spelling in which suggests a Dutch artist, though Dutch spelling about this time was so rampant in England that we may hope against hope that this was English work. The oval portrait is surrounded with strap-work ornament, another fashion of the day, and at the foot of this are the initials I. D. On one interpretation these would lead us to believe not only that the work is English, but that Day himself was the cutter. But bindings from his shop are sometimes signed I. D. P. (Ioannes Day pegit), and we must hesitate before attributing to him personal skill not only in printing, but in binding and wood-cutting as well. The portrait itself is taken side-face and shows a cropped head, keen eye, and long beard, the neck being entirely concealed by a high coat-collar within which is a ruff. The ground to the front of the face is all in deep shadow, that at the back of the head is left white, a simple contrast which perhaps makes the general effect more brilliant. Day used this portrait as a device in some of his largest folio books--for instance, his three-volume edition of Becon's works (1560-4) and Foxe's _Book of Martyrs_ (1563). The full title of the _Book of Martyrs_, which we have now reached, is _Actes and Monuments of these latter and perillous dayes, touching matters of the Church, wherein ar comprehended and described the great persecutions and horrible troubles, that have bene wrought and practised by the Romishe Prelates, especially in this Realm of England and Scotlande, from the yeare of our Lorde a thousande unto the tyme nowe present_. It bears an elaborate titlepage showing Protestants and Catholics preaching, Protestants being burnt at the stake contrasted with Catholics offering the sacrifice of the Mass, and finally the Protestant martyrs uplifted in heaven, while the Catholic persecutors are packed off to hell. The text is very unevenly illustrated, but the total number of woodcuts even in the first edition (1563) is very considerable, and as many new pictures were added in the second (1570), the book was certainly the most liberally illustrated with cuts specially made for it which had yet been produced in England. One or two of the smaller cuts, mostly the head of a martyr praying amid the flames, are used several times; of the larger cuts only a very few are repeated, and, considering the monotonous subject of the book, it is obvious that some trouble must have been taken to secure variety in the illustrations. A few of these occupy a whole page, that illustrating the Protestant legend of the poisoning of King John by a fanatic monk being divided into compartments, while others showing some of the more important martyrdoms are ambitiously designed. The drawing of some of the later pictures is coarse, but on the whole the designs are good and with a good deal of character in them. The cutting is careful and painstaking, but hardly ever succeeds in making the picture stand out