[106] Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where the letter from De Mechel is given. [107] Essai sur l'origine de la gravure, &c. tom. i. p. 260. [108] Id. p. 261. [109] Dict. de monogrammes, &c. tom. i. pp. 418, 499. [110] Enciclop. metod. par ii. vol. vii. p. 16. [111] Enciclop. metod. par. i. vol. x. p. 467. [112] All the above prints are in the author's possession, except No. 7, and his copy of No. 5 has not the tablets with the name, &c. [113] Edit. Javigny, iv. 559. [114] This edition is given on the authority of Peignot, p. 62, but has not been seen by the author of this work. In the year 1547, there were three editions, and it is not improbable that, by the transposition of the two last figures, one of these might have been intended. [115] Foppen's Biblioth. Belgica, i. 363. [116] That of 1557 has a frontispiece with Death pointing to his hour-glass when addressing a German soldier. [117] Tom. i. p. 238, 525. [118] Dict. de Monogrammes, col. 528. [119] Biblioth. Belgica, i. 92. [120] See p. 40. [121] This is the same subject as that in the Augustan monastery described in p. 48. [122] See p. 34. [123] It has been stated that they were in the Arundelian collection whence they passed into the Netherlands, where forty-six of them became the property of Jan Bockhorst the painter, commonly called Long John. See Crozat's catalogue. [124] On the same dedication are founded the opinions of Zani, De Murr, Meintel, and some others. [125] Zuinger methodus apodemica. Basil, 1557. 4to. p. 199. [126] P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil. [127] Nugæ, lib. vi. carm. 12. [128] Baldinucci notizie d'é professori del disegno, tom. iii. p. 317, 4to. edit. where the inscription on it is given. [129] Norfolk MS. 97, now in the Brit. Museum. [130] Harl. MS. 4718. [131] Acad. Pictur. 239. [132] Strype's Annals, I. 272, where the curious dialogue that ensued on the occasion is preserved. [133] Catal. de la bibliothèque du Roi. II. 153. [134] These initial letters have already been mentioned in p. 101-102. The elegant initials in Dr. Henderson's excellent work on modern wines, and those in Dr. Nott's Bristol edition of Decker's Gull's horn-book, should not pass unnoticed on this occasion. [135] See before in p. 97. [136] Zani saw this alphabet at Dresden, and ascribes it likewise to Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467. [137] See before, in p. 46. [138] Biblioth. Franc. tom. x. p. 436. [139] Sandrart Acad. Pict. p. 241. [140] Obs. on Spenser, II. 117, 118, 119. Transcriber's Notes: Passages in italics are indicated by _italics_. Superscripted characters are indicated by {superscript}. Letters printed in reverse are indicated by =X=. Various printers' monograms are included throughout the original text. These are represented by [monogram] or [monogram: description] if a description could be provided.