ADDITIONS AND CORRECTIONS.
[P. 59]. After No. 17 add “La Danse Macabre.” Paris, Nicole de la Barre, 1523, 4to. with very different cuts, and some characters omitted in former editions.
[P. 77], last line of the text. There is a German work intitled “The process or law-suit of Death,” printed, and perhaps written, by Conrad Fyner in 1477; but as it is not noticed in Panzer’s list of German books, no further account of it can be given than that it is briefly mentioned by Joseph Heller, in a German work on the subject of engraving on wood, in which one cut from it is introduced, that exhibits Death conversing with a husbandman who holds a flail in one of his hands. It is probable that the book would be found to contain other figures relating to a Macaber Dance.
[P. 112], l. ult. There is another work by Glissenti, intitled “La Morte innamorata.” Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the English ambassador at Venice, by Elisabetta Glissenti Serenella, the author’s niece; in which, after stating that Sir Henry had seen it represented, she adds, that she had ventured to have it printed for the purpose of offering it to him as a very humble donation, &c. It is a moral, dramatic, and allegorical fable of five acts, in which Man, to avoid Death, who has fallen in love with him, retires with his family to the country of Long Life, where he takes up his abode in the house of the World, by whom and his wife Fraud, who is in strict friendship with Fortune, he is apparently made much of, and calculates on being very happy. Death follows the Man, and being unknown in the above region, contrives, with the aid of Infirmity, the Man’s nurse, to make him fall sick. The World being tired of his guest, and very desirous to get rid of, and plunder him of his property, under pretence of introducing him to Fortune, and consequent happiness, enters into a plot with Time to disguise Death, who is lodged in the same house with him, as Fortune, and thus to give him possession of the Man, who imagines that he is just about to secure Fortune. Each act of this piece is ornamented with some wood-cut that had been already introduced into the other work of Glissenti.
[P. 118], line 32. Ebert, in his “Bibliographisches Lexicon,” Leipsig. 1821, 4to. has mentioned some later editions of Denneker’s engravings. See the article Denecker, p. 972.
[P. 126], l. 14. It is not impossible that Hollar may have copied a bust carved in wood, or some other material, by Holbein, as Albert Durer and other great artists are known to have practised sculpture in this manner.
[P. 135], l. 25. These four prints are in the author’s possession.
[P. 137], l. ult. Other imitations of the Lyons cuts are, 1. A wood engraving of Adam digging and Eve spinning, by Corn. Van Sichem in the “Bibel’s tresor,” Amst. 1646, 4to. 2. The Astrologer, a small circular print on copper by Le Blond. 3. The Bridegroom, an anonymous modern engraving on wood. 4. The Miser, a small modern and anonymous print on copper.
[P. 147], l. 19. In the library at Lambeth palace, No. 1049, there is a copy of this book in Greek, Latin, Italian, Spanish, English, and French, printed by J. Day, 1569, 8vo. It was given by Archb. Tillotson, and from a memorandum in it supposed to have been the Queen’s own copy. The cut of the Queen kneeling was used so late as 1652, in Benlowes’ Theophila. Some of the cuts have the unexplained mark