Of religious works, Vautrollier printed and published several, all in accordance with the principles of the great Reformation, and the writer who argued that from his intimate knowledge of the tenets of Calvin, Shakspere must have been himself a Calvinist, would have found sufficient explanation of his special knowledge in the following books from Vautrollier's press: _The Neu Testament, with diversities of Reading and profitable annotations. An epistle by J. Calvin, prefixed._ 4to., 1575: _Institutio Christianæ Religionis, Joanne Caluino authorè._ 8vo., _London_, 1576: and _The Institution of Christian Religion_ [not in Herbert's Ames] _written in Latine, by Mr. John Calvine, and translated into English by Thomas Norton. Imprinted at London, by Thomas Vautrollier._ 8vo., 1578. This last contains an Epistle to the Reader by John Calvin, as well as an address headed _Typographus Lectori_. Of each of the above works several editions were published. In one of his pedantic speeches Holofernes exclaims: Venetia! Venetia! Chi non te vede non ti pretia. Old Mantuan! Old Mantuan! who understandeth thee not, loveth thee not. _Love's Labour Lost_, iv, 2. Where did Shakspere learn his Italian, which, although then a court language, he quotes but rarely, and in an awkward manner? Surely at second-hand, and probably quoting the phrases current at the period, or still more probably from conning in his spare moments: _An Italian Grammer, written in Latin by M. Scipio Lentulo: and turned into Englishe by Henry Grantham. Typis Tho. Vautrolerij._ _London_, 16mo., 1578. This was put to press again in 1587. In Vautrollier's 'shop' he would also have often in his hands: _Campo di Fior; or else the Flourie field of foure Languages, for the furtherance of the learners of the Latine, French, English, but chiefly of the Italian tongue. Imprinted at London, by Thos. Vautrollier, dwelling in the Black Friers by Ludgate._ 16mo., 1583. Here, again, we have a very extensive Italian vocabulary upon all common subjects quite sufficient for an occasional quotation; as to the plots taken from Italian sources, such as 'Romeo and Juliet', it seems to be now generally admitted that Shakspere in every instance followed the English translations. But Shakspere knew also a little French, and uses a few colloquial sentences here and there. In one play indeed, _Henry V_, iii. 4, there is a short scene between the Princess and her attendant, in alternate French and English, which reads almost like a page of a Vocabulary. Shakspere's knowledge of Latin was apparently about the same in extent; and for the uses to which he has applied both tongues, the _Flourie Field of Four Languages_, already quoted as the source of his Italian, would be quite sufficient. If not, he had the opportunity of consulting under his master's roof