V. A set of thirty etchings by Wenceslaus Hollar, within elegant frames or borders designed by Diepenbecke, of which there are three varieties. The first of these has at the top a coffin with tapers, at bottom, Death lying prostrate. The sides have figures of time and eternity. At bottom, _Ab. Diepenbecke inv. W. Hollar fecit_. The second has at top a Death's head crowned with the Papal tiara; at bottom, a Death's head with cross-bones on a tablet, accompanied by a saw, a globe, armour, a gun, a drum, &c. On the sides are Hercules and Minerva. At bottom, _Ab. Diepenbecke inv. W. Hollar fecit, 1651_. The third has at top a Death's head, an hour-glass winged between two boys; at bottom, a Death's head and cross-bones on a tablet between two boys holding hour-glasses. On the sides, Democritus and Heraclitus with fools' caps. This border has no inscription below. As these etchings are not numbered, the original arrangement of them cannot be ascertained. The names of Diepenbecke and Hollar are at the bottom of several of the borders, &c. On the subject of the Queen is the mark [monogram: UH] and on three others that of [monogram: WH]. This is the first and most desirable state of the work, the borders having afterwards fallen into the hands of Petau and Van Morle, two foreign printsellers, whose impressions are very inferior. It has not been ascertained what became of these elegant additions, but the work afterwards appeared without them, and with the additional mark [monogram: HB] _i._ on every print, and intended for Holbein invenit. It is very certain that Hollar himself did not place this mark on the prints; he has never introduced it in any of his copies from Holbein, always expressing that painter's name in these several ways: [monogram: HH], [monogram: HHolbein] _inv._ [monogram: HHolbein] _pinxit_, H. HOLBEIN inv. H. HOLBEIN inventor. On one of his portraits from the Arundel collection he has placed "[monogram: HHolbein] _incidit in lignum_." No copy, however, of this portrait has occurred in wood, and, if this be only a conjecture on the part of the engraver, the distance of time between the respective artists is an objection to its validity, though it is possible that Holbein might have engraved on wood, because there are prints which have all the appearance of belonging to him, that have his usual mark, accompanied by an engraving tool. There is no text to these etchings, except the Latin scriptural passages under each, that occur in the original editions in that language. As a sort of frontispiece to the work, Hollar has transferred the last cut of the allegorical shield of arms, supported by a lady and gentleman, to the beginning, with the appropriate title of MORTALIVM NOBILITAS. The other subjects are, 1. Adam and Eve in Paradise. 2. Their expulsion from Paradise. 3. Adam digging, Eve spinning. 4. The Pope. 5. The Emperor. 6. The Empress. 7. The Queen. 8. The Cardinal. 9. The Duke. 10. The Bishop. 11. The Nobleman. 12. The Abbot. 13.