2 to 13.--The signs of the Zodiac, after Robert Greene's "Francesco's Fortunes," 1590. Towards the end of this novel a palmer is asked by his host to leave a remembrance of his visit in his entertainer's house; the palmer engraves on an ivory arch verses and drawings illustrating at the same time, and in the same way as the signs of the Zodiac, both the course of the year and the course of human life _p. 9 et passim_ [_tail-pieces to all the chapters_] 14.--An Elizabethan Shepherdess, from a wood-block illustrating a ballad (the inscription added) 23 15.--Beginning of the unique MS. of "Beowulf," preserved in the British Museum 31 16.--Chaucer's pilgrims seated round the table of the "Tabard" at Southwark, a reproduction of Caxton's engraving in his second edition of the "Canterbury Tales," 1484 45 17.--Robert the devil on horseback (_alias_ Romulus), being the frontispiece of several romances in verse published by Wynkyn de Worde, London, 1510 (?), 8vo. The history of Robert is illustrated throughout 57 18.--The knight of the swan, from the frontispiece of the metrical romance: "The Knight of the Swanne. Here beginneth the history of ye noble Helyas knyght of the swanne, newly translated out of frensshe," London, Copland, 1550 (?), 4to 61 19.--"Then went Guy to fayre Phelis." From the metrical romance "Guy of Warwick," London, 1550 (?), 4to, Sig. Cc. iij 65 20.--Drawing by Isaac Oliver (b. 1556) after an Italian model, from the original preserved in the British Museum; illustrative of the cultivation of Italian art by Englishmen in Tudor times 69 21.--Frontispiece to Harington's translation of Ariosto, London, 1591, fol. This engraving and the numerous copper-plates adorning this very fine book are usually said to be English. But these plates were in fact a product of Italian art, being the work of Girolamo Porro, of Padua; they are to be found in the Italian edition of Ariosto published at Venice in 1588, and in various other editions. The English engraver, Thomas Coxon (or Cockson), whose signature is to be seen at the bottom of the frontispiece, only drew the portrait of Harington in the space filled in the original by a figure of Peace. Coxon, according to the "Dictionary of National Biography" and other authorities, is supposed to have flourished from about 1609 to 1630 or 1636. The date on this plate (1st August, 1591), shows that he began to work nearly twenty years earlier.