has certainly excelled himself, for they certainly display talent of a much higher order than is to be perceived in his copper-plate engravings. Besides the striking difference with respect to drawing between the wood-cuts in Poliphilo[IV-61] and the engravings of Benedetto Montagna, two of the cuts in the former work have a mark which never appears in any of that artist’s known productions, which generally have either his name at length or the letters B. M. In the third cut of Poliphilo, the designer’s or engraver’s mark, a small b, may be perceived at the foot, to the right; and the same mark is repeated in a cut at signature C. [Footnote IV-61: The author thus names his hero in his Italian title: “_Poliphilo_ incomincia la sua hypnerotomachia ad descrivere et l’hora et il tempo quando gli appar ve in somno, &c.”]